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

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Speaker 1: Lamb and today we are going to be rearing an

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Speaker 1: episode that originally published eight fifteen, twenty twenty five. This

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Speaker 1: is our discussion of the nineteen seventy one fantasy musical

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Speaker 1: Willie Wonka and the Chocolate Factory. This, of course, is

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Speaker 1: a classic much beloved by fans around the world. This

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Speaker 1: one was a real treat, real heartfelt treat to discuss.

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Speaker 1: All right, let's jump right in. Hey everyone, Rob Lamb here,

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Speaker 1: I'd like to dedicate this episode of Weird House Cinema

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Speaker 1: to my mother Dorothy. On July fifteenth of this year,

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Speaker 1: she passed away after seven years of cancer treatments, and

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Speaker 1: I was able to be with her towards the end

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Speaker 1: there went up. I was a visitor in the hospital,

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Speaker 1: and you know how it goes in a hospital room.

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Speaker 1: After you've chatted for a while, there's not much else

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Speaker 1: to do but to turn on the television. And there

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Speaker 1: was almost nothing on, of course, but there was a

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Speaker 1: single option that presented itself, nineteen seventy one's Willy Wonka

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Speaker 1: and the Chocolate Factory. So we jumped into it. Neither

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Speaker 1: of us realizing that this would be the last movie

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Speaker 1: we'd ever watched together. Now, to be clear, my mom

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Speaker 1: was never a big fan of weird movies, certainly not

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Speaker 1: much in the way of sci fi or horror. She

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Speaker 1: loved the Halloween season, though, and she took me to

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Speaker 1: see all of my first cinematic experiences, you know, the

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Speaker 1: Star a Wars, the Disney movies and so forth. And

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Speaker 1: she was, of course, unsurprisingly as a supportive mother, a

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Speaker 1: big fan of stufftable your mind. She didn't listen to

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Speaker 1: many Weird House episodes, but she would make an exception

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Speaker 1: if she knew the film or liked one of the stars. So,

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Speaker 1: for instance, she did specifically listen to our episode on

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Speaker 1: Forbidden Planet because its course starred Leslie Nielsen, and she

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Speaker 1: even tuned in for the episode of Cannibal Apocalypse because

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Speaker 1: it starred John Saxon, So if Forbidden Planet had been on,

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Speaker 1: we might have watched that. But clearly Willy Wonka and

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Speaker 1: the Chocolate Factory was meant to be. It's a weird

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Speaker 1: and whimsical film, at times dangerous feeling, but full of heart,

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Speaker 1: full of song, and built around a tremendous weed performance

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Speaker 1: by the late Gene wilder. Furthermore, it concerns children, and

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Speaker 1: this felt appropriate given my mother's long career as an

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Speaker 1: elementary school teacher. And finally, this film, like perhaps all

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Speaker 1: great films, does not ignore themes of life and death.

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Speaker 1: So again I want to dedicate this episode of Weird

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Speaker 1: House Cinema to my mother, Dorothy nineteen forty six through

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Speaker 1: twenty twenty five, who always encouraged me toward a world

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Speaker 1: of pure imagination.

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

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

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Speaker 1: Lamb and this is Joe McCormick. And as I just

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Speaker 1: laid out in the cold open, we're talking about nineteen

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Speaker 1: seventy one's Willy Wonka and the Chocolate Factory. This is

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Speaker 1: definitely a film I grew up watching. I think, well,

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Speaker 1: we were talking about this before we recorded, maybe exclusively

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Speaker 1: on television, and I've seen it therefore in a kind

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Speaker 1: of scattered way over the years, many different times, popping

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Speaker 1: in at different points in the film. So I've always

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Speaker 1: been very familiar with certain scenes and themes and characters,

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Speaker 1: but maybe less focused on certain beats in the plot.

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Speaker 3: Exactly the same experience here. I have seen this movie

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Speaker 3: many times, but honestly, watching it for Weird House today

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Speaker 3: may have been the first time I ever saw the

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Speaker 3: whole movie at once. I saw it in pieces on

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Speaker 3: TV over and over.

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Speaker 1: Yeah, absolutely like I very of course, very recently watched

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Speaker 1: it with my mom in a hospital with TV commercials,

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Speaker 1: so there are a lot of distractions there obviously, and

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Speaker 1: we're chatting back and forth. But then this dedicated rewatch

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Speaker 1: that I did exclusively for Weird House. Yeah, I don't

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Speaker 1: know if i'd ever watched it beginning to like this before.

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Speaker 1: Willy Wonka in the Chocolate Factory is, without a doubt, though,

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Speaker 1: a weird kids musical, and it's weirdness, it's it's unhinged vibe,

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Speaker 1: and honestly, the dangerous energy that it has at times.

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Speaker 1: This is the reason that many of us have kept

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Speaker 1: coming back to it year after a year, either tuning

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Speaker 1: in to parts of it when we catch it on TV,

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Speaker 1: doing a dedicated rewatch, or even just thinking about it

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Speaker 1: and engaging with memes and so forth. And we've done

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Speaker 1: this as children, we've done it as out of adolescence,

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Speaker 1: we've done it as adults. I think there's a there's

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Speaker 1: a genuine imagination to this film, but there's also complexity

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Speaker 1: and a certain gruesomeness at times. This movie, as I

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Speaker 1: think most of you are well aware, it genuinely and

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Speaker 1: intentionally leans into a horror vibe.

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Speaker 3: I used to have a theory about Willy Wonko when

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Speaker 3: I was in high school. This is a very high

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Speaker 3: school Joe kind of theory that Willy Wonka was a

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Speaker 3: slasher movie for kids. Now I'm not still arguing this today, but.

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Speaker 4: The idea head was.

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Speaker 3: You know, in it, you establish a cast of mostly

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Speaker 3: unlikable kids, each with a characteristic sin, and then you

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Speaker 3: have them punished for expressing that sin, with a consequence

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Speaker 3: that feels like violence that we're told in the end

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Speaker 3: that they're all okay. Of course, Charlie is kind of

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Speaker 3: the final girl archetype, and I think this theory does

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Speaker 3: not hold up super well, especially since Willy Wonka predates

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Speaker 3: the invention of the moralistic slasher film and it doesn't

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Speaker 3: really resemble the model in other ways. I think the

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Speaker 3: best you could say for this is that instead, both

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Speaker 3: Willy Wonka and slasher films are inspired by a much

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Speaker 3: older tradition of moralistic fiction, in which we get to

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Speaker 3: see bad people get their come uppance, while a virtuous

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Speaker 3: and good hearted protagonist in their midst is frightened but

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Speaker 3: ultimately rewarded. I mean, I think you see this modeling

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Speaker 3: in the Canterbury Tales and stuff.

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Speaker 1: Yeah, And to the film's credit, it also kind of

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Speaker 1: toys with the possibility that, well, maybe nobody gets to win,

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Speaker 1: you know, maybe Charlie isn't good enough and so forth.

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Speaker 1: It's a fascinating picture to contemplate.

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Speaker 3: But I like that you mentioned the idea that the

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Speaker 3: movie feels dangerous. I do think this is key to

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Speaker 3: its appeal and to the appeal of a lot of

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Speaker 3: the most popular children's films and the stuff that really

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Speaker 3: sticks in our mind and we want to keep coming

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Speaker 3: back to. This is a movie that invites children to

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Speaker 3: bowl without the bumpers on.

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Speaker 1: Yeah, that's a good way of putting it. Yeah, reminding

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Speaker 1: me of several children's films that we've talked about in

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Speaker 1: Weird House Cinema, films that would come later. In the

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Speaker 1: wake of Willy Wonka, The Never Ending Story, Labyrinth, Return

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Speaker 1: to Oz, I feel like Willy Wonk in the Chocolate Factory.

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Speaker 1: It reveals complications and contradictions and its depiction of the fantastic.

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Speaker 1: So it's not merely creating a simplified or sanitized version

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Speaker 1: of reality. I mean it's doing a bit of that too,

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Speaker 1: in the way that all movies that it also seems

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Speaker 1: like it's laying this imagined topography rather snugly over the

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Speaker 1: peaks and valleys of the real world. If that makes sense.

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Speaker 3: Yes, certainly. There are a lot of ways in which

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Speaker 3: the movie is unreal and represents unreal scenarios. But the

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Speaker 3: scenarios it does represent have dangers that feel like they

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Speaker 3: reflect reality.

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Speaker 4: If that makes it.

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Speaker 1: Yeah, yeah, absolutely, yeah, it almost I'm almost tempted to

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Speaker 1: say that it's not sugarcoating anything, but I mean it

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Speaker 1: is sugarcoating some things, and it is a film about

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Speaker 1: things coated and sugar.

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Speaker 4: Yes.

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Speaker 1: At the time that it came out, Roger Ebert wrote

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Speaker 1: a rather nice review of it, but also he kind

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Speaker 1: of used as an opportunity to just do a scathing

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Speaker 1: review of all other children's films. He wrote that nine

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Speaker 1: out of ten children's films quote were stupid, witless, and

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Speaker 1: that they displayed contempt for their audiences, and he said

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Speaker 1: that's why kids hate them. And it also said that's

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Speaker 1: why this film stood apart from the rest of what

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Speaker 1: was coming out at the time, though he did make

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Speaker 1: a point of singling out Stay the Wizard of Oz

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Speaker 1: as being a film that was was also cherished for

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Speaker 1: similar reasons that the children didn't feel like it was

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Speaker 1: talking down to them. Now at the same time, you know,

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Speaker 1: we're talking about, you know, how great this movie is.

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Speaker 1: I also want to stress this movie is quite silly

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Speaker 1: and it does have it does raise a lot of

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Speaker 1: questions about about the morality of the picture, like, look,

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Speaker 1: why is this film so concerned with gum chewing as

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Speaker 1: a cardinal sin that sort of thing.

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Speaker 3: It's placed on the same level as being like a

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Speaker 3: dark triad narcissistic manipulator.

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Speaker 1: And yeah, so we'll get into more of that when

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Speaker 1: we get into the characters and then end of a plot.

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Speaker 1: But for some just some random thoughts about this. I

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Speaker 1: kept thinking about The Abominable Doctor Fibes as I was

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Speaker 1: watching it, And it's very interesting that these films came

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Speaker 1: out the same year. They feel kind of like spiritual

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Speaker 1: siblings from different video shelves.

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Speaker 3: Absolutely, Willie Wonka's dark and wobbly sense of humor feels

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Speaker 3: extremely similar to that of Doctor fib'es, just pitched.

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Speaker 4: At a younger audience.

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Speaker 3: I also think you could find some comparisons between Vincent

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Speaker 3: Price and Gene Wilder in these two projects. Both of

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Speaker 3: them feel like loose Ham.

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Speaker 1: Yeah. Yeah.

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Speaker 3: After watching Willy Wonka this time, I had another thought,

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Speaker 3: which is the question, why is this movie so imminently

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Speaker 3: memable both visually and in its dialogue. I'm not the

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Speaker 3: most online person these days. I'm not on the socials,

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Speaker 3: but I believe I have seen a ton of individual

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Speaker 3: frames and little animated clips from Willy Wonka popping up

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Speaker 3: as memes usually feature, usually featuring the character of Willy

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Speaker 3: Wonka himself. Is this just a function of the movie's

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Speaker 3: popularity everybody saw it as a kid. It's nostalgic, so

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Speaker 3: it's an easy thing to draw from. Or is there

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Speaker 3: something particular about Gene Wilder as Wonka that is especially

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Speaker 3: compelling out of its original context and applied to a

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Speaker 3: new one. You know, I think one of the most

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Speaker 3: common types you'll just see is like a Gene Wilder

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Speaker 3: face or a Wonka quote reacting to whatever the original

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Speaker 3: post or piece of content is.

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Speaker 1: Yeah, yeah, I know what you mean. I've seen many

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Speaker 1: of these, and they're often very shallow pieces. Again, just

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Speaker 1: using a still of Wonka, I would venture to guess

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Speaker 1: that part of it comes from our memories of a

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Speaker 1: vibe that we get from Wonka at various points this

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Speaker 1: the stop don't come back, the note don't stop, where

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Speaker 1: he a child is about to meet their possible doom,

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Speaker 1: and he in a very lukewarm way tells them that

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Speaker 1: they shouldn't do it, knowing that they're going to do

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Speaker 1: it anyway. So there's kind of like this sly, sassy

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Speaker 1: judgment on the choices and morality of around him. And

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Speaker 1: maybe that's a vibe that people are trying to dip

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Speaker 1: into when they share one of these memes.

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Speaker 3: I think that's right. I think one of the most

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Speaker 3: popular rhetorical stances to adopt on the internet, especially in reacting,

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Speaker 3: is a loof snarkiness. Yes, and Willy Wonka is sometimes

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Speaker 3: full of aloof snark.

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Speaker 1: That it is one of the many flavors in the

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Speaker 1: everlasting gobstopper of his character. And we were talking about

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Speaker 1: this off Mike, and we'll get back into it repeatedly

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Speaker 1: as we continue. But I think this is one of

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Speaker 1: the great things about Gene Wilder's performance as Willy Wonka

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Speaker 1: is that he hits so many of these different notes.

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Speaker 1: There's so many different different in a way like wild

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Speaker 1: dimensions to the performance and to his character. He is

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Speaker 1: at times heartfelt, and I feel, in my viewing of

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Speaker 1: it anyway, just genuinely heartfelt, Like I totally believe him.

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Speaker 1: For instance, when we first meet him and he's telling

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Speaker 1: the children, you know, I hope you have a good time.

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Speaker 1: I think you will have a good time, Like I

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Speaker 1: don't you can you can tease that apart and be like,

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Speaker 1: he's about to put these children through a horrendous loyalty test.

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Speaker 1: Some of these children surely may not survive. Does he

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Speaker 1: really think they're gonna have a good time? And yet

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Speaker 1: I believe him when he says that, like like it.

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Speaker 1: It's a contradiction, and it's weird that that's part of

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Speaker 1: the magic of the character. Other Times he's raving. Other

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Speaker 1: times there's a deep sadness to him. Other times yeah

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Speaker 1: it's whimsy or yeah, this snarkiness or sassiness as he's

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Speaker 1: speaking to the adults and the children in his environment.

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Speaker 3: Willie Walka is a strange character in that He is

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Speaker 3: on one hand a guardian and a guide, and on

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Speaker 3: the other hand a trickster and a Shakespearean fool. He

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Speaker 3: is like a combination of Virgil and the Mad Hatter,

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Speaker 3: not really a combo you'd expect to see, and also

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Speaker 3: a bit of Captain Nemo thrown in there too, in

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Speaker 3: that he is a mysterious inventor of mechanical marvels. He

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Speaker 3: has a secretive agenda which the characters are not privy to,

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Speaker 3: and he is leading hapless guests slash prisoners on a

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Speaker 3: tour of sites beyond their wildest dreams.

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Speaker 1: Yeah, that's a great comparison, all right. Well, my elevator

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Speaker 1: pitch for this one is Willy Wonka and the elaborately

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Speaker 1: cruel loyalty Test. Yeah it's more than that, but also

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Speaker 1: it's totally that.

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Speaker 4: Let's hear some trailer audio.

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Speaker 5: From the pin of author Roald Dahl to the motion

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Speaker 5: picture screen becomes a most unusual choumpet factory and the

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Speaker 5: mysterious candy man inside.

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Speaker 3: I'm so glad you could come. This is going to

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Speaker 3: be such an exciting day.

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Speaker 5: Gene Wilder is the mythical candy man Willy Wonka, and

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Speaker 5: he's opening his factory gates for five lucky children who

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Speaker 5: find a golden ticket. He wrote, Charlie Buckett wants his

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Speaker 5: golden chance more than anyone over there. Charlie, let's see

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Speaker 5: the golden ticket to fantastic.

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Speaker 1: It's not here to raise his home. How am I

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Speaker 1: go on open to Charlie?

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Speaker 5: I want to see that gold stopping Dad.

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Speaker 3: I've got to send chances anybody else, haven't.

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Speaker 5: I eat your way through the Chompoet Room. Take a

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Speaker 5: ride on the brook called Wencome Eleve, float around the

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Speaker 5: bubbly Busy Lifting Room, Sail down the Chocolate River on

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Speaker 5: the s S Wancotania, step on the Wancavator, end gold

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Speaker 5: to the leaf destination the scrum little, yumptious world of

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Speaker 5: Willy Wonka and the Chocolate Factory rated g.

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Speaker 1: All right, Well, if you would like to watch Willy

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Speaker 1: Wonka and the Chocolate Factory, perhaps for the first time,

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Speaker 1: perhaps for the ten millionth time, well, you can buy

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Speaker 1: or rented wherever you like. You can definitely catch it

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Speaker 1: on television. Like I said, I caught it on television

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Speaker 1: last month. It's also currently streaming on HBO Max in

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Speaker 1: the US, and there have been many physical releases of

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Speaker 1: the movie over the year every format you could possibly

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Speaker 1: ask for, including a recent Ultimate Collector's Edition set that

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Speaker 1: comes in a candy box and includes a book and

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Speaker 1: things like candy, scent pencils and a golden ticket.

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Speaker 3: Doesn't actually have candy in it.

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Speaker 1: It might have candy. I get less into special editions

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Speaker 1: that have too many things that are not the movie.

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Speaker 1: I mean, that's fine for people who are into that,

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Speaker 1: but I like a little of that, but maybe if

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Speaker 1: there's too much of it, I just kind of like,

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Speaker 1: I don't want to read the whole list. But this

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Speaker 1: particular set does have like a full disc of extras,

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Speaker 1: so it seems like a solid guy, all right.

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Speaker 4: Should we talk about the people involved?

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Speaker 1: Yeah, let's start at the top with the director. It's

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Speaker 1: Mel Stewart, who lived nineteen twenty eight through twenty twelve,

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Speaker 1: not to be confused with the American actor of the

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Speaker 1: same name. This Stuart worked extensively with producer David L. Wolper,

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Speaker 1: who was a producer on this film and as such

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Speaker 1: has a number of producer credits himself. He worked a

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Speaker 1: lot in documentaries, and he won the nineteen sixty five

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Speaker 1: Oscar in the category for four Days in November That

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Speaker 1: was a JFK documentary, and his other features include sixty

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Speaker 1: nine's If It's Tuesday, This Must be Belgium, nineteen seventies,

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Speaker 1: I Love My Wife, seventy two's One Is a Lonely

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Speaker 1: Number in seventy eight's Mean Dog Blues. And I know

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Speaker 1: if a lot of you're probably not familiar with any

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Speaker 1: of those titles outside of Willy Wonka and the Chocolate Factory.

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Speaker 1: And is my understanding that nothing else he really did?

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Speaker 1: Is it all like Willy Wonka in the Chocolate Factory.

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Speaker 1: So not a big musical or children's movie guy.

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Speaker 3: But of course Willy Wonka in the Chocolate Factory. The

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Speaker 3: movie is based on a book with a slightly different name,

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Speaker 3: Charlie in the Chocolate Factory.

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Speaker 1: That's right, book by Raal Dahl, who lived nineteen sixteen

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Speaker 1: through nineteen ninety British author of fiction for both children

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Speaker 1: and adults. He wrote the original book and its sequel,

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Speaker 1: and he also wrote the screenplay, the main screenplay, and

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Speaker 1: then there were some changes maybe the screenplay after he

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Speaker 1: was done with it, which I'm to understand is one

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Speaker 1: of the reasons that he did not like this film

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Speaker 1: and kind of disowned it to some extent. Now, we've

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Speaker 1: never directly covered raw Dahl on Weird House Cinema, but

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Speaker 1: we've mentioned a number of projects that either involved him

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Speaker 1: or were based on his work. When Seth filled in

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Speaker 1: for you on an Anthology of Horror special a couple

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Speaker 1: of years back, Seth had picked an episode of Doll's

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Speaker 1: Tales of the Unexpected. This was a TV anthology series

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Speaker 1: kind of a Tales from the Crypt except instead of

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Speaker 1: the Cryptkeeper, you've got actual Rawdahll on screen, and often

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Speaker 1: with a kind of creepy vibe. And the episode in

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Speaker 1: particular that we watched was called Royal Jelly that aired

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Speaker 1: in nineteen eighty.

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Speaker 4: It's about bees.

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Speaker 1: Yeah, yeah, it's about a guy who's a little too

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Speaker 1: into bees. And then in our recently re run Ninja series,

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Speaker 1: we mentioned Doll's role in nineteen sixty seven's You Only

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Speaker 1: Lived Twice, which was a James Bond film that played

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Speaker 1: an important role establishing ninja mania in the West.

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Speaker 4: Ah.

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Speaker 1: Yes, yeah, that was a film that Doll scripted, and

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Speaker 1: it should be noted. And we got into this in

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Speaker 1: those Ninja episodes that by today's standards, there's some culturally

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Speaker 1: insensitive and or cringey content in that one. Yeah, and

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Speaker 1: that's been a bit of There's been a bit of

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Speaker 1: similar controversy with dolls fiction in general because of this

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Speaker 1: his I should preface here and say that I'm not

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Speaker 1: super familiar with his written work. I don't know that

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Speaker 1: I've ever read one of his full books before, but

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Speaker 1: I'm to understand his work often had that I'm going

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Speaker 1: to tell you like it is voice to it, which,

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Speaker 1: unsurprisingly maybe sometimes translates into a whole host of express

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Speaker 1: views that were at the very least curmudgeonly and at

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Speaker 1: the worst maybe blatantly if offensive by today's standards. These

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Speaker 1: are difficult conversations to have about many authors, obviously now.

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Speaker 1: Dall's most popular books for children include James and the

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Speaker 1: Giant Peach, Charlie and the Chocolate Factory, Matilda, The Witches,

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Speaker 1: The Fantastic Mister Fox, and The BFG. All of these

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Speaker 1: have been adapted into films. And I don't know about you, Joe,

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Speaker 1: but I think I not only have I seen film

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Speaker 1: adaptations of all of these works, I think I loved

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Speaker 1: all of them, with the possible exception of the BFG,

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Speaker 1: which I didn't dislike. I just maybe didn't enjoy at

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Speaker 1: all on the same level as these other adaptations.

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Speaker 4: Well, let's see.

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Speaker 3: I think the only ones I've seen are Willy Wonk

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Speaker 3: in the Chocolate Factory. Actually, I have never seen the

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Speaker 3: mid two thousand's remake Charlie in the Chocolate Factory, which

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Speaker 3: to B. Frank has always looked absolutely repulsive to me.

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Speaker 3: The Tim Burton one, Yeah, I don't know what I mean.

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Speaker 3: I don't like hate all Tim Burton movies. I love,

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Speaker 3: especially some of his earlier ones, but that one I

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Speaker 3: remember from the trailer. It looked so unpleasant that I

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Speaker 3: never even tried it, and I think I have actually

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Speaker 3: left rooms where the movie was put on.

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Speaker 4: Maybe I'm being unfair, and maybe I.

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Speaker 3: Should give it a try, but it just looks dreadful.

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Speaker 3: When I'm asked to think of a really off putting

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Speaker 3: acting performance, one of the first things that pops into

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Speaker 3: my head or moments in the trailer for that movie

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Speaker 3: with Johnny Depp doing these like two dy little reactions

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Speaker 3: to children.

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Speaker 1: Hmmm, yeah, yeah, I mean, it's maybe unfair, if not impossible,

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Speaker 1: to compare Johnny Depp's performance in that movie to Gene Wilders.

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Speaker 1: Here I saw this movie when it came out, but

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Speaker 1: I really don't remember much about it. I might have

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Speaker 1: even seen it in the theater. I always enjoy a

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Speaker 1: Tim Burton movie, but this is probably not like top

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Speaker 1: tier tim Burton for me.

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Speaker 3: I think it is not considered one of his best.

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Speaker 3: But anyway, but coming back to it, let's see the

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Speaker 3: other one saying, Oh, I've seen Matilda long ago.

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Speaker 4: I remember.

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Speaker 3: I think I liked that when I was a kid,

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Speaker 3: and the Fantastic Mister Fox, which I saw the Wes

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Speaker 3: Anderson adaptation, and I liked that too.

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Speaker 1: Yeah, Wes Anderson came back and did a trio of

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Speaker 1: Roaldahl Schwartz for Netflix as well. I loved at least

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Speaker 1: one of them, and they're all good. And then let's

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Speaker 1: see Matilda. We had the of course it became a

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Speaker 1: stage musical, and then they did the film adaptation of

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Speaker 1: the stage musical, and I really enjoyed that as well

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Speaker 1: as the original film. And I love both adaptations of

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Speaker 1: The Witches. Nicholas Rogues nineteen ninety versions starring Angelica Houston,

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Speaker 1: and I know it has some haters, but Robert Zamackis's

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Speaker 1: twenty twenty version starring Anne Hathaway. It's like, I'm sorry.

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Speaker 1: If you're gonna have Anne Hathaway play like a killer

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Speaker 1: mutant witch, I'm totally like, I'm totally on board for that,

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Speaker 1: and I thought she did a great job.

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Speaker 4: All right.

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Speaker 1: So outside of the aforementioned films and You Only Live Twice,

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Speaker 1: Doll's screenplay credits include Let's se nineteen sixty eight s

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Speaker 1: Chitty Chitty Bang Bang, This was also based on a

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Speaker 1: book by Ian Fleming James Bond, James Bond's creator. And

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Speaker 1: then there's also nineteen seventy one's The Night Digger also

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Speaker 1: known as The Road Builder, which is a horror film

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Speaker 1: that I'm not familiar with. There was also a nineteen

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Speaker 1: sixty nine film starring Gregory Peck and a young Ian

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Speaker 1: McKellen titled Death Where Is Thy Stingling Ling? But it

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Speaker 1: was never finished, so all we have are I don't

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Speaker 1: know if there's any footage of it, but all I've

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Speaker 1: seen are just some stills.

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Speaker 3: With a title like that, How can it not be goosed?

