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Speaker 1: Hey, you welcome to Weird House Cinema. Rewind. Yeah, it's

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Speaker 1: it's winter break week, so we have a rewind episode

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Speaker 1: here for you. This one originally published three seven, twenty

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Speaker 1: twenty five. It is our episode on the nineteen fifty

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Speaker 1: six science fiction classic Forbidden Planet. Such and such a

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Speaker 1: fun film, oh and such an iconic electronic musical score.

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Speaker 1: Let's jump right in.

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

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Speaker 1: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. And

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Speaker 3: today we are going to be talking about the nineteen

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Speaker 3: fifty six American science fiction adventure Forbidden Planet, starring Walter

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Speaker 3: Pigeon and Francis and Leslie Nielsen. Yes, that Leslie Nielsen.

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Speaker 3: You know before where he went full irony mode with

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Speaker 3: movies like Airplane and The Naked Gun. He was a stern,

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Speaker 3: square jawed ham from outer space. And this movie makes

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Speaker 3: the best and the worst use of him.

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Speaker 1: Yes, this movie is full of male actors just like that.

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Speaker 3: I had such a good time rewatching Forbidden Planet. This

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Speaker 3: wasn't the first time I'd seen it, but the first

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Speaker 3: time in a while, and It's one of those classic

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Speaker 3: films that both holds up so well and doesn't and

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Speaker 3: both ways are good. Like it is at once gorgeous,

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Speaker 3: thoughtful and clever and also dated, corny and numb skullish,

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Speaker 3: and like both aspects make for a very good time.

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Speaker 1: I will say that, at least in my viewing of

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Speaker 1: the film, it never felt completely offensive, and it never was,

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Speaker 1: but it was never boring. I guess it is a

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Speaker 1: film that has a well earned place in sci fi

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Speaker 1: cinema legend, and if you could, it's easy to go

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Speaker 1: into Forbidden Planet expecting it to like wholly and completely

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Speaker 1: live up to that legend. But this is a film

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Speaker 1: that is clearly trying to do multiple things at the

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Speaker 1: same time in essence to justify its budget. I imagine,

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Speaker 1: you know, it needs to be a film with a

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Speaker 1: brilliant sci fi vision. It also needs to have laughs,

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Speaker 1: It needs to have some you know, some winky sex appeal.

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Speaker 1: It needs to deliver on all of these things, and

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Speaker 1: you know, ultimately it does and does so in a

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Speaker 1: way that is not completely shameful decades later. So I

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Speaker 1: think I have to tip my hat to it in

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Speaker 1: that regard.

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Speaker 3: You know, I had completely forgotten about the sixty gallons

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Speaker 3: of whiskey scene. That really adds a whole other dimension

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Speaker 3: to the Forbidden Planet experience. You did not think this

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Speaker 3: movie would be so much about men stranded in space

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Speaker 3: who are horny and want booze.

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Speaker 1: Yeah, there's a huge element of mad men in space,

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Speaker 1: the bunch of Don Draper esque male characters essentially hitting on,

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Speaker 1: relentlessly hitting on the one female in their vicinity. Only

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Speaker 1: instead of a like a secretary in a in like

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Speaker 1: a New York office space, it is the daughter of

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Speaker 1: a brilliant scientist on a distant world.

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Speaker 3: The one true extraterrestrial we get to meet in the movie.

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Speaker 3: Though she is a human, but she's from another planet.

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Speaker 1: Now, Joe, you fished up one of the posters for

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Speaker 1: Forbidden Planet, and oh, it's so it's so beautiful. It

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Speaker 1: of course features a non human entity carrying an unconscious,

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Speaker 1: beautiful woman. I can't recall. Does Robbie the robot ever

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Speaker 1: carry Anne Francis in this picture?

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Speaker 3: I don't remember if he does. He does carry the

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Speaker 3: doctor Doc Austro, Remember.

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Speaker 1: That and wonder that that should have been on the poster?

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Speaker 3: Close enough? Yeah, it should have been like a uniformed

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Speaker 3: guy who just got his brains apped by an alien computer.

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Speaker 3: But no, he's he's carrying a blonde lady here, and

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Speaker 3: she doesn't look that much like Anne Francis, Like really long,

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Speaker 3: but you know it's close enough. This was the format

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Speaker 3: at the time they tore Johnson to Robbie the Robot.

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Speaker 1: I love it. Well, Yeah, this film is gonna be

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Speaker 1: a lot of fun to talk about. I believe this

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Speaker 1: is the third time we've covered a movie that's referenced

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Speaker 1: in the lyrics of science fiction double Feature from the

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Speaker 1: Rocky Horror Picture Show. Because we've done Doctor X, and

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Speaker 1: we've done Tarantula, and now we've done Forbidden Planet. Of course,

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Speaker 1: in the chorus we get to hear we are reminded

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Speaker 1: several times that Ann Francis stars in Forbidden Planet.

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Speaker 3: Ah, because planet runs with Janet. Yeah, yeah, it's perfect.

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Speaker 1: In addition to the film score, I will I won't

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Speaker 1: say that I have the film score to Forbidden Planet

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Speaker 1: stuck in my head. It's not really an earworming score

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Speaker 1: in the traditional sense, but I've certainly had science fiction

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Speaker 1: double feature in my head all week ever since I

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Speaker 1: watched Forbidden Planet.

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Speaker 3: You know one thing that I think really sets Forbidden

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Speaker 3: Planet apart from most of the science fiction of the

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Speaker 3: nineteen fifties is that it is an extreme example of

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Speaker 3: our show category of a rub the Fur movie. It

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Speaker 3: is an overwhelming experience of pleasing visual and sonic textures.

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Speaker 3: Like even if the movie had no dialogue or story

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Speaker 3: at all, I think it would be a wonderful experience

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Speaker 3: just to sit and absorb the sets and the painted

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Speaker 3: back drops, the special effects, the costumes and the props.

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Speaker 3: I'm thinking about so many things that are just you know,

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Speaker 3: caramel chocolate to the eyes, Like you know, the green

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Speaker 3: sky and the mountains that we see on Altair four,

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Speaker 3: the mid century future chic decor of the Morbius house,

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Speaker 3: so that pink mod furniture and all the loosight beams

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Speaker 3: and everything, the forced perspective shots of the Krell technology

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Speaker 3: where you've got these bridges going over the bottomless pits

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Speaker 3: of the power generators and whatever those big white globes

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Speaker 3: are that are like riding belts up and down the

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Speaker 3: wall into the darkness. You've got that great alien garden

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Speaker 3: around the Morbius swimming pool. You've got the design of

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Speaker 3: Robbie the robot, which is just I don't know, we

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Speaker 3: should come back to that, because that alone is unbelievable,

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Speaker 3: those great diamond shaped archways. And I love, of course

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Speaker 3: when we finally see the hand animated blood red outline

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Speaker 3: of the beast in the movie, the id Beast that

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Speaker 3: hunts the Astronauts. And also not just the visual but

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Speaker 3: the sonic textures as well. As you were just alluding to.

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Speaker 3: It might not be earworms, but the sounds of the

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Speaker 3: movie are so interesting. It's just a corn ucopia of

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Speaker 3: fascinating ambient sound. And so I was thinking that while

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Speaker 3: we are today quite used to thinking of sci fi

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Speaker 3: movies as rubbed the fur events, full of pleasing images

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Speaker 3: and sounds, just great textures, having watched a lot of

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Speaker 3: sci fi movies from the nineteen fifties for the show,

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Speaker 3: I would argue that this was not the norm at

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Speaker 3: the time. A ton of sci fi movies from the

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Speaker 3: fifties are not full of pleasing visual and sonic textures.

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Speaker 3: They are low budget affairs without much exciting to show

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Speaker 3: you other than maybe like a monster costume. Even a

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Speaker 3: lot of the better ones are usually good because of

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Speaker 3: the like premise, or they're about ideas in some interesting way,

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Speaker 3: and they consist primarily of dudes standing around talking in

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Speaker 3: a sparsely decorated set.

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Speaker 1: Yeah, I agree. I was just looking back at the

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Speaker 1: films we've covered from the nineteen fifties, and some of

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Speaker 1: them are, you know, definitely lower budget affairs. But yeah,

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Speaker 1: there is, they're generally and that's part of it. You know,

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Speaker 1: they're making do with less. They're leaning more into the

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Speaker 1: ideas and we're not getting into that reb defer territory

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Speaker 1: that we get with Forbidden Planet, which again is just

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Speaker 1: like it's not like you can even single out well

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Speaker 1: one or two visual elements or sonic elements as well.

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Speaker 1: They're just so many. It's like, is just a feast

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Speaker 1: for the eyes.

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Speaker 3: Every scene is full of shots that are just like

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Speaker 3: a poster you'd want to hang on your wall. And

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Speaker 3: one reason, of course, is an obvious thing. Forbidden Planet

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Speaker 3: stands out because it was shot in color. Specifically, the

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Speaker 3: color process was Eastman color, and almost all of the

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Speaker 3: other sci fi movies from the fifties that I can

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Speaker 3: think of were in black and white. And this was funny, actually,

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Speaker 3: I was trying to find a list of exceptions. I

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Speaker 3: was like, Okay, what were the other color sci fi

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Speaker 3: movies from the fifties, and when I did a Google search,

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Speaker 3: the AI summary at the top of the search results

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Speaker 3: kept telling me, insisting that movies like The Thing from

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Speaker 3: Another World The Incredible Shrinking Man, both of which we

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Speaker 3: watched for the show, were in color. No, they're not,

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Speaker 3: it said The Day the Earth Stood Still was in color.

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Speaker 3: The original one is not. You know, I've seen these movies.

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Speaker 3: They're in black and white. But there are some examples.

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Speaker 3: I can think of a few that I've seen. One

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Speaker 3: is Invaders from Mars from nineteen fifty three, directed by

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Speaker 3: William Cameron Menzies. Though this was shot in something called

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Speaker 3: super cinicolor, which is a two color process that doesn't

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Speaker 3: quite end up looking like full color. It has an

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Speaker 3: interesting color palette, but it's kind of pale and faded, faded,

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Speaker 3: kind of greenish gold. And then the same year there

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Speaker 3: was a color adaptation of H. G. Wells War of

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Speaker 3: the Worlds directed by Byron Haskin that was in technicolor.

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Speaker 3: There was an adapt there was the adaptation of twenty

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Speaker 3: Thousand Leagues. Of course, we talked about that just a

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Speaker 3: week or two ago, the one with James Mason that

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Speaker 3: was in nineteen fifty four. That's in color, and it

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Speaker 3: looks great. There is, of course, This Island Earth in

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Speaker 3: fifty five that's in color.

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Speaker 1: Yeah, And I think This Island Earth is indeed probably

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Speaker 1: Forbidden Planet's closest peer. You know, it doesn't have a robot,

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Speaker 1: but it has a wonderful monster. It has some you know,

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Speaker 1: a lot of color and bizazz to it. But the

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Speaker 1: thing about about This Island Earth much smaller budget. Forbidden

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Speaker 1: Planet costs more than twice as much.

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Speaker 3: Yeah. So there are some other examples of great looking

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Speaker 3: color sci fi films from the fifties, but not many,

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Speaker 3: and it just was not the norm for sci fi

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Speaker 3: movies at the time. Frankly, a lot of these movies

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Speaker 3: from the fifties, even the relatively good ones, are not

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Speaker 3: any more visually exciting than It Conquered the world. You know,

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Speaker 3: would make them good might be good writing or good acting.

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Speaker 1: Yeah, or maybe how well they shoot the monster costume

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Speaker 1: and so forth.

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Speaker 3: And as we were just saying, even when you consider

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Speaker 3: the other color pictures, I just don't think there is

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Speaker 3: another one that even comes close to Forbidden Planet. It's

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Speaker 3: just exquisite to look upon this the whole box of crayons.

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Speaker 1: Yeah, I mean nine years later you would get Planet

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Speaker 1: of the Vampires, which, of course is another film we've

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Speaker 1: talked about on the show that is set in space

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Speaker 1: and has brilliant use of sets and costumes. Yeah, but

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Speaker 1: this is this is a this is this is the forerunner,

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Speaker 1: and you could probably make a very strong case that

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Speaker 1: a film like Planet of the Vampires wouldn't exist if

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Speaker 1: you didn't have Forbidden Planet getting there early and setting

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Speaker 1: the trend.

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Speaker 3: Yeah, I think Planet of the Vampires has got to

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Speaker 3: be at least in part inspired by the look of

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Speaker 3: Forbidden Planet. Okay, so we've established it's a ten course

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Speaker 3: dinner for the eyes. But another thing I wonder if

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Speaker 3: is this a good place to talk about this movie's

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Speaker 3: relationship to Shakespeare's The Tempest, because that's the thing. A

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Speaker 3: lot of people commenting on this over the years have

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Speaker 3: pointed out the plot of Forbidden Planet seems like a

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Speaker 3: very loose adaptation of Shakespeare's The Tempest, And I think

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Speaker 3: that was kind of interesting because I know I've heard

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Speaker 3: it said before that compared to most of the plays

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Speaker 3: of Shakespeare, The Tempest is rarely put on film in

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Speaker 3: anything like its original form. It's just not a play

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Speaker 3: that gets a straight adaptation to film very much. Adaptations

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Speaker 3: of the Tempest in cinema are almost always very loose.

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Speaker 1: Yeah. And you know, I took a few different Shakespeare

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Speaker 1: classes in college and we never directly covered the Tempest,

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Speaker 1: as I recall, so maybe in part because we didn't

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Speaker 1: have as many adaptations to watch on video to discuss it.

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Speaker 1: But yeah, this is frequently cited as an adaptation of

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Speaker 1: the Tempest. We have the we have our Prospero character,

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Speaker 1: our Miranda, and I guess we have our Caliban of

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Speaker 1: sorts as well, our monstrous creature not to be confused

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Speaker 1: with the Caliban in Clash of the Titans. Was he

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Speaker 1: called Caliban and then I can't recall, but he the

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Speaker 1: character in that is very much based on this element

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Speaker 1: of the Tempest as well.

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Speaker 3: Yeah. I think people have said have pointed out that

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Speaker 3: Robbie the robot is kind of aerial from the Tempest.

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Speaker 1: Ah, yeah, yeah, and that.

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Speaker 3: Adams is the Leslie Nielsen character is sort of I

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Speaker 3: forget the name, but like one of the Italian nobles

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Speaker 3: that gets a lured to the island.

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Speaker 1: And who's cook cook have a don't know don't know

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Speaker 1: about cook. All right, we'll get back to cook. So, yeah,

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Speaker 1: we have a groundbreaking sonic and visual science fiction film here,

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Speaker 1: shot in color with a health very healthy by budget,

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Speaker 1: and it has Shakespearean elements in its plotting. All right, Joe,

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Speaker 1: do you have an elevator pitch for this film?

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Speaker 3: I couldn't get it down to one sentence, but here's

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Speaker 3: the setup. By the twenty third century, humankind has colonized

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Speaker 3: the galaxy with the help of faster than light travel,

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Speaker 3: but one mission, a mission to an exoplanet called Alta

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Speaker 3: four by the explorationship Bellerophon, has gone silent after it arrived.

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Speaker 3: Twenty years later, a United Planet's starship under Commander JJ

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Speaker 3: Adams is sent to the Altaar system to investigate the

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Speaker 3: fate of the lost ship and its crew. Once there,

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Speaker 3: Adams and his men find that the only survivor of

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Speaker 3: the Belerophon is a language scholar named doctor Morbius, as

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Speaker 3: well as his twenty year old daughter Altera, who was

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Speaker 3: born on the planet. What happened to the rest of

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Speaker 3: the crew? How have Morbius and Altera survived all this time?

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Speaker 3: And where can a guy find bourbon and kissing lessons.

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Speaker 3: On a planet such as.

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Speaker 1: This, all this and morel will be explored. All right,

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Speaker 1: let's go ahead and listen to a little trailer on here.

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Speaker 4: You imagine yourself as one of the crew of this

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Speaker 4: faster than light spaceship of the future, sharing their curiosity

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Speaker 4: to know the unknown, their tension, their readiness for inconceivable adventures.

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Speaker 4: When you reach the Forbidden Planet, you will meet Doctor

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Speaker 4: Morbius played by Walter Pigeon. The doctor is sole owner

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Speaker 4: of this fabulous world. Anne Francis is his alluring daughter, Alta,

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Speaker 4: who has never seen a young man till she meets

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Speaker 4: Commander Adams played by talented Leslie Nielson. You will meet

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Speaker 4: a charming character in a robot able to produce on

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Speaker 4: order ten tons of lead or a slinky evening gown

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Speaker 4: always at your service. You explore all the wonders of

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Speaker 4: a vanished civilization. You travel deep down into the heart

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Speaker 4: of the Forbidden Planet to discover the incredible marvels of

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Speaker 4: this last genious race. These magnificent scenes in striking Eastman

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Speaker 4: color stagger the imagination. Yet the wonders of the planet

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Speaker 4: all tear four conceal a strange and evil force unknown irresistible.

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Speaker 1: All right. Well, you may be wondering where can I

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Speaker 1: watch Forbidden Planet. Well, this was a major release. It

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Speaker 1: has been released on all formats over the years. It

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Speaker 1: is definitely available on Blu ray I belief from Warner

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Speaker 1: Home Video or something, and I'm not I didn't check

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Speaker 1: for this, but it's possible, I guess. Given in this

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Speaker 1: an MGM film, maybe MGM Plus has its streaming. You

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Speaker 1: might check around for that. I, however, watched this film

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Speaker 1: on the big screen. I saw it over the weekend

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Speaker 1: at Atlanta's Historic Plaza Theater, presented as part of the

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Speaker 1: Silver Screen Spook Show series, and I have to say,

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Speaker 1: looks terrific watching it in those old squeaky chairs there.

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Speaker 1: You know, the colors are fantastic. The sound is just

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Speaker 1: resonating around you and sometimes feeling like it's moving from

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Speaker 1: ear to ear. So I highly recommend seeing films like

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Speaker 1: this in the theater if you do get a chance

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Speaker 1: to see them. Silver Screens Spook Show. By the way,

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Speaker 1: we'll be doing mathra versus Godzilla on May seventeenth, two

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Speaker 1: shows as usual, a family friendly nay and a late

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Speaker 1: night show for grown ups. If you were in the

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Speaker 1: Atlanta area on that date.

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Speaker 3: All right, should we get into the connections.

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Speaker 1: Yeah, Starting at the top with the director. It's Fred M. Wilcox,

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Speaker 1: who lived nineteen oh seven through nineteen sixty four, American

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Speaker 1: director who started out at MGM as an assistant to

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Speaker 1: King Vedoor, eventually working his way up through the MGM

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Speaker 1: Shorts department to direct the nineteen forty three feature Lassie

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Speaker 1: Come Home, which starred a fourteen year old Roddy McDowell.

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Speaker 3: Is he the voice of the kid yelling Lassie?

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Speaker 1: I mean, he's the kid that presumably yells Lassie, So

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Speaker 1: I guess, so okay? Cool. I felt this one was

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Speaker 1: evidently a success because it had a sequel, nineteen forty

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Speaker 1: six is Courage of Lassie, And this one had a

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Speaker 1: fully grown Elizabeth Taylor in it.

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Speaker 3: Okay? Did it also still have Roddy McDowell.

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Speaker 1: No, No, Roddy McDowell, this okay, Elizabeth Taylor only okay?

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Speaker 3: And then Roddy McDowell. He went from Lassie to Laser Blast.

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Speaker 3: That's amazing.

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Speaker 1: Yeah. Another film he director was nineteen forty nine is

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Speaker 1: The Secret Garden, which had a twelve year old Dean

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Speaker 1: Stockwall in it. Huh yeah, yeah, You can look up

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Speaker 1: screenshots from The Secret Garden and there's a little kid,

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Speaker 1: Dean Stockwell.

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Speaker 3: Fact to check, Dean Stockwell was never twelve years old.

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Speaker 1: It's amazing. He also did nineteen fifty two Shadow in

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Speaker 1: the Sky with Nancy Reagan. Forbidden Planet was produced by

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Speaker 1: Willcox's nephew in law, producer Nicholas Nefek, and he was

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Speaker 1: apparently going to produce another big budget sci fi film

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Speaker 1: with a title something like Robot Planet, and Willcox was

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Speaker 1: going to direct that as well, but Nefact died in

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Speaker 1: nineteen fifty eight. Wilcock directed one more film himself, and

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Speaker 1: then he also died in nineteen sixty four at the

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Speaker 1: age of fifty six. Wow. But I believe this is

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Speaker 1: one of those examples where the director, you know, didn't

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Speaker 1: come out of science fiction, and his life and career

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Speaker 1: wasn't long enough afterwards to return to any science fiction,

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Speaker 1: so you know, it kind of stands out as a

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Speaker 1: one off. But boy, what a one off. This is

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Speaker 1: easily the film he's best remembered for, all right. The

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Speaker 1: screenplay is by Cyril Hume, who lived nineteen hundred through

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Speaker 1: nineteen sixty six, American writer whose first novel The Wife

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Speaker 1: of the Centaur was a big hit in nineteen twenty

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Speaker 1: three and adapted into a King Vidor Silent film in

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Speaker 1: nineteen twenty four. He wrote a few more novels, but

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Speaker 1: mostly transitioned into screenwriting, working on several Tarzan movies in

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Speaker 1: the nineteen thirties, a nineteen forty nine adaptation of The

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Speaker 1: Great Gatsby, and then also a nineteen fifty six film

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Speaker 1: titled Ransom exclamation Point, which was remade in nineteen ninety six,

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Speaker 1: the Mel Gibson picture that some of you might remember.

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Speaker 1: But it's worth noting that the nineteen fifty six Ransom

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Speaker 1: was itself an adaptation of a nineteen fifty four episode

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Speaker 1: that aired on the anthology series The United States Steel Hour.

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Speaker 3: What the United States Steel Out?

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Speaker 1: Oh?

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Speaker 3: It was just named after a sponsor.

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Speaker 1: Yeah, yeah, Like what should we call it? Should we

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Speaker 1: call it like action or thriller or you know, maybe

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Speaker 1: some sort of a zone And they're like, nope, the

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Speaker 1: United States Steel Hour.

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Speaker 3: Oh, it's like the Colgate Comedy Hour.

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Speaker 1: Yeah, yeah, yeah, I guess somewhere to deal. Hume also

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Speaker 1: did some westerns. His only other sci fi screenplay was

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Speaker 1: nineteen fifty seven's The Invisible Boy, a sort of sequel

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Speaker 1: spin off to Forbidden Planet, which we'll come back to.

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Speaker 1: Forbidden Planet is Hume's most famous work, again highly influential,

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Speaker 1: and is itself, at least a very loose adaptation of

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Speaker 1: Shakespeare's The Tempest. Now there are a couple of story

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Speaker 1: credits Irving Block and Alan Adler. Alan Adler lived nineteen

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Speaker 1: sixteen through nineteen sixty four, also worked on a film

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Speaker 1: in fifty nine called The Giant Behemoth, and then Block

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Speaker 1: lived nineteen ten through nineteen eighty six. He was a

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Speaker 1: I think mostly a special effects visual effects guy who

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Speaker 1: worked exclusively in genre pictures, often B movies, mostly science fiction,

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Speaker 1: and he sometimes contributed story ideas, this being the first

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Speaker 1: case of that. Other story credits include fifty seven's Kronos,

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Speaker 1: as well as Oh boys, here's a title for you,

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Speaker 1: The Saga of the Viking Women and their voyage to

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Speaker 1: the waters of the Great Sea Serpent.

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Speaker 3: I've seen that one.