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Speaker 1: Yeah? Yeah, all right. I mentioned that there were some

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Speaker 1: changes made to the script. These were apparently made by

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Speaker 1: first Robert Kaufman nineteen thirty one through nineteen ninety one

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Speaker 1: American screenwriter whose credits include sixty sevens Divorce American Style,

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Speaker 1: seventy eight Freebie and the Bean, and seventy nine S

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Speaker 1: Loved First Bite. He was also a writer on The

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Speaker 1: Bob Newhart Show. I believe he maybe did some comedy

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Speaker 1: punching up comedic punching up in this picture and then

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Speaker 1: David Seltzer born nineteen forty American screenwriter, best known for

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Speaker 1: seventy six Is the Omen and seventy nine Is the

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Speaker 1: Prophecy also apparently tinkered with the script a.

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Speaker 3: Little interesting apocalyptic horror connections.

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Speaker 1: Yeah, all right, Now getting into the cast, Yeah, we

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Speaker 1: got to, of course, start with Gene Wilder playing Willie Wonka. Here.

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Speaker 1: He lived nineteen thirty three through twenty sixteen. Beloved American

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Speaker 1: comedic actor, best remembered for his work in the late

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Speaker 1: sixties as well as in the seventies and eighties. He

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Speaker 1: worked on the stage in New York during the nineteen fifties,

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Speaker 1: in the early sixties in off Broadway and finally Broadway productions,

432
00:23:09,800 --> 00:23:12,560
Speaker 1: and during the early sixties he started making TV appearances

433
00:23:12,560 --> 00:23:15,560
Speaker 1: as well. He appeared in a nineteen sixty six TV

434
00:23:15,600 --> 00:23:18,600
Speaker 1: film adaptation of Death of a Salesman and in sixty

435
00:23:18,720 --> 00:23:21,880
Speaker 1: seven a couple of films of note. First of all,

436
00:23:21,880 --> 00:23:25,360
Speaker 1: he has a small part in Bonnie and Clyde, which

437
00:23:25,359 --> 00:23:26,920
Speaker 1: I had forgotten about his role in this. I think

438
00:23:26,920 --> 00:23:29,160
Speaker 1: he plays someone that he's like, is he's a hostage

439
00:23:29,240 --> 00:23:30,080
Speaker 1: or something that they take.

440
00:23:31,160 --> 00:23:32,840
Speaker 4: Is that guy like Faye Dunaway in it? Yeah?

441
00:23:32,920 --> 00:23:36,040
Speaker 1: Yeah, okay, yeah, that's the one, the Bonnie and Clyde oka.

442
00:23:36,800 --> 00:23:39,439
Speaker 1: But that same year he also co starred in the

443
00:23:39,480 --> 00:23:42,480
Speaker 1: Producers from mel Brooks, and this, of course is a

444
00:23:42,480 --> 00:23:44,960
Speaker 1: collaboration that would lead to two other of his best

445
00:23:44,960 --> 00:23:49,720
Speaker 1: remembered films with Brooks, Blazing Saddles and Young Frankenstein, which

446
00:23:49,760 --> 00:23:52,600
Speaker 1: I was shocked to remind myself. Both of these films

447
00:23:52,600 --> 00:23:54,520
Speaker 1: came out in seventy four. That was the heck of

448
00:23:54,520 --> 00:23:57,240
Speaker 1: the year for mel Brooks and Gene Wilder on Fire.

449
00:24:00,000 --> 00:24:03,639
Speaker 1: Blazing Saddles would lead also to four more films in

450
00:24:03,680 --> 00:24:07,120
Speaker 1: which Wilder co starred with comedian Richard Pryor seventy six

451
00:24:07,200 --> 00:24:10,520
Speaker 1: is Silver Streak, nineteen eighty Stir Crazy eighty nine, See

452
00:24:10,520 --> 00:24:13,040
Speaker 1: No Evil Here, No Evil in ninety ninety One's another You.

453
00:24:14,520 --> 00:24:17,160
Speaker 1: I should also mention this is not necessarily his best work,

454
00:24:17,560 --> 00:24:20,240
Speaker 1: but he did play the mock turtle in nineteen ninety

455
00:24:20,280 --> 00:24:23,119
Speaker 1: nine's Alice in Wonderland, so it seems worth mentioning. In

456
00:24:23,160 --> 00:24:26,160
Speaker 1: a discussion of Willy Wonka in the Chocolate Factory, ohe

457
00:24:26,240 --> 00:24:29,800
Speaker 1: quick insert here listener. Amy wrote in after this episode

458
00:24:29,800 --> 00:24:32,600
Speaker 1: published to remind me that while Richard Pryor was one

459
00:24:32,640 --> 00:24:35,159
Speaker 1: of the writers on Blazing Saddles and was attached to

460
00:24:35,200 --> 00:24:37,840
Speaker 1: appear in it early on, he of course doesn't actually

461
00:24:37,880 --> 00:24:40,359
Speaker 1: share the screen with Gene Wilder in this one at

462
00:24:40,359 --> 00:24:43,399
Speaker 1: any point. Wilder's co star in Blazing Saddles is of

463
00:24:43,400 --> 00:24:46,359
Speaker 1: course Cleven' Little, and he's tremendous in it. So thanks

464
00:24:46,440 --> 00:24:48,000
Speaker 1: Amy for writing it and reminding me.

465
00:24:48,400 --> 00:24:50,680
Speaker 3: There is a well I already mentioned the Mad Hatter,

466
00:24:50,800 --> 00:24:55,280
Speaker 3: I think, but there is a Lewis Carrolinus to Willy Wonka,

467
00:24:55,359 --> 00:24:56,160
Speaker 3: I would say.

468
00:24:56,160 --> 00:24:59,640
Speaker 1: Mm hmm, yeah, yeah, absolutely. Now as a writer, Gene

469
00:24:59,640 --> 00:25:03,199
Speaker 1: Wilder screenplay credits include Young Frankenstein, See No Evil, Hear

470
00:25:03,280 --> 00:25:05,960
Speaker 1: No Evil, and ninety nine's Murder in a Small Town,

471
00:25:06,080 --> 00:25:08,760
Speaker 1: all of which he also starred in. Additionally, he also

472
00:25:08,840 --> 00:25:12,159
Speaker 1: wrote and directed and starred in five films, including seventy

473
00:25:12,160 --> 00:25:15,320
Speaker 1: five's The Adventure of Sherlock Holmes Smarter Brother and nineteen

474
00:25:15,320 --> 00:25:18,200
Speaker 1: eighty six's Haunted Honeymoon, one of the films in which

475
00:25:18,240 --> 00:25:21,439
Speaker 1: he co starred with then wife Gilda Ratner. Again, this

476
00:25:21,560 --> 00:25:24,080
Speaker 1: is just an amazing performance to watch, just to take

477
00:25:24,080 --> 00:25:26,560
Speaker 1: in all the little details of it, no matter what

478
00:25:26,760 --> 00:25:30,280
Speaker 1: mode Walk is in at the time, whether it's sarcasm,

479
00:25:30,359 --> 00:25:35,120
Speaker 1: whimsy mania or something else, I buy, like I say,

480
00:25:35,200 --> 00:25:37,399
Speaker 1: I just buy all of it, and I totally believe

481
00:25:37,520 --> 00:25:41,359
Speaker 1: that it is ultimately the different dimensions of a cohesive character.

482
00:25:41,920 --> 00:25:46,400
Speaker 3: It's very captivating. It's a highly charismatic performance. It doesn't

483
00:25:46,600 --> 00:25:51,520
Speaker 3: feel to me like a normal movie star performance. Instead,

484
00:25:51,720 --> 00:25:55,320
Speaker 3: something feels a little more improv comedy night to it,

485
00:25:55,359 --> 00:25:56,760
Speaker 3: if that makes any sense.

486
00:25:56,520 --> 00:25:57,439
Speaker 4: But in a good way.

487
00:25:57,800 --> 00:26:00,000
Speaker 1: Yeah, there is kind of an improvisational feel at times,

488
00:26:00,280 --> 00:26:02,560
Speaker 1: and I'm to understand there are parts of the film

489
00:26:02,560 --> 00:26:06,680
Speaker 1: where they intentionally held things back from the children, the

490
00:26:06,960 --> 00:26:10,240
Speaker 1: child actors in the picture in a way kind of

491
00:26:10,240 --> 00:26:14,080
Speaker 1: fittingly manipulative for really walking the chocolate factory. I guess

492
00:26:14,080 --> 00:26:17,680
Speaker 1: this is just one approach to getting quality performances out

493
00:26:17,720 --> 00:26:21,159
Speaker 1: of young, you know, young actors. Who maybe you know,

494
00:26:21,200 --> 00:26:23,880
Speaker 1: don't have all the tools of an adult actor. Though,

495
00:26:24,280 --> 00:26:27,520
Speaker 1: of note, there are plenty of directors who have used

496
00:26:27,560 --> 00:26:32,080
Speaker 1: these techniques on adult actors, treating them like children in

497
00:26:32,200 --> 00:26:36,240
Speaker 1: order to get various assumingly you know, authentic reactions out

498
00:26:36,240 --> 00:26:38,000
Speaker 1: of them. One that comes to mind is when we

499
00:26:38,080 --> 00:26:42,080
Speaker 1: first meet Wonka, or when we first venture into the

500
00:26:42,080 --> 00:26:44,680
Speaker 1: Big Candy Room, like these are things that they held

501
00:26:44,720 --> 00:26:47,360
Speaker 1: back so that the kids would have more authentic response

502
00:26:47,400 --> 00:26:47,720
Speaker 1: to them.

503
00:26:48,320 --> 00:26:53,080
Speaker 3: I started thinking after this viewing of the movie that

504
00:26:54,040 --> 00:26:55,920
Speaker 3: I think we sort of have to see the Willy

505
00:26:55,960 --> 00:27:00,560
Speaker 3: Wonka character as some kind of god or a or

506
00:27:00,600 --> 00:27:03,760
Speaker 3: otherworldly being. And I've got a specific reason for that,

507
00:27:04,320 --> 00:27:08,720
Speaker 3: which is that he is presented in the end as benevolent,

508
00:27:09,720 --> 00:27:12,640
Speaker 3: which I think we're supposed to accept, but it doesn't

509
00:27:12,720 --> 00:27:15,400
Speaker 3: quite work if we think of him as a mortal man.

510
00:27:16,320 --> 00:27:19,280
Speaker 3: If he is a mortal man, the danger he puts

511
00:27:19,320 --> 00:27:22,320
Speaker 3: the children in throughout the movie would be a crime.

512
00:27:22,640 --> 00:27:26,520
Speaker 3: It's like only excusable because it's implied that they all

513
00:27:26,560 --> 00:27:29,320
Speaker 3: turn out okay in the end. But if he were

514
00:27:29,400 --> 00:27:32,560
Speaker 3: a mortal man with only mortal powers, there is no

515
00:27:32,680 --> 00:27:35,120
Speaker 3: way he could have known in advance that they would

516
00:27:35,119 --> 00:27:37,199
Speaker 3: all be all right in the end, give all the

517
00:27:37,280 --> 00:27:40,720
Speaker 3: given all the weird threats they face. So he could

518
00:27:40,760 --> 00:27:45,080
Speaker 3: only be benevolent if he were somehow omnipotent and omniscient,

519
00:27:45,200 --> 00:27:48,879
Speaker 3: or at least had superhuman powers of foreknowledge and control.

520
00:27:49,160 --> 00:27:52,600
Speaker 3: And because he is benevolent, he were told that and

521
00:27:52,720 --> 00:27:55,520
Speaker 3: he you know, we accept it. I think he is

522
00:27:55,600 --> 00:27:59,359
Speaker 3: therefore necessarily a god, an angel, or a mayar. He

523
00:27:59,480 --> 00:28:00,760
Speaker 3: is goofy Saruman.

524
00:28:02,440 --> 00:28:04,800
Speaker 1: Yeah, that's a good point. Yeah, things like the fizzy

525
00:28:04,880 --> 00:28:08,600
Speaker 1: lifting drink experience, which we'll get to. Like, if he's

526
00:28:08,640 --> 00:28:11,480
Speaker 1: just a mortal man, then this is just completely reckless,

527
00:28:11,520 --> 00:28:14,080
Speaker 1: Like he wasn't even there to stop them, give them

528
00:28:14,119 --> 00:28:17,320
Speaker 1: any hints about how to save themselves from the rotating

529
00:28:17,359 --> 00:28:20,760
Speaker 1: fan blades at the top of the room. But yeah,

530
00:28:20,880 --> 00:28:23,440
Speaker 1: he knows and sees everything, and we get some indication

531
00:28:23,840 --> 00:28:26,680
Speaker 1: that he does. Then he was in control the whole time,

532
00:28:26,680 --> 00:28:29,879
Speaker 1: but not in a mortal sense, in a divine sense.

533
00:28:30,080 --> 00:28:31,399
Speaker 3: I mean, I was thinking about this when I was

534
00:28:31,400 --> 00:28:34,200
Speaker 3: watching poor augustas glup stuck in the pipe. I mean,

535
00:28:34,200 --> 00:28:38,160
Speaker 3: that's horrible things. It was only if he could magically

536
00:28:38,240 --> 00:28:40,400
Speaker 3: know ahead of time that he would get unstuck and

537
00:28:40,400 --> 00:28:42,480
Speaker 3: be okay that this is like, oh well he's all

538
00:28:42,600 --> 00:28:43,200
Speaker 3: right then.

539
00:28:43,280 --> 00:28:45,920
Speaker 1: Yeah, yeah, especially as he's you know, saying like, oh,

540
00:28:46,000 --> 00:28:50,720
Speaker 1: I don't know, he might be okay. Yeah. Yeah. He

541
00:28:50,760 --> 00:28:55,200
Speaker 1: takes a very detached view on the potential fates of

542
00:28:55,240 --> 00:28:58,440
Speaker 1: the children, though again later on in a scene that

543
00:28:58,520 --> 00:29:02,480
Speaker 1: I had completely forgotten until I rewatched the film in July,

544
00:29:03,200 --> 00:29:06,040
Speaker 1: that where he tells Charlie, I don't worry about any

545
00:29:06,080 --> 00:29:08,600
Speaker 1: of the children. They're all okay. None of them were hurt.

546
00:29:08,880 --> 00:29:12,719
Speaker 1: They just might be a little wiser. Now, I'd totally

547
00:29:12,720 --> 00:29:15,040
Speaker 1: forgotten that happened. I thought that the movie just left

548
00:29:15,080 --> 00:29:18,479
Speaker 1: the door open that they were all dead. Yeah. All right.

549
00:29:18,480 --> 00:29:20,440
Speaker 1: We'll have more to say about Wonk as we proceed,

550
00:29:20,440 --> 00:29:22,320
Speaker 1: but let's look at some of the other cast members.

551
00:29:22,800 --> 00:29:26,760
Speaker 1: We have Jack Albertson playing Grandpa. Joe Albertson lived nineteen

552
00:29:26,800 --> 00:29:29,240
Speaker 1: oh seven through nineteen eighty one. This is Charlie's lovable,

553
00:29:29,280 --> 00:29:33,560
Speaker 1: grumpy grandfather. Albertson was a vaudeville and stage veteran whose

554
00:29:33,680 --> 00:29:35,920
Speaker 1: uncredited bit roles go back to at least I think

555
00:29:36,080 --> 00:29:39,320
Speaker 1: nineteen forty, maybe even a little earlier. He even pops

556
00:29:39,400 --> 00:29:41,840
Speaker 1: up in the background in forty seven's Miracle on thirty

557
00:29:41,840 --> 00:29:44,640
Speaker 1: Fourth Street. He did a lot of TV and occasional

558
00:29:44,680 --> 00:29:47,480
Speaker 1: bit parts through the fifties and in the sixties earned

559
00:29:47,520 --> 00:29:51,200
Speaker 1: himself a Tony, an Emmy, and an Oscar. So he

560
00:29:51,240 --> 00:29:53,840
Speaker 1: won the Tony for the sixty four play the subject

561
00:29:53,880 --> 00:29:56,600
Speaker 1: was Roses, and he won the Oscar for the nineteen

562
00:29:56,600 --> 00:29:59,640
Speaker 1: sixty eight film adaptation of that play, and he won

563
00:29:59,680 --> 00:30:02,320
Speaker 1: the me for the sitcom Chico and the Man. Other

564
00:30:02,360 --> 00:30:07,400
Speaker 1: major films featuring Albertson included seventy twos The Poseidon Adventure.

565
00:30:07,440 --> 00:30:09,680
Speaker 1: In nineteen eighty one's The Fox and the Hound, this

566
00:30:10,040 --> 00:30:12,760
Speaker 1: Disney animated film, he provides one of the voices, and

567
00:30:12,800 --> 00:30:15,560
Speaker 1: he also appeared in a single horror film, nineteen eighty

568
00:30:15,560 --> 00:30:19,000
Speaker 1: one's Dead and Buried, written by Dan O'Bannon and Ronald

569
00:30:19,000 --> 00:30:22,680
Speaker 1: shusan Ah, the Alien Duo. Yeah, I have to admit

570
00:30:22,720 --> 00:30:25,960
Speaker 1: that I like the character of Grandpa Joe a little

571
00:30:26,040 --> 00:30:31,120
Speaker 1: less in my recent rewatches. He's always bad mouthing the

572
00:30:31,160 --> 00:30:34,480
Speaker 1: other children to Charlie right in front of the kids

573
00:30:34,480 --> 00:30:39,320
Speaker 1: and their parents, which I'm you know, I on one level,

574
00:30:39,360 --> 00:30:41,840
Speaker 1: it totally feels on brand for a grumpy old man

575
00:30:41,920 --> 00:30:46,000
Speaker 1: to do that, and he's passing judgments that the film

576
00:30:46,120 --> 00:30:48,480
Speaker 1: agrees with and we as the viewer are supposed to

577
00:30:48,480 --> 00:30:50,719
Speaker 1: agree with as well. But I'm also kind of like,

578
00:30:51,000 --> 00:30:53,200
Speaker 1: come on, dude, those are kids. Don't say that in

579
00:30:53,240 --> 00:30:56,120
Speaker 1: front of the kids and their parents. That's just you're

580
00:30:56,200 --> 00:30:58,840
Speaker 1: being a little rude. You're gonna get an opa loompa

581
00:30:58,920 --> 00:31:02,680
Speaker 1: song if you keep this up, dude. Still great performance,

582
00:31:02,960 --> 00:31:05,880
Speaker 1: no doubt about it. Yeah, all right. Who's playing Charlie.

583
00:31:05,920 --> 00:31:09,080
Speaker 1: It is Peter Ostrom born nineteen fifty seven, child actor

584
00:31:09,160 --> 00:31:12,280
Speaker 1: and future veterinarian. This is his only film role, so

585
00:31:12,560 --> 00:31:14,880
Speaker 1: this is sometimes the case with child actors. This one's

586
00:31:14,880 --> 00:31:19,480
Speaker 1: one and done. But great kid performance here. And you know,

587
00:31:19,560 --> 00:31:24,440
Speaker 1: he feels just authentically like a real child, doesn't even

588
00:31:24,520 --> 00:31:27,080
Speaker 1: necessarily feel like a child actor. And I mean that

589
00:31:27,320 --> 00:31:28,760
Speaker 1: in you know, all the best ways.

590
00:31:29,000 --> 00:31:32,800
Speaker 3: Yes, there is a sweet, regular wholesomeness to him.

591
00:31:33,200 --> 00:31:36,160
Speaker 1: Yeah, all right. Getting into some of the other parental

592
00:31:36,320 --> 00:31:40,240
Speaker 1: unit in child duos, let's start with the Salts. Mister

593
00:31:40,320 --> 00:31:43,120
Speaker 1: Salt is played by Roy Kaneer who lived nineteen thirty

594
00:31:43,120 --> 00:31:47,080
Speaker 1: four through nineteen eighty eight, rotun British character actor who

595
00:31:47,160 --> 00:31:50,120
Speaker 1: is great here as the nervous straight man to Wonka's

596
00:31:50,160 --> 00:31:55,680
Speaker 1: antics and is the overclocked daughter spoiler the father of

597
00:31:55,760 --> 00:31:56,600
Speaker 1: Veruka Salt.

598
00:31:56,840 --> 00:31:59,880
Speaker 3: As we learn in the Opa Lumpa song about Varuka Salt,

599
00:31:59,880 --> 00:32:02,520
Speaker 3: it is the mother and the father's fault, that's what

600
00:32:02,560 --> 00:32:06,360
Speaker 3: they say. And so this guy is to blame for Veruka,

601
00:32:06,400 --> 00:32:07,960
Speaker 3: who is a nightmar incarnate.

602
00:32:08,000 --> 00:32:09,840
Speaker 4: But I guess we'll get to her in a second.

603
00:32:10,280 --> 00:32:13,760
Speaker 1: Kannier also appears in sixty five's Help, He's in nineteen

604
00:32:13,760 --> 00:32:16,560
Speaker 1: seventy Scrooge. More on that in a bit, and he

605
00:32:16,640 --> 00:32:20,280
Speaker 1: provided the voice of Pipkin in nineteen seventy eighth Watershipped Down.

606
00:32:20,680 --> 00:32:23,400
Speaker 1: His other credits include four episodes of The Avengers playing

607
00:32:23,400 --> 00:32:26,959
Speaker 1: different roles, nineteen seventies Tastes the Blood of Dracula and

608
00:32:27,000 --> 00:32:29,480
Speaker 1: seventy two is Alice's Adventures in Wonderland, in which he

609
00:32:29,480 --> 00:32:33,280
Speaker 1: plays the Chechiur Cat and then playing his daughter, Veruka.

610
00:32:33,280 --> 00:32:37,400
Speaker 1: Assault is Julie don Cole born nineteen fifty seven. This

611
00:32:37,560 --> 00:32:41,160
Speaker 1: is just an amazing performance. Everything that Varuk Assault is,

612
00:32:42,640 --> 00:32:45,600
Speaker 1: which is a lot, Julie don Cole just does an

613
00:32:45,600 --> 00:32:48,479
Speaker 1: amazing job here bringing it to life.

614
00:32:48,880 --> 00:32:53,440
Speaker 3: She is not subtle, just screeching and screeching from moment one.

615
00:32:53,560 --> 00:32:54,719
Speaker 3: I want a ticket.

616
00:32:54,840 --> 00:32:56,120
Speaker 4: I want to go first.

617
00:32:56,840 --> 00:33:00,160
Speaker 3: People talk about the boat ride as the scariest part

618
00:33:00,200 --> 00:33:02,200
Speaker 3: of this movie. I think I used to think that,

619
00:33:02,880 --> 00:33:05,400
Speaker 3: but now that I am a parent, I think Varuka

620
00:33:05,480 --> 00:33:06,000
Speaker 3: Salt is.

621
00:33:05,960 --> 00:33:07,440
Speaker 4: The most frightening thing in the film.

622
00:33:08,880 --> 00:33:11,880
Speaker 3: I'd be like, what if I become the mister Salt

623
00:33:11,920 --> 00:33:14,520
Speaker 3: and I create a child like this? I don't think

624
00:33:14,520 --> 00:33:17,040
Speaker 3: that's quite possible. I don't think there are real children

625
00:33:17,120 --> 00:33:17,600
Speaker 3: this bad.

626
00:33:18,400 --> 00:33:21,880
Speaker 1: Varuka Salt is an exaggeration, to be sure, though. I

627
00:33:21,960 --> 00:33:24,160
Speaker 1: think one of the interesting things about All the Children

628
00:33:24,280 --> 00:33:28,200
Speaker 1: is that all the children are to varying degrees exaggerations

629
00:33:28,360 --> 00:33:32,200
Speaker 1: of aspects of all children, Like there's a little varuk

630
00:33:32,200 --> 00:33:35,440
Speaker 1: assault sprinkled in every child. Every child has some sort

631
00:33:35,440 --> 00:33:41,080
Speaker 1: of strain of greed or entitledness. And you know, when

632
00:33:41,120 --> 00:33:43,640
Speaker 1: you start thinking about the movie along those lines, it's

633
00:33:43,680 --> 00:33:46,080
Speaker 1: kind of like, Wonka, you're just punishing children for being children.

634
00:33:46,760 --> 00:33:49,640
Speaker 1: What a grumpy stance to take on everything. But that

635
00:33:49,760 --> 00:33:53,320
Speaker 1: being said, Varuk a Sault really is the worst or

636
00:33:53,360 --> 00:33:56,840
Speaker 1: possibly the best, depending on your viewpoint on human behavior.

637
00:33:57,760 --> 00:34:00,959
Speaker 1: But yeah, Julie Dodn Cole's great here. This is her

638
00:34:01,000 --> 00:34:03,120
Speaker 1: first TV or film role, and she'd continue to act

639
00:34:03,200 --> 00:34:06,320
Speaker 1: until at least twenty thirteen. Her subsequent credits included the

640
00:34:06,360 --> 00:34:09,520
Speaker 1: seventy seven Pole Dark series and an episode of Tales

641
00:34:09,520 --> 00:34:10,920
Speaker 1: of the Unexpected in eighty two.

642
00:34:11,360 --> 00:34:14,000
Speaker 3: Hats off to Cole, she does a great job. It

643
00:34:13,640 --> 00:34:15,240
Speaker 3: makes it makes your blood run cold.

644
00:34:15,600 --> 00:34:18,200
Speaker 1: All right, let's move on to the Beauregards. We have

645
00:34:18,320 --> 00:34:22,080
Speaker 1: mister Beauregard played by Leonard Stone lived nineteen twenty three

646
00:34:22,120 --> 00:34:24,520
Speaker 1: through twenty eleven, American actor whose TV credits go back

647
00:34:24,520 --> 00:34:27,160
Speaker 1: to the mid fifties, and those credits include a lot

648
00:34:27,200 --> 00:34:30,759
Speaker 1: of cop and cop adjacent shows, but there's also the

649
00:34:30,840 --> 00:34:33,480
Speaker 1: nineteen sixty three episode of The Outer Limits the Architects

650
00:34:33,520 --> 00:34:36,880
Speaker 1: of Fear, and he pops up in seventy three's Soilent Green.

651
00:34:38,080 --> 00:34:40,359
Speaker 1: It all makes sense because this is a very very

652
00:34:40,400 --> 00:34:43,400
Speaker 1: straight laced American car salesman character.