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Speaker 1: Yeah, yeah, does that title cover everything?

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Speaker 3: No?

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Speaker 1: No, there's more, Okay, a longer title is possible. He

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Speaker 1: also has story credits on Roger Corman's War of the

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Speaker 1: Satellites in fifty eight.

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Speaker 3: Those are both Roger Corman movies.

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Speaker 1: Oh so the saga the Viking Women and their Voyage

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Speaker 1: to the Waters of the Great Sea Serpent also Corman.

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Speaker 3: Also Corman, I think in the same year.

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Speaker 1: Yeah, Yeah, that's right, they're both fifty eight.

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Speaker 3: Yeah.

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Speaker 1: And then he also has story credits on The thirty

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Speaker 1: foot Bride of Candy Rock and Atomic Submarine, both in

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Speaker 1: fifty nine.

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Speaker 3: I haven't seen it, but I've just I have a

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Speaker 3: premonition that the movie Atomic Submarine is super boring.

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Speaker 1: Getting into the cast, Let's start at the top in

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Speaker 1: terms of billing with Doctor Morbius, played by Walter Pigeon,

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Speaker 1: who lived eighteen ninety seven through nineteen eighty four. Walter Pigeon,

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Speaker 1: a two time Oscar nominee who had not done I

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Speaker 1: don't believe he'd really done a sci fi film up

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Speaker 1: to this point, having been mostly known for stuff like

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Speaker 1: nineteen forty one's How Green Was My Valley? After Forbidden Planet,

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Speaker 1: he'd go on to appear in a handful of other

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Speaker 1: sci fi flicks, sixty one's Voyage to the Bottom of

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Speaker 1: the Sea, seventy three's The Neptune Factor. Oh, and then

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Speaker 1: this was interesting. This is apparently like a made for

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Speaker 1: TV film Movie of the Week Situation nineteen seventy fours

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Speaker 1: Live Again, Die Again, which is like about a woman

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Speaker 1: who is cryogenically frozen and then is brought back to

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Speaker 1: life and her husband is old now and played by

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Speaker 1: Walter Pigeon.

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Speaker 3: Oh okay, you know, I was thinking, I like the

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Speaker 3: line that Walter Pigeon rides in this movie between hero

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Speaker 3: and villain. For much of the film, you can't quite

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Speaker 3: tell how like what his intentions are. So he's that

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Speaker 3: kind of character who's mostly polite and helpful and seems

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Speaker 3: mostly forthright, but also maybe seems to be hiding something.

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Speaker 3: You don't know how much you can trust him.

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Speaker 1: Yeah, Like is he going to be is he Captain Nemo?

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Speaker 1: Like that's kind of the big question that had to

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Speaker 1: be on a lot of people's minds.

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Speaker 3: Yeah, yeah, yeah, And so I don't know, I could

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Speaker 3: see him. I could see him in another life of

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Speaker 3: playing of having played a Bond villain or something like.

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Speaker 3: Maybeybe nothing against Michael Lonsdale. He's great, but like he

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Speaker 3: could have been in Moonriker.

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Speaker 1: Yeah yeah, yeah, things have played out differently. Yeah yeah.

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Speaker 1: I also like the ambiguity regarding his character. You're never

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Speaker 1: really sure that he's a villain or what villainous elements

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Speaker 1: he might have, but you also don't completely trust him.

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Speaker 1: I guess it's easier, as a modern viewer of this

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Speaker 1: film to assume that he's up to no good. That's

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Speaker 1: my kid also watch the film with me, and they

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Speaker 1: were like, oh, yeah, yeah, I knew he was hiding something, But.

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Speaker 3: Did he know he was hiding something? I guess he

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Speaker 3: knew he was hiding something, but maybe not the thing

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Speaker 3: you're thinking of.

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Speaker 1: Yeah. Yeah. He also did some horror movies. He appeared

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Speaker 1: in seventy two's The Screaming Woman, and also a couple

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Speaker 1: of gorilla movies in the twenties and thirties. I think

431
00:24:21,359 --> 00:24:24,480
Speaker 1: they're two separate gorilla movies and not the same gorilla movie.

432
00:24:24,960 --> 00:24:27,159
Speaker 1: But you know, someone had to starring gerrilla movies, so

433
00:24:28,040 --> 00:24:28,880
Speaker 1: more power to him.

434
00:24:29,119 --> 00:24:31,560
Speaker 3: Was he in any of the Machist Goes to Hell movies?

435
00:24:33,840 --> 00:24:36,679
Speaker 1: All right? Well, again, we know that Ann Francis stars

436
00:24:36,680 --> 00:24:40,360
Speaker 1: in Forbidden Planet, and indeed she does, playing Altara Morbius,

437
00:24:40,600 --> 00:24:44,200
Speaker 1: the daughter of doctor Morbius. Anne Francis lived nineteen thirty

438
00:24:44,200 --> 00:24:47,080
Speaker 1: through twenty and eleven. She's our lone female character in

439
00:24:47,119 --> 00:24:50,800
Speaker 1: the film the daughter of doctor Morbius, so again seemingly

440
00:24:50,840 --> 00:24:53,880
Speaker 1: doomed to never know love or earth, at least until

441
00:24:53,880 --> 00:24:56,000
Speaker 1: the rest of the cast shows up to just relentlessly

442
00:24:56,040 --> 00:24:58,600
Speaker 1: hit on her again like she's a secretary and a

443
00:24:58,600 --> 00:25:03,639
Speaker 1: Madman era office. She's our Miranda character, Golden Globe winning

444
00:25:03,680 --> 00:25:06,920
Speaker 1: actress whose other films include nineteen fifty five's Bad Day

445
00:25:06,960 --> 00:25:09,800
Speaker 1: at Black Rock and nineteen sixty eight's Funny Girl, which

446
00:25:09,880 --> 00:25:13,359
Speaker 1: also co starred Walter Pigeon. Her screen credits begin in

447
00:25:13,400 --> 00:25:15,679
Speaker 1: the late forties. I believe she appeared on Broadway as

448
00:25:15,680 --> 00:25:18,840
Speaker 1: a child, and she remained active, especially on TV up

449
00:25:18,840 --> 00:25:21,880
Speaker 1: through two thousand and four, and she did two episodes

450
00:25:21,920 --> 00:25:23,359
Speaker 1: of the original Twilight Zone.

451
00:25:23,840 --> 00:25:26,159
Speaker 3: I also like Anne Francis in this role quite a

452
00:25:26,200 --> 00:25:29,879
Speaker 3: lot because she she does bring a kind of edge

453
00:25:29,920 --> 00:25:33,120
Speaker 3: to it in a way that you don't expect when

454
00:25:33,119 --> 00:25:36,120
Speaker 3: you first meet the character. So the character, as we'll

455
00:25:36,160 --> 00:25:40,160
Speaker 3: get into later, I was describing her as sort of

456
00:25:40,200 --> 00:25:44,600
Speaker 3: like Arnold Schwarzenegger and Twins, like she has learned all

457
00:25:44,640 --> 00:25:47,240
Speaker 3: of the you know, all of the academic subjects, as

458
00:25:47,280 --> 00:25:50,240
Speaker 3: she knows all the sciences and literature and everything, but

459
00:25:50,400 --> 00:25:54,199
Speaker 3: is hopelessly naive about society and human interactions.

460
00:25:55,040 --> 00:25:57,000
Speaker 1: Yeah, kind of a subset of like she's not a

461
00:25:57,000 --> 00:26:00,520
Speaker 1: full blown doll person where she's just like a child

462
00:26:00,600 --> 00:26:03,800
Speaker 1: in an adult's body. She knows plenty of things, she

463
00:26:03,840 --> 00:26:06,480
Speaker 1: just doesn't have like a lot of like social real

464
00:26:06,600 --> 00:26:08,840
Speaker 1: world experience because she's never been to Earth.

465
00:26:08,960 --> 00:26:11,240
Speaker 3: Yeah, she has no street smarts or savvy, so like

466
00:26:11,320 --> 00:26:13,520
Speaker 3: has no doesn't know what to do when somebody is

467
00:26:13,600 --> 00:26:16,040
Speaker 3: like trying to lie to her or take advantage of her.

468
00:26:16,320 --> 00:26:19,119
Speaker 3: So there's a scene where this where a creep character

469
00:26:19,280 --> 00:26:22,560
Speaker 3: is giving her kissing lessons. But she has a great

470
00:26:22,960 --> 00:26:25,879
Speaker 3: kind of turn in that scene because he's like he's like, oh,

471
00:26:25,920 --> 00:26:29,040
Speaker 3: let's try kissing again, and she's like, I don't get it.

472
00:26:29,080 --> 00:26:30,400
Speaker 3: There's it's not very good.

473
00:26:31,920 --> 00:26:34,199
Speaker 1: That got a lot of laughs with the audience, the

474
00:26:34,280 --> 00:26:38,560
Speaker 1: live audience. So there's the humor in this film. You know,

475
00:26:38,600 --> 00:26:41,800
Speaker 1: it mostly holds up sometimes, I mean it it holds

476
00:26:41,840 --> 00:26:44,119
Speaker 1: it holds up in places, and it's just kind of

477
00:26:44,119 --> 00:26:47,320
Speaker 1: hammy and too old fashioned in other places, but in

478
00:26:47,359 --> 00:26:52,439
Speaker 1: both regards generates laughter, So still effective. But yeah, I agree,

479
00:26:52,480 --> 00:26:54,560
Speaker 1: I think she's she's good in the role. And of

480
00:26:54,560 --> 00:26:58,240
Speaker 1: course she's a real beauty, no denying that, but I

481
00:26:58,280 --> 00:27:01,760
Speaker 1: was surprised at how how skimpy the outfits get in

482
00:27:01,840 --> 00:27:05,720
Speaker 1: this picture. Oh like there is. I was confused by

483
00:27:05,760 --> 00:27:09,159
Speaker 1: the bathing sequence. At first it seems like she's bathing nude,

484
00:27:09,200 --> 00:27:11,600
Speaker 1: and then maybe she's wearing a garment, but maybe that's

485
00:27:11,640 --> 00:27:14,280
Speaker 1: also a garment that they wore in movies at the

486
00:27:14,280 --> 00:27:17,600
Speaker 1: time to make it seem like someone was bathing naked.

487
00:27:17,640 --> 00:27:18,240
Speaker 1: I'm not sure.

488
00:27:18,400 --> 00:27:21,439
Speaker 3: It does seem to be really pushing the limits of

489
00:27:21,480 --> 00:27:23,920
Speaker 3: what like an MGM picture would have allowed in the

490
00:27:24,000 --> 00:27:27,760
Speaker 3: nineteen fifties. But yeah, she's in the scene where she's swimming,

491
00:27:27,800 --> 00:27:29,760
Speaker 3: I think she is supposed to be nude, and then

492
00:27:30,080 --> 00:27:32,320
Speaker 3: she's just like you know, when she gets out of

493
00:27:32,320 --> 00:27:34,320
Speaker 3: the pool in a brief shot. I think she's wearing

494
00:27:35,240 --> 00:27:38,159
Speaker 3: a garment match to her skin, and then it's supposed

495
00:27:38,160 --> 00:27:39,960
Speaker 3: to just go by real quick. But maybe they weren't

496
00:27:39,960 --> 00:27:42,199
Speaker 3: expecting to have the kind of definition that people have

497
00:27:42,280 --> 00:27:43,199
Speaker 3: on screens today.