653
00:34:43,520 --> 00:34:45,480
Speaker 3: Here, I can get you a deal on a Chrysler.

654
00:34:45,600 --> 00:34:49,719
Speaker 1: Yeah. Yeah, he's great at what he does here, and

655
00:34:49,800 --> 00:34:54,319
Speaker 1: you know he's concerned about contracts and so forth. And

656
00:34:54,360 --> 00:34:58,600
Speaker 1: then his daughter is violent and she's played by Denise Nickerson,

657
00:34:58,640 --> 00:35:01,960
Speaker 1: who lived nineteen fifty seven through twenty nineteen. She previously

658
00:35:02,000 --> 00:35:04,640
Speaker 1: appeared on TV's Flipper and Dark Shadows, and she'd go

659
00:35:04,680 --> 00:35:06,640
Speaker 1: on to appear as a grown actor in seventy eight

660
00:35:06,719 --> 00:35:11,959
Speaker 1: zero to sixties, starring Darren McGavin. Violet Violet likes gum.

661
00:35:12,200 --> 00:35:13,839
Speaker 1: That's the Violet's big thing.

662
00:35:14,440 --> 00:35:17,319
Speaker 3: Yeah, I can't remember. We have already talked about this.

663
00:35:17,360 --> 00:35:19,279
Speaker 3: I can't remember if it was on MIC or off now,

664
00:35:19,360 --> 00:35:23,359
Speaker 3: But it is incongruous to say the least, to say,

665
00:35:23,400 --> 00:35:27,160
Speaker 3: like each of these children has bad qualities. And like,

666
00:35:27,200 --> 00:35:29,880
Speaker 3: on one hand, you've got Vruka Salt, who's just like

667
00:35:30,320 --> 00:35:33,480
Speaker 3: evil incarnate, and then you've got Violet, whose problem is

668
00:35:33,520 --> 00:35:35,919
Speaker 3: she choose gum. She I mean, she's also a little

669
00:35:35,960 --> 00:35:38,719
Speaker 3: bit of she's a loud mouth, and she's a bit obnoxious,

670
00:35:38,719 --> 00:35:41,880
Speaker 3: but it's not like really blameworthy in that sense.

671
00:35:42,080 --> 00:35:44,560
Speaker 1: Yeah, there are a number of things that you can

672
00:35:44,600 --> 00:35:47,360
Speaker 1: attribute to her. Yeah, she is loud, she's a little rude,

673
00:35:47,400 --> 00:35:50,440
Speaker 1: and she picks her nose at one point and so

674
00:35:50,520 --> 00:35:52,319
Speaker 1: forth does a lot of things again that a lot

675
00:35:52,360 --> 00:35:56,320
Speaker 1: of children do. But the song the Oumpa Lumpas Sing

676
00:35:56,440 --> 00:36:01,759
Speaker 1: is specifically about her chewing too much gum. Yeah, she

677
00:36:01,800 --> 00:36:03,520
Speaker 1: also doesn't take no for an answer. There's a bit

678
00:36:03,560 --> 00:36:07,520
Speaker 1: of a varukas sault to Violet as well. All right,

679
00:36:07,560 --> 00:36:12,160
Speaker 1: now let's move on to the TVs. That's spelled tee vee,

680
00:36:12,320 --> 00:36:16,320
Speaker 1: but it is pronounced like TV television. So missus TV

681
00:36:16,520 --> 00:36:20,160
Speaker 1: is played by Nora Denny, credited here as Dodo Denny.

682
00:36:21,000 --> 00:36:23,200
Speaker 1: She lived nineteen twenty seven through two thousand and five.

683
00:36:23,280 --> 00:36:27,080
Speaker 1: Longtime TV staple who got her start as local horror

684
00:36:27,080 --> 00:36:31,280
Speaker 1: host Marilyn the Witch on KCMO TV five Kansas City's

685
00:36:31,600 --> 00:36:32,440
Speaker 1: The Witching Hour.

686
00:36:33,080 --> 00:36:34,279
Speaker 3: I would love to see that.

687
00:36:34,719 --> 00:36:37,000
Speaker 1: I included a picture for you here. I haven't found

688
00:36:37,040 --> 00:36:39,879
Speaker 1: any footage, but I found these various stills, and yeah,

689
00:36:39,920 --> 00:36:43,480
Speaker 1: it's Nora Denny in a full blown witch costume. And

690
00:36:44,040 --> 00:36:47,720
Speaker 1: she would have been presenting various horror movies on Kansas

691
00:36:47,719 --> 00:36:49,279
Speaker 1: City Television. So I love that.

692
00:36:49,520 --> 00:36:52,000
Speaker 3: My god, I would love to let this witch show

693
00:36:52,040 --> 00:36:53,479
Speaker 3: me creature with the Adam brain.

694
00:36:55,040 --> 00:36:57,520
Speaker 1: She also pops up in nineteen eighty four Splash the

695
00:36:57,560 --> 00:37:01,439
Speaker 1: Mermaid movie. Mike TV is played by Piis Themen born

696
00:37:01,520 --> 00:37:03,880
Speaker 1: nineteen fifty nine, child actor who appeared in a handful

697
00:37:03,920 --> 00:37:06,320
Speaker 1: of credits, but clearly this is the big one.

698
00:37:06,480 --> 00:37:09,360
Speaker 3: While we're on the subject of evaluating these children's sins,

699
00:37:09,560 --> 00:37:13,960
Speaker 3: is Mike TV's sin that he is obsessed with violence

700
00:37:14,239 --> 00:37:15,440
Speaker 3: or that he watches TV.

701
00:37:16,239 --> 00:37:19,080
Speaker 1: The song is about TV, that he's watching too much

702
00:37:19,120 --> 00:37:23,400
Speaker 1: TV and maybe not reading enough books. But yeah, we

703
00:37:23,440 --> 00:37:27,160
Speaker 1: do see that he's really into violence and toy guns

704
00:37:27,560 --> 00:37:29,839
Speaker 1: and this seems to be part of the whole TV

705
00:37:29,960 --> 00:37:33,320
Speaker 1: obsession package. Yeah, all right, now let's meet the Gloops.

706
00:37:33,600 --> 00:37:36,480
Speaker 1: We have Missus Glup played by Ursula Wright, who lived

707
00:37:36,520 --> 00:37:40,480
Speaker 1: nineteen fourteen through nineteen ninety eight, German character actress who

708
00:37:40,520 --> 00:37:43,440
Speaker 1: mostly worked in German television in the sixties through nineties,

709
00:37:43,560 --> 00:37:46,200
Speaker 1: as well as in some supporting roles in some German

710
00:37:46,239 --> 00:37:49,480
Speaker 1: exploitation films of the sixties and seventies, such as seventy

711
00:37:49,560 --> 00:37:52,360
Speaker 1: threes She Devils of the SS and seventy four's The

712
00:37:52,400 --> 00:37:56,160
Speaker 1: Devil's Female and then Augustus Glup the child is played

713
00:37:56,160 --> 00:37:59,960
Speaker 1: by Michael Boelner born nineteen fifty eight, German child act

714
00:38:00,320 --> 00:38:01,920
Speaker 1: and this is I believe his only credit.

715
00:38:02,160 --> 00:38:04,640
Speaker 3: I just today made this connection for the first time,

716
00:38:04,719 --> 00:38:07,799
Speaker 3: but I believe I, like many people out there, might

717
00:38:07,800 --> 00:38:12,719
Speaker 3: have become familiar with this character in parody form before

718
00:38:12,760 --> 00:38:16,160
Speaker 3: seeing it in the Willy Wonker movie, and that character

719
00:38:16,320 --> 00:38:18,160
Speaker 3: is Uder on the Simpson.

720
00:38:18,640 --> 00:38:21,040
Speaker 1: I hadn't thought about that before, but I think you're right. Yeah,

721
00:38:21,080 --> 00:38:25,279
Speaker 1: like Uder is basically Augustus Glupe in later Housen. Yeah.

722
00:38:25,360 --> 00:38:27,480
Speaker 1: All right, so those are the children, those are the

723
00:38:27,480 --> 00:38:29,640
Speaker 1: grown ups. We have a couple of other supporting characters

724
00:38:29,640 --> 00:38:33,320
Speaker 1: of note. Aubrey Woods plays Bill, the candy store owner.

725
00:38:33,680 --> 00:38:36,200
Speaker 1: He lived nineteen twenty eight through twenty thirteen. Kind of

726
00:38:36,200 --> 00:38:38,480
Speaker 1: a minor character in many ways. He just runs the

727
00:38:38,480 --> 00:38:41,279
Speaker 1: local candy store, but he gets to sing one of

728
00:38:41,280 --> 00:38:44,040
Speaker 1: the movie's best songs, The candy Man can.

729
00:38:44,440 --> 00:38:46,680
Speaker 3: Why does the World tast Sweet? Because the candy Man

730
00:38:46,760 --> 00:38:47,480
Speaker 3: thinks it should?

731
00:38:47,719 --> 00:38:48,279
Speaker 1: Yeah?

732
00:38:48,320 --> 00:38:50,080
Speaker 3: Really giving the candy man a lot of.

733
00:38:50,000 --> 00:38:52,719
Speaker 1: Power, Yeah, power that he does seem to have.

734
00:38:53,160 --> 00:38:53,759
Speaker 3: Yeah.

735
00:38:54,239 --> 00:38:56,319
Speaker 1: Now. One of the interesting things about Aubrey Woods is

736
00:38:56,360 --> 00:38:59,120
Speaker 1: the same year he also appeared in The Abominable Doctor

737
00:38:59,200 --> 00:39:04,080
Speaker 1: Fivees he played the Goldsmith and the Okay, longtime British

738
00:39:04,160 --> 00:39:07,239
Speaker 1: character actor here who also appeared in the seventy two

739
00:39:07,360 --> 00:39:10,040
Speaker 1: Days of the Dalek series on Doctor Who, and he

740
00:39:10,080 --> 00:39:13,000
Speaker 1: also pops up in nineteen seventy two's ZPG. Now we

741
00:39:13,040 --> 00:39:16,400
Speaker 1: should mention mister Slugworth as well, at least playing the

742
00:39:16,400 --> 00:39:20,319
Speaker 1: physical mister Slugworth. A different actor does the voice, but

743
00:39:20,480 --> 00:39:24,399
Speaker 1: Gunter Meisner plays this particular character. He lived nineteen twenty

744
00:39:24,440 --> 00:39:27,239
Speaker 1: six through nineteen ninety four. German actor with a great

745
00:39:27,320 --> 00:39:30,120
Speaker 1: menacing face. He'd go on to appear in seventy eight's

746
00:39:30,200 --> 00:39:33,000
Speaker 1: The Boys from Brazil and played Hitler in the eighty

747
00:39:33,040 --> 00:39:35,920
Speaker 1: three mini series The Wins of War. Other credits include

748
00:39:35,960 --> 00:39:39,280
Speaker 1: seventy seven's The Serpent's Egg eighty fours under the Volcano

749
00:39:39,400 --> 00:39:41,400
Speaker 1: in eighty six is in a glass cage.

750
00:39:41,800 --> 00:39:45,880
Speaker 3: Not surprised he gets Nazi roles. He has that look,

751
00:39:46,280 --> 00:39:49,200
Speaker 3: that creepy, that creepy kind of look like the guy

752
00:39:49,239 --> 00:39:53,279
Speaker 3: who plays the bad guy in Raiders of the Lost Arc.

753
00:39:53,840 --> 00:39:57,280
Speaker 1: Yeah. Yeah, he just has a good, good German villain

754
00:39:57,320 --> 00:40:00,319
Speaker 1: appearance for sure. Now. I'll mention in passing here that

755
00:40:00,360 --> 00:40:03,640
Speaker 1: the cinematographer on this film was Arthur Evanston, who lived

756
00:40:03,680 --> 00:40:06,440
Speaker 1: nineteen twenty two through nineteen ninety seven. He was an

757
00:40:06,440 --> 00:40:09,719
Speaker 1: Academy Award winning cinematographer for nineteen seventies and of a

758
00:40:09,760 --> 00:40:12,600
Speaker 1: Thousand Days and his ot Their credits include sixty Eights

759
00:40:12,600 --> 00:40:15,080
Speaker 1: Where Eagles Dare and eighty four is the Bounty, and

760
00:40:15,120 --> 00:40:17,520
Speaker 1: this brings us to the music. The music comes to

761
00:40:17,680 --> 00:40:22,360
Speaker 1: us via songwriting partners Leslie Brickis and Anthony Newley, for

762
00:40:22,440 --> 00:40:25,359
Speaker 1: which they received an Academy Award nomination, and these two

763
00:40:25,400 --> 00:40:28,880
Speaker 1: have loads of credentials. Both have lyrics and music credits.

764
00:40:29,080 --> 00:40:31,879
Speaker 1: Leslie Brickis lived nineteen thirty one through twenty twenty one,

765
00:40:32,400 --> 00:40:36,240
Speaker 1: three time Oscar winner, whose other big film musicals include

766
00:40:36,360 --> 00:40:40,640
Speaker 1: nineteen sixty seven's Doctor Doolittle and one of my absolute favorites,

767
00:40:40,760 --> 00:40:43,600
Speaker 1: nineteen seventy Scrooge starring Albert Finney.

768
00:40:43,840 --> 00:40:46,399
Speaker 3: Oh, it's been so long since I've seen that that's

769
00:40:46,400 --> 00:40:50,000
Speaker 3: actually a musical. Yeah, yeah, forgotten that aspect of it.

770
00:40:50,200 --> 00:40:52,680
Speaker 1: Oh, it's such a good musical. I mean, it's telling

771
00:40:52,719 --> 00:40:55,440
Speaker 1: that I love Scrooge and I love Willy Wonka, so

772
00:40:55,480 --> 00:40:58,279
Speaker 1: it makes sense that they're shared musical DNA here. But yeah,

773
00:40:58,320 --> 00:41:01,400
Speaker 1: Scrooge has a load of great songs, a great performance overall,

774
00:41:01,440 --> 00:41:05,480
Speaker 1: and also just in many ways a weird, weird adaptation

775
00:41:05,600 --> 00:41:09,600
Speaker 1: of a Christmas carol with devils and rotting ghosts and

776
00:41:09,640 --> 00:41:10,160
Speaker 1: so forth.

777
00:41:10,400 --> 00:41:13,439
Speaker 4: Oh, we can bookmark that for Christmas season this year.

778
00:41:13,840 --> 00:41:16,600
Speaker 1: Yeah, I got the family to watch it with me

779
00:41:16,800 --> 00:41:19,920
Speaker 1: this previous Christmas. I'm like, Okay, now's the time. I

780
00:41:19,920 --> 00:41:22,440
Speaker 1: know y'all are hesitant, but now you've got to watch

781
00:41:22,520 --> 00:41:26,120
Speaker 1: Scrooge with me. Maybe they'll watch it again. There's more

782
00:41:26,200 --> 00:41:29,040
Speaker 1: musical energy in the family at the moment, all right.

783
00:41:29,040 --> 00:41:32,399
Speaker 1: And then the other individual, Anthony Newley lived nineteen thirty

784
00:41:32,440 --> 00:41:36,040
Speaker 1: one through nineteen ninety nine, actor, comedian, singer and composer

785
00:41:36,320 --> 00:41:39,040
Speaker 1: who also gave us the Grammy winning song what kind

786
00:41:39,080 --> 00:41:42,839
Speaker 1: of Fool Am I? As well as Feeling Good, co

787
00:41:42,880 --> 00:41:46,799
Speaker 1: written with Brickus and famously performed by Nina Simone. This

788
00:41:46,840 --> 00:41:48,840
Speaker 1: is that song. You might not recognize it by the title,

789
00:41:48,880 --> 00:41:51,200
Speaker 1: but it has the lyrics It's a new day, it's

790
00:41:51,200 --> 00:41:53,839
Speaker 1: a new dawn, it's a new life for me. They

791
00:41:53,840 --> 00:41:57,239
Speaker 1: were the original writers, so that amazing song that's been

792
00:41:57,280 --> 00:42:01,799
Speaker 1: covered so perfectly by Ninas. And he also co wrote

793
00:42:01,800 --> 00:42:04,400
Speaker 1: the lyrics to the Goldfinger theme song, Oh.

794
00:42:04,400 --> 00:42:14,160
Speaker 3: Okay, He's a man a man, Yeah, rhymes spider with Midas.

795
00:42:15,600 --> 00:42:18,719
Speaker 1: That's just that's just musical genius right there. So yet

796
00:42:18,880 --> 00:42:20,400
Speaker 1: to be clear, we'll come back to this as we

797
00:42:20,440 --> 00:42:23,640
Speaker 1: talk about the individual songs this this movie has some

798
00:42:23,800 --> 00:42:26,480
Speaker 1: amazing musical numbers in it. Uh, there are one or

799
00:42:26,480 --> 00:42:30,760
Speaker 1: two that are completely forgettable that I completely forgot existed,

800
00:42:31,120 --> 00:42:33,120
Speaker 1: But for the most part, we have some real bangers

801
00:42:33,120 --> 00:42:34,480
Speaker 1: in this this this film.

802
00:42:34,800 --> 00:42:37,239
Speaker 3: Do you think they also wrote the boat Tunnel song,

803
00:42:37,360 --> 00:42:51,879
Speaker 3: even though it's basically a cappella I believe so, yes, Okay, yeah, okay.

804
00:42:52,000 --> 00:42:53,360
Speaker 3: Is it time to talk about the plot?

805
00:42:53,560 --> 00:42:55,800
Speaker 1: Yeah, let's do it. And I think one of the

806
00:42:56,440 --> 00:42:59,640
Speaker 1: fun things here is we're gonna have to really acknowledge

807
00:42:59,680 --> 00:43:02,080
Speaker 1: that it it takes us a little while to get

808
00:43:02,120 --> 00:43:05,560
Speaker 1: to the chocolate factory. The chocolate factory is the part

809
00:43:05,719 --> 00:43:08,840
Speaker 1: that I think most of us remember the most, especially

810
00:43:08,880 --> 00:43:11,200
Speaker 1: from catching it on television, but there are a number

811
00:43:11,239 --> 00:43:12,840
Speaker 1: of steps we have to go through in order to

812
00:43:12,840 --> 00:43:13,239
Speaker 1: get there.

813
00:43:13,440 --> 00:43:16,520
Speaker 3: The parts that I remembered the least are all of

814
00:43:16,640 --> 00:43:21,320
Speaker 3: the news segments and everything like that when they announced

815
00:43:21,360 --> 00:43:23,960
Speaker 3: the contest. But some of that stuff was really funny.

816
00:43:24,200 --> 00:43:25,319
Speaker 3: I thought it held up good.

817
00:43:26,160 --> 00:43:28,160
Speaker 1: I suspect, and I have not looked this up at all.

818
00:43:28,239 --> 00:43:30,640
Speaker 1: I suspect this is where they made some of the

819
00:43:31,520 --> 00:43:35,719
Speaker 1: edited for television cuts in order to fit it down

820
00:43:35,960 --> 00:43:37,640
Speaker 1: into the right time bracket.

821
00:43:38,520 --> 00:43:41,400
Speaker 3: So the opening credits play over hypnotic footage of the

822
00:43:41,400 --> 00:43:44,600
Speaker 3: candy making process. We get a very how It's made

823
00:43:44,719 --> 00:43:48,880
Speaker 3: style montage of milk, chocolate waterfalls and these churning dunes

824
00:43:48,920 --> 00:43:52,400
Speaker 3: of cocoa powder, and then the action opens on a

825
00:43:52,440 --> 00:43:55,840
Speaker 3: clock tower with a bell clanging down in the city below,

826
00:43:55,960 --> 00:43:59,759
Speaker 3: we see heavy schoolhouse doors creak open and children come

827
00:43:59,800 --> 00:44:02,279
Speaker 3: right out. So school's out for the day, and where

828
00:44:02,320 --> 00:44:04,640
Speaker 3: are the kids going? They are all running to the

829
00:44:04,680 --> 00:44:09,839
Speaker 3: nearby candy shop to get some treats. Now, personal experience question, Rob,

830
00:44:09,880 --> 00:44:13,239
Speaker 3: because I can think of one place in particular I've

831
00:44:13,280 --> 00:44:16,960
Speaker 3: had this experience. Have you ever been in a store

832
00:44:17,160 --> 00:44:19,960
Speaker 3: that's like adjacent to a school that in the same way,

833
00:44:20,200 --> 00:44:22,840
Speaker 3: just gets flooded with children when the bell rings?

834
00:44:23,239 --> 00:44:26,200
Speaker 1: Oh? Yes, Actually, there is a market in one of

835
00:44:26,200 --> 00:44:28,799
Speaker 1: the adjoining neighborhoods that is, you know, handy for picking

836
00:44:28,920 --> 00:44:31,719
Speaker 1: up odds and ends. And if you go around the

837
00:44:31,760 --> 00:44:34,239
Speaker 1: time school gets out, there are going to be a

838
00:44:34,239 --> 00:44:36,800
Speaker 1: bunch of kids in there, and they're focused on the

839
00:44:36,840 --> 00:44:37,640
Speaker 1: sugary treats.

840
00:44:37,920 --> 00:44:39,759
Speaker 3: Yeah, good luck. You're trying to go in there for

841
00:44:39,760 --> 00:44:42,200
Speaker 3: a couple of groceries on the way home, and it's like, right,

842
00:44:42,239 --> 00:44:45,560
Speaker 3: when school's out, you are, you're not getting out anytime soon.

843
00:44:46,200 --> 00:44:49,319
Speaker 1: But a candy store, that's that's perfect. Nobody's dropping by

844
00:44:49,400 --> 00:44:52,000
Speaker 1: to get toilet paper, or if they are, it's some

845
00:44:52,000 --> 00:44:55,239
Speaker 1: sort of novelty toilet paper that's like sugar coated.

846
00:44:55,440 --> 00:44:57,680
Speaker 3: There's not like a dad trying to buy beer there.

847
00:44:57,719 --> 00:45:00,560
Speaker 3: Who's the twenty fifth person in line behind all the

848
00:45:00,600 --> 00:45:01,520
Speaker 3: kids getting candy?

849
00:45:02,200 --> 00:45:03,359
Speaker 4: Yeah?

850
00:45:03,400 --> 00:45:05,560
Speaker 3: But and I think I'm thinking of the exact same

851
00:45:05,560 --> 00:45:09,000
Speaker 3: story you are in Atlanta. But yeah, so anyway, the

852
00:45:09,080 --> 00:45:10,920
Speaker 3: kids run into the candy shop, they're going to get

853
00:45:10,960 --> 00:45:14,400
Speaker 3: some treats. One thing I wanted to mention here is

854
00:45:14,640 --> 00:45:18,360
Speaker 3: I remember in the past being confused about where this

855
00:45:18,520 --> 00:45:23,360
Speaker 3: movie takes place because it's an American movie. Just looking

856
00:45:23,400 --> 00:45:26,000
Speaker 3: at it, I think I could have even told when

857
00:45:26,000 --> 00:45:29,000
Speaker 3: I was a kid, this is obviously not an American city.

858
00:45:29,080 --> 00:45:31,399
Speaker 3: I think this was shot in Germany.

859
00:45:31,520 --> 00:45:34,399
Speaker 1: Yes, yeah, well the exteriors we see here are from

860
00:45:34,400 --> 00:45:36,960
Speaker 1: like Munich and some other parts of Bavaria.

861
00:45:37,520 --> 00:45:41,120
Speaker 3: It's clearly just not American architecture. This is somewhere in Europe.

862
00:45:41,120 --> 00:45:42,960
Speaker 3: I mean, I probably couldn't have said Germany when I

863
00:45:43,000 --> 00:45:45,440
Speaker 3: was a kid, but it looks like Germany now, and

864
00:45:45,520 --> 00:45:49,759
Speaker 3: so there's that, But then also there's a millage of

865
00:45:49,760 --> 00:45:54,120
Speaker 3: different accents all just mixed together. Like some people, it's

866
00:45:54,200 --> 00:45:57,880
Speaker 3: in English, and there's some American accents, some kind of

867
00:45:57,880 --> 00:46:01,719
Speaker 3: Transatlantic old school accents, and a lot of British accents.

868
00:46:02,200 --> 00:46:06,960
Speaker 1: Yes, yes, and we only have a few characters who

869
00:46:07,000 --> 00:46:10,880
Speaker 1: are specifically German, but it does seem to be a

870
00:46:10,920 --> 00:46:13,880
Speaker 1: Germanic setting. So again a case could be made that

871
00:46:14,239 --> 00:46:18,160
Speaker 1: all of the characters here are German unless specified, you

872
00:46:18,200 --> 00:46:20,120
Speaker 1: know that they're from America and so forth.

873
00:46:20,480 --> 00:46:24,319
Speaker 3: It almost feels like an alternate history, post World War

874
00:46:24,360 --> 00:46:29,640
Speaker 3: two American and British colony settlement in Germany.

875
00:46:30,280 --> 00:46:32,360
Speaker 1: Yeah, I agree, it is very it's a little bit

876
00:46:32,360 --> 00:46:34,160
Speaker 1: confusing when you're trying to figure out exactly where this

877
00:46:34,239 --> 00:46:37,280
Speaker 1: takes place, Like I think part of it is everything

878
00:46:37,280 --> 00:46:40,280
Speaker 1: you've just mentioned. But on top of that, the original

879
00:46:40,360 --> 00:46:43,560
Speaker 1: novel takes place in the UK, and it's my understanding

880
00:46:43,600 --> 00:46:47,719
Speaker 1: that Dall loosely based some of the initial ideas on

881
00:46:47,920 --> 00:46:52,600
Speaker 1: actual candy company espionage that was going on, or allegedly

882
00:46:52,719 --> 00:46:54,920
Speaker 1: was going on. And then on top of that, like

883
00:46:54,960 --> 00:46:57,560
Speaker 1: you're watching it, in my case, you're watching it as

884
00:46:57,600 --> 00:47:00,600
Speaker 1: an American kid in America on American television, and with

885
00:47:00,680 --> 00:47:06,040
Speaker 1: these American characters, it feels very American. And also in

886
00:47:06,080 --> 00:47:08,120
Speaker 1: the back of your mind you have something like Hershey,

887
00:47:08,120 --> 00:47:10,319
Speaker 1: Pennsylvania in your head, like, oh, well, there's a real

888
00:47:10,360 --> 00:47:12,919
Speaker 1: place that maybe this is a riff on that, when

889
00:47:12,920 --> 00:47:15,000
Speaker 1: in reality I think it largely wasn't.