498
00:27:43,320 --> 00:27:45,520
Speaker 1: It's true like later in the picture, there's some very

499
00:27:45,560 --> 00:27:49,320
Speaker 1: delicate wire work that allows Robbie the robot to carry

500
00:27:49,400 --> 00:27:54,760
Speaker 1: the doctor's body and or doc's body, and it's very

501
00:27:54,760 --> 00:27:57,240
Speaker 1: good wire work, because you can barely see it even

502
00:27:57,280 --> 00:27:59,680
Speaker 1: in like higher definition, so I'm guessing it would have

503
00:27:59,680 --> 00:28:03,400
Speaker 1: been most invisible at one point. All Right, it's time

504
00:28:03,400 --> 00:28:06,720
Speaker 1: to talk about Leslie Nielsen. He's our leading man here

505
00:28:07,119 --> 00:28:11,080
Speaker 1: playing Commander Adams. Lesli Nielsen lived nineteen twenty six through

506
00:28:11,119 --> 00:28:16,000
Speaker 1: twenty ten, and I think many many of you out there,

507
00:28:16,520 --> 00:28:19,720
Speaker 1: myself included, for a long time anyway, when I thought

508
00:28:19,720 --> 00:28:23,720
Speaker 1: about this Canadian actor, I mostly or even exclusively thought

509
00:28:23,720 --> 00:28:28,120
Speaker 1: about his late career reinvention as a dead pan, comedic

510
00:28:28,160 --> 00:28:31,560
Speaker 1: goof all of this coming in the wake of nineteen

511
00:28:31,640 --> 00:28:35,879
Speaker 1: eighties Airplane and this era gave like that lasted the

512
00:28:35,920 --> 00:28:38,000
Speaker 1: rest of his life and career gave us the likes

513
00:28:38,000 --> 00:28:41,600
Speaker 1: of TV's Police Squad It's Naked Gun spinoff films. I

514
00:28:41,600 --> 00:28:45,000
Speaker 1: believe there were three of those, and such spoofs as

515
00:28:45,120 --> 00:28:48,480
Speaker 1: mel Brooks Dracula Dead and Loving It from nineteen ninety five,

516
00:28:48,800 --> 00:28:52,800
Speaker 1: and just a host of other goofy pictures where Leslie

517
00:28:52,880 --> 00:28:58,120
Speaker 1: Nielsen continually plays these kind of either dead pan, funny

518
00:28:58,200 --> 00:29:04,840
Speaker 1: characters or increasingly goofy characters. But they all stem from

519
00:29:05,440 --> 00:29:11,760
Speaker 1: this initial Airplane Naked Gun phase where and these were

520
00:29:11,760 --> 00:29:13,960
Speaker 1: both the work of David and Jerry Zucker.

521
00:29:14,440 --> 00:29:17,080
Speaker 3: It's impossible to know, but I almost feel I could

522
00:29:17,080 --> 00:29:20,920
Speaker 3: have predicted his career would or should take that turn,

523
00:29:21,120 --> 00:29:23,480
Speaker 3: if you were to transport me back to the fifties

524
00:29:23,520 --> 00:29:26,920
Speaker 3: and just show me his performance and Forbidden Planet, because

525
00:29:27,600 --> 00:29:30,880
Speaker 3: he's playing the role totally serious, but he is such

526
00:29:31,080 --> 00:29:35,400
Speaker 3: a natural ham just he's one of those guys who

527
00:29:35,920 --> 00:29:40,080
Speaker 3: the more serious and deadpan and stern he tries to act,

528
00:29:40,200 --> 00:29:41,479
Speaker 3: the funnier it gets.

529
00:29:42,440 --> 00:29:45,640
Speaker 1: Yeah. Yeah, And I think the important thing to realize

530
00:29:45,680 --> 00:29:51,080
Speaker 1: about this late career reinvention as a comedic actor, especially

531
00:29:51,120 --> 00:29:54,000
Speaker 1: with those early examples. They work entirely on the basis

532
00:29:54,080 --> 00:29:57,640
Speaker 1: that Nielsen was known for these straightforward, serious roles that

533
00:29:57,760 --> 00:30:01,760
Speaker 1: were a little bit hammy and you know, maybe lacking

534
00:30:01,800 --> 00:30:07,280
Speaker 1: in a lot of nuance, and his roland Forbidden Plannet

535
00:30:07,320 --> 00:30:09,880
Speaker 1: is probably like the most famous example, you know, along

536
00:30:09,920 --> 00:30:12,000
Speaker 1: side some other films and a great deal of TV work.

537
00:30:12,600 --> 00:30:15,120
Speaker 3: Yeah. We've talked on the show before about the concept

538
00:30:15,120 --> 00:30:18,640
Speaker 3: of the nineteen fifties movie the leading man as the

539
00:30:18,640 --> 00:30:22,280
Speaker 3: rectangle as sort of a character type. Leslie Nielsen in

540
00:30:22,320 --> 00:30:26,800
Speaker 3: this movie is the ultimate rectangle. Yeah, that is exactly

541
00:30:26,800 --> 00:30:29,600
Speaker 3: what he is he is just he is just there

542
00:30:30,080 --> 00:30:34,880
Speaker 3: to sternly and straightforwardly execute the main motions of the

543
00:30:34,880 --> 00:30:37,400
Speaker 3: plot and then eventually to kiss the girl.

544
00:30:38,000 --> 00:30:40,719
Speaker 1: Yeah. I think we would not be talking about him

545
00:30:40,760 --> 00:30:42,560
Speaker 1: as much if he did not go on to all

546
00:30:42,640 --> 00:30:45,880
Speaker 1: these other interesting things, because it's it's not a character

547
00:30:45,920 --> 00:30:48,720
Speaker 1: that I found myself really connecting with on any level.

548
00:30:48,760 --> 00:30:52,600
Speaker 1: Like he's just this this sort of hyper masculine ideal

549
00:30:52,720 --> 00:30:54,000
Speaker 1: of the fifties.

550
00:30:54,480 --> 00:30:55,840
Speaker 3: But not in an interesting way.

551
00:30:55,960 --> 00:30:57,320
Speaker 1: Not an interesting way. Yeah.

552
00:30:57,480 --> 00:30:59,959
Speaker 3: Yeah, it doesn't like get into that as themes like

553
00:31:00,280 --> 00:31:03,320
Speaker 3: say the Incredible Shrinking Man or something. Instead, it's just

554
00:31:03,360 --> 00:31:06,720
Speaker 3: sort of unexamined. There are interesting characters in the movie,

555
00:31:06,920 --> 00:31:09,960
Speaker 3: like Morbius and Alta are interesting, but yeah, uh.

556
00:31:10,640 --> 00:31:13,000
Speaker 1: Doc, I think Doc, who will get to in a second,

557
00:31:13,120 --> 00:31:16,320
Speaker 1: like he's the character that, in many ways should be

558
00:31:16,560 --> 00:31:19,120
Speaker 1: like the main point of focus for us as the

559
00:31:19,160 --> 00:31:21,680
Speaker 1: audience because he does the most amazing things.

560
00:31:21,920 --> 00:31:25,920
Speaker 3: Yes, but Adams is almos. It almost feels like he's

561
00:31:26,000 --> 00:31:27,440
Speaker 3: made boring on purpose.

562
00:31:28,080 --> 00:31:34,600
Speaker 1: Yeah. Now, and of course this is not entirely Leslie

563
00:31:34,640 --> 00:31:38,240
Speaker 1: Nielsen's fault, And I want to point out that Nielsen

564
00:31:38,880 --> 00:31:41,960
Speaker 1: did have I think a pretty strong villain era. He

565
00:31:42,480 --> 00:31:44,720
Speaker 1: he appears as a villain in one of my favorite

566
00:31:44,840 --> 00:31:48,000
Speaker 1: Night Gallery episodes nineteen sixty nine, is a question of fear.

567
00:31:48,920 --> 00:31:52,239
Speaker 1: I believe he's like a former mercenary, just a real

568
00:31:52,360 --> 00:31:55,920
Speaker 1: ruthless character. And I think he ultimately did that really well,

569
00:31:55,960 --> 00:31:58,960
Speaker 1: playing in as he you know, aged out of being

570
00:31:59,000 --> 00:32:01,640
Speaker 1: any kind of a leading and character. He could play

571
00:32:01,640 --> 00:32:04,800
Speaker 1: these like ruthless, cold characters really well. He plays one

572
00:32:04,840 --> 00:32:07,400
Speaker 1: in Stephen King's Creep Show from nineteen eighty two, in

573
00:32:07,440 --> 00:32:10,960
Speaker 1: which he viciously murders his wife and her lover, who's

574
00:32:10,960 --> 00:32:12,440
Speaker 1: played by Ted Danson.

575
00:32:12,320 --> 00:32:14,680
Speaker 3: And then gets some supernatural vengeance.

576
00:32:14,800 --> 00:32:17,080
Speaker 1: Oh yeah, there's some zombie action of course.

577
00:32:17,200 --> 00:32:20,160
Speaker 3: Or vengeance visited upon him, not gets the vengeance.

578
00:32:20,280 --> 00:32:23,959
Speaker 1: Yeah. Other villain roles of note include nineteen seventy seven's

579
00:32:24,040 --> 00:32:26,120
Speaker 1: Day of the Animals, in which he plays a really

580
00:32:26,200 --> 00:32:29,440
Speaker 1: nasty character, and also nineteen eighty seven's Nuts.

581
00:32:29,840 --> 00:32:31,480
Speaker 3: I'm gonna have to see some more of the Leslie

582
00:32:31,520 --> 00:32:33,920
Speaker 3: Nielsen villain stuff. I'm interested in that.

583
00:32:34,320 --> 00:32:36,360
Speaker 1: And it is interesting that some of these villain roles

584
00:32:36,400 --> 00:32:38,880
Speaker 1: that we just mentioned they occurred after airplanes, so he

585
00:32:39,000 --> 00:32:41,200
Speaker 1: was really It's not like he just was like, oh,

586
00:32:41,240 --> 00:32:43,680
Speaker 1: airplanes here, I can just do comedy from here on out. Like, No,

587
00:32:43,800 --> 00:32:46,200
Speaker 1: he was sort of, you know, keeping it a little

588
00:32:46,280 --> 00:32:48,800
Speaker 1: varied there for a bit, you know, playing a real

589
00:32:48,840 --> 00:32:51,320
Speaker 1: dirt bag here and then you know, hamming it up

590
00:32:51,360 --> 00:32:53,520
Speaker 1: for laughs on the other side. Yeah.

591
00:32:53,600 --> 00:32:56,120
Speaker 3: Yeah, at some point the rectangle was just cut loose.

592
00:32:56,480 --> 00:32:59,440
Speaker 3: You got some curves, got some corners. Yeah.

593
00:32:59,840 --> 00:33:02,320
Speaker 1: The next character we want to talk about is Lieutenant

594
00:33:02,360 --> 00:33:06,000
Speaker 1: doc Ostro, played by Warren Stevens, who of nineteen nineteen

595
00:33:06,040 --> 00:33:09,320
Speaker 1: through twenty twelve. This is the character that I think

596
00:33:10,160 --> 00:33:12,920
Speaker 1: is the most interesting. He's the male character that I

597
00:33:12,960 --> 00:33:16,080
Speaker 1: found myself relating to the most because he seemed most

598
00:33:16,120 --> 00:33:18,240
Speaker 1: on mission. I think he was the only one that

599
00:33:18,400 --> 00:33:22,120
Speaker 1: was not concerned with hitting on the strange alien woman.

600
00:33:22,760 --> 00:33:26,120
Speaker 1: He's the one who actually attempts to solve problems that

601
00:33:26,200 --> 00:33:30,120
Speaker 1: are the larger problems of the plot and has a

602
00:33:30,160 --> 00:33:34,960
Speaker 1: tragic trajectory as opposed to the heroic trajectory of Leslie

603
00:33:35,000 --> 00:33:35,760
Speaker 1: Nielsen's character.