890
00:47:15,280 --> 00:47:17,799
Speaker 3: It is a strange mix. I mean, if I had to,

891
00:47:18,320 --> 00:47:20,040
Speaker 3: you know, if I had to say, I would say,

892
00:47:20,040 --> 00:47:22,960
Speaker 3: this is supposed to be set in America, but it's

893
00:47:23,000 --> 00:47:26,239
Speaker 3: got such a you know, European and British flavor, and

894
00:47:26,280 --> 00:47:29,920
Speaker 3: there's even the candy company idea. It feels very Cadbury.

895
00:47:30,360 --> 00:47:33,480
Speaker 1: Yeah, yeah, yeah. Cadbury, if memory serves, was one of

896
00:47:33,960 --> 00:47:36,040
Speaker 1: the companies that was maybe involved in the sort of

897
00:47:36,040 --> 00:47:37,640
Speaker 1: war of spies over chocolate.

898
00:47:38,520 --> 00:47:40,560
Speaker 3: So this candy shop that all the kids go into

899
00:47:40,719 --> 00:47:43,480
Speaker 3: is Bill's candy Shop. And they gather around the counter

900
00:47:44,000 --> 00:47:46,240
Speaker 3: and they're yelling at the candy store clerk.

901
00:47:46,320 --> 00:47:47,319
Speaker 4: I guess this is Bill.

902
00:47:47,360 --> 00:47:49,759
Speaker 3: And the clerk knows them all by name, and he

903
00:47:49,840 --> 00:47:52,120
Speaker 3: knows what they like. It's like, oh, you know, Cindy,

904
00:47:52,200 --> 00:47:55,680
Speaker 3: here is your Wanka bar, and here's the thing you want.

905
00:47:55,920 --> 00:47:58,439
Speaker 3: But he has a new item to show off, which

906
00:47:58,480 --> 00:48:02,360
Speaker 3: is the Wonka scrum died Umptious Bar. A little boy

907
00:48:02,400 --> 00:48:05,200
Speaker 3: wants to know how Willy Wonka makes all these delicious

908
00:48:05,239 --> 00:48:08,200
Speaker 3: candy bars. But Bill chides him for this question. You

909
00:48:08,280 --> 00:48:10,759
Speaker 3: shall not ask, why, he says, do you ask a

910
00:48:10,800 --> 00:48:14,480
Speaker 3: fish how it swims or a bird how it flies? No, Surri,

911
00:48:14,640 --> 00:48:17,719
Speaker 3: you don't. And this guy's got a almost kind of

912
00:48:18,000 --> 00:48:21,400
Speaker 3: The Music Man energy, you know. Yeah, he feels like

913
00:48:21,440 --> 00:48:23,920
Speaker 3: a character in The Music Man. He says, no, Surria,

914
00:48:23,920 --> 00:48:25,799
Speaker 3: you don't. They do it because they were born to

915
00:48:25,840 --> 00:48:28,040
Speaker 3: do it, just like Willy Wonka was born to be

916
00:48:28,080 --> 00:48:28,879
Speaker 3: a candy man.

917
00:48:29,480 --> 00:48:31,400
Speaker 1: And he's like, whoa, But I just wanted to know

918
00:48:31,400 --> 00:48:32,399
Speaker 1: if it was organic or.

919
00:48:32,360 --> 00:48:37,040
Speaker 3: Now, which I gotta say this is some tricky and

920
00:48:37,080 --> 00:48:40,600
Speaker 3: evasive rhetoric on Bill's part, but it leads into the

921
00:48:40,600 --> 00:48:43,440
Speaker 3: first song in the movie The Candy Man.

922
00:48:43,920 --> 00:48:46,440
Speaker 1: Yes, and this is a great, great track, great song,

923
00:48:47,880 --> 00:48:50,720
Speaker 1: one of my favorites, and I love this candy shop

924
00:48:50,719 --> 00:48:54,560
Speaker 1: in general. Joe, I'm sure you noticed the pagan candy

925
00:48:54,560 --> 00:48:56,600
Speaker 1: frogs that were out there on a tray.

926
00:48:56,960 --> 00:48:59,080
Speaker 3: I'm glad you brought it to my attention because I

927
00:48:59,120 --> 00:49:01,480
Speaker 3: did not. But they could have been from May Morrison's

928
00:49:01,480 --> 00:49:02,960
Speaker 3: Shop in the Wickerman.

929
00:49:02,600 --> 00:49:06,560
Speaker 1: Yes, yes, yes, absolutely, two films from the early nineteen

930
00:49:06,600 --> 00:49:09,760
Speaker 1: seventies that feature strong candy shops.

931
00:49:09,520 --> 00:49:12,399
Speaker 3: Who can take a sunrise, sprinkle it with dew, cover

932
00:49:12,480 --> 00:49:16,000
Speaker 3: it with chocolate, and a miracle or two Nuada Nuada Can.

933
00:49:17,040 --> 00:49:20,600
Speaker 1: Lord summerle Can. That would actually, that would fit the cadence.

934
00:49:20,760 --> 00:49:23,000
Speaker 3: He is a kind of candy candy man of sorts. Yeah,

935
00:49:23,040 --> 00:49:25,400
Speaker 3: but no, The answer is the candy man can. The

936
00:49:25,440 --> 00:49:28,200
Speaker 3: candy man can because he mixes it with love and

937
00:49:28,280 --> 00:49:32,240
Speaker 3: makes the world taste good. So he sings this great

938
00:49:32,239 --> 00:49:35,520
Speaker 3: song about candy. It's a wholesome, innocent song about eating

939
00:49:35,520 --> 00:49:37,920
Speaker 3: a lot of sugar. And then at the end of

940
00:49:37,960 --> 00:49:40,240
Speaker 3: the song he says, in the world tastes good because

941
00:49:40,280 --> 00:49:44,800
Speaker 3: the candy man thinks it should, attributing a lot of divine,

942
00:49:44,840 --> 00:49:47,879
Speaker 3: almost omnipotent power to this figure of the candy man,

943
00:49:48,040 --> 00:49:50,279
Speaker 3: which I think relates back to my idea that we

944
00:49:50,320 --> 00:49:53,719
Speaker 3: should understand Willy Wonka as a higher being. He is

945
00:49:53,800 --> 00:49:55,840
Speaker 3: not a mortal man. He is at the least a

946
00:49:55,960 --> 00:49:59,480
Speaker 3: mir and maybe like an angel or a god. Yes,

947
00:50:00,320 --> 00:50:02,520
Speaker 3: in this song, while he's singing about the genius of

948
00:50:02,520 --> 00:50:06,080
Speaker 3: Willy Wonka. Bill just keeps throwing handfuls of loose candy

949
00:50:06,200 --> 00:50:09,440
Speaker 3: over the heads of the children. That's kind of go

950
00:50:09,480 --> 00:50:11,160
Speaker 3: on the floor and then they're gonna pick it up.

951
00:50:11,160 --> 00:50:13,799
Speaker 1: And yeah, I know, it also seems like it's it's

952
00:50:13,800 --> 00:50:15,759
Speaker 1: a weird business practice because are they going to buy

953
00:50:15,840 --> 00:50:17,560
Speaker 1: less because you're giving more away. I don't know, Maybe

954
00:50:17,560 --> 00:50:19,440
Speaker 1: it's just the appeal. This is a candy store. It's

955
00:50:19,440 --> 00:50:20,160
Speaker 1: a magical place.

956
00:50:20,520 --> 00:50:23,000
Speaker 3: This will be an episode rob where we can share

957
00:50:23,000 --> 00:50:25,239
Speaker 3: our preferences about candies.

958
00:50:25,320 --> 00:50:26,280
Speaker 4: I weird.

959
00:50:26,440 --> 00:50:28,439
Speaker 3: I'm just one of those weird kids that, even going

960
00:50:28,480 --> 00:50:31,120
Speaker 3: back to when I was little, I was not huge

961
00:50:31,160 --> 00:50:33,319
Speaker 3: on candy. I mean, I like sweets and candy, but

962
00:50:33,360 --> 00:50:35,960
Speaker 3: I've always liked savory foods more. You know, even when

963
00:50:35,960 --> 00:50:37,760
Speaker 3: I was a kid, I would rather have some pizza

964
00:50:37,880 --> 00:50:42,239
Speaker 3: than a bunch of candy. But but one of the

965
00:50:42,280 --> 00:50:45,160
Speaker 3: things that they get into in this shop are those

966
00:50:45,200 --> 00:50:48,160
Speaker 3: little pills that are stuck to paper, the you know,

967
00:50:48,200 --> 00:50:51,080
Speaker 3: the little sugar pill. He peels off the ticker like

968
00:50:51,120 --> 00:50:52,640
Speaker 3: it's a stock ticker and.

969
00:50:52,760 --> 00:50:55,040
Speaker 1: Peels it off and or something.

970
00:50:55,239 --> 00:50:58,320
Speaker 3: Yeah, the kids are pulling them off there. That's a candy.

971
00:50:58,360 --> 00:51:00,239
Speaker 3: I don't think I ever understood. I was like, what

972
00:51:00,480 --> 00:51:01,160
Speaker 3: is the appeal?

973
00:51:01,719 --> 00:51:03,680
Speaker 1: Yeah, that one maybe felt a little bit old school,

974
00:51:03,800 --> 00:51:06,040
Speaker 1: like you don't have to make candies like this anymore,

975
00:51:07,120 --> 00:51:09,920
Speaker 1: you know, kind of Look. I have similar attitudes towards

976
00:51:09,960 --> 00:51:14,600
Speaker 1: Circus Peanuts. Oh yeah, yeah, some of the other ones.

977
00:51:15,480 --> 00:51:17,399
Speaker 1: I'm not going to name any brand names, but there's

978
00:51:17,400 --> 00:51:19,799
Speaker 1: some candies that just were never for me. But at

979
00:51:19,840 --> 00:51:23,239
Speaker 1: the same time, I always loved Twizzlers, which I loved

980
00:51:23,280 --> 00:51:26,400
Speaker 1: them and loved them, but it's like eating plastic, but

981
00:51:26,480 --> 00:51:29,319
Speaker 1: it's like eating delicious plastic. I can't explain it. I

982
00:51:29,360 --> 00:51:32,759
Speaker 1: can't forgive myself for it, but I do have a

983
00:51:32,800 --> 00:51:36,240
Speaker 1: weakness for Twizzlers. Generally, I'm able to avoid that. Nowadays,

984
00:51:36,239 --> 00:51:38,239
Speaker 1: I'm more inclined to go for a dark chocolate. I'll

985
00:51:38,239 --> 00:51:40,680
Speaker 1: still go for like a Reese's Peanut butter cup. And

986
00:51:40,760 --> 00:51:42,600
Speaker 1: when I was a kid, I think the Reese's Peanut

987
00:51:42,600 --> 00:51:45,920
Speaker 1: butter Cup in its various forms, was the top shelf

988
00:51:46,040 --> 00:51:46,680
Speaker 1: candy for me.

989
00:51:47,480 --> 00:51:49,439
Speaker 3: Yeah, to the extent that I liked candy, I think

990
00:51:49,440 --> 00:51:52,000
Speaker 3: my tastes were pretty straightforward, you know. I liked like

991
00:51:52,280 --> 00:51:53,880
Speaker 3: a Snickers bar or whatever.

992
00:51:54,360 --> 00:51:56,520
Speaker 1: But then there's a lot going on in Snickers Bar, So,

993
00:51:56,680 --> 00:52:00,120
Speaker 1: you know, I guess it's a pretty complex profile. It's

994
00:52:00,160 --> 00:52:01,239
Speaker 1: got all sorts of stuff in there.

995
00:52:01,760 --> 00:52:05,040
Speaker 3: Out through the window in the candy shop scene, we

996
00:52:05,120 --> 00:52:08,760
Speaker 3: see another child not among the kids who are getting

997
00:52:08,760 --> 00:52:11,120
Speaker 3: the candies thrown over the tops of their heads. This

998
00:52:11,320 --> 00:52:14,680
Speaker 3: is our protagonist, Charlie Bucket, and he is watching the

999
00:52:14,719 --> 00:52:18,640
Speaker 3: scene through the glass. It's almost suggesting that he can't

1000
00:52:18,719 --> 00:52:21,200
Speaker 3: afford to buy anything in the shop. We will learn

1001
00:52:21,239 --> 00:52:24,040
Speaker 3: that his family is very, very poor, so maybe that's

1002
00:52:24,040 --> 00:52:26,799
Speaker 3: what's suggested here, But this would be a good time

1003
00:52:26,840 --> 00:52:28,799
Speaker 3: for him to run in and take part because the

1004
00:52:28,840 --> 00:52:30,800
Speaker 3: guy's just throwing out free candy right now.

1005
00:52:31,239 --> 00:52:33,640
Speaker 1: Yeah, yeah, I guess, as we'll see, he does seem

1006
00:52:33,640 --> 00:52:35,279
Speaker 1: to have somewhere he needs to go, so maybe he

1007
00:52:35,320 --> 00:52:37,680
Speaker 1: realizes that it's a real time sink to go in there.

1008
00:52:37,880 --> 00:52:38,360
Speaker 4: Yeah.

1009
00:52:38,400 --> 00:52:40,160
Speaker 1: It's like it's like if this were a movie about

1010
00:52:40,200 --> 00:52:41,840
Speaker 1: grown ups, and he's like, should I go into the

1011
00:52:41,880 --> 00:52:44,440
Speaker 1: bar for a pint knowing that like one pipe becomes

1012
00:52:44,440 --> 00:52:46,800
Speaker 1: two pints becomes darts and so forth.

1013
00:52:46,880 --> 00:52:50,120
Speaker 3: That's right, And we do see Charlie he begins to it.

1014
00:52:50,280 --> 00:52:52,480
Speaker 3: The only time in the movie he really exhibits derange

1015
00:52:52,640 --> 00:52:54,880
Speaker 3: behavior is when he goes into the candy shop and

1016
00:52:55,000 --> 00:52:59,440
Speaker 3: eats a bar. Yeah yeah, so Charlie. He heads on

1017
00:52:59,480 --> 00:53:02,360
Speaker 3: down the street to a newspaper vendor stand. This is

1018
00:53:02,440 --> 00:53:06,400
Speaker 3: his boss, mister Jopek, and Charlie. He works as a

1019
00:53:06,440 --> 00:53:10,000
Speaker 3: newspaper delivery boy and it's payday, so he accepts his pay,

1020
00:53:10,000 --> 00:53:12,560
Speaker 3: which appears to be a big single coin, and then

1021
00:53:12,560 --> 00:53:15,480
Speaker 3: he runs off with a satchel full of newspapers to deliveries,

1022
00:53:15,480 --> 00:53:18,200
Speaker 3: tossing them into shops and yards and open doors all

1023
00:53:18,239 --> 00:53:22,240
Speaker 3: around the city. After a long shift of delivering papers,

1024
00:53:22,360 --> 00:53:25,920
Speaker 3: Charlie wanders down a lonely road up to a huge

1025
00:53:26,000 --> 00:53:29,520
Speaker 3: pair of wrought iron gates which are locked shut, and

1026
00:53:29,560 --> 00:53:33,320
Speaker 3: beyond the gates he sees a factory with smokestacks billowing,

1027
00:53:33,880 --> 00:53:36,240
Speaker 3: and on one of the towers, it's got some letters

1028
00:53:36,280 --> 00:53:39,600
Speaker 3: that light up slowly, one at a time, spelling Wonka.

1029
00:53:39,880 --> 00:53:43,920
Speaker 3: This is the Willy Wonka candy factory. Suddenly, in a

1030
00:53:43,960 --> 00:53:47,480
Speaker 3: moment that I was surprised by, I did not remember

1031
00:53:47,520 --> 00:53:50,880
Speaker 3: this at all, and I loved this, Charlie is startled

1032
00:53:50,920 --> 00:53:54,600
Speaker 3: by a man who approaches from behind. This is a tinker,

1033
00:53:54,719 --> 00:53:57,240
Speaker 3: like a guy who's got a cart rattling with scissor

1034
00:53:57,239 --> 00:54:00,560
Speaker 3: blades and butcher knives, and he comes up behind Charlie

1035
00:54:00,840 --> 00:54:04,839
Speaker 3: and he starts to recite a poem. He says, up

1036
00:54:04,880 --> 00:54:08,840
Speaker 3: the airy Mountain, down the rushing glen, we dare not

1037
00:54:09,000 --> 00:54:13,879
Speaker 3: go a hunting for fear of little meno ooh that's good.

1038
00:54:14,120 --> 00:54:16,080
Speaker 3: I was like, what is that? And I looked it up.

1039
00:54:16,160 --> 00:54:18,600
Speaker 3: This is a real poem. It's from a poem called

1040
00:54:18,640 --> 00:54:22,760
Speaker 3: the Fairies by William Allingham. And it's not the whole poem.

1041
00:54:22,800 --> 00:54:26,040
Speaker 3: There's a bunch more. It's about fairies, it's about the

1042
00:54:26,040 --> 00:54:30,160
Speaker 3: good folk. And this a wonderful little tone setter there,

1043
00:54:30,200 --> 00:54:34,719
Speaker 3: because it doesn't fit the tone of the candyman Can song.

1044
00:54:34,800 --> 00:54:37,000
Speaker 3: Suddenly it's quite spooky in this movie.

1045
00:54:37,280 --> 00:54:39,640
Speaker 1: Yeah, yeah, this is this. That's a very spooky tone.

1046
00:54:39,719 --> 00:54:41,719
Speaker 1: I also don't remember this from when I would watch

1047
00:54:41,760 --> 00:54:44,799
Speaker 1: this film as a kid, but you know already it's

1048
00:54:44,840 --> 00:54:47,920
Speaker 1: like we have a mystery in place. Nobody's going in

1049
00:54:47,960 --> 00:54:51,799
Speaker 1: and nobody's coming out of the walka chocolate factory because.

1050
00:54:51,520 --> 00:54:53,960
Speaker 3: He says that after the quote. Sorry I didn't mention that.

1051
00:54:54,000 --> 00:54:56,520
Speaker 1: But yeah, yeah, and then the and then this this

1052
00:54:56,680 --> 00:55:03,680
Speaker 1: hint of little men, very folk of some sort, you know,

1053
00:55:03,719 --> 00:55:05,600
Speaker 1: as we of course, we all know what this is

1054
00:55:05,600 --> 00:55:08,440
Speaker 1: going to be. He's talking about the Oopa lumpas, and

1055
00:55:09,239 --> 00:55:11,040
Speaker 1: our experience of the ople loop is is going to

1056
00:55:11,040 --> 00:55:14,400
Speaker 1: be a little different from this, but not completely removed

1057
00:55:14,400 --> 00:55:18,000
Speaker 1: from this. But I think this line helps firmly establish

1058
00:55:18,120 --> 00:55:20,719
Speaker 1: that the Oopleloopas in the film at least are meant

1059
00:55:20,719 --> 00:55:23,960
Speaker 1: to be seen more as something like a leprechaun or

1060
00:55:24,000 --> 00:55:28,920
Speaker 1: a fairy, as opposed to some sort of colonial fantasy

1061
00:55:29,760 --> 00:55:32,320
Speaker 1: involving pygmy humans or something.

1062
00:55:32,960 --> 00:55:35,320
Speaker 3: After this encounter where the guy quotes the poem and

1063
00:55:35,640 --> 00:55:38,080
Speaker 3: says nobody ever goes in or out of the factory,

1064
00:55:39,719 --> 00:55:42,320
Speaker 3: Charlie is clearly he's a bit rattled, and he runs

1065
00:55:42,320 --> 00:55:46,400
Speaker 3: back to his house. So the situation with the family

1066
00:55:46,520 --> 00:55:49,720
Speaker 3: is Charlie and his mom lived with Charlie's four grandparents,

1067
00:55:49,800 --> 00:55:53,120
Speaker 3: all of whom have been bedridden in the same bed

1068
00:55:53,320 --> 00:55:56,200
Speaker 3: for twenty years. So it's four people in the bed.

1069
00:55:56,320 --> 00:56:00,279
Speaker 3: They're kind of crisscrossed, and I think it's supposed to

1070
00:56:00,280 --> 00:56:03,520
Speaker 3: be funny, but I do remember that being a head

1071
00:56:03,520 --> 00:56:04,360
Speaker 3: scratcher for me.

1072
00:56:04,600 --> 00:56:07,200
Speaker 1: Yeah, that was a head scratcher for me, And I've

1073
00:56:07,239 --> 00:56:09,120
Speaker 1: kind of heard back and forth over it over the years,

1074
00:56:09,120 --> 00:56:11,600
Speaker 1: with you know, some definitely making the case that it's

1075
00:56:12,080 --> 00:56:14,520
Speaker 1: intentionally over the top and maybe it's supposed to be humorous.

1076
00:56:15,040 --> 00:56:17,560
Speaker 1: I've seen it ridiculed for being like a kind of

1077
00:56:17,640 --> 00:56:20,799
Speaker 1: over the top upper class person's idea of what poverty is.

1078
00:56:21,600 --> 00:56:24,000
Speaker 1: But at the same time, and I honestly don't remember

1079
00:56:24,000 --> 00:56:27,000
Speaker 1: who I was talking to, somebody was like reminiscing about

1080
00:56:27,000 --> 00:56:29,480
Speaker 1: growing up and they're like, oh, yeah, those were basically

1081
00:56:29,520 --> 00:56:32,239
Speaker 1: my grandparents, And I was just kind of shocked, bay

1082
00:56:32,280 --> 00:56:36,399
Speaker 1: because generally I've heard people criticize this scene as being

1083
00:56:36,480 --> 00:56:41,279
Speaker 1: you know, ridiculous, unfunny or and so forth. But then

1084
00:56:41,320 --> 00:56:44,800
Speaker 1: somebody was like, oh, yeah, yeah, that tracks, and I'm like, whoa, Okay,

1085
00:56:44,680 --> 00:56:46,319
Speaker 1: maybe I'm going that's out of touch.

1086
00:56:46,840 --> 00:56:50,399
Speaker 3: Well, Charlie's family, it's clear that they though they are

1087
00:56:50,520 --> 00:56:53,759
Speaker 3: very poor, this is a good home. These people love

1088
00:56:53,800 --> 00:56:55,800
Speaker 3: each other and take care of each other, and Charlie

1089
00:56:55,880 --> 00:56:58,680
Speaker 3: works very hard to help take care of his grandparents.

1090
00:56:59,400 --> 00:57:02,040
Speaker 3: So as a demonstration of that, when he gets home,

1091
00:57:02,320 --> 00:57:05,120
Speaker 3: he's like, hey, everybody, we are not just having cabbage

1092
00:57:05,120 --> 00:57:07,719
Speaker 3: water tonight. Seems like it's always cabbage water for them.

1093
00:57:08,040 --> 00:57:10,080
Speaker 3: He says, with the money I made at my delivery job,

1094
00:57:10,160 --> 00:57:12,440
Speaker 3: I bought us a loaf of bread, And so he

1095
00:57:12,480 --> 00:57:14,680
Speaker 3: pulls it out and it looks like a big pretzel bread.

1096
00:57:15,040 --> 00:57:19,480
Speaker 3: The family is overjoyed. We also learned that Grandpa Joe,

1097
00:57:19,120 --> 00:57:22,680
Speaker 3: the grandparent we get to know the best, has a

1098
00:57:22,760 --> 00:57:25,840
Speaker 3: regular pipe smoking habit, but he decides that he's gonna

1099
00:57:25,880 --> 00:57:28,520
Speaker 3: give it up, not for health reasons, but to save

1100
00:57:28,600 --> 00:57:33,440
Speaker 3: the family money on tobacco. Finally, yeah, yeah, I wonder

1101
00:57:33,440 --> 00:57:35,680
Speaker 3: how long has this been going on? How much have

1102
00:57:35,720 --> 00:57:38,560
Speaker 3: they sank into that tobacco that's not a get in

1103
00:57:38,600 --> 00:57:43,080
Speaker 3: bread till now. So later that night, Charlie tells Grandpa

1104
00:57:43,160 --> 00:57:46,000
Speaker 3: Joe about his experiences that day and about what the

1105
00:57:46,080 --> 00:57:50,280
Speaker 3: tinker told him outside the Walka factory, and Grandpa Joe

1106
00:57:50,360 --> 00:57:53,400
Speaker 3: says it's all true. He says, for years nobody has

1107
00:57:53,440 --> 00:57:56,720
Speaker 3: gone in or out of the factory. The deal is

1108
00:57:56,960 --> 00:58:00,840
Speaker 3: Waka closed it years ago because he was sieged with

1109
00:58:01,000 --> 00:58:06,840
Speaker 3: spies double agents from rival confectioners and chocolateears would dress

1110
00:58:06,880 --> 00:58:09,640
Speaker 3: as workers and sneak into his factory to try to

1111
00:58:09,680 --> 00:58:13,200
Speaker 3: steal his secret recipes. And the worst of these rivals

1112
00:58:13,280 --> 00:58:16,479
Speaker 3: was a man named Slugworth, and I was like, yeah,

1113
00:58:16,520 --> 00:58:18,680
Speaker 3: that's the name of a man born to operate a

1114
00:58:18,720 --> 00:58:21,640
Speaker 3: candy company. There are actually like slug Worth bars in

1115
00:58:21,720 --> 00:58:22,240
Speaker 3: this movie.

1116
00:58:23,400 --> 00:58:26,920
Speaker 1: I mean slug Worth bars presumably have their followers. They're like,

1117
00:58:27,040 --> 00:58:28,800
Speaker 1: uh yeah, They're like, do you want to walk a bar?

1118
00:58:28,840 --> 00:58:30,439
Speaker 1: And they're like, nope, I'm a slug Worth man.

1119
00:58:30,760 --> 00:58:31,840
Speaker 3: That's right, get me that.

1120
00:58:31,960 --> 00:58:32,160
Speaker 1: Yeah.

1121
00:58:32,200 --> 00:58:37,120
Speaker 4: It's like Cores. No offense to Cores.

1122
00:58:37,120 --> 00:58:39,919
Speaker 3: I have no opinion. I mean, as a second most

1123
00:58:39,960 --> 00:58:44,840
Speaker 3: well known brand, I guess. Anyway, Wonka closed the factory

1124
00:58:44,880 --> 00:58:47,440
Speaker 3: completely after he had all the spy problems, and then

1125
00:58:47,480 --> 00:58:51,000
Speaker 3: a few years after that, production resumed and the Wonka

1126
00:58:51,080 --> 00:58:54,360
Speaker 3: Company started putting out more delicious candies than ever before.

1127
00:58:54,680 --> 00:58:58,320
Speaker 3: And yet nobody has ever seen crossing the threshold. Nobody

1128
00:58:58,320 --> 00:59:01,320
Speaker 3: goes in, nobody comes out. It's just trucks leave full

1129
00:59:01,360 --> 00:59:04,880
Speaker 3: of candies, and that's it. Uh So, if the factory

1130
00:59:04,960 --> 00:59:07,280
Speaker 3: is always closed and nobody ever goes in or out,

1131
00:59:07,440 --> 00:59:09,880
Speaker 3: how does the candy get made? Who is working there?

1132
00:59:10,200 --> 00:59:13,160
Speaker 3: Grandpa Joe says that is the biggest mystery of all.

1133
00:59:13,360 --> 00:59:16,520
Speaker 1: So to be clear, we're left to imply also knowing

1134
00:59:16,640 --> 00:59:19,840
Speaker 1: what's going to happen, that since he couldn't trust any

1135
00:59:19,920 --> 00:59:23,720
Speaker 1: human workers, Wonka made a pact with beings perhaps from

1136
00:59:23,760 --> 00:59:27,560
Speaker 1: another dimension yea, to work in his in his factory,

1137
00:59:27,800 --> 00:59:31,240
Speaker 1: and clear and clearly I guess you know, due to

1138
00:59:31,360 --> 00:59:34,160
Speaker 1: some sort of special arrangement with the local and federal

1139
00:59:34,160 --> 00:59:37,240
Speaker 1: government of wherever this factory is has there are no

1140
00:59:37,280 --> 00:59:38,120
Speaker 1: health inspections.

1141
00:59:38,880 --> 00:59:42,280
Speaker 3: No, I don't know what's going on there, because if

1142
00:59:42,320 --> 00:59:44,720
Speaker 3: the inspectors came in, yeah, they'd see like a show

1143
00:59:44,760 --> 00:59:47,960
Speaker 3: goths stirring the big vat of the sugar syrup.

1144
00:59:48,280 --> 00:59:51,120
Speaker 1: It's like the funeral home in phantasm sort There are

1145
00:59:51,120 --> 00:59:52,920
Speaker 1: a number of ways it matches up.

1146
00:59:52,960 --> 00:59:57,320
Speaker 3: Actually, yeah, yeah, he's sending the He's sending the hard

1147
00:59:57,360 --> 00:59:59,840
Speaker 3: candies to another planet to be crushed under the gravity

1148
01:00:00,080 --> 01:00:01,360
Speaker 3: to a denser and denser ball.

1149
01:00:01,520 --> 01:00:03,920
Speaker 1: Oh that would be a Wonka would totally make a

1150
01:00:04,040 --> 01:00:05,040
Speaker 1: hard candy that way.

1151
01:00:05,200 --> 01:00:05,520
Speaker 4: Yes.

1152
01:00:06,360 --> 01:00:11,000
Speaker 3: So one day at school, word gets around that there's

1153
01:00:11,040 --> 01:00:14,200
Speaker 3: something new happening with the Wonka Factory, that Wonka is

1154
01:00:14,240 --> 01:00:17,240
Speaker 3: holding a contest where he's going to open his factory

1155
01:00:17,320 --> 01:00:19,880
Speaker 3: up to a tour for a tour, but not just

1156
01:00:19,920 --> 01:00:23,840
Speaker 3: to anyone, only to the holders of five golden tickets

1157
01:00:23,880 --> 01:00:27,600
Speaker 3: which have separately been hidden in random Wonka bars and

1158
01:00:27,680 --> 01:00:30,320
Speaker 3: send out into the world to be sold. Not only

1159
01:00:30,360 --> 01:00:32,640
Speaker 3: will the winners get a private tour of the candy works,

1160
01:00:32,840 --> 01:00:36,840
Speaker 3: they will each get a free lifetime supply of chocolate.

1161
01:00:37,760 --> 01:00:39,960
Speaker 3: And by the way, Charlie finds out about this in

1162
01:00:40,000 --> 01:00:42,880
Speaker 3: his chemistry class at school where the teacher there. I

1163
01:00:42,920 --> 01:00:44,919
Speaker 3: wish I don't know the actor's name, but I could

1164
01:00:44,960 --> 01:00:46,080
Speaker 3: flag him. He's funny.

1165
01:00:46,200 --> 01:00:47,240
Speaker 1: Oh yeah, he's very funny.

1166
01:00:47,680 --> 01:00:51,600
Speaker 3: He's like creating a wart remover in the scene. And

1167
01:00:52,080 --> 01:00:55,320
Speaker 3: he dismisses class when he finds out about the chocolate

1168
01:00:55,320 --> 01:00:57,440
Speaker 3: because I think presumably he wants to go buy all

1169
01:00:57,480 --> 01:00:59,200
Speaker 3: the Wonka bars he can find to try to get

1170
01:00:59,200 --> 01:00:59,960
Speaker 3: into the factory.

1171
01:01:00,080 --> 01:01:04,080
Speaker 1: Well, everybody wants this prize, and as the next I

1172
01:01:04,120 --> 01:01:06,240
Speaker 1: don't know. Then the next section of the film is

1173
01:01:06,280 --> 01:01:10,080
Speaker 1: going to be devoted to how this this almost breaks society.

1174
01:01:10,400 --> 01:01:14,800
Speaker 3: Yes, yeah, it's like this is it tests the limits

1175
01:01:14,880 --> 01:01:17,800
Speaker 3: of our civil society. That's right. So in the world

1176
01:01:17,880 --> 01:01:20,880
Speaker 3: of this movie, the Wonka contest is the top story

1177
01:01:20,920 --> 01:01:23,880
Speaker 3: on the nightly news. They run a bunch of footage

1178
01:01:23,920 --> 01:01:26,760
Speaker 3: from candy shops and grocery stores around the world showing

1179
01:01:26,880 --> 01:01:30,840
Speaker 3: Wonka madness, shopping carts just piled high with Wonka bars,

1180
01:01:31,160 --> 01:01:34,439
Speaker 3: crowds screaming at the candy man like it's Beatlemania. Yeah,

1181
01:01:34,640 --> 01:01:37,240
Speaker 3: give me the bars. There's also a shot of a

1182
01:01:37,280 --> 01:01:40,920
Speaker 3: Wonka delivery van unloading outside of the White House, and

1183
01:01:41,000 --> 01:01:43,040
Speaker 3: that made me laugh because at the time this movie

1184
01:01:43,200 --> 01:01:48,240
Speaker 3: was made, the president was Nixon so tricky, Dickstryanda. He's

1185
01:01:48,280 --> 01:01:50,360
Speaker 3: got the bars, he's unwrapping them. He's trying to get

1186
01:01:50,360 --> 01:01:51,160
Speaker 3: that golden ticket.

1187
01:01:51,360 --> 01:01:53,120
Speaker 1: He had a favorite. They all had a favorite candy.

1188
01:01:53,160 --> 01:01:56,600
Speaker 1: Didn't Nixon have a favorite candy? Was it Charleston Chew's

1189
01:01:56,640 --> 01:01:58,000
Speaker 1: Or is that just a futurama joke?

1190
01:01:58,040 --> 01:02:02,760
Speaker 4: I can't remember. Oh, I've got to go to that factory.

1191
01:02:04,000 --> 01:02:07,080
Speaker 1: So this section of the movie again probably more easily forgotten,

1192
01:02:07,200 --> 01:02:10,200
Speaker 1: especially by young viewers, over time, but it does an

1193
01:02:10,240 --> 01:02:14,080
Speaker 1: interesting job depict in just the massive international effect that

1194
01:02:14,120 --> 01:02:17,240
Speaker 1: the contest is having. I almost get like Black Mirror

1195
01:02:17,600 --> 01:02:19,600
Speaker 1: or shin Godzilla vibes here almost.

1196
01:02:19,800 --> 01:02:20,560
Speaker 4: Yeah.

1197
01:02:20,600 --> 01:02:23,440
Speaker 3: There's another funny scene to show how much everybody wants it,

1198
01:02:24,320 --> 01:02:27,640
Speaker 3: where there's like a guy who's at his therapist. Is

1199
01:02:27,640 --> 01:02:29,800
Speaker 3: a man lying on a couch talking to a therapist.

1200
01:02:30,040 --> 01:02:34,280
Speaker 3: The therapist is a stereotypically grim Freudian psychiatrist with a

1201
01:02:34,320 --> 01:02:38,280
Speaker 3: German accent, and the man describes a vivid dream in

1202
01:02:38,280 --> 01:02:42,280
Speaker 3: which an archangel appeared to him, and the psychiatrist is like,

1203
01:02:42,320 --> 01:02:45,560
Speaker 3: you recognize these are just delusions, it's nothing real. And

1204
01:02:45,600 --> 01:02:47,960
Speaker 3: then the man says, the archangel told him where he

1205
01:02:47,960 --> 01:02:50,600
Speaker 3: could find one of the golden tickets. And the guy

1206
01:02:50,640 --> 01:02:53,560
Speaker 3: starts going on about what the dream means, what it's

1207
01:02:53,560 --> 01:02:56,480
Speaker 3: telling him about his subconscious but then the therapist interrupts

1208
01:02:56,520 --> 01:02:58,120
Speaker 3: him and he's like, you've got to tell me what

1209
01:02:58,160 --> 01:03:05,040
Speaker 3: the archangel said. So who gets the tickets? Well, we

1210
01:03:05,160 --> 01:03:09,560
Speaker 3: start seeing news reports that, let us know, in Dusilheim, Germany,

1211
01:03:09,920 --> 01:03:11,920
Speaker 3: one ticket is found by the son of a butcher

1212
01:03:12,080 --> 01:03:16,240
Speaker 3: named Augustus Gloop. The newscasters are interviewing him while he's

1213
01:03:16,280 --> 01:03:19,040
Speaker 3: shoveling potato salad into his mouth at a beer hall.

1214
01:03:19,400 --> 01:03:21,440
Speaker 3: They say, Augustas, how does it make you feel to

1215
01:03:21,480 --> 01:03:24,960
Speaker 3: be the winner, and he says hungry, And then they

1216
01:03:25,640 --> 01:03:28,040
Speaker 3: try to interview his father, but his father eats the

1217
01:03:28,080 --> 01:03:32,600
Speaker 3: microphone and Augustas says, I feel sorry for mister Wonka.

1218
01:03:32,640 --> 01:03:34,840
Speaker 3: It's going to cost him a fortune. I think that

1219
01:03:35,000 --> 01:03:37,520
Speaker 3: presumably means the lifetime supply of chocolate. That's going to

1220
01:03:37,560 --> 01:03:38,400
Speaker 3: be a lot of chocolate.

1221
01:03:39,040 --> 01:03:42,040
Speaker 1: Yeah, now one might question the lifetime with a diet

1222
01:03:42,080 --> 01:03:45,880
Speaker 1: like those, but we'll leave that quip to Willy Wonka.

1223
01:03:46,280 --> 01:03:50,520
Speaker 3: Each segment that introduces a new child makes clear their

1224
01:03:50,640 --> 01:03:55,360
Speaker 3: characteristic sin, and Augustus's is gluttony. You know, they're saying, like,

1225
01:03:55,400 --> 01:03:56,479
Speaker 3: this kid eats too much.

1226
01:03:56,600 --> 01:03:57,800
Speaker 4: That's the that's the prod.

1227
01:03:57,880 --> 01:04:00,840
Speaker 3: Here now, somewhere in England, we're about to get a

1228
01:04:02,080 --> 01:04:07,080
Speaker 3: more diabolical child. Another ticket is claimed by Veruka Salt,

1229
01:04:07,240 --> 01:04:11,600
Speaker 3: the daughter of a rich peanut processing facility owner. Varuka

1230
01:04:11,680 --> 01:04:16,160
Speaker 3: is spoiled, manipulative, and vicious, and she bullies her parents

1231
01:04:16,160 --> 01:04:20,280
Speaker 3: into converting her father's workplace into a round the clock

1232
01:04:20,360 --> 01:04:24,040
Speaker 3: Wonka bar peeling operation where all of his workers are

1233
01:04:24,080 --> 01:04:26,920
Speaker 3: just like opening truckloads of bars, checking for tickets and

1234
01:04:26,960 --> 01:04:30,439
Speaker 3: then throwing the chocolate away. And we see we see

1235
01:04:30,440 --> 01:04:32,960
Speaker 3: her throw a tantrum because she was not the first

1236
01:04:33,120 --> 01:04:35,960
Speaker 3: child to obtain a ticket, and her father is like

1237
01:04:36,240 --> 01:04:39,080
Speaker 3: desperately trying to placate her, promising they will find a

1238
01:04:39,080 --> 01:04:43,000
Speaker 3: ticket soon, and eventually one of his workers does so

1239
01:04:43,080 --> 01:04:46,200
Speaker 3: the worker runs up and gives it to her. Varukas

1240
01:04:46,200 --> 01:04:49,200
Speaker 3: Sin is I think all of them she has like Wrath,

1241
01:04:49,440 --> 01:04:52,600
Speaker 3: Machiavelianism again, Dark Triad Child.

1242
01:04:52,920 --> 01:04:56,280
Speaker 1: Yeah, Varuka Salt is awful, But at the same time

1243
01:04:56,480 --> 01:04:58,600
Speaker 1: she's also kind of awesome because hey, she knows what

1244
01:04:58,640 --> 01:05:01,160
Speaker 1: she wants. Right, There's a reason there was a band

1245
01:05:01,200 --> 01:05:02,440
Speaker 1: called Rukasol Right.

1246
01:05:02,560 --> 01:05:05,200
Speaker 3: Oh yeah, yeah, yeah, I like them. I've got some

1247
01:05:05,280 --> 01:05:07,680
Speaker 3: of their songs on a playlist. I've got that is

1248
01:05:07,720 --> 01:05:09,560
Speaker 3: a song, seeither is that right?

1249
01:05:09,920 --> 01:05:12,680
Speaker 1: That sounds right? Yeah? Yeah. Oh. And then this scene

1250
01:05:12,720 --> 01:05:15,240
Speaker 1: where they're they're opening all the candy bars. This reminds

1251
01:05:15,280 --> 01:05:17,600
Speaker 1: me like Willie Walk is a film where I think

1252
01:05:17,600 --> 01:05:22,080
Speaker 1: there's so many things in it, lines, scenes, gags that

1253
01:05:22,280 --> 01:05:26,000
Speaker 1: it probably bubbles up in my brain on a regular

1254
01:05:26,040 --> 01:05:29,160
Speaker 1: basis more often than I than I usually acknowledge. But

1255
01:05:29,280 --> 01:05:32,400
Speaker 1: this is a scene with them working on an assembly

1256
01:05:32,480 --> 01:05:35,520
Speaker 1: line to open chocolate bars. I frequently think of this

1257
01:05:35,600 --> 01:05:39,720
Speaker 1: anytime I encounter some sort of a contest a consumerist,

1258
01:05:40,120 --> 01:05:41,720
Speaker 1: you know, contest where you got to buy a bunch

1259
01:05:41,760 --> 01:05:43,960
Speaker 1: of a product or open a bunch of a product.

1260
01:05:44,200 --> 01:05:46,160
Speaker 1: At least in the back of my mind, I'm seeing

1261
01:05:46,200 --> 01:05:49,840
Speaker 1: that that disassembly line in the peanut factory.

1262
01:05:49,640 --> 01:05:53,960
Speaker 3: Or let's be real, sometimes certain workplace directives kind of

1263
01:05:53,960 --> 01:05:56,600
Speaker 3: feel like, okay, we are now, we are now opening

1264
01:05:56,640 --> 01:05:57,720
Speaker 3: the chocolate bars too.

1265
01:05:57,840 --> 01:05:59,440
Speaker 1: Yeah.

1266
01:05:58,160 --> 01:06:02,600
Speaker 3: Yeah, not speaking of any particular employer, but you know,

1267
01:06:03,120 --> 01:06:15,040
Speaker 3: that's life sometimes. Yeah, all right. The next ticket is

1268
01:06:15,080 --> 01:06:20,360
Speaker 3: discovered in Miles City, Montana, by a child named Violet Beauregard,

1269
01:06:20,560 --> 01:06:23,280
Speaker 3: and Violet is the daughter of a used car dealer

1270
01:06:23,560 --> 01:06:26,960
Speaker 3: who tries to parlay the Golden Ticket media attention into

1271
01:06:27,000 --> 01:06:29,360
Speaker 3: a free ad for his dealership. It's like, come on down,

1272
01:06:29,920 --> 01:06:33,320
Speaker 3: get a great deal. Violet herself is we were sort

1273
01:06:33,320 --> 01:06:37,640
Speaker 3: of describing earlier. She is brash and impatient and extremely competitive,

1274
01:06:37,680 --> 01:06:40,280
Speaker 3: and she loves to chew gum. She claims to hold

1275
01:06:40,280 --> 01:06:42,720
Speaker 3: the world record for the longest time a single piece

1276
01:06:42,760 --> 01:06:45,360
Speaker 3: of gum has been chewed. She says that's three months,

1277
01:06:45,960 --> 01:06:48,360
Speaker 3: and she manages to keep chewing the same piece of

1278
01:06:48,360 --> 01:06:50,680
Speaker 3: gum for three months by sticking it behind her ear

1279
01:06:50,720 --> 01:06:54,919
Speaker 3: at meal times. Now, at first, I was like, wait,

1280
01:06:55,000 --> 01:06:58,760
Speaker 3: what is Violet sin She's just like too obnoxious, Like

1281
01:06:58,800 --> 01:07:02,960
Speaker 3: she's loud and and brash. But no, it's not the

1282
01:07:03,160 --> 01:07:05,480
Speaker 3: it's not that Actually, it's the gum, right.

1283
01:07:05,880 --> 01:07:08,240
Speaker 1: Yeah, yeah, it's the gum. That's what the Opalympas song

1284
01:07:08,320 --> 01:07:12,920
Speaker 1: is going to focus on exclusively, which seems more like

1285
01:07:12,920 --> 01:07:16,760
Speaker 1: like like the author's pet peeve here than anything. But

1286
01:07:16,760 --> 01:07:19,160
Speaker 1: but yeah, I think on top of that, she she

1287
01:07:19,280 --> 01:07:21,840
Speaker 1: is a loud mouth. She doesn't really take no for

1288
01:07:21,880 --> 01:07:24,920
Speaker 1: an answer. There's a lot of crossover, like we described

1289
01:07:25,000 --> 01:07:29,600
Speaker 1: with Veruka Salt, but she is quintessentially American. I don't

1290
01:07:29,600 --> 01:07:35,080
Speaker 1: know to what extent Veraruk Assault feels quintessentially British, but this,

1291
01:07:35,240 --> 01:07:38,120
Speaker 1: it feels like a fair amount of American satire in

1292
01:07:38,160 --> 01:07:39,840
Speaker 1: our presentation of Violet.

1293
01:07:39,880 --> 01:07:42,600
Speaker 3: Here, there's less class tangled up in the way Violet

1294
01:07:42,640 --> 01:07:47,640
Speaker 3: is portrayed. I mean, Veruka Salt is characteristically a spoiled, obnoxious,

1295
01:07:48,000 --> 01:07:52,560
Speaker 3: rich child, and Violet she's not like that. She's just

1296
01:07:52,680 --> 01:07:55,760
Speaker 3: like she's just two in your face. Yeah, she's poocy,

1297
01:07:55,840 --> 01:07:59,760
Speaker 3: she's kind of poochy. Yeah, yeah, to the extreme. Busted.

1298
01:08:01,440 --> 01:08:01,640
Speaker 4: Now.

1299
01:08:01,680 --> 01:08:04,680
Speaker 3: The last one is from Marble Falls, Arizona. This is

1300
01:08:04,680 --> 01:08:07,560
Speaker 3: a kid named Mike TV who dresses in a cowboy

1301
01:08:07,600 --> 01:08:11,120
Speaker 3: suit and carries a cap gun revolver. Mike spends every

1302
01:08:11,200 --> 01:08:14,840
Speaker 3: waking moment watching TV shows where people get shot, and

1303
01:08:15,000 --> 01:08:17,400
Speaker 3: he can't wait to get his hands on a real gun.

1304
01:08:17,600 --> 01:08:20,439
Speaker 3: He tells the news. I get the feeling this was

1305
01:08:20,479 --> 01:08:23,640
Speaker 3: a cuter and more amusing theme when the movie was

1306
01:08:23,640 --> 01:08:24,759
Speaker 3: made than it is now.

1307
01:08:25,680 --> 01:08:27,840
Speaker 1: Yeah. Yeah, yeah, yeah, I know what you mean. But

1308
01:08:29,120 --> 01:08:31,160
Speaker 1: it does seem to be the case though, that his

1309
01:08:31,200 --> 01:08:36,720
Speaker 1: TV consumption is tied up with over consumption of violent media. Yeah. Oh.

1310
01:08:36,800 --> 01:08:38,960
Speaker 3: Also, the one other thing is that each time we

1311
01:08:39,000 --> 01:08:41,920
Speaker 3: meet a child, we see a creepy looking guy with

1312
01:08:42,040 --> 01:08:45,519
Speaker 3: kind of tinted spectacles sneak in and start whispering something

1313
01:08:45,560 --> 01:08:48,200
Speaker 3: to the kid. Same guy each time. This will be

1314
01:08:48,320 --> 01:08:49,320
Speaker 3: our slug worth.

1315
01:08:49,840 --> 01:08:54,559
Speaker 1: Yeah yeah. The CEO of the rival company is coming

1316
01:08:54,640 --> 01:08:58,760
Speaker 1: up personally to pester the families and of course try

1317
01:08:58,760 --> 01:09:01,240
Speaker 1: and cut some sort of secret arrangement with him. Then

1318
01:09:01,280 --> 01:09:02,400
Speaker 1: we'll find out more about later.

1319
01:09:02,560 --> 01:09:05,439
Speaker 3: Now intercut with all this, we follow Charlie and his family.

1320
01:09:05,560 --> 01:09:08,479
Speaker 3: He's occasionally he will get a walk a bar like.

1321
01:09:08,520 --> 01:09:10,479
Speaker 3: His family gives him one for his birthday and they're

1322
01:09:10,640 --> 01:09:13,080
Speaker 3: very hopeful that it will have the Golden Ticket inside,

1323
01:09:13,120 --> 01:09:17,439
Speaker 3: but it doesn't. He's very sad about this, and there's

1324
01:09:17,560 --> 01:09:20,000
Speaker 3: even one point where he visits his mom at work

1325
01:09:20,080 --> 01:09:23,280
Speaker 3: and report. He reports his disappointment with the fact that

1326
01:09:23,320 --> 01:09:25,200
Speaker 3: he is not going to get to tour the factory,

1327
01:09:25,240 --> 01:09:28,160
Speaker 3: even though he believes that he wants it more than anyone,

1328
01:09:28,600 --> 01:09:31,120
Speaker 3: and his mom sings a song called Cheer Up Charlie

1329
01:09:31,240 --> 01:09:34,200
Speaker 3: about how he needs to you know, stay stay strong,

1330
01:09:34,560 --> 01:09:37,160
Speaker 3: beat beat, because he's sweet, he's a good boy and

1331
01:09:37,240 --> 01:09:38,760
Speaker 3: one day his luck will come.

1332
01:09:39,400 --> 01:09:42,200
Speaker 1: Not one of the better songs in the movie. So

1333
01:09:42,280 --> 01:09:43,160
Speaker 1: No Wonder didn't work.

1334
01:09:43,320 --> 01:09:46,600
Speaker 3: There's a whole subplot where there's a guy in Paraguay

1335
01:09:46,720 --> 01:09:49,719
Speaker 3: who claims he got the last ticket, but then he didn't.

1336
01:09:49,760 --> 01:09:50,960
Speaker 4: Really, it's just a fake.

1337
01:09:52,600 --> 01:09:55,400
Speaker 3: And anyway, on the way home from school one day,

1338
01:09:55,960 --> 01:09:58,960
Speaker 3: Charlie hears the story about how the last the last

1339
01:09:58,960 --> 01:10:02,519
Speaker 3: ticket didn't actually get found by the sky yet and

1340
01:10:02,600 --> 01:10:05,320
Speaker 3: so there's still one out there somewhere. So Charlie finds

1341
01:10:05,439 --> 01:10:07,880
Speaker 3: a coin in a sewer drain and uses it to

1342
01:10:07,920 --> 01:10:11,760
Speaker 3: buy a couple of chocolate bars from I believe from

1343
01:10:11,840 --> 01:10:15,240
Speaker 3: Bill's Candy. Shot goes back to Bill's eats one of

1344
01:10:15,240 --> 01:10:18,400
Speaker 3: them in the store too fast. Yes, yeah, yeah, he's

1345
01:10:18,439 --> 01:10:19,400
Speaker 3: just slamming that bar.

1346
01:10:20,439 --> 01:10:21,280
Speaker 4: Bill warns him.

1347
01:10:21,320 --> 01:10:23,839
Speaker 3: He's like, hey, you can't eat that much candy that fast,

1348
01:10:24,000 --> 01:10:26,439
Speaker 3: and you got Bill warning you, you know you really

1349
01:10:26,479 --> 01:10:27,160
Speaker 3: got a problem.