604
00:33:36,240 --> 00:33:39,560
Speaker 3: You know, I feel like there are things said about

605
00:33:39,800 --> 00:33:44,280
Speaker 3: this character that are not fully demonstrated in any way

606
00:33:44,320 --> 00:33:47,080
Speaker 3: that I recall, and that makes me wonder if there

607
00:33:47,080 --> 00:33:50,320
Speaker 3: were more originally in the script. Maybe some more interactions

608
00:33:50,360 --> 00:33:53,200
Speaker 3: with him that didn't make it to the final cut. Specifically,

609
00:33:53,280 --> 00:33:59,560
Speaker 3: I'm thinking of how it's implied that when Morbius meets

610
00:33:59,640 --> 00:34:02,600
Speaker 3: the the main members of the crew, that he really

611
00:34:02,640 --> 00:34:06,000
Speaker 3: sort of bonds with Ostro about like Ostro being a

612
00:34:06,120 --> 00:34:09,400
Speaker 3: kind of scholar, a man of learning, somebody who's interested

613
00:34:09,480 --> 00:34:13,960
Speaker 3: in learning scientific complexities and stuff like that, which, unless

614
00:34:14,000 --> 00:34:16,560
Speaker 3: I'm forgetting something, I don't think we ever really see

615
00:34:16,760 --> 00:34:20,440
Speaker 3: demonstrated about the character. It's just sort of said about him.

616
00:34:20,880 --> 00:34:24,560
Speaker 1: It's worth noting that this film in many ways influenced

617
00:34:24,560 --> 00:34:27,400
Speaker 1: Star Trek. We'll get to some examples of that with

618
00:34:27,640 --> 00:34:30,839
Speaker 1: from a visual standpoint in a bit, But also you

619
00:34:30,840 --> 00:34:34,520
Speaker 1: can easily look at Commander Adams Leslie Nilsen's character as

620
00:34:34,560 --> 00:34:37,120
Speaker 1: sort of being a proto Kirk, and you can kind

621
00:34:37,160 --> 00:34:41,080
Speaker 1: of look at Ostro as being a proto Spock. Kind of.

622
00:34:41,160 --> 00:34:44,080
Speaker 3: Yeah, you would think Bones because the doctor Bones settlement,

623
00:34:44,200 --> 00:34:46,759
Speaker 3: but no, Yeah, he's a little bit more Spocky. He's

624
00:34:46,760 --> 00:34:48,360
Speaker 3: somewhere between Bones and Spock.

625
00:34:48,760 --> 00:34:50,799
Speaker 1: He does the sort of thing that I guess you

626
00:34:50,800 --> 00:34:55,040
Speaker 1: could see Bones or Spock doing what this character ultimately does,

627
00:34:55,120 --> 00:34:56,080
Speaker 1: but especially Spock.

628
00:34:56,400 --> 00:34:58,760
Speaker 3: Yeah, and then the third guy in the main three

629
00:34:58,920 --> 00:35:00,799
Speaker 3: landing Party is just like Kirk two.

630
00:35:01,840 --> 00:35:05,359
Speaker 1: Yes, yeah, I'll get to him. Well, I'll go ahead

631
00:35:05,400 --> 00:35:07,520
Speaker 1: mention him and then come back to to Stevens. But yeah.

632
00:35:07,560 --> 00:35:11,399
Speaker 1: Jack Kelly plays Lieutenant Farman who Live nineteen twenty seven

633
00:35:11,440 --> 00:35:14,320
Speaker 1: through nineteen ninety two American actor whose other credits include

634
00:35:14,320 --> 00:35:16,920
Speaker 1: sixty one's A Fever in the Blood and the TV

635
00:35:16,960 --> 00:35:21,000
Speaker 1: show Maverick Warren Stevens. He also did a fair amount

636
00:35:21,040 --> 00:35:25,360
Speaker 1: of TV, best remembered for his role here in Forbidden Planet.

637
00:35:25,400 --> 00:35:27,720
Speaker 1: His other film credits include nineteen fifty four is Gorilla

638
00:35:27,760 --> 00:35:29,879
Speaker 1: at Large Again you got to have a Gorilla movie

639
00:35:29,920 --> 00:35:32,600
Speaker 1: in there somewhere, and the Barefoot Contests I believe in

640
00:35:32,680 --> 00:35:36,240
Speaker 1: the same year, opposite Humphrey Bogart and Ava Gardner nineteen

641
00:35:36,280 --> 00:35:39,640
Speaker 1: sixty six is Cyborg twenty eighty seven, and he apparently

642
00:35:39,680 --> 00:35:42,080
Speaker 1: has a cameo in nineteen ninety one Samurai Cop.

643
00:35:42,120 --> 00:35:46,480
Speaker 3: Wow Man Cyborg twenty eighty seven. That sounds like the

644
00:35:46,600 --> 00:35:49,240
Speaker 3: name of a movie from the eighties, not a movie

645
00:35:49,239 --> 00:35:50,239
Speaker 3: from the sixties.

646
00:35:50,600 --> 00:35:52,399
Speaker 1: Yeah, I'm gonna have to look into that one more.

647
00:35:53,000 --> 00:35:55,920
Speaker 1: Another crew member to briefly mention, we have Richard Anderson

648
00:35:55,960 --> 00:35:59,560
Speaker 1: playing Chief Quinn. He lived nineteen twenty six through twenty seventeen,

649
00:35:59,600 --> 00:36:03,040
Speaker 1: American actor who also appeared in Stanley Kubrick's nineteen fifty

650
00:36:03,040 --> 00:36:06,359
Speaker 1: seven war picture Paths of Glory. I don't remember who

651
00:36:06,400 --> 00:36:09,080
Speaker 1: exactly he was in that. It's been a while since

652
00:36:09,080 --> 00:36:13,040
Speaker 1: I've seen that movie. But he was also a regular

653
00:36:13,080 --> 00:36:16,680
Speaker 1: cast member on TV's The Six Million Dollar Man. But

654
00:36:16,760 --> 00:36:18,320
Speaker 1: now it's time to talk about Cook.

655
00:36:18,680 --> 00:36:22,160
Speaker 3: COOKOK, what a character. I think at some point the

656
00:36:22,200 --> 00:36:26,560
Speaker 3: other day I just texted you the word cook. Yeah.

657
00:36:26,680 --> 00:36:28,919
Speaker 1: Cook. I was not expecting Cook. I should also add

658
00:36:29,120 --> 00:36:31,520
Speaker 1: I had not seen for Bid Blennett before before seeing

659
00:36:31,560 --> 00:36:35,480
Speaker 1: it in the theater, and I think I was kind

660
00:36:35,480 --> 00:36:40,480
Speaker 1: of expecting more like pure high minded science fiction. So

661
00:36:41,160 --> 00:36:44,760
Speaker 1: the Hammier elements kind of surprised me, and then Cook

662
00:36:45,400 --> 00:36:48,960
Speaker 1: really surprised me. A character, a pure comic relief character

663
00:36:49,640 --> 00:36:52,600
Speaker 1: who initially just kind of like wanders into the scene,

664
00:36:52,640 --> 00:36:56,600
Speaker 1: like stirring some biscuits or something and starts asking wise

665
00:36:56,600 --> 00:36:59,080
Speaker 1: guy questions about the plot. Yeah.

666
00:36:59,120 --> 00:37:02,120
Speaker 3: I mean, so they're going to another star system on

667
00:37:02,160 --> 00:37:05,239
Speaker 3: this like multi year voyage to Altara four, and some

668
00:37:05,280 --> 00:37:08,000
Speaker 3: of the crew members are just guys like Cook. Cook

669
00:37:08,120 --> 00:37:11,040
Speaker 3: is just a total bumpkin who is looking for whiskey

670
00:37:11,200 --> 00:37:12,719
Speaker 3: on the other edge of the galaxy.

671
00:37:13,760 --> 00:37:16,120
Speaker 1: Yeah, he's like he sees Robby the rovine. He's like, well,

672
00:37:16,120 --> 00:37:17,680
Speaker 1: what is it as a man? Is it a woman?

673
00:37:19,640 --> 00:37:19,879
Speaker 3: What?

674
00:37:21,280 --> 00:37:24,680
Speaker 1: Yeah, we we have a lot to say about Cook here,

675
00:37:24,719 --> 00:37:27,279
Speaker 1: played by Earl Holloman who lived in nineteen twenty eight

676
00:37:27,280 --> 00:37:30,319
Speaker 1: through twenty twenty four. A real Mike Nelson looking guy.

677
00:37:30,360 --> 00:37:33,240
Speaker 3: I have to say, yeah, yeah, I could see Cook

678
00:37:33,440 --> 00:37:36,400
Speaker 3: was almost like a character Mike Nelson would have played

679
00:37:36,400 --> 00:37:37,880
Speaker 3: in one of the early show skits.

680
00:37:38,120 --> 00:37:42,279
Speaker 1: Yes, exactly. I could have easily imagined Mike Nelson, you know,

681
00:37:42,360 --> 00:37:44,640
Speaker 1: walking out on the set of the Sidle Out of Love,

682
00:37:44,920 --> 00:37:48,440
Speaker 1: like stirring the pot here. Now. Holloman's pretty interesting tho,

683
00:37:48,440 --> 00:37:49,759
Speaker 1: because he went on to appear in a number of

684
00:37:49,800 --> 00:37:52,200
Speaker 1: big films in the nineteen fifties. He was in A

685
00:37:52,239 --> 00:37:55,600
Speaker 1: fifty six Giant. He was also in The rain Maker

686
00:37:56,640 --> 00:37:59,239
Speaker 1: and in The rain Maker. His role in that earned

687
00:37:59,320 --> 00:38:03,160
Speaker 1: him a Golden Globe Award for Best Supporting Actor, and

688
00:38:03,360 --> 00:38:06,520
Speaker 1: he remained active up until I believe two thousand, doing

689
00:38:06,520 --> 00:38:08,520
Speaker 1: a lot of TV, as well as popping up in

690
00:38:08,600 --> 00:38:12,319
Speaker 1: nineteen eighty one Sharky's Machine, which keeps coming up on

691
00:38:12,360 --> 00:38:14,360
Speaker 1: the show in the Connections. I've never seen it, but

692
00:38:14,360 --> 00:38:17,480
Speaker 1: it is a neo noir set in Atlanta, directed by

693
00:38:17,520 --> 00:38:19,320
Speaker 1: Burt Reynolds. So at some point I need to actually

694
00:38:19,360 --> 00:38:20,720
Speaker 1: sit down and watch Sharky's Machine.

695
00:38:20,760 --> 00:38:22,479
Speaker 3: I guess, yeah, I've never seen it either.

696
00:38:22,560 --> 00:38:22,799
Speaker 4: I don't.

697
00:38:22,880 --> 00:38:24,480
Speaker 1: I mean, I don't even know that it actually has

698
00:38:24,480 --> 00:38:27,480
Speaker 1: a machine. I was I had that question pop into

699
00:38:27,480 --> 00:38:30,160
Speaker 1: my head and I was looking at the Wikipedia article

700
00:38:30,200 --> 00:38:32,440
Speaker 1: and like the plot summary, It's like, well, is there

701
00:38:32,480 --> 00:38:34,200
Speaker 1: a machine or is there not a machine? I think

702
00:38:34,280 --> 00:38:37,239
Speaker 1: the machine is one of the supporting characters. I don't know.

703
00:38:38,040 --> 00:38:39,799
Speaker 1: I know Sharky is Burt Reynolds, that's all.

704
00:38:39,800 --> 00:38:43,760
Speaker 3: Oh okay, maybe machine is like a like a system

705
00:38:43,840 --> 00:38:47,440
Speaker 3: of people doing something like a like a crime. Crime

706
00:38:47,480 --> 00:38:49,359
Speaker 3: syndicate is a machine in some way.

707
00:38:49,880 --> 00:38:54,440
Speaker 1: And speaking of machines, this film also famously stars Robbie

708
00:38:54,480 --> 00:38:57,160
Speaker 1: the Robot playing Robbie the Robot.

709
00:38:57,480 --> 00:38:59,359
Speaker 3: They give him billing, he.

710
00:38:59,360 --> 00:39:03,040
Speaker 1: Has bill in and I am just ever pleased by

711
00:39:03,040 --> 00:39:06,120
Speaker 1: the fact that he has his own IMDb page. He

712
00:39:06,200 --> 00:39:10,720
Speaker 1: is treated by IMDb as an actual actor, alongside various

713
00:39:10,760 --> 00:39:14,240
Speaker 1: dogs and cats, and of course living in deceased human beings.

714
00:39:15,560 --> 00:39:19,719
Speaker 1: This was his screen debut. Robbie the Robot was essentially

715
00:39:19,719 --> 00:39:22,120
Speaker 1: born in nineteen fifty five. He was born in the

716
00:39:22,200 --> 00:39:27,040
Speaker 1: MGM Props Department, with credit generally going to a. Arnold Gailepsi,

717
00:39:27,600 --> 00:39:32,720
Speaker 1: Doug Hubbard, and Robert Kinoshita. He's voiced here by Marvin Miller,

718
00:39:32,719 --> 00:39:36,200
Speaker 1: who lived nineteen thirteen through nineteen eighty five, with Frankie

719
00:39:36,280 --> 00:39:39,560
Speaker 1: Darrow who lived nineteen seventeen through nineteen seventy six. Actually

720
00:39:39,680 --> 00:39:44,080
Speaker 1: in the suit, it is a suit. It's a big

721
00:39:44,200 --> 00:39:49,680
Speaker 1: clunky prop. Shane Morton, the host of the Silver Screens

722
00:39:49,680 --> 00:39:54,120
Speaker 1: Spook Show, mentioned that in the intro to the presentation

723
00:39:54,160 --> 00:39:56,520
Speaker 1: of the picture that it was apparently really loud, and

724
00:39:56,560 --> 00:40:00,000
Speaker 1: if you watch Forbidden Planet a lot, you can maybe

725
00:40:00,200 --> 00:40:03,080
Speaker 1: note that actors are maybe speaking a little louder when

726
00:40:03,080 --> 00:40:05,600
Speaker 1: they're sharing a screen time with Robbie the Robot, because

727
00:40:05,640 --> 00:40:08,480
Speaker 1: he had all sorts of clunky of business going on

728
00:40:08,600 --> 00:40:13,080
Speaker 1: in his body. And it is probably a clunky, old

729
00:40:13,120 --> 00:40:16,120
Speaker 1: fashioned design by today's standards, but it's an amazing build

730
00:40:16,239 --> 00:40:18,759
Speaker 1: that you know, certainly resonated with sci fi fans and

731
00:40:18,920 --> 00:40:21,680
Speaker 1: it made him icon of the genre. You know, this

732
00:40:21,800 --> 00:40:25,920
Speaker 1: is you think about robots from the nineteen fifties and sixties,

733
00:40:26,160 --> 00:40:28,200
Speaker 1: you're probably going to think about Robbie the Robot.

734
00:40:28,520 --> 00:40:32,360
Speaker 3: Oh Man, the clunkiness does not downgrade him at all.

735
00:40:32,480 --> 00:40:35,239
Speaker 3: In my mind. I think Robbie is still to this

736
00:40:35,440 --> 00:40:38,840
Speaker 3: day one of the best robots ever put on film.

737
00:40:39,320 --> 00:40:42,719
Speaker 3: I'd love so much about his design. I love the

738
00:40:42,840 --> 00:40:47,240
Speaker 3: non humanoid moving parts, so not just the arms and legs,

739
00:40:47,280 --> 00:40:52,320
Speaker 3: but things like the cycling typewriter guts inside, the clear

740
00:40:52,360 --> 00:40:56,600
Speaker 3: plastic dome of his head and the chemical analyzer, the

741
00:40:56,640 --> 00:41:00,640
Speaker 3: male slot mouth thing in his chest, the spinning navigation,

742
00:41:00,800 --> 00:41:04,120
Speaker 3: and timmy. It's just one of the best robot designs ever.

743
00:41:04,200 --> 00:41:07,680
Speaker 3: And I love every moment he's on screen. I love

744
00:41:07,760 --> 00:41:11,279
Speaker 3: the I think this is what you were just alluding to,

745
00:41:11,600 --> 00:41:16,200
Speaker 3: being very loud. I love the clacking sound that starts

746
00:41:16,239 --> 00:41:19,640
Speaker 3: as like the parts are moving inside before he starts talking.

747
00:41:20,120 --> 00:41:23,600
Speaker 1: Yeah, yeah, it's a great design. I love his shape.

748
00:41:23,640 --> 00:41:27,400
Speaker 1: He has a great silhouette, instantly recognizable. I love his

749
00:41:27,480 --> 00:41:34,320
Speaker 1: little centaur vehicle that he climbs into to roam about

750
00:41:34,320 --> 00:41:35,280
Speaker 1: on the planet's surface.

751
00:41:35,360 --> 00:41:36,560
Speaker 3: Oh the buggy, Yeah.

752
00:41:36,480 --> 00:41:39,680
Speaker 1: Yeah, so yeah, Robbie the Robot. He followed this up

753
00:41:39,760 --> 00:41:42,799
Speaker 1: with the spinoff The Invisible Boy, in which a boy

754
00:41:42,880 --> 00:41:45,640
Speaker 1: named Kimmy in the year nineteen fifty seven is given

755
00:41:45,680 --> 00:41:48,960
Speaker 1: a given super intelligence by a supercomputer and then he

756
00:41:49,120 --> 00:41:52,440
Speaker 1: like reassembles Robbie again. This is kind of like a

757
00:41:52,480 --> 00:41:55,840
Speaker 1: loose spinoff sequel. I don't think it really necessarily supposed

758
00:41:55,880 --> 00:41:59,160
Speaker 1: to think it is a legitimate follow up to Forbid

759
00:41:59,160 --> 00:42:03,520
Speaker 1: the Planet. But Robbie the Robot mostly appeared in TV

760
00:42:03,640 --> 00:42:06,720
Speaker 1: cameos after this. He showed up on The Twilight Zone,

761
00:42:06,960 --> 00:42:11,680
Speaker 1: The Adams Family, Lost in Space opposite the Robot. The

762
00:42:11,760 --> 00:42:15,600
Speaker 1: Robot from Lost in Space is another iconic robot costume

763
00:42:15,640 --> 00:42:19,000
Speaker 1: of the time period, showed up on Colombo, Wonder Woman,

764
00:42:19,120 --> 00:42:22,200
Speaker 1: More Can Mindy, the Love Boat, and then you know

765
00:42:22,239 --> 00:42:24,800
Speaker 1: of later appearances and things like Earth Girls Are Easy

766
00:42:24,960 --> 00:42:30,080
Speaker 1: and sometimes a IMDb he's credited as toy. Like I'm guessing,

767
00:42:30,080 --> 00:42:32,120
Speaker 1: like maybe he just shows up as a Robbie the

768
00:42:32,200 --> 00:42:33,920
Speaker 1: Robot toy, which isn't quite the same thing.

769
00:42:34,320 --> 00:42:36,760
Speaker 3: Yeah, some of his cameos are just he's a prop

770
00:42:36,800 --> 00:42:37,719
Speaker 3: in the background.

771
00:42:38,040 --> 00:42:40,680
Speaker 1: Yeah, but I think I like the Twilight Zone, he

772
00:42:41,000 --> 00:42:43,880
Speaker 1: shows up as like it is a plot element and

773
00:42:43,920 --> 00:42:45,400
Speaker 1: to some extent like he has a Robot.

774
00:42:53,560 --> 00:42:56,520
Speaker 3: So I mentioned earlier that the special effects throughout the

775
00:42:56,560 --> 00:43:01,440
Speaker 3: film just looked fantastic, Robbie of course being a major

776
00:43:01,480 --> 00:43:04,080
Speaker 3: one of them the prop created there. But also there

777
00:43:04,120 --> 00:43:08,160
Speaker 3: are some animation effects in this movie that are I

778
00:43:08,200 --> 00:43:11,960
Speaker 3: think just unparalleled, just absolutely spectacular.

779
00:43:12,680 --> 00:43:16,920
Speaker 1: That's right, because eventually we begin we begin to have

780
00:43:17,000 --> 00:43:20,560
Speaker 1: these attacks by some sort of a monster, but it

781
00:43:20,600 --> 00:43:23,560
Speaker 1: is an invisible monster for the most part, and we

782
00:43:23,600 --> 00:43:27,560
Speaker 1: only get glimpses of its form as it interacts with

783
00:43:27,640 --> 00:43:33,000
Speaker 1: various force fields and so forth, various like energy sources

784
00:43:33,040 --> 00:43:37,160
Speaker 1: and the like. And when this occurs, we are seeing

785
00:43:37,800 --> 00:43:40,600
Speaker 1: special effects that I believe are largely the work of

786
00:43:40,760 --> 00:43:44,920
Speaker 1: one Joshua Mador who lived nineteen eleven through nineteen sixty five.

787
00:43:45,719 --> 00:43:49,920
Speaker 1: He's credited with special effects through courtesy of Walt Disney Productions,

788
00:43:50,480 --> 00:43:53,040
Speaker 1: because indeed, he was an animator and special effects artist

789
00:43:53,280 --> 00:43:56,399
Speaker 1: who had worked on numerous Walt Disney animated features such

790
00:43:56,400 --> 00:44:00,640
Speaker 1: as thirty seven Snow White nineteen forties, Fan Tasa nineteen

791
00:44:00,960 --> 00:44:04,479
Speaker 1: fifty Cinderella later on, as well as such live action

792
00:44:04,560 --> 00:44:07,279
Speaker 1: productions as fifty four to twenty thousand Leagues under the Sea,

793
00:44:07,320 --> 00:44:11,120
Speaker 1: which we just mentioned, and so yeah, his talents helped

794
00:44:11,120 --> 00:44:14,719
Speaker 1: bring to life the Invisible Monstrosity. You know, they have

795
00:44:14,760 --> 00:44:17,320
Speaker 1: some practical effects too, like you know, a tree getting

796
00:44:17,360 --> 00:44:20,200
Speaker 1: knocked over on the set when the creature passes. But

797
00:44:20,239 --> 00:44:23,400
Speaker 1: then also these animated effects that kind of give us

798
00:44:23,400 --> 00:44:26,480
Speaker 1: a glimpse of this big kind of you know, monstrous

799
00:44:26,480 --> 00:44:29,279
Speaker 1: almost I don't know, kind of like dog like, bear,

800
00:44:29,480 --> 00:44:30,840
Speaker 1: like grimlin like being.

801
00:44:31,280 --> 00:44:34,120
Speaker 3: I mean, we never see a very clear picture of

802
00:44:34,120 --> 00:44:37,000
Speaker 3: what it is, which makes it all the more interesting,

803
00:44:37,120 --> 00:44:41,759
Speaker 3: Like you only get these sort of illuminated electric outlines

804
00:44:41,800 --> 00:44:44,240
Speaker 3: of the face in which it is. It is something

805
00:44:44,280 --> 00:44:48,240
Speaker 3: that's kind of raging. It has a snarling, toothy mouth.

806
00:44:48,360 --> 00:44:52,000
Speaker 3: It's gigantic, of course, and it also appears to be

807
00:44:52,440 --> 00:44:54,520
Speaker 3: I don't know, almost kind of pyramid shaped.

808
00:44:54,960 --> 00:44:58,239
Speaker 1: Yeah, so it's it's really cool and I think these

809
00:44:58,280 --> 00:45:02,400
Speaker 1: effects hold up really well. Mayde Or outside of this,

810
00:45:02,440 --> 00:45:05,120
Speaker 1: would mostly continue to work on Disney films and TV

811
00:45:05,280 --> 00:45:08,400
Speaker 1: projects for the rest of his career, including animation effects

812
00:45:08,440 --> 00:45:10,840
Speaker 1: on Darby Ogill and The Little People in fifty nine.

813
00:45:11,080 --> 00:45:12,880
Speaker 1: He was also apparently an accomplished painter.