1350
01:10:27,400 --> 01:10:29,080
Speaker 1: Yeah.

1351
01:10:29,080 --> 01:10:31,360
Speaker 3: But the other one he takes home for Grandpa Joe,

1352
01:10:31,560 --> 01:10:34,040
Speaker 3: and on the way home he gets curious and he

1353
01:10:34,160 --> 01:10:36,519
Speaker 3: opens it and what do you know, there it is.

1354
01:10:36,600 --> 01:10:39,120
Speaker 3: There's the last ticket, golden ticket in his hand, and

1355
01:10:39,160 --> 01:10:42,760
Speaker 3: he is immediately swarmed by a mob of frenzied adults.

1356
01:10:43,080 --> 01:10:45,320
Speaker 3: They're like, look, look, this kid's got it, and some

1357
01:10:45,400 --> 01:10:47,160
Speaker 3: are kind of reaching at it, but he runs away

1358
01:10:47,200 --> 01:10:49,599
Speaker 3: and he takes the ticket home. On the way home,

1359
01:10:49,760 --> 01:10:53,800
Speaker 3: he is confronted by Arthur Slugworth, a rival candy man.

1360
01:10:54,439 --> 01:10:58,000
Speaker 3: Slugworth tells Charlie he has a proposition that he could

1361
01:10:58,040 --> 01:11:01,479
Speaker 3: make Charlie very rich. He says, Willie Walker has been

1362
01:11:01,520 --> 01:11:07,760
Speaker 3: developing a new invention called the Everlasting Gobstopper. If he succeeds,

1363
01:11:07,800 --> 01:11:11,559
Speaker 3: it will prove the ruin of Slugworth's business. All Charlie

1364
01:11:11,640 --> 01:11:15,479
Speaker 3: has to do is smuggle one Everlasting Gobstopper out of

1365
01:11:15,520 --> 01:11:17,600
Speaker 3: the factory and give it to slug Worth so he

1366
01:11:17,640 --> 01:11:20,639
Speaker 3: can discover the secret formula. And if he does that,

1367
01:11:21,000 --> 01:11:25,400
Speaker 3: he says, Charlie will get ten thousand of these, which

1368
01:11:25,400 --> 01:11:30,680
Speaker 3: are conspicuously unspecified paper bills, once again not being very

1369
01:11:30,680 --> 01:11:33,200
Speaker 3: clear about where this is set. But the gist is

1370
01:11:33,200 --> 01:11:35,439
Speaker 3: that his family's going to be rich now, no more

1371
01:11:35,479 --> 01:11:38,320
Speaker 3: poverty concerns. He'll make him rich if he just brings

1372
01:11:38,360 --> 01:11:39,840
Speaker 3: him the Gobstopper.

1373
01:11:39,760 --> 01:11:43,080
Speaker 1: All right, ten thousand marks, that's the offer.

1374
01:11:43,160 --> 01:11:46,960
Speaker 3: Ten thousand credits. Also, the slug Worth scene is made

1375
01:11:47,040 --> 01:11:51,160
Speaker 3: extra creepy by the way Slugworth's voice is dubbed. It

1376
01:11:51,200 --> 01:11:54,160
Speaker 3: does not perfectly match the speaking we see on the

1377
01:11:54,200 --> 01:11:57,759
Speaker 3: screen in multiple ways. It doesn't perfectly match the timing,

1378
01:11:58,439 --> 01:12:01,519
Speaker 3: and it just doesn't look like the voice of the

1379
01:12:01,560 --> 01:12:02,880
Speaker 3: guy who's playing this part.

1380
01:12:03,400 --> 01:12:06,400
Speaker 1: M Yeah, so it's like some sort of cosmic entity.

1381
01:12:06,720 --> 01:12:08,080
Speaker 1: It's trying to stop Wonka.

1382
01:12:08,320 --> 01:12:10,599
Speaker 3: So back home, Charlie shows the Golden Ticket to his

1383
01:12:10,640 --> 01:12:13,759
Speaker 3: family and Grandpa Joe is so overjoyed that he gets

1384
01:12:13,800 --> 01:12:15,920
Speaker 3: up out of bed for the first time in twenty years,

1385
01:12:16,000 --> 01:12:18,280
Speaker 3: and he sings a song about the Golden Ticket called

1386
01:12:18,400 --> 01:12:21,800
Speaker 3: I've Got a Golden Ticket. Now that he can walk again,

1387
01:12:21,920 --> 01:12:24,400
Speaker 3: it has decided that he's going to be charlie chaperone

1388
01:12:24,520 --> 01:12:27,200
Speaker 3: at the factory tour. So should we go straight to.

1389
01:12:27,160 --> 01:12:29,400
Speaker 1: The tour let's go to the tour. This is where

1390
01:12:29,439 --> 01:12:31,519
Speaker 1: things really begin to kick into high gear because this

1391
01:12:31,560 --> 01:12:32,880
Speaker 1: is where we're going to meet Willy Wonka.

1392
01:12:33,360 --> 01:12:37,280
Speaker 3: Outside the factory gates, a crowd gathers and the clock

1393
01:12:37,320 --> 01:12:40,479
Speaker 3: strikes ten. The front door opens, and then down a

1394
01:12:40,600 --> 01:12:43,920
Speaker 3: red carpet comes Willy Wonka. It is Geene Wilder in

1395
01:12:43,960 --> 01:12:46,479
Speaker 3: a purple coat and a top hat with a big

1396
01:12:46,560 --> 01:12:51,519
Speaker 3: olive green bow tie. He first hobbles slowly and walks

1397
01:12:51,520 --> 01:12:53,960
Speaker 3: with a cane, so his approach to the gate takes

1398
01:12:54,000 --> 01:12:57,559
Speaker 3: a long time. Rob Did you say what happens next

1399
01:12:57,720 --> 01:13:00,000
Speaker 3: was kept as a surprise for the kids in the scene.

1400
01:13:00,840 --> 01:13:02,680
Speaker 1: Yeah, that's that's what I read. Yeah, that this was

1401
01:13:02,720 --> 01:13:04,559
Speaker 1: one of this is one of the moments in the

1402
01:13:04,600 --> 01:13:07,960
Speaker 1: film where they had all or most of the children

1403
01:13:08,640 --> 01:13:10,439
Speaker 1: were going into this cold so they could get a

1404
01:13:10,840 --> 01:13:15,080
Speaker 1: more organic reaction. Yeah, so what happens, Well, he comes up. Yeah,

1405
01:13:15,080 --> 01:13:19,720
Speaker 1: he's doing this, uh, this interesting cane affectation, like he's

1406
01:13:19,760 --> 01:13:22,280
Speaker 1: limping up towards the gate and then he makes like

1407
01:13:22,320 --> 01:13:25,799
Speaker 1: he's going to just do a like a complete face plant,

1408
01:13:26,160 --> 01:13:29,000
Speaker 1: but it's a fake out fall and tumble rises to

1409
01:13:29,040 --> 01:13:35,400
Speaker 1: his feet. Thunderous applause Hey, Willy Wonka is here. Now.

1410
01:13:35,400 --> 01:13:38,920
Speaker 1: It is interesting that he is already manipulating everyone here

1411
01:13:38,960 --> 01:13:42,640
Speaker 1: in this moment and faking it. Yeah, but at the

1412
01:13:42,680 --> 01:13:46,040
Speaker 1: same time, you know, he greets them and it feels

1413
01:13:46,120 --> 01:13:48,000
Speaker 1: very heartfelt. This is the part where he tells them

1414
01:13:48,000 --> 01:13:49,679
Speaker 1: that he thinks everyone's going to have a good time,

1415
01:13:49,720 --> 01:13:52,760
Speaker 1: and like I said, I believe him. He meets each

1416
01:13:52,800 --> 01:13:55,800
Speaker 1: of the children, and he's already laying out a few

1417
01:13:55,840 --> 01:14:00,000
Speaker 1: singers here and there. But uh so we're already getting

1418
01:14:00,360 --> 01:14:03,080
Speaker 1: beginning to get a taste of the character of Willy Wonka,

1419
01:14:03,760 --> 01:14:08,439
Speaker 1: his aloofness, his wit, his charm. But yeah, also the zingers.

1420
01:14:08,920 --> 01:14:12,240
Speaker 3: So as we enter the factory, I'm not gonna narrate

1421
01:14:12,280 --> 01:14:14,920
Speaker 3: each room in order, one by one. Instead, maybe we

1422
01:14:14,920 --> 01:14:17,200
Speaker 3: can do a brief overview and then come back and

1423
01:14:17,200 --> 01:14:20,720
Speaker 3: talk about the highlights in some different parts. So the

1424
01:14:20,760 --> 01:14:23,360
Speaker 3: rest of the movie is a tour of the factory

1425
01:14:23,400 --> 01:14:27,080
Speaker 3: where Willy Wonka shows off a sequence of rooms containing

1426
01:14:27,120 --> 01:14:32,360
Speaker 3: his wonderful, magical inventions and products, including the chocolate Room

1427
01:14:32,600 --> 01:14:36,680
Speaker 3: more on that later, the inventing Room full of inventions

1428
01:14:36,760 --> 01:14:40,360
Speaker 3: like the the all important, everlasting gobstopper, of course, but

1429
01:14:40,400 --> 01:14:45,479
Speaker 3: then also the three course dinner, chewing gum yuck. The

1430
01:14:45,640 --> 01:14:49,000
Speaker 3: Fizzy Lifting Drink Room, in which is brewed a soda

1431
01:14:49,080 --> 01:14:51,720
Speaker 3: that causes you to defy gravity and fly up to

1432
01:14:51,800 --> 01:14:54,559
Speaker 3: the ceiling, even up into a big chop you up

1433
01:14:54,640 --> 01:14:58,160
Speaker 3: fan like it's a half life game. Yeah, yeah, The

1434
01:14:58,240 --> 01:15:01,680
Speaker 3: Golden Goose Room, where east lay golden eggs, the good

1435
01:15:01,720 --> 01:15:03,840
Speaker 3: eggs are kept and the bad ones are sent down

1436
01:15:03,880 --> 01:15:06,960
Speaker 3: a garbage choot. I think the golden eggs are chocolate.

1437
01:15:06,600 --> 01:15:08,120
Speaker 1: Golden eggs. They are chocolate.

1438
01:15:08,240 --> 01:15:11,720
Speaker 3: Yes, I think I'm to understand that this was a

1439
01:15:11,800 --> 01:15:13,960
Speaker 3: somewhat different room in the book that was like a

1440
01:15:14,040 --> 01:15:18,639
Speaker 3: nut room or something. And then the walka vision room,

1441
01:15:18,760 --> 01:15:21,360
Speaker 3: a Willy Wonka version of the telepods from the Fly,

1442
01:15:21,560 --> 01:15:24,840
Speaker 3: where objects are photographed by a huge camera and then

1443
01:15:24,880 --> 01:15:29,560
Speaker 3: somehow both teleported and miniaturized into a box across the room.

1444
01:15:29,880 --> 01:15:33,080
Speaker 1: And it's something about like you have to make a

1445
01:15:33,120 --> 01:15:35,519
Speaker 1: giant chocolate bar in order to shrink it down to

1446
01:15:35,560 --> 01:15:37,960
Speaker 1: make a normal sized chocolate bar. So the economics of

1447
01:15:37,960 --> 01:15:40,439
Speaker 1: the granted, it's still in the testing phase, and that's

1448
01:15:40,479 --> 01:15:44,040
Speaker 1: the thing about the Wonka company. They're continuing to innovate

1449
01:15:44,080 --> 01:15:47,600
Speaker 1: and try new things. But I'm not sure why this

1450
01:15:47,760 --> 01:15:51,240
Speaker 1: is even gonna eventually be practical. Maybe the idea is

1451
01:15:51,280 --> 01:15:53,320
Speaker 1: it's like all that flavor of a giant bar is

1452
01:15:53,360 --> 01:15:55,479
Speaker 1: concentrated into a small bar. I don't know.

1453
01:15:56,280 --> 01:16:00,200
Speaker 3: But then by analogy, all the flavor of a bad

1454
01:16:00,280 --> 01:16:03,360
Speaker 3: child with a tainted soul will now be concentrated into

1455
01:16:03,360 --> 01:16:05,679
Speaker 3: a smaller, miniaturized child with the tainted soul.

1456
01:16:05,800 --> 01:16:08,200
Speaker 1: Yes, that is the way it will work its way out.

1457
01:16:08,280 --> 01:16:11,120
Speaker 3: Yeah, So as the kids go through the factory, one

1458
01:16:11,160 --> 01:16:13,960
Speaker 3: by one, they are each sucked away into a bad

1459
01:16:14,040 --> 01:16:17,160
Speaker 3: place or bodily deformed as a result of their greed

1460
01:16:17,200 --> 01:16:21,480
Speaker 3: and bad manners, until only Charlie and Grandpa Joe are left.

1461
01:16:21,880 --> 01:16:25,160
Speaker 3: And then we proceed on to a sort of double twist,

1462
01:16:25,280 --> 01:16:28,880
Speaker 3: ending that maybe we'll save that for later. But some

1463
01:16:28,920 --> 01:16:31,800
Speaker 3: of the great imagery as they first come into the factory.

1464
01:16:32,520 --> 01:16:35,200
Speaker 3: One thing I love is the helping hands on the wall.

1465
01:16:35,280 --> 01:16:36,679
Speaker 3: I didn't remember this detail.

1466
01:16:36,960 --> 01:16:39,040
Speaker 1: I didn't remember this either, Yeah, but they're like, yeah,

1467
01:16:39,120 --> 01:16:41,120
Speaker 1: hands the golden I can't remember that.

1468
01:16:41,160 --> 01:16:44,479
Speaker 3: Yes, instead of coat hooks. So the people go, they

1469
01:16:44,479 --> 01:16:46,000
Speaker 3: go to hang their coats on the wall, and there

1470
01:16:46,000 --> 01:16:49,800
Speaker 3: are just these live hands painted gold that grab hold

1471
01:16:49,800 --> 01:16:52,720
Speaker 3: of your hat and your coat. And then also there

1472
01:16:52,800 --> 01:16:55,920
Speaker 3: is a great scene with a contract before the tour begins.

1473
01:16:55,920 --> 01:16:58,280
Speaker 3: Willie Wonka is going to force the children to sign

1474
01:16:58,320 --> 01:17:01,439
Speaker 3: a giant waiver in blazon on the wall, which is

1475
01:17:01,479 --> 01:17:05,519
Speaker 3: so vast that its fine print vanishes into nothing. I'm

1476
01:17:05,560 --> 01:17:08,400
Speaker 3: certain that this would not be enforceable in reality for

1477
01:17:08,479 --> 01:17:15,040
Speaker 3: multiple reasons. Mister Beauregard, Violet's father is wary, seemingly because

1478
01:17:15,080 --> 01:17:18,480
Speaker 3: he is familiar with tricking people into signing sketchy contracts

1479
01:17:18,479 --> 01:17:22,559
Speaker 3: at his dealership, but all of the children's sign and

1480
01:17:22,600 --> 01:17:24,920
Speaker 3: then from here, this is when we go on into

1481
01:17:25,040 --> 01:17:28,680
Speaker 3: the Chocolate Room, which is sort of the centerpiece sequence

1482
01:17:28,760 --> 01:17:29,400
Speaker 3: in the movie.

1483
01:17:30,000 --> 01:17:32,560
Speaker 4: This is like the main thing everybody remembers.

1484
01:17:33,040 --> 01:17:38,240
Speaker 1: Yeah, a giant, enclosed space that is like it's like

1485
01:17:38,280 --> 01:17:40,720
Speaker 1: the Garden of Eden except chocolate. You know, it is

1486
01:17:41,760 --> 01:17:46,519
Speaker 1: like a botanical garden except chocolate. It is a place

1487
01:17:46,560 --> 01:17:50,400
Speaker 1: of dreams and beauty. To quote Willy Wonk says, inside

1488
01:17:50,400 --> 01:17:52,840
Speaker 1: this room, all of my dreams become realities, and some

1489
01:17:52,880 --> 01:17:56,960
Speaker 1: of my realities become dreams. Which that's lovely, lovely line,

1490
01:17:57,920 --> 01:18:00,759
Speaker 1: but also the sort of line that Willy Wonker keeps

1491
01:18:00,840 --> 01:18:03,360
Speaker 1: utilizing where he does a little switcheroo you know.

1492
01:18:03,680 --> 01:18:07,200
Speaker 3: Yeah. So it's a huge indoor set made up like

1493
01:18:07,280 --> 01:18:11,479
Speaker 3: an outdoor candyland meadow with hills and valleys and a

1494
01:18:11,520 --> 01:18:16,200
Speaker 3: brook of flowing liquid chocolate. At first, somebody comments that

1495
01:18:16,880 --> 01:18:20,200
Speaker 3: I think it's mister salt. Verruca's dad is like, oh,

1496
01:18:20,360 --> 01:18:22,719
Speaker 3: you know, your river must be full of toxic waste

1497
01:18:22,840 --> 01:18:26,040
Speaker 3: due to the color. But Walka corrects them, it is

1498
01:18:26,080 --> 01:18:28,360
Speaker 3: not water. It's chocolate. It's supposed to look like that,

1499
01:18:29,000 --> 01:18:31,200
Speaker 3: and points out the chocolate waterfall and all that. But

1500
01:18:31,240 --> 01:18:34,479
Speaker 3: then also everything in this meadow is edible. As you're saying,

1501
01:18:34,520 --> 01:18:37,840
Speaker 3: all the flowers are edible. There are big mushrooms that

1502
01:18:37,880 --> 01:18:41,400
Speaker 3: are seemingly full of marshmallow cream. You can just walk

1503
01:18:41,439 --> 01:18:44,120
Speaker 3: through the walk through nature and pick up and eat

1504
01:18:44,200 --> 01:18:46,240
Speaker 3: everything you find, and it's all candy.

1505
01:18:46,720 --> 01:18:48,479
Speaker 1: Yeah. Yeah, he tells them you can you can eat it.

1506
01:18:48,600 --> 01:18:50,519
Speaker 1: You can eat anything in here, and boy do they

1507
01:18:50,520 --> 01:18:53,439
Speaker 1: do it. They just dig in. But along the way,

1508
01:18:53,439 --> 01:18:59,360
Speaker 1: of course, we get probably the best song on the soundtrack,

1509
01:18:59,600 --> 01:19:02,840
Speaker 1: a certainly one that I think has resonated well beyond

1510
01:19:02,840 --> 01:19:05,240
Speaker 1: the confines of the movie, and one that I believe

1511
01:19:05,320 --> 01:19:07,920
Speaker 1: is featured in the Timothy Shallomey film as well, which

1512
01:19:08,000 --> 01:19:11,400
Speaker 1: I also enjoyed. But the song, of course is pure

1513
01:19:11,400 --> 01:19:17,200
Speaker 1: imagination where Wonka is introducing you, is introducing us, inviting

1514
01:19:17,280 --> 01:19:21,400
Speaker 1: us into this sacred space of candy making. And it's

1515
01:19:21,479 --> 01:19:24,719
Speaker 1: just a great sequence we get, you know, Wonka's voice,

1516
01:19:24,720 --> 01:19:29,160
Speaker 1: Wonka's strange little dance moves as he like walks down

1517
01:19:29,160 --> 01:19:32,400
Speaker 1: the steps. All the little moments here are nice and

1518
01:19:32,120 --> 01:19:35,680
Speaker 1: and the candy is I don't know, varying levels of grotesque.

1519
01:19:36,040 --> 01:19:38,120
Speaker 1: But I also really like the bit where we have

1520
01:19:38,200 --> 01:19:42,800
Speaker 1: the buttercup teacup that Wonka himself drinks from and then

1521
01:19:42,800 --> 01:19:45,679
Speaker 1: begins to eat the cup. Yes, that's my favorite.

1522
01:19:45,880 --> 01:19:48,120
Speaker 3: But I'd say the main theme of the song is

1523
01:19:48,160 --> 01:19:52,000
Speaker 3: the freedom provided by living a life of the imagination.

1524
01:19:52,880 --> 01:19:54,759
Speaker 3: You know, there is no life, I know to compare

1525
01:19:54,800 --> 01:19:57,600
Speaker 3: with pure imagination. Living there, You'll be free if you

1526
01:19:57,680 --> 01:19:58,479
Speaker 3: truly wish to be.

1527
01:19:59,240 --> 01:20:03,640
Speaker 1: Yeah, beautiful song, love everything about it, And and then

1528
01:20:03,800 --> 01:20:05,760
Speaker 1: you know, we begin to learn more about about the

1529
01:20:05,840 --> 01:20:08,799
Speaker 1: room itself. The bit where he's talking with the description

1530
01:20:09,000 --> 01:20:12,000
Speaker 1: of the nature and purpose of the chocolate waterfall is brilliant.

1531
01:20:12,040 --> 01:20:13,280
Speaker 1: This is the only place in the world where they

1532
01:20:13,280 --> 01:20:18,120
Speaker 1: mix their chocolate by waterfall, and I realized watching this

1533
01:20:18,120 --> 01:20:20,960
Speaker 1: this is a scene I think about every single time

1534
01:20:21,040 --> 01:20:24,280
Speaker 1: I encounter an artificial waterfall, be it at a botanical garden,

1535
01:20:24,439 --> 01:20:27,280
Speaker 1: a mall, a mini golf course, you name it. If

1536
01:20:27,280 --> 01:20:30,600
Speaker 1: I see an artificial waterfall, I always think of this

1537
01:20:30,800 --> 01:20:32,000
Speaker 1: scene in Willy Wonka.

1538
01:20:32,160 --> 01:20:34,240
Speaker 3: This is also the scene where we meet the Oupa

1539
01:20:34,320 --> 01:20:37,360
Speaker 3: Lumpas for the first time. These are the workers in

1540
01:20:37,400 --> 01:20:41,400
Speaker 3: the factory who make all the chocolate, who are there

1541
01:20:41,439 --> 01:20:44,920
Speaker 3: seem to be powered by a combination of you know,

1542
01:20:45,160 --> 01:20:49,960
Speaker 3: can do spirit and industriousness, but also magic. Like are

1543
01:20:50,160 --> 01:20:50,959
Speaker 3: are they magical?

1544
01:20:51,000 --> 01:20:51,439
Speaker 4: I think so?

1545
01:20:52,400 --> 01:20:54,760
Speaker 1: Yeah. They're. Like I said, they really lean into the

1546
01:20:54,760 --> 01:20:57,640
Speaker 1: idea that they are from another world. They're more like leprechauns.

1547
01:20:57,680 --> 01:21:03,479
Speaker 1: They have orange skin. They they're also very emotionless. They're

1548
01:21:03,600 --> 01:21:07,040
Speaker 1: very grim in their demeanor. Not to say they're threatening,

1549
01:21:07,080 --> 01:21:10,439
Speaker 1: but they It's fitting that they sing so many songs

1550
01:21:11,080 --> 01:21:15,519
Speaker 1: in judgment of what is transpired, you know, they take

1551
01:21:15,560 --> 01:21:17,920
Speaker 1: no joy in it, though they are dancing and singing.

1552
01:21:18,160 --> 01:21:20,479
Speaker 1: They take no joy in it. But they present the

1553
01:21:20,560 --> 01:21:22,040
Speaker 1: facts as they see them.

1554
01:21:22,200 --> 01:21:25,960
Speaker 3: They are, in a way like Old Testament prophets, not

1555
01:21:26,200 --> 01:21:28,360
Speaker 3: you know, not the not the idea we have of

1556
01:21:28,479 --> 01:21:31,400
Speaker 3: prophet being someone who tells the future, but someone who

1557
01:21:32,240 --> 01:21:35,759
Speaker 3: channels the will of the Almighty and casting judgment on

1558
01:21:36,040 --> 01:21:37,639
Speaker 3: sin and injustice in the world.

1559
01:21:38,240 --> 01:21:39,800
Speaker 1: All right, So it's in here that we're going to

1560
01:21:39,840 --> 01:21:43,880
Speaker 1: get our first early elimination, and it's going to be

1561
01:21:43,920 --> 01:21:47,120
Speaker 1: Augustus Glue because what happens, and I have to stress,

1562
01:21:47,120 --> 01:21:49,439
Speaker 1: I always feel a lot of compassion for Augustus because

1563
01:21:49,840 --> 01:21:54,439
Speaker 1: we've established that his sin is gluttony and he's going

1564
01:21:54,479 --> 01:21:57,720
Speaker 1: to fall into the chocolate river because he's leaning over

1565
01:21:57,800 --> 01:22:00,599
Speaker 1: to drink from it. But wanka, where are the railings?

1566
01:22:00,760 --> 01:22:02,639
Speaker 1: And why didn't you warn them not to drink from

1567
01:22:02,640 --> 01:22:04,680
Speaker 1: the chocolate river? If it was forbidden, you should have

1568
01:22:04,880 --> 01:22:08,160
Speaker 1: like said that thou shalt all the what's the line

1569
01:22:08,160 --> 01:22:10,160
Speaker 1: from the the Old Testament, you know, like all the

1570
01:22:10,200 --> 01:22:13,200
Speaker 1: fruits of the of this room or for your pleasure,

1571
01:22:13,240 --> 01:22:14,400
Speaker 1: but not the chocolate river.

1572
01:22:14,560 --> 01:22:16,160
Speaker 3: I don't Yeah, I don't think he said that. I

1573
01:22:16,200 --> 01:22:19,240
Speaker 3: think he when they're going into the room, he's like, yeah,

1574
01:22:19,280 --> 01:22:20,479
Speaker 3: you can eat anything in here.

1575
01:22:20,520 --> 01:22:23,080
Speaker 1: That's what I thought. He said, yeah, yeah, remember that's

1576
01:22:23,120 --> 01:22:25,439
Speaker 1: what I heard. And then then he but he does say,

1577
01:22:25,520 --> 01:22:27,639
Speaker 1: please stop don't do that. You're not supposed to drink

1578
01:22:27,640 --> 01:22:30,680
Speaker 1: from the fountain. And then he falls in and then

1579
01:22:30,720 --> 01:22:33,240
Speaker 1: it gets it gets grimmer from that point.

1580
01:22:32,960 --> 01:22:35,360
Speaker 3: On, all right, So they say the suction's got him.

1581
01:22:35,439 --> 01:22:39,600
Speaker 3: Uh oh. And then there is a glass pipe that

1582
01:22:39,760 --> 01:22:42,599
Speaker 3: is leading up from the Chocolate River and they see

1583
01:22:42,640 --> 01:22:45,200
Speaker 3: a gostus gloop like gets sucked up into the pipe.

1584
01:22:45,200 --> 01:22:49,280
Speaker 3: And this this is like horrible because trying to imagine

1585
01:22:49,280 --> 01:22:52,160
Speaker 3: the reality of being sucked into a pipe is a

1586
01:22:52,439 --> 01:22:56,519
Speaker 3: is a nightmare. This is a terrible thing. But yeah,

1587
01:22:56,560 --> 01:22:58,080
Speaker 3: and this is just kind of like, Oh, he's gonna

1588
01:22:58,080 --> 01:23:00,200
Speaker 3: be okay. You know, he'll come out at the what

1589
01:23:00,240 --> 01:23:02,120
Speaker 3: did they say, there's another room where he'll come out,

1590
01:23:02,280 --> 01:23:03,240
Speaker 3: and they send his mom to.

1591
01:23:03,240 --> 01:23:03,760
Speaker 4: Go get him.

1592
01:23:04,080 --> 01:23:07,240
Speaker 1: Yeah, yeah, and you know Walka' is not too concerned.

1593
01:23:08,040 --> 01:23:11,000
Speaker 1: So one down, the rest still to go. And I

1594
01:23:11,040 --> 01:23:15,000
Speaker 1: believe this is where we bored the Wonkatania the tunnel

1595
01:23:15,040 --> 01:23:18,000
Speaker 1: boat ride, and this is just this is a boat

1596
01:23:18,120 --> 01:23:22,640
Speaker 1: ride through hell, such an amazing, darkly psychedelic sequence with

1597
01:23:22,840 --> 01:23:27,560
Speaker 1: while they're giving just an unhinged performance here musical performance.

1598
01:23:28,120 --> 01:23:31,080
Speaker 3: I remember, I don't know, many years back now, reading

1599
01:23:31,120 --> 01:23:35,080
Speaker 3: some article somebody wrote about like how insane this sequence

1600
01:23:35,200 --> 01:23:38,920
Speaker 3: is for a kid's movie. It is crazy and dark

1601
01:23:38,960 --> 01:23:42,240
Speaker 3: and has some weird background footage. It's like, while they're

1602
01:23:42,280 --> 01:23:45,679
Speaker 3: going down the he's singing the song and his eyes

1603
01:23:45,680 --> 01:23:47,519
Speaker 3: are going back and forth in this creepy way, and

1604
01:23:47,560 --> 01:23:49,960
Speaker 3: these lights are playing all over the place. But then

1605
01:23:50,040 --> 01:23:53,479
Speaker 3: in the background they're playing basically the tape from the Ring.

1606
01:23:54,479 --> 01:23:58,160
Speaker 1: Yes, Yeah, with like like centipede crawling across somebody's face,

1607
01:23:58,600 --> 01:24:02,799
Speaker 1: a flash of slug war and other nightmarish things happening

1608
01:24:02,840 --> 01:24:07,280
Speaker 1: and flashes. And meanwhile, yeah, he's reciting this poem, kind

1609
01:24:07,320 --> 01:24:10,679
Speaker 1: of singing this song, and he's getting more and more

1610
01:24:10,720 --> 01:24:13,439
Speaker 1: intense and unhinged as he's doing it. You know, not

1611
01:24:13,520 --> 01:24:15,680
Speaker 1: a speck of light is showing, so the danger must

1612
01:24:15,720 --> 01:24:18,680
Speaker 1: be growing. Are the fires of hell a glowing? Is

1613
01:24:18,720 --> 01:24:25,040
Speaker 1: the Grizzly Reaper mowing. It's getting really intense. People, children

1614
01:24:25,080 --> 01:24:28,800
Speaker 1: and adults are screaming, and then it ends and they've

1615
01:24:28,880 --> 01:24:30,400
Speaker 1: arrived at their destination, I think.

1616
01:24:30,439 --> 01:24:32,720
Speaker 3: So one of them says like, Walker, you got to

1617
01:24:32,760 --> 01:24:34,920
Speaker 3: stop this, and he's like, okay, here we are.

1618
01:24:35,280 --> 01:24:38,400
Speaker 1: Yeah, And I'm to understand this is another scene where

1619
01:24:38,760 --> 01:24:41,320
Speaker 1: the children were maybe not quite prepared and maybe the

1620
01:24:41,320 --> 01:24:43,400
Speaker 1: adult actors too for what they were going to see

1621
01:24:44,320 --> 01:24:47,280
Speaker 1: or experience. But this is where we arrive at the

1622
01:24:47,400 --> 01:24:50,280
Speaker 1: inventing room, and this is where they're making those Everlasting

1623
01:24:50,280 --> 01:24:52,320
Speaker 1: gobstoppers along as some other gags.

1624
01:24:52,840 --> 01:24:55,640
Speaker 3: Right, So, the deal with the Everlasting Gobstopper is it

1625
01:24:55,760 --> 01:24:59,559
Speaker 3: is a candy, a hard candy that you suck. Normally,

1626
01:24:59,560 --> 01:25:01,840
Speaker 3: a gobs stopper would as you gradually suck at it

1627
01:25:01,920 --> 01:25:04,760
Speaker 3: disintegrates in your mouth and goes away. This one you

1628
01:25:04,800 --> 01:25:07,800
Speaker 3: can suck forever and it will never go away. I

1629
01:25:07,840 --> 01:25:11,240
Speaker 3: don't know how great that would actually be. Ye, you know,

1630
01:25:11,360 --> 01:25:13,719
Speaker 3: do you want to have this candy in your mouth forever?

1631
01:25:14,560 --> 01:25:16,519
Speaker 1: Yeah? Well, I think slug Worth is approaching it like,

1632
01:25:16,560 --> 01:25:18,479
Speaker 1: if you sell them this one candy, they'll never buy

1633
01:25:18,520 --> 01:25:21,920
Speaker 1: candy again. But on the other hand, it's kind of

1634
01:25:21,960 --> 01:25:24,960
Speaker 1: like water bottles and children. Like Joe, you're not at

1635
01:25:24,960 --> 01:25:27,439
Speaker 1: this point yet with your child, but don't fool yourself

1636
01:25:27,439 --> 01:25:30,000
Speaker 1: into thinking you're buying this child one water bottle. You

1637
01:25:30,000 --> 01:25:32,679
Speaker 1: will buy them so many water bottles and they will

1638
01:25:32,720 --> 01:25:35,080
Speaker 1: lose them all. The same would be true of the

1639
01:25:35,080 --> 01:25:39,519
Speaker 1: Everlasting Gobstopper. These kids are going to lose one a week.

1640
01:25:39,560 --> 01:25:42,040
Speaker 3: We've already got several and we keep losing them in

1641
01:25:42,120 --> 01:25:42,599
Speaker 3: the house.

1642
01:25:43,320 --> 01:25:44,800
Speaker 1: There you go, okay, you do have a taste of it.

1643
01:25:44,960 --> 01:25:47,960
Speaker 3: Yeah, where's the cat bus water bottle? I don't know

1644
01:25:48,280 --> 01:25:50,960
Speaker 3: where's Then we'll go get the Totoro water bottle.

1645
01:25:51,000 --> 01:25:53,559
Speaker 1: Okay, yeah, yeah, and once they start leaving the house, yeah,

1646
01:25:53,600 --> 01:25:55,760
Speaker 1: forget about it. Oh but this is also where we

1647
01:25:55,800 --> 01:25:58,640
Speaker 1: have the multi coarse meal gum.

1648
01:25:58,920 --> 01:26:01,960
Speaker 3: But anyway, some of the gobstoppers, He's like, you got

1649
01:26:01,960 --> 01:26:04,519
Speaker 3: to be very careful because you can never share this

1650
01:26:04,600 --> 01:26:07,000
Speaker 3: with anybody, only keep it for yourself. And we've seen

1651
01:26:07,040 --> 01:26:09,040
Speaker 3: slug Worth talk to all these kids, so we just

1652
01:26:09,120 --> 01:26:12,040
Speaker 3: know all of them or they're dying to give this

1653
01:26:12,080 --> 01:26:13,800
Speaker 3: thing to slug Worth as soon as they get out

1654
01:26:13,800 --> 01:26:16,080
Speaker 3: of there and get the money. Though, Does Ruka Salt

1655
01:26:16,120 --> 01:26:18,800
Speaker 3: need it? She's rich anyway, Yeah, yeah, I don't know

1656
01:26:18,800 --> 01:26:22,000
Speaker 3: what her motivations are, necessarily just pure treachery for its

1657
01:26:22,040 --> 01:26:22,519
Speaker 3: own sake.

1658
01:26:22,720 --> 01:26:26,040
Speaker 1: Yeah. In fact, it seems like she would want to

1659
01:26:26,120 --> 01:26:28,599
Speaker 1: keep it because it's hers right. She wants it all,

1660
01:26:28,680 --> 01:26:30,640
Speaker 1: as we will learn in song later on.

1661
01:26:39,920 --> 01:26:43,800
Speaker 3: But here we get another elimination that's right, and it

1662
01:26:43,880 --> 01:26:47,080
Speaker 3: is based on an invention that I mentioned earlier, the

1663
01:26:47,200 --> 01:26:51,880
Speaker 3: three course dinner chewing gum which he gives to Violet

1664
01:26:51,920 --> 01:26:53,759
Speaker 3: Beauregard to taste.

1665
01:26:54,200 --> 01:26:55,600
Speaker 1: No, no, he just snatches it.

1666
01:26:55,640 --> 01:26:58,360
Speaker 3: That's right. Yeah, she grabs it. That's right, because she's

1667
01:26:58,360 --> 01:27:01,439
Speaker 3: being greedy. He doesn't tell her it's ready yet. They're

1668
01:27:01,479 --> 01:27:03,640
Speaker 3: still experimenting on it, but she's like, give it to me,

1669
01:27:03,880 --> 01:27:06,960
Speaker 3: puts it in her mouth, and it The first course

1670
01:27:07,160 --> 01:27:09,760
Speaker 3: is tomato soup, and it tastes like tomato soup. She says,

1671
01:27:09,760 --> 01:27:12,760
Speaker 3: it feels like tomato soup going down your throat. I'm like, oh,

1672
01:27:12,840 --> 01:27:14,040
Speaker 3: what kind of gum is that?

1673
01:27:15,760 --> 01:27:18,160
Speaker 1: But you said you like savory stuff more as a kid,

1674
01:27:18,280 --> 01:27:21,200
Speaker 1: so you know this is for the savory kids.

1675
01:27:21,240 --> 01:27:24,120
Speaker 3: Should gum ever feel like it's going down your throat?

1676
01:27:25,960 --> 01:27:27,120
Speaker 1: Maybe not? Okay?

1677
01:27:27,160 --> 01:27:29,760
Speaker 3: So the second course is roast beef, and then the

1678
01:27:29,800 --> 01:27:33,879
Speaker 3: third court the dessert is blueberry pie. But uh oh,

1679
01:27:34,000 --> 01:27:36,840
Speaker 3: when she gets to the dessert course, she starts turning

1680
01:27:36,840 --> 01:27:40,040
Speaker 3: blue and then puffs up like that guy in Big

1681
01:27:40,080 --> 01:27:43,840
Speaker 3: Trouble in Little China, and then she's a blueberry now.

1682
01:27:43,920 --> 01:27:47,120
Speaker 3: And of course Willie Wonk is like, yeah, blueberries, they

1683
01:27:47,200 --> 01:27:48,840
Speaker 3: always turn into blueberries.

1684
01:27:49,000 --> 01:27:52,559
Speaker 1: Their DNA always fuses with blueberries during the late last

1685
01:27:52,600 --> 01:27:56,160
Speaker 1: stage of the gum and there's nothing to be done

1686
01:27:56,240 --> 01:27:58,720
Speaker 1: we learned, except that she needs to be juiced. That's

1687
01:27:58,760 --> 01:28:01,360
Speaker 1: her solution, that's the cure. So they roll her out

1688
01:28:01,400 --> 01:28:04,639
Speaker 1: of there and with Dad following close behind, and we.

1689
01:28:04,600 --> 01:28:07,320
Speaker 3: Get another ooplopa song. Did we mention last time that

1690
01:28:07,360 --> 01:28:10,400
Speaker 3: the Oopeloopa's judgment of augustas gloop came in the form

1691
01:28:10,439 --> 01:28:10,960
Speaker 3: of a song.

1692
01:28:11,400 --> 01:28:14,439
Speaker 1: Yes, that was largely based on fat shaming. It was

1693
01:28:14,520 --> 01:28:18,040
Speaker 1: mostly about how he was overweight, which again that's another reason.

1694
01:28:18,080 --> 01:28:20,720
Speaker 1: I'm like, come on, now, we established he's a bit

1695
01:28:20,720 --> 01:28:23,200
Speaker 1: of a glutton, but how much of that can he help,

1696
01:28:23,280 --> 01:28:25,880
Speaker 1: you know, as far as his weight is concerned.

1697
01:28:25,720 --> 01:28:28,320
Speaker 3: This case, They're like, they're going after her with the

1698
01:28:28,360 --> 01:28:31,720
Speaker 3: Umploopa song for chewing gum. But I don't think it's

1699
01:28:31,800 --> 01:28:34,400
Speaker 3: the fact that she choose gum that was the problem.

1700
01:28:34,439 --> 01:28:36,559
Speaker 3: It was that she was told not to chew this

1701
01:28:36,640 --> 01:28:37,919
Speaker 3: gum and she did anyway.

1702
01:28:38,200 --> 01:28:41,479
Speaker 1: Yeah, but that's all the Oplompa song fixates on gum.

1703
01:28:41,560 --> 01:28:43,439
Speaker 1: Chewing's fine when it's done once in a while. It

1704
01:28:43,479 --> 01:28:46,360
Speaker 1: stops you from smoking and brightens your smile, which sounds

1705
01:28:46,400 --> 01:28:49,679
Speaker 1: pretty good. But then it continues, but it's repulsive, revolting

1706
01:28:49,680 --> 01:28:52,479
Speaker 1: and wrong, chewing and chewing all day long the way

1707
01:28:52,520 --> 01:28:55,920
Speaker 1: a cow does. And I don't know, I think they

1708
01:28:56,320 --> 01:29:01,720
Speaker 1: are worse things the way does. At least they're not smoking, right,

1709
01:29:01,920 --> 01:29:03,880
Speaker 1: come on, Olympus, Yeah, I.

1710
01:29:04,240 --> 01:29:06,040
Speaker 3: Think the op Olympus. They get one in on her

1711
01:29:06,080 --> 01:29:07,040
Speaker 3: here it's a sick burn.

1712
01:29:07,439 --> 01:29:12,679
Speaker 1: Yeah, But now it's time to go to the goose room, right,

1713
01:29:12,760 --> 01:29:14,639
Speaker 1: the right, the golden egg room.

1714
01:29:14,800 --> 01:29:16,120
Speaker 3: Well, I don't know if we're doing these in the

1715
01:29:16,160 --> 01:29:16,639
Speaker 3: right order.

1716
01:29:17,080 --> 01:29:20,719
Speaker 1: We may have missed. Okay, so the lifting room occurs

1717
01:29:20,720 --> 01:29:21,280
Speaker 1: at some point.

1718
01:29:21,840 --> 01:29:23,880
Speaker 3: Let's talk about the fizzy lifting drinking room. I think

1719
01:29:23,880 --> 01:29:25,320
Speaker 3: that probably comes in here anyway.

1720
01:29:25,920 --> 01:29:26,040
Speaker 1: Uh.

1721
01:29:26,200 --> 01:29:28,960
Speaker 3: So they're taken to this room where there is a

1722
01:29:29,080 --> 01:29:33,600
Speaker 3: soda that Wonka makes that will allow you to defy gravity.

1723
01:29:33,880 --> 01:29:36,160
Speaker 3: He tells them not to drink it, but after everybody

1724
01:29:36,240 --> 01:29:38,559
Speaker 3: else leaves the room, Grandpa Joe is like, come on,

1725
01:29:38,640 --> 01:29:43,000
Speaker 3: let's break the rules. Grandpa Joe convinces Charlie to drink some,

1726
01:29:43,160 --> 01:29:45,559
Speaker 3: and he drinks some too, and then they start floating

1727
01:29:45,640 --> 01:29:47,880
Speaker 3: up towards the ceiling where there is a giant fan

1728
01:29:48,840 --> 01:29:51,240
Speaker 3: like in you know earlier, I said half life, but

1729
01:29:51,280 --> 01:29:53,040
Speaker 3: it's like Highlander two.

1730
01:29:53,120 --> 01:29:55,000
Speaker 1: Quick is exactly Islander two.

1731
01:29:54,880 --> 01:29:57,920
Speaker 3: Islander two, the quickening. They're going to be death by fan,

1732
01:29:58,479 --> 01:30:04,519
Speaker 3: but whereas Connery defeated the fan by saying, most people

1733
01:30:04,520 --> 01:30:07,400
Speaker 3: have a full measure of life, but most people watch

1734
01:30:07,439 --> 01:30:09,640
Speaker 3: it slowly drip away. But if you can sum it

1735
01:30:09,640 --> 01:30:11,560
Speaker 3: it all up at one time, in one place, you

1736
01:30:11,560 --> 01:30:15,160
Speaker 3: can accomplish something glorious. In this case, they defeat the

1737
01:30:15,200 --> 01:30:18,960
Speaker 3: fan by burping. Yes, so they burp out the gases

1738
01:30:19,000 --> 01:30:21,840
Speaker 3: produced by the fizzy lifting drink and slowly descend back

1739
01:30:21,840 --> 01:30:24,639
Speaker 3: to the floor, and then they're able to rejoin the group.

1740
01:30:25,040 --> 01:30:27,800
Speaker 1: Yeah, they catch it in the nick of time. Eventually, though,

1741
01:30:27,800 --> 01:30:29,680
Speaker 1: we end up in that goose room. And this is

1742
01:30:30,040 --> 01:30:31,880
Speaker 1: this is where you were talking about this earlier. The

1743
01:30:31,920 --> 01:30:37,280
Speaker 1: geese are these are Easter geese laying giant chocolate Easter eggs,

1744
01:30:37,400 --> 01:30:39,960
Speaker 1: but they don't know that it's not Easter because walk

1745
01:30:40,080 --> 01:30:43,599
Speaker 1: is trying to get ahead of the Easter season. And

1746
01:30:43,640 --> 01:30:45,960
Speaker 1: I'm and then yeah, they're wrapped in gold foil, and

1747
01:30:46,000 --> 01:30:48,519
Speaker 1: you just have giant chocolate Easter eggs, which I'm not

1748
01:30:48,520 --> 01:30:50,880
Speaker 1: sure what the market is for these exactly. They don't

1749
01:30:50,920 --> 01:30:53,800
Speaker 1: seem to be processed any further. But I never got

1750
01:30:53,840 --> 01:30:56,719
Speaker 1: a giant chocolate easter egg in my Easter basket.

1751
01:30:57,160 --> 01:31:01,080
Speaker 3: I don't think I did either. So Puka Salt doesn't

1752
01:31:01,200 --> 01:31:03,840
Speaker 3: just want candy. She wants a golden goose. She wants

1753
01:31:03,880 --> 01:31:06,840
Speaker 3: to take a goose home herself. She's like, Daddy, buy

1754
01:31:06,880 --> 01:31:11,479
Speaker 3: me a goose, and her dad obeys as he always does,

1755
01:31:11,520 --> 01:31:13,200
Speaker 3: and he's like, all right, Walk. He gets out of

1756
01:31:13,200 --> 01:31:15,880
Speaker 3: his check book, how much for the goose, and walk

1757
01:31:16,000 --> 01:31:19,600
Speaker 3: says they're not for sale. Oh Veruka Salt will not

1758
01:31:19,720 --> 01:31:22,800
Speaker 3: be denied, so she starts throwing a tantrum. Does she

1759
01:31:22,840 --> 01:31:26,479
Speaker 3: sing a song here? Yes? Not only does she sing

1760
01:31:26,479 --> 01:31:27,960
Speaker 3: a song, she sings one of the best songs in

1761
01:31:28,000 --> 01:31:31,519
Speaker 3: the film. This is the I want the world, I

1762
01:31:31,560 --> 01:31:34,600
Speaker 3: want the whole world. Yeah, I want to lock it

1763
01:31:34,640 --> 01:31:36,960
Speaker 3: all up in my pocket. It's my bar of chocolate.

1764
01:31:37,040 --> 01:31:39,240
Speaker 3: Give it to me now. But at the end of

1765
01:31:39,280 --> 01:31:42,759
Speaker 3: the song we established there there's like a little mechanism

1766
01:31:42,840 --> 01:31:45,120
Speaker 3: where when the geese lay a golden egg, it rolls

1767
01:31:45,200 --> 01:31:47,760
Speaker 3: down onto a scale that decides if it's a good

1768
01:31:47,760 --> 01:31:50,080
Speaker 3: egg or a bad egg. Good eggs or kept bad

1769
01:31:50,120 --> 01:31:53,320
Speaker 3: eggs go down the chute. Veruka climbs up onto the

1770
01:31:53,320 --> 01:31:56,760
Speaker 3: scale and oh it says she's a bad egg and

1771
01:31:57,600 --> 01:32:00,800
Speaker 3: goes straight down the chuote. And then the question is, well,

1772
01:32:00,880 --> 01:32:03,360
Speaker 3: let's see half of the shoots go into the furnace

1773
01:32:03,479 --> 01:32:06,160
Speaker 3: and they're incinerated and the other half go somewhere else,

1774
01:32:06,160 --> 01:32:07,679
Speaker 3: So we'll hope it's one of the good ones.

1775
01:32:08,040 --> 01:32:11,320
Speaker 1: Yeah, Yeah, she has a fifty to fifty chance. And

1776
01:32:11,360 --> 01:32:14,200
Speaker 1: then the Opa Lumpus Shamee brigade shows up to place

1777
01:32:14,240 --> 01:32:17,320
Speaker 1: the blame firmly on bad parenting. Yeah, and of course

1778
01:32:17,400 --> 01:32:20,000
Speaker 1: makes all of us parents watching the show suddenly question

1779
01:32:20,120 --> 01:32:22,240
Speaker 1: all of the gifts that we've bought for our children.

1780
01:32:22,240 --> 01:32:24,960
Speaker 1: We're like, are we making a Veraruk assault? And I

1781
01:32:24,960 --> 01:32:27,160
Speaker 1: guess that's the intent, But this is the first case

1782
01:32:27,200 --> 01:32:29,360
Speaker 1: where the oop ple lompas have been like, no, not

1783
01:32:29,439 --> 01:32:31,840
Speaker 1: the kid's fault, this is all the parents.

1784
01:32:32,720 --> 01:32:35,080
Speaker 3: Which is funny because again this is clearly the worst

1785
01:32:35,120 --> 01:32:38,559
Speaker 3: of the kids. Yeah. So then we then we go

1786
01:32:38,680 --> 01:32:41,800
Speaker 3: to the Wonka Vision room that's the one with the

1787
01:32:42,360 --> 01:32:46,160
Speaker 3: fly telepods, where they've got a camera that does TV

1788
01:32:46,360 --> 01:32:50,240
Speaker 3: except its teleportation. This leads to the elimination of the

1789
01:32:50,320 --> 01:32:52,920
Speaker 3: last non Charlie Child there, Mike TV.

1790
01:32:53,360 --> 01:32:56,559
Speaker 1: That's right. Love the set here, love the costumes, Wonka

1791
01:32:56,640 --> 01:32:58,880
Speaker 1: and even in the opeloopas are wearing these you know,

1792
01:32:58,920 --> 01:33:03,000
Speaker 1: these solid white get ups with cool goggles's THX eleven

1793
01:33:03,080 --> 01:33:06,040
Speaker 1: thirty eight. Yeah, yeah, that's that's solid. That's exactly what

1794
01:33:06,080 --> 01:33:06,360
Speaker 1: it is.

1795
01:33:06,720 --> 01:33:10,080
Speaker 3: But uh oh but anyway, so they show he demonstrates

1796
01:33:10,160 --> 01:33:13,240
Speaker 3: the teleportation of a candy bar and then Mike TV

1797
01:33:13,400 --> 01:33:15,200
Speaker 3: is like, could that work on a person?

1798
01:33:16,080 --> 01:33:16,320
Speaker 4: Yeah?

1799
01:33:16,560 --> 01:33:19,360
Speaker 3: Wonka's like, ah, probably mayb Yeah.

1800
01:33:19,200 --> 01:33:22,920
Speaker 1: What Wonka convincingly seems to have not thought of this before,

1801
01:33:22,920 --> 01:33:24,799
Speaker 1: and it's like, I don't know, I guess it's possible.

1802
01:33:25,880 --> 01:33:28,599
Speaker 1: And then that's enough for my TV. He's like, give

1803
01:33:28,640 --> 01:33:31,720
Speaker 1: it to me, yeah, jumps up on the platform. Yeah.

1804
01:33:31,720 --> 01:33:34,960
Speaker 1: He's like, telepodny across the room. Please, I want to

1805
01:33:35,000 --> 01:33:37,360
Speaker 1: be the first baboon in the fly.

1806
01:33:37,600 --> 01:33:37,920
Speaker 3: Yeah.

1807
01:33:38,040 --> 01:33:41,320
Speaker 1: Yeah, And you know, and Wonka's you know, does the

1808
01:33:41,880 --> 01:33:44,680
Speaker 1: normal wait, stop, come back back kind of response, But

1809
01:33:44,720 --> 01:33:46,719
Speaker 1: the oop ba looop is alright already pulling the levers.