814
00:45:14,040 --> 00:45:16,040
Speaker 3: Now, Rob, I know you already said you had been

815
00:45:16,160 --> 00:45:19,239
Speaker 3: listening to the sounds from the film I don't know

816
00:45:19,239 --> 00:45:22,920
Speaker 3: if they called it a soundtrack in this in this

817
00:45:23,000 --> 00:45:25,839
Speaker 3: case because a lot of it is not exactly what

818
00:45:25,880 --> 00:45:28,640
Speaker 3: we'd think of as music, but is very important for

819
00:45:28,960 --> 00:45:32,000
Speaker 3: the feeling of the film. But it was produced by

820
00:45:32,080 --> 00:45:34,080
Speaker 3: actually a pair of creators, right.

821
00:45:34,160 --> 00:45:38,560
Speaker 1: Yeah, husband and wife team Beebe and Lewis Baron. Boebe

822
00:45:38,640 --> 00:45:40,960
Speaker 1: lived nineteen twenty sixty two thousand and eight and Lewis

823
00:45:41,000 --> 00:45:44,120
Speaker 1: lived nineteen twenty through nineteen eighty nine, and they are

824
00:45:44,280 --> 00:45:51,760
Speaker 1: credited as composer electronic tonalities, which is perfect, a perfect

825
00:45:51,760 --> 00:45:55,640
Speaker 1: way to describe the music that they create. But I

826
00:45:55,640 --> 00:46:00,720
Speaker 1: think there were also some technicalities regarding like unions where

827
00:46:00,760 --> 00:46:03,680
Speaker 1: they weren't allowed to say that it was a film

828
00:46:03,719 --> 00:46:08,279
Speaker 1: score because they were not in the Music Film Score

829
00:46:08,400 --> 00:46:11,840
Speaker 1: Union at the time, and I think therefore we're also

830
00:46:11,960 --> 00:46:17,120
Speaker 1: not eligible for OSCAR nomination. But yes, the score is terrific.

831
00:46:17,160 --> 00:46:20,279
Speaker 1: It is an historic score in that it is the

832
00:46:20,400 --> 00:46:24,480
Speaker 1: first fully electronic score for a motion picture. By nineteen

833
00:46:24,480 --> 00:46:28,120
Speaker 1: fifty six, movies had been utilizing electronic elements in their

834
00:46:28,160 --> 00:46:31,160
Speaker 1: sound design for quite a while. I was reading a

835
00:46:31,200 --> 00:46:33,440
Speaker 1: little bit about the use of the theorem and in

836
00:46:33,560 --> 00:46:36,200
Speaker 1: film in a twenty eighteen article for the Script Lab

837
00:46:36,320 --> 00:46:40,960
Speaker 1: by Claire Nina Narelli pointing out that the Theoreman was

838
00:46:41,000 --> 00:46:45,880
Speaker 1: invented in nineteen twenty and by around nineteen thirty nineteen

839
00:46:45,880 --> 00:46:49,440
Speaker 1: thirty one it was used in the Russian film auDNA

840
00:46:49,600 --> 00:46:52,719
Speaker 1: or Alone. This was originally going to be a silent film,

841
00:46:52,760 --> 00:46:56,440
Speaker 1: but then apparently had music, sound effects and some dialogue

842
00:46:56,560 --> 00:46:59,919
Speaker 1: recorded in post and then played alongside it, and among

843
00:47:00,120 --> 00:47:05,400
Speaker 1: those sounds we had Theramy music. There's another electronic instrument

844
00:47:05,520 --> 00:47:08,279
Speaker 1: of the time period, an early electronic instrument called the

845
00:47:08,640 --> 00:47:12,439
Speaker 1: let's say, the one Martineau, and this was also used

846
00:47:12,480 --> 00:47:17,800
Speaker 1: in various scores and sound designs, including Bride of Frankenstein.

847
00:47:19,040 --> 00:47:22,520
Speaker 1: And the author here points out that the instruments, this instrument,

848
00:47:22,600 --> 00:47:25,440
Speaker 1: that Theram in particular, began to pop up in Hollywood

849
00:47:25,440 --> 00:47:28,960
Speaker 1: films during the mid nineteen forties, generally at first to

850
00:47:28,960 --> 00:47:33,560
Speaker 1: emphasize instability, such as in nineteen forty five Spellbound, so

851
00:47:33,600 --> 00:47:37,080
Speaker 1: a destabilizing sonic effect, but then it began to be

852
00:47:37,120 --> 00:47:42,239
Speaker 1: associated with sci fi and spaceships, in nineteen fifty with

853
00:47:42,440 --> 00:47:45,360
Speaker 1: rocket Ship XM, and then of course in nineteen fifty

854
00:47:45,360 --> 00:47:48,120
Speaker 1: one's The Day the Earth Stood Still, which features a

855
00:47:48,120 --> 00:47:53,040
Speaker 1: traditional orchestral score, but with two theremins so again. Up

856
00:47:53,120 --> 00:47:57,359
Speaker 1: until this point, cinema had been playing with a little

857
00:47:57,400 --> 00:48:00,560
Speaker 1: electronic sound, but no one had fully committed to a

858
00:48:00,760 --> 00:48:06,719
Speaker 1: full length motion picture with exclusively electronic music until now.

859
00:48:07,239 --> 00:48:09,920
Speaker 1: And apparently, like I was reading, apparently the way it

860
00:48:09,960 --> 00:48:12,040
Speaker 1: started out, they were like, well, let's these guys were

861
00:48:12,080 --> 00:48:15,000
Speaker 1: doing some really interesting work BB and Lewis, Let's bring

862
00:48:15,080 --> 00:48:16,839
Speaker 1: him in to do you know, a few minutes worth

863
00:48:16,840 --> 00:48:20,000
Speaker 1: of sound. And then like the right people liked it

864
00:48:20,040 --> 00:48:22,080
Speaker 1: and they were like, let's have them do the whole thing.

865
00:48:22,280 --> 00:48:28,880
Speaker 1: Let's let's do this exclusively, which you know, for various reasons,

866
00:48:28,920 --> 00:48:32,399
Speaker 1: this wasn't popular with everyone. And I can imagine, yeah,

867
00:48:32,400 --> 00:48:34,400
Speaker 1: there were probably some people who are like, this doesn't

868
00:48:34,440 --> 00:48:37,520
Speaker 1: sound like a film score, this doesn't sound like music.

869
00:48:38,920 --> 00:48:42,360
Speaker 1: I mean, I would disagree. But their work was apparently

870
00:48:42,480 --> 00:48:48,640
Speaker 1: very avant garde. They you know, they used ring modulator

871
00:48:48,800 --> 00:48:52,680
Speaker 1: circuits and then altered the results with reverb, tape delay

872
00:48:52,800 --> 00:48:56,279
Speaker 1: and other editing techniques. Apparently there was a very high

873
00:48:56,360 --> 00:49:00,080
Speaker 1: unpredictability with their work, like if they successfully create they

874
00:49:00,120 --> 00:49:03,080
Speaker 1: did a certain soundscape, they couldn't necessarily come back and

875
00:49:03,120 --> 00:49:06,160
Speaker 1: recreate it in the same way, so it was kind

876
00:49:06,200 --> 00:49:09,040
Speaker 1: of a roll of the dice and then and then

877
00:49:09,080 --> 00:49:11,640
Speaker 1: an editing exercise to get something that they wanted.

878
00:49:12,120 --> 00:49:14,759
Speaker 3: Yeah. I think a lot of music creators today might

879
00:49:14,840 --> 00:49:16,720
Speaker 3: know that effect. If you've got like a pedal board

880
00:49:16,719 --> 00:49:19,920
Speaker 3: that you runar through and you might create some sound

881
00:49:20,000 --> 00:49:22,200
Speaker 3: you really like, but then you mess with the knobs

882
00:49:22,239 --> 00:49:23,719
Speaker 3: and then you can't get it to sound the same

883
00:49:23,760 --> 00:49:25,239
Speaker 3: way again, you forget how you did it.

884
00:49:25,680 --> 00:49:28,359
Speaker 1: Oh wow wow. So yeah, at this point, yeah, they

885
00:49:28,360 --> 00:49:32,560
Speaker 1: were very avant garde. They had been contributing electronic sounds

886
00:49:32,560 --> 00:49:35,399
Speaker 1: to various generally got short art films, like the work

887
00:49:35,440 --> 00:49:38,759
Speaker 1: of Ian Hugo. I believe he did some adaptations of

888
00:49:38,760 --> 00:49:42,359
Speaker 1: anis nin short stories, that sort of thing, So nothing

889
00:49:42,400 --> 00:49:46,080
Speaker 1: that was at all mainstream Hollywood. And then here they

890
00:49:46,160 --> 00:49:51,479
Speaker 1: are scoring the tonalities of Forbidden Planet, and I think, yeah,

891
00:49:51,520 --> 00:49:54,800
Speaker 1: it's it's tremendous, but it is deeply weird and alien.

892
00:49:54,920 --> 00:49:59,759
Speaker 1: It is largely devoid of any melodic content. It just

893
00:50:00,680 --> 00:50:03,680
Speaker 1: the sounds like twinkle like stars against the dark void.

894
00:50:03,680 --> 00:50:06,799
Speaker 1: They drip like liquid metal and alien caves, and it

895
00:50:06,880 --> 00:50:11,240
Speaker 1: just delivers an overwhelming vibe of just inhuman mystery. Which

896
00:50:11,800 --> 00:50:15,759
Speaker 1: works exceedingly well with various aspects of the plot and

897
00:50:15,760 --> 00:50:18,680
Speaker 1: certainly the look of the picture. Maybe less so with

898
00:50:18,760 --> 00:50:22,680
Speaker 1: the more hammy aspects of it, but to their credit,

899
00:50:22,960 --> 00:50:26,160
Speaker 1: nobody went in and added like goofy sound effects for

900
00:50:26,200 --> 00:50:29,239
Speaker 1: the comedic moments. Like all the sound design we have

901
00:50:29,280 --> 00:50:30,919
Speaker 1: there is exclusively sci fi.

902
00:50:31,280 --> 00:50:34,879
Speaker 3: I think it's the kind of thing that to audiences

903
00:50:34,920 --> 00:50:39,279
Speaker 3: going back today feels less groundbreaking because we have experienced

904
00:50:39,320 --> 00:50:42,759
Speaker 3: a lot of what followed in its footsteps, and that

905
00:50:42,840 --> 00:50:46,200
Speaker 3: if we were to be there in nineteen fifty six,

906
00:50:46,320 --> 00:50:50,040
Speaker 3: we would probably recognize the sound of this movie as

907
00:50:50,080 --> 00:50:54,480
Speaker 3: being more we would recognize it for being how unique

908
00:50:54,480 --> 00:50:55,440
Speaker 3: in time it was.

909
00:50:56,480 --> 00:51:00,000
Speaker 1: Yeah, I mean it seems I can imagine people being

910
00:51:00,280 --> 00:51:03,839
Speaker 1: surprised though, because it at least, you know, to my ears,

911
00:51:03,880 --> 00:51:06,319
Speaker 1: it hits pretty hard. It seems it feels pretty far

912
00:51:06,400 --> 00:51:09,080
Speaker 1: removed from something like you know, some of the work

913
00:51:09,080 --> 00:51:11,080
Speaker 1: of say Wendy Carlos you would get a little over

914
00:51:11,120 --> 00:51:14,759
Speaker 1: a decade later, was like Switched on Bach Yeah, yeah,

915
00:51:14,880 --> 00:51:17,840
Speaker 1: very melodic but very electronic at the same time, and

916
00:51:17,920 --> 00:51:21,240
Speaker 1: this is just like, yeah, this stuff is just alien.

917
00:51:21,400 --> 00:51:23,520
Speaker 1: It does not have the human touch, And I love

918
00:51:23,560 --> 00:51:26,400
Speaker 1: it for that, but it it seems like a minor

919
00:51:26,440 --> 00:51:28,880
Speaker 1: miracle that this score exists at all. It seems like

920
00:51:29,000 --> 00:51:32,000
Speaker 1: exactly the sort of sort of score that some sort

921
00:51:32,040 --> 00:51:34,040
Speaker 1: of producer would come along and say and say like,

922
00:51:34,120 --> 00:51:35,799
Speaker 1: we can't use this. You can use it when the

923
00:51:35,800 --> 00:51:38,920
Speaker 1: spaceship's landing. But let's let's get some stock music in

924
00:51:38,960 --> 00:51:41,080
Speaker 1: here so that the humans can connect with the plot.