1810
01:33:46,760 --> 01:33:49,000
Speaker 1: They're like, all right, boss, We're doing it. They shoot

1811
01:33:49,080 --> 01:33:51,839
Speaker 1: him across the room and he is, of course reduced

1812
01:33:51,880 --> 01:33:56,400
Speaker 1: to a pocket sized version of himself. His mother is horrified.

1813
01:33:56,960 --> 01:33:59,840
Speaker 1: Mike seems really impressed by it. He's like, I've made history.

1814
01:33:59,840 --> 01:34:02,120
Speaker 1: I'm the first person in the history to be miniaturized.

1815
01:34:02,600 --> 01:34:05,040
Speaker 1: And then they realized, well, we're gonna have to take

1816
01:34:05,080 --> 01:34:06,880
Speaker 1: him to the taffy room to stretch him out to

1817
01:34:06,920 --> 01:34:07,840
Speaker 1: full size again.

1818
01:34:08,720 --> 01:34:12,200
Speaker 3: Once again, this is similar to the Violet thing. The

1819
01:34:12,240 --> 01:34:16,240
Speaker 3: ople Olumpa song here blames the problem on TV. But

1820
01:34:16,400 --> 01:34:19,120
Speaker 3: wasn't the problem that Mike TV just like wasn't paying

1821
01:34:19,120 --> 01:34:21,320
Speaker 3: attention to what he was told by adults.

1822
01:34:21,560 --> 01:34:21,760
Speaker 4: Yeah.

1823
01:34:21,840 --> 01:34:26,000
Speaker 1: Yeah, there seem to be other aspects of the primes

1824
01:34:26,040 --> 01:34:30,000
Speaker 1: then here. But the oupa Olumpas song here is tremendous.

1825
01:34:30,280 --> 01:34:32,760
Speaker 1: Like they come out, they're decked in those protective sci

1826
01:34:32,800 --> 01:34:37,240
Speaker 1: fi suits, and there seems to be an increased seriousness

1827
01:34:37,240 --> 01:34:39,040
Speaker 1: to this number. I don't know how much of it is,

1828
01:34:39,080 --> 01:34:41,479
Speaker 1: like the music or the movements, and I do want

1829
01:34:41,520 --> 01:34:43,720
Speaker 1: to stress all the performers playing oop olmpas in this

1830
01:34:43,760 --> 01:34:49,320
Speaker 1: are amazing, you know, the grim faced doing the dance routines,

1831
01:34:49,360 --> 01:34:52,439
Speaker 1: the different poses. Their poses are very serious here as well,

1832
01:34:52,960 --> 01:34:54,840
Speaker 1: and it is they're starting it up. It kind of

1833
01:34:54,880 --> 01:34:58,040
Speaker 1: feels like, Okay, this is the final judgment song. This

1834
01:34:58,080 --> 01:35:00,280
Speaker 1: one they're really going to cut down to like some

1835
01:35:00,479 --> 01:35:03,599
Speaker 1: prime sin. But again it is just don't watch too

1836
01:35:03,640 --> 01:35:05,240
Speaker 1: much television, which.

1837
01:35:05,200 --> 01:35:07,920
Speaker 3: Not bad advice. I mean, screen time concerns I think

1838
01:35:07,960 --> 01:35:11,000
Speaker 3: are real, but I think was not exactly the problem here.

1839
01:35:11,720 --> 01:35:15,639
Speaker 1: Yeah, yeah, I mean I get the you know, today

1840
01:35:15,640 --> 01:35:17,719
Speaker 1: we would talk about screen time and too much screen

1841
01:35:17,760 --> 01:35:20,559
Speaker 1: time and the perils of screen time, and I think

1842
01:35:20,600 --> 01:35:24,559
Speaker 1: some of that is legitimately manifested here as well, you know,

1843
01:35:24,600 --> 01:35:27,720
Speaker 1: with like the violence the consumption of violent media that

1844
01:35:27,800 --> 01:35:30,800
Speaker 1: Mike seems to be affected by. But the song is

1845
01:35:30,880 --> 01:35:34,519
Speaker 1: more like saying like, you should just read a book instead,

1846
01:35:34,760 --> 01:35:40,839
Speaker 1: where there's never violence or sexuality obviously, and also pointing

1847
01:35:40,840 --> 01:35:45,960
Speaker 1: out you'll get no commercials, very dramatically reminding you that

1848
01:35:46,000 --> 01:35:48,599
Speaker 1: if you read a book there will be no commercials.

1849
01:35:48,680 --> 01:35:50,679
Speaker 3: If you're lucky. I don't know what the e readers

1850
01:35:50,720 --> 01:35:52,280
Speaker 3: in the next few decades are going to be.

1851
01:35:52,320 --> 01:35:54,920
Speaker 1: Like, oh no, the e readers now you still you

1852
01:35:54,960 --> 01:35:56,519
Speaker 1: have to, or at least in my experience, I had

1853
01:35:56,520 --> 01:35:58,800
Speaker 1: to pay extra to get the advertisement off the front

1854
01:35:58,800 --> 01:36:02,840
Speaker 1: of it, but it was I gladly did it after

1855
01:36:02,880 --> 01:36:05,599
Speaker 1: a while. And you know, in books, I remember paperback books,

1856
01:36:05,600 --> 01:36:07,160
Speaker 1: you'd have adds in the back. There were commercials in

1857
01:36:07,160 --> 01:36:08,679
Speaker 1: the back for like other Stephen King books.

1858
01:36:08,720 --> 01:36:10,639
Speaker 3: Yeah, that's true. We talked about that recently.

1859
01:36:10,720 --> 01:36:13,639
Speaker 1: Yeah, and I think we were talking about this offline. Though.

1860
01:36:13,640 --> 01:36:16,320
Speaker 1: It is also ironic that so many people grew up

1861
01:36:16,360 --> 01:36:19,360
Speaker 1: watching Willie Wank in the Chocolate Factory on TV with

1862
01:36:19,439 --> 01:36:24,160
Speaker 1: the commercials. Yeah, with commercials. And this number is like saying, hey,

1863
01:36:24,640 --> 01:36:27,840
Speaker 1: don't watch television, don't watch commercials. You got better things

1864
01:36:27,880 --> 01:36:30,599
Speaker 1: to do, like watch Tales of the Unexpected this Spring

1865
01:36:30,600 --> 01:36:31,160
Speaker 1: on ITV.

1866
01:36:40,640 --> 01:36:42,479
Speaker 3: All right, So finally at the end, we come down

1867
01:36:42,520 --> 01:36:46,559
Speaker 3: to the only tour members left are Charlie and Grandpa Joe,

1868
01:36:47,520 --> 01:36:49,920
Speaker 3: and we get a double twist ending it's a bad

1869
01:36:50,000 --> 01:36:53,839
Speaker 3: twist followed by a good twist. So the bad twist

1870
01:36:53,960 --> 01:36:56,960
Speaker 3: is that Charlie and Grandpa Joe are they're sort of

1871
01:36:57,120 --> 01:37:00,840
Speaker 3: sent home. And then Grandpa Joe's huh, what about the

1872
01:37:00,880 --> 01:37:04,080
Speaker 3: lifetime supply of chocolate? And he barges into Walka's office

1873
01:37:04,560 --> 01:37:07,600
Speaker 3: and Walker says, you can't have your lifetime supply of

1874
01:37:07,640 --> 01:37:11,120
Speaker 3: chocolate because you violated the contract you signed on coming

1875
01:37:11,160 --> 01:37:13,200
Speaker 3: in which they didn't have time to read. And it

1876
01:37:13,240 --> 01:37:17,920
Speaker 3: was too small to again not enforceable, but he says,

1877
01:37:17,960 --> 01:37:20,439
Speaker 3: you know, I know that you drank the fizzy lifting drinks,

1878
01:37:20,479 --> 01:37:21,920
Speaker 3: which was Grandpa Joe's.

1879
01:37:21,600 --> 01:37:22,479
Speaker 4: Idea by the way.

1880
01:37:22,680 --> 01:37:25,439
Speaker 3: Yeah, I know that you did that, and therefore you

1881
01:37:25,520 --> 01:37:29,680
Speaker 3: get nothing. You lose. It's that famous monologue that's been

1882
01:37:29,720 --> 01:37:31,679
Speaker 3: clipped in a lot of things where he's just yelling

1883
01:37:31,760 --> 01:37:33,320
Speaker 3: you lose, good day, sir.

1884
01:37:34,760 --> 01:37:36,759
Speaker 1: This is a It's worth noting that this is another

1885
01:37:36,800 --> 01:37:39,360
Speaker 1: scene where apparently like they ran through the lines and

1886
01:37:39,400 --> 01:37:42,000
Speaker 1: they got it down, but then when they actually filmed it,

1887
01:37:42,920 --> 01:37:46,560
Speaker 1: this is a scene where Wilder definitely enhanced the intensity

1888
01:37:46,560 --> 01:37:50,680
Speaker 1: and the anger level of it all. So that's that's

1889
01:37:50,720 --> 01:37:52,759
Speaker 1: interesting to think about it because he does get very

1890
01:37:52,800 --> 01:37:56,240
Speaker 1: animated with the whole you know, he gets nothing. I said,

1891
01:37:56,280 --> 01:38:01,000
Speaker 1: good day sir. Yeah. Classic scene really a heartbreaking because now,

1892
01:38:01,000 --> 01:38:02,680
Speaker 1: I mean, not only is there the side of it

1893
01:38:02,720 --> 01:38:06,080
Speaker 1: where Charlie is losing, like at the end, like it

1894
01:38:06,080 --> 01:38:09,080
Speaker 1: seems like Charlie Buckett is being eliminated as well, but

1895
01:38:09,200 --> 01:38:12,439
Speaker 1: also like this whole room that Wonka is in, everything

1896
01:38:12,520 --> 01:38:15,320
Speaker 1: is like in half, Like there's a half of the

1897
01:38:15,400 --> 01:38:18,240
Speaker 1: head that is used like a mannequin head used as

1898
01:38:18,280 --> 01:38:20,920
Speaker 1: to breast his hat on. There's a half a safe

1899
01:38:21,360 --> 01:38:24,360
Speaker 1: everything is half there, and it's like this is the

1900
01:38:24,400 --> 01:38:27,519
Speaker 1: inner synctum of an incomplete person or one who is

1901
01:38:27,640 --> 01:38:30,880
Speaker 1: halfway through a journey. Hard to figure exactly what they

1902
01:38:30,880 --> 01:38:34,559
Speaker 1: were going for, but it resonates with a sadness. You know,

1903
01:38:34,680 --> 01:38:38,120
Speaker 1: you get the sense that that Wonka is also disappointed

1904
01:38:38,160 --> 01:38:39,360
Speaker 1: with the way things are going.

1905
01:38:39,600 --> 01:38:42,280
Speaker 3: So, having been rejected like this, they start to walk

1906
01:38:42,280 --> 01:38:44,880
Speaker 3: away and then Grandpa Joe's like, yeah, well, you know,

1907
01:38:44,920 --> 01:38:47,760
Speaker 3: we'll give slug Worth a a gobstopper and then we're

1908
01:38:47,760 --> 01:38:50,599
Speaker 3: gonna get some money. So Grandpa Joe once again the

1909
01:38:50,640 --> 01:38:55,320
Speaker 3: devil on Charlie's shoulder, but in multiple points. But Charlie

1910
01:38:55,439 --> 01:38:57,760
Speaker 3: is like, no, I gotta give it back to him

1911
01:38:57,800 --> 01:38:59,960
Speaker 3: because he's a good boy. So he takes it back

1912
01:39:00,240 --> 01:39:03,040
Speaker 3: to Willie Wonka, puts it on his desk and leaves

1913
01:39:03,080 --> 01:39:05,880
Speaker 3: it there, and then as they try to leave, there's

1914
01:39:05,920 --> 01:39:09,360
Speaker 3: another twist. Wonka's like, you did it, You did it.

1915
01:39:09,479 --> 01:39:11,680
Speaker 3: That's what I was hoping for this whole time. Just

1916
01:39:11,720 --> 01:39:15,719
Speaker 3: give me back this gobstopper, but I'm sorry again. Logical

1917
01:39:15,960 --> 01:39:18,280
Speaker 3: thing like what if Charlie was going to take it

1918
01:39:18,320 --> 01:39:20,320
Speaker 3: with him, but just keep it for himself and not

1919
01:39:20,360 --> 01:39:21,280
Speaker 3: give it to slug Worth.

1920
01:39:21,560 --> 01:39:24,040
Speaker 1: Yeah, at what point they would they decide? Okay, I

1921
01:39:24,040 --> 01:39:25,720
Speaker 1: guess he's not giving it to slug Worth. I guess

1922
01:39:25,800 --> 01:39:28,760
Speaker 1: Charlie wins now, or would it be it would be

1923
01:39:28,840 --> 01:39:31,719
Speaker 1: it would be like the Woman in the Snow legend

1924
01:39:31,760 --> 01:39:35,400
Speaker 1: from Japanese traditions, where years later Charlie is CEO and

1925
01:39:35,439 --> 01:39:38,760
Speaker 1: has been CEO of Wonka for ages, and then he

1926
01:39:38,880 --> 01:39:42,679
Speaker 1: finally lets somebody else hold the gobstopper and then loses

1927
01:39:42,720 --> 01:39:43,720
Speaker 1: everything magically.

1928
01:39:43,880 --> 01:39:44,400
Speaker 4: That's right.

1929
01:39:45,400 --> 01:39:49,520
Speaker 3: So yeah, so what happened is that was not really Slugworth,

1930
01:39:49,520 --> 01:39:51,519
Speaker 3: who was the creepy guy talking to all the kids

1931
01:39:51,600 --> 01:39:54,800
Speaker 3: that is an employee of Wonka's. And Wonka has been

1932
01:39:54,840 --> 01:39:58,720
Speaker 3: looking for someone to hand over his factory too. I

1933
01:39:58,720 --> 01:40:00,800
Speaker 3: don't know why exactly. He's done with it. He wants

1934
01:40:00,840 --> 01:40:02,760
Speaker 3: to hand it over to someone, and he had to

1935
01:40:02,800 --> 01:40:05,200
Speaker 3: find a child who is pure of heart, who could

1936
01:40:05,200 --> 01:40:09,760
Speaker 3: be trusted to, you know, receive this great burden, this

1937
01:40:09,800 --> 01:40:12,919
Speaker 3: great responsibility, and this was his selection process.

1938
01:40:13,520 --> 01:40:16,759
Speaker 1: Yeah. Yeah, Like he never outright comes out and says,

1939
01:40:16,880 --> 01:40:19,000
Speaker 1: you know, I'm going to die or says that like

1940
01:40:19,040 --> 01:40:21,679
Speaker 1: death is imminent for him. He does say I don't

1941
01:40:22,000 --> 01:40:23,960
Speaker 1: I'm not going to live forever and I don't really

1942
01:40:24,040 --> 01:40:27,639
Speaker 1: want to try, which is I think such a clever line,

1943
01:40:27,680 --> 01:40:30,680
Speaker 1: because you know, it kind of implies like all of

1944
01:40:30,720 --> 01:40:35,040
Speaker 1: the unnatural things a wizard or mad scientists might do

1945
01:40:35,320 --> 01:40:37,719
Speaker 1: to like grasp and hold on to life and hold

1946
01:40:37,760 --> 01:40:40,360
Speaker 1: on to riches instead of passing it on to the

1947
01:40:40,400 --> 01:40:43,719
Speaker 1: next generation. And also he's thinking about the oomple loopas

1948
01:40:43,760 --> 01:40:46,720
Speaker 1: as he reveals like he needs somebody with a childlike

1949
01:40:47,040 --> 01:40:49,720
Speaker 1: vision to keep running the company and to care for

1950
01:40:49,760 --> 01:40:52,320
Speaker 1: the umple lupas who I think we skimmed over this,

1951
01:40:52,400 --> 01:40:56,080
Speaker 1: but like they have adversaries in their homeland, like monsters

1952
01:40:56,080 --> 01:40:58,679
Speaker 1: that want to eat them and so forth. Yes, show

1953
01:40:58,720 --> 01:40:59,559
Speaker 1: gods and whatnot.

1954
01:41:00,320 --> 01:41:04,040
Speaker 3: All of this, by the way, explained in an elevator

1955
01:41:04,080 --> 01:41:05,160
Speaker 3: that's flying over the city.

1956
01:41:05,360 --> 01:41:06,040
Speaker 4: We didn't mention that.

1957
01:41:06,080 --> 01:41:08,840
Speaker 3: But again the big glass elevator. We're told that this

1958
01:41:08,920 --> 01:41:10,760
Speaker 3: is an elevator that not only goes up and down,

1959
01:41:10,800 --> 01:41:12,800
Speaker 3: it can go anywhere. So it goes through the roof

1960
01:41:12,840 --> 01:41:14,559
Speaker 3: and then flies around over the city.

1961
01:41:15,080 --> 01:41:18,320
Speaker 1: This is the perfect manifestation of the divine power of

1962
01:41:18,439 --> 01:41:23,080
Speaker 1: Willy Wonka. Like an elevator that is not limited by

1963
01:41:23,120 --> 01:41:26,919
Speaker 1: physical space. It can go everywhere, it can rise above everything.

1964
01:41:27,120 --> 01:41:31,160
Speaker 1: So happy ending, I guess, yeah, happy ending. Now, you know,

1965
01:41:31,200 --> 01:41:35,160
Speaker 1: there's a whole second book where they have adventures in

1966
01:41:35,360 --> 01:41:39,040
Speaker 1: the amazing glass elevator, but you know, that's another story,

1967
01:41:39,120 --> 01:41:41,200
Speaker 1: and I guess we'll be told another time. That's never

1968
01:41:41,240 --> 01:41:43,920
Speaker 1: been really adapted as far as I know, I'm not

1969
01:41:43,920 --> 01:41:45,720
Speaker 1: sure what kind of adventures they get up to in that.

1970
01:41:45,880 --> 01:41:48,000
Speaker 1: But for here, it's just it's clear that, like, yeah,

1971
01:41:48,040 --> 01:41:50,840
Speaker 1: happy ending has been achieved. Charlie is now the air

1972
01:41:50,920 --> 01:41:55,280
Speaker 1: apparent for the Wonka Company. Wonka is pleased with this.

1973
01:41:55,560 --> 01:41:57,439
Speaker 1: The oople loops are going to be okay, and Charlie's

1974
01:41:57,439 --> 01:42:00,760
Speaker 1: family is going to be provided for. And that's the end.

1975
01:42:01,160 --> 01:42:02,839
Speaker 1: Send you home, happy Yeah.

1976
01:42:03,080 --> 01:42:06,800
Speaker 3: Assuming Charlie wants to run a candy factory, It's funny

1977
01:42:06,880 --> 01:42:09,360
Speaker 3: he doesn't ask him beforehand, but it seems it seems

1978
01:42:09,360 --> 01:42:10,960
Speaker 3: to work out that Charlie is into it.

1979
01:42:11,200 --> 01:42:13,800
Speaker 1: What child wouldn't want to run the chocolate factory. It's

1980
01:42:13,880 --> 01:42:17,280
Speaker 1: it's that it's not even worth factoring in here. Of

1981
01:42:17,320 --> 01:42:20,559
Speaker 1: course they say yes, But if somehow Varuka saltid one,

1982
01:42:20,720 --> 01:42:22,240
Speaker 1: that would have been a different ending entirely.

1983
01:42:22,320 --> 01:42:25,320
Speaker 3: Oh yeah, a new era of darkness, the reign of

1984
01:42:25,439 --> 01:42:31,600
Speaker 3: terror in the Chocolate Factory. Question though, does Charlie inherit

1985
01:42:31,760 --> 01:42:33,440
Speaker 3: Willy Wonka's magic powers.

1986
01:42:33,640 --> 01:42:36,240
Speaker 1: I would think so, I would think so. Yeah, Like

1987
01:42:36,320 --> 01:42:38,800
Speaker 1: he is now in the elevator with him. It's it's

1988
01:42:38,880 --> 01:42:42,000
Speaker 1: kind of implied that he will have all the necessary

1989
01:42:42,360 --> 01:42:44,839
Speaker 1: powers needed to run this chocolate empire.

1990
01:42:45,200 --> 01:42:48,519
Speaker 3: I don't know how that transference process works. Maybe it's

1991
01:42:48,520 --> 01:42:51,120
Speaker 3: a maybe it's the thing you have to learn. It's

1992
01:42:51,120 --> 01:42:52,280
Speaker 3: like wizard magic.

1993
01:42:52,680 --> 01:42:55,559
Speaker 1: Yeah, yeah, he needs to learn the various spells and

1994
01:42:55,800 --> 01:42:58,400
Speaker 1: there are probably some magical items involved.

1995
01:42:58,240 --> 01:43:01,600
Speaker 3: Unless will he Wanta is not a wizard and he

1996
01:43:01,720 --> 01:43:05,680
Speaker 3: is a warlock. Is there a packed patron involved? Is

1997
01:43:05,680 --> 01:43:07,400
Speaker 3: there a patron of candy.

1998
01:43:07,640 --> 01:43:09,519
Speaker 1: That could be that? That's that is the big question.

1999
01:43:09,640 --> 01:43:12,960
Speaker 1: Like as as Charlie is ushered into the responsibilities of

2000
01:43:13,000 --> 01:43:16,920
Speaker 1: actually running things, he may learn strange new threats like

2001
01:43:16,960 --> 01:43:19,679
Speaker 1: he doesn't know, like the getting back to the Captain

2002
01:43:19,720 --> 01:43:22,640
Speaker 1: Nemo example, he doesn't know like the full range of

2003
01:43:22,760 --> 01:43:27,400
Speaker 1: the of the situation that Wonka faces, like Wonka's. Maybe

2004
01:43:27,520 --> 01:43:30,240
Speaker 1: Wonka's real world concerns are not not much to consider

2005
01:43:30,320 --> 01:43:33,760
Speaker 1: compared to like the other worldly forces he's constantly wrestling with.

2006
01:43:34,640 --> 01:43:37,040
Speaker 3: All right, well that's all I've got on Willy Wonka

2007
01:43:37,040 --> 01:43:38,080
Speaker 3: and the Chocolate Factory.

2008
01:43:38,400 --> 01:43:41,080
Speaker 1: That's right. It's this is a great film and that yeah,

2009
01:43:41,120 --> 01:43:43,799
Speaker 1: not only everything that's included in the film is tremendous,

2010
01:43:43,840 --> 01:43:49,160
Speaker 1: but you can speculate endlessly, you can do various analyzes

2011
01:43:49,240 --> 01:43:53,320
Speaker 1: on what happens and and sort of blend the the

2012
01:43:53,320 --> 01:43:57,200
Speaker 1: film over into different genres. It's beautiful. So it's it's

2013
01:43:57,200 --> 01:43:59,400
Speaker 1: always been one of my favorites. I'm glad, we glad

2014
01:43:59,400 --> 01:44:02,040
Speaker 1: we got to cover this week on Weird House Cinema.

2015
01:44:02,200 --> 01:44:02,759
Speaker 4: Good pick.

2016
01:44:03,800 --> 01:44:05,920
Speaker 1: All right, we know that a lot of you out

2017
01:44:05,920 --> 01:44:08,479
Speaker 1: there have thoughts and feelings about Willy Wonk and the

2018
01:44:08,560 --> 01:44:11,600
Speaker 1: Chocolate Factory. Other adaptations. What are your thoughts about the

2019
01:44:11,880 --> 01:44:14,639
Speaker 1: latest one? What are your thoughts about the Tim Burton one?

2020
01:44:14,840 --> 01:44:16,559
Speaker 1: Or there have been a few. I think there was

2021
01:44:16,640 --> 01:44:19,920
Speaker 1: like a Swiss animated adaptation that I don't know much about.

2022
01:44:20,280 --> 01:44:23,519
Speaker 1: So in addition to I think some stage performances. So

2023
01:44:23,840 --> 01:44:26,880
Speaker 1: if you have thoughts on other Willy Wonka media, they're

2024
01:44:26,920 --> 01:44:29,880
Speaker 1: Willy Wonka video games, maybe you can write in about those.

2025
01:44:30,320 --> 01:44:32,439
Speaker 1: We would love to hear from all of you. Just

2026
01:44:32,479 --> 01:44:34,960
Speaker 1: a reminder that Stuff to Blow Your Mind is primarily

2027
01:44:34,960 --> 01:44:38,479
Speaker 1: a science and culture podcast, with core episodes on Tuesdays

2028
01:44:38,520 --> 01:44:40,880
Speaker 1: and Thursdays in the Stuff to Blow Your Mind podcast feed,

2029
01:44:40,920 --> 01:44:43,160
Speaker 1: but on Fridays we set aside most serious concerns to

2030
01:44:43,240 --> 01:44:45,520
Speaker 1: just talk about a weird film here on Weird House Cinema.

2031
01:44:45,720 --> 01:44:47,040
Speaker 1: If you want to keep up with all the movies

2032
01:44:47,040 --> 01:44:49,000
Speaker 1: we've covered over the years, and sometimes a peek ahead

2033
01:44:49,000 --> 01:44:51,599
Speaker 1: at what's coming up next, follow us on letterbox, where

2034
01:44:51,640 --> 01:44:53,439
Speaker 1: we are Weird House Huge.

2035
01:44:53,479 --> 01:44:57,080
Speaker 3: Thanks as always to our excellent audio producer JJ Posway.

2036
01:44:57,400 --> 01:44:58,960
Speaker 3: If you would like to get in touch with us

2037
01:44:59,000 --> 01:45:01,600
Speaker 3: with feedback on this or any other, to suggest a

2038
01:45:01,640 --> 01:45:03,720
Speaker 3: topic for the future, or just to say hello, you

2039
01:45:03,720 --> 01:45:06,320
Speaker 3: can email us at contact at stuff to Blow your

2040
01:45:06,400 --> 01:45:14,000
Speaker 3: Mind dot com.

2041
01:45:14,120 --> 01:45:17,080
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

2042
01:45:17,160 --> 01:45:19,920
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

2043
01:45:20,080 --> 01:45:22,839
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.