925
00:51:41,280 --> 00:51:44,560
Speaker 3: Yeah, that's too weird. Yeah, but no, they got away

926
00:51:44,600 --> 00:51:47,279
Speaker 3: with it, and I'm glad they did. All Right, you

927
00:51:47,280 --> 00:51:48,760
Speaker 3: want to talk about the plot.

928
00:51:48,760 --> 00:51:49,920
Speaker 1: Let's get into the plot.

929
00:51:50,440 --> 00:51:53,080
Speaker 3: Warning that this movie does have, in my opinion, some

930
00:51:53,120 --> 00:51:56,400
Speaker 3: pretty good twists and reveals in it, especially the ending,

931
00:51:56,400 --> 00:51:58,480
Speaker 3: and we are going to be talking about those. So

932
00:51:58,600 --> 00:52:00,880
Speaker 3: if you want to see it without having anything spoiled,

933
00:52:01,160 --> 00:52:03,560
Speaker 3: I would suggest pausing and doing that now.

934
00:52:04,840 --> 00:52:06,440
Speaker 1: But you're still here, so I guess it's okay.

935
00:52:06,600 --> 00:52:10,040
Speaker 3: Yeah. So opening monologue. I'm just going to read this

936
00:52:10,320 --> 00:52:13,080
Speaker 3: to set the tone. The voice over tells us, in

937
00:52:13,120 --> 00:52:16,000
Speaker 3: the final decade of the twenty first century, men and

938
00:52:16,080 --> 00:52:20,000
Speaker 3: women in rocket ships landed on the Moon. Great start.

939
00:52:20,080 --> 00:52:21,400
Speaker 3: Do you think we're going to make it to the

940
00:52:21,400 --> 00:52:26,920
Speaker 3: moon by the twenty nineties, by twenty two hundred AD,

941
00:52:27,040 --> 00:52:29,560
Speaker 3: they had reached the other planets of our Solar system

942
00:52:30,040 --> 00:52:33,640
Speaker 3: almost at once. There followed the discovery of hyperdrive, through

943
00:52:33,640 --> 00:52:36,640
Speaker 3: which the speed of light was first attained and later

944
00:52:36,920 --> 00:52:41,239
Speaker 3: greatly surpassed. And so at last mankind began the conquest

945
00:52:41,280 --> 00:52:46,040
Speaker 3: and colonization of deep space. United Planets. Cruiser C fifty

946
00:52:46,120 --> 00:52:48,960
Speaker 3: seven D now more than a year out from Earth

947
00:52:49,000 --> 00:52:52,120
Speaker 3: base on a special mission to the planetary system of

948
00:52:52,160 --> 00:52:56,320
Speaker 3: the great main sequence star Altear And so it's showing

949
00:52:56,400 --> 00:52:58,440
Speaker 3: us the spaceship as it tells us what it is.

950
00:52:59,560 --> 00:53:03,120
Speaker 3: One thing I want to note here in Forbidden Planet,

951
00:53:03,560 --> 00:53:08,880
Speaker 3: the spaceship used by the human heroes is a flying saucer.

952
00:53:09,800 --> 00:53:12,080
Speaker 3: And I think this is notable because while the flying

953
00:53:12,080 --> 00:53:15,640
Speaker 3: saucer was absolutely well known in science fiction of the time,

954
00:53:15,680 --> 00:53:19,120
Speaker 3: it had already been used in multiple movies. I think

955
00:53:19,200 --> 00:53:22,480
Speaker 3: it was usually the form of ship used by non

956
00:53:22,719 --> 00:53:28,280
Speaker 3: human aliens. More often, human ships are shown as elongated

957
00:53:28,360 --> 00:53:31,640
Speaker 3: and cylindrical, vaguely rocket shaped, or maybe they were shaped

958
00:53:31,719 --> 00:53:35,400
Speaker 3: like an airplane. I don't know if there is anything

959
00:53:35,440 --> 00:53:38,279
Speaker 3: to read into this choice as far as the intentions

960
00:53:38,280 --> 00:53:41,719
Speaker 3: of the filmmakers go, but at least to me, the

961
00:53:41,800 --> 00:53:46,040
Speaker 3: choice of putting humans inside the flying Saucer instead of

962
00:53:46,040 --> 00:53:49,680
Speaker 3: having that be the alien vessel, suggests that we are

963
00:53:49,800 --> 00:53:52,920
Speaker 3: the aliens, which is relevant to the movie in multiple ways.

964
00:53:52,960 --> 00:53:55,120
Speaker 3: One of these will be a spoiler, so again spoiler

965
00:53:55,120 --> 00:53:58,720
Speaker 3: warning number one. Of course, in this story, the humans

966
00:53:58,760 --> 00:54:01,759
Speaker 3: are colonizing an ex soa planet far beyond Earth, So

967
00:54:02,280 --> 00:54:04,960
Speaker 3: we are the aliens in the scenario. We're not in

968
00:54:05,000 --> 00:54:08,359
Speaker 3: our own cosmic neighborhood. But the other sense in which

969
00:54:08,440 --> 00:54:11,600
Speaker 3: humans are the aliens in this movie has to do

970
00:54:11,640 --> 00:54:15,360
Speaker 3: with the big twist at the end, the supposedly alien

971
00:54:15,640 --> 00:54:18,920
Speaker 3: force that is attacking the humans is not actually of

972
00:54:19,040 --> 00:54:22,840
Speaker 3: alien origin but of human origin. And so anyway, I

973
00:54:22,840 --> 00:54:24,400
Speaker 3: was thinking about this for a bit. It made me

974
00:54:24,440 --> 00:54:26,439
Speaker 3: think it might be interesting at some point to come

975
00:54:26,480 --> 00:54:29,879
Speaker 3: back into a deep dive on the history of this

976
00:54:30,160 --> 00:54:33,319
Speaker 3: ship form, on the idea of the flying Saucer as

977
00:54:33,360 --> 00:54:36,560
Speaker 3: a shape, to kind of look at that in history

978
00:54:36,840 --> 00:54:39,440
Speaker 3: as far as like UFO reports go, and then also

979
00:54:39,480 --> 00:54:42,880
Speaker 3: in popular culture, but then also compare that to real

980
00:54:43,080 --> 00:54:44,920
Speaker 3: you know, flying machine designs.

981
00:54:45,640 --> 00:54:49,120
Speaker 1: Yeah, yeah, I'm all for it. One quick note on

982
00:54:49,160 --> 00:54:54,080
Speaker 1: ship design again, this film was very influential on the

983
00:54:54,080 --> 00:54:57,279
Speaker 1: the ultimate shape that star Trek would take. And it's

984
00:54:57,320 --> 00:55:00,680
Speaker 1: often pointed out that the stars the starship Inner is

985
00:55:00,719 --> 00:55:03,920
Speaker 1: in many ways a disc based ship as well. It

986
00:55:03,960 --> 00:55:06,960
Speaker 1: is a flying saucer, but with other elements added to it,

987
00:55:07,840 --> 00:55:10,640
Speaker 1: you know, with engines and the lower you know, engineering

988
00:55:10,719 --> 00:55:13,319
Speaker 1: portion of the ship and all. But you know, it's

989
00:55:13,440 --> 00:55:18,839
Speaker 1: mostly flying saucer, and part of that seems to come

990
00:55:18,880 --> 00:55:19,920
Speaker 1: from Forbidden Planet.

991
00:55:20,160 --> 00:55:21,760
Speaker 3: Yeah, it's kind of like a it's like a flying

992
00:55:21,760 --> 00:55:23,480
Speaker 3: saucer with a stem and legs.

993
00:55:23,880 --> 00:55:24,320
Speaker 1: Yeah.

994
00:55:24,800 --> 00:55:27,160
Speaker 3: So anyway, I'm going to try to summarize the setup

995
00:55:27,160 --> 00:55:30,600
Speaker 3: of the film here. So, the crew of the uninspiringly

996
00:55:30,680 --> 00:55:34,080
Speaker 3: named C fifty seven D are on a mission to

997
00:55:34,120 --> 00:55:38,400
Speaker 3: the planet all Tear four to investigate what happened to

998
00:55:38,680 --> 00:55:41,719
Speaker 3: a ship named the Beleerophon, which ventured out to the

999
00:55:41,719 --> 00:55:45,200
Speaker 3: planet twenty years prior. In command of this mission is

1000
00:55:45,280 --> 00:55:48,839
Speaker 3: jj Adams, a by God rectangle. If we ever saw

1001
00:55:48,920 --> 00:55:53,400
Speaker 3: one gruff tough, no nonsense, you'd really get the feeling

1002
00:55:53,400 --> 00:55:56,040
Speaker 3: that he expects a rost ready when he gets home

1003
00:55:56,080 --> 00:56:00,160
Speaker 3: from space. Yes. Yeah, So when the crew reached which

1004
00:56:00,160 --> 00:56:03,720
Speaker 3: is the vicinity of Altar four, they receive a radio

1005
00:56:03,760 --> 00:56:06,719
Speaker 3: message from a man. It's a human voice he comes

1006
00:56:06,719 --> 00:56:10,520
Speaker 3: on the radio and identifies himself as doctor Edward Morbius.

1007
00:56:11,160 --> 00:56:14,040
Speaker 3: They check that against the manifest of the original mission,

1008
00:56:14,080 --> 00:56:16,560
Speaker 3: and they verified that was part of the original crew.

1009
00:56:17,160 --> 00:56:20,640
Speaker 3: Morbius is supposed to be there, though curiously they note

1010
00:56:20,640 --> 00:56:24,560
Speaker 3: that he was a philologist a language expert, which is

1011
00:56:24,560 --> 00:56:27,040
Speaker 3: not exactly what you imagine in the landing party among

1012
00:56:27,080 --> 00:56:32,920
Speaker 3: your geologists and exobiologists and engineers and so forth. Morbius

1013
00:56:32,960 --> 00:56:36,479
Speaker 3: warns them not to land. He says doing so would

1014
00:56:36,480 --> 00:56:40,520
Speaker 3: put them in grave danger, but Adams is not deterred.

1015
00:56:40,680 --> 00:56:43,920
Speaker 3: It's the mission, gentlemen. We've got a land So they

1016
00:56:43,920 --> 00:56:46,600
Speaker 3: come and set down in the middle of this vast

1017
00:56:46,760 --> 00:56:51,320
Speaker 3: desert plain surrounded by jagged mountains. And oh, I love

1018
00:56:51,760 --> 00:56:55,120
Speaker 3: love the design of the surface of Altaar four. Here

1019
00:56:55,880 --> 00:56:59,600
Speaker 3: there is a painted backdrop which has a green sky

1020
00:57:00,360 --> 00:57:04,040
Speaker 3: and sort of different strata of clouds with multiple moons

1021
00:57:04,120 --> 00:57:07,719
Speaker 3: in the background. I love the rocky mountains. But also

1022
00:57:07,800 --> 00:57:10,280
Speaker 3: this is not a barren, rocky planet, like we're looking

1023
00:57:10,320 --> 00:57:12,520
Speaker 3: at a kind of desert plane. But different parts of

1024
00:57:12,560 --> 00:57:17,400
Speaker 3: the planet have more vegetation, have strange looking trees and

1025
00:57:17,520 --> 00:57:18,920
Speaker 3: brush and things like that.

1026
00:57:19,400 --> 00:57:23,000
Speaker 1: Yeah, it does just look absolutely terrific. You can just

1027
00:57:23,080 --> 00:57:27,520
Speaker 1: imagine how sci fi fans of the time just probably

1028
00:57:27,560 --> 00:57:31,000
Speaker 1: lost their mind when they'd seen this. You know, this

1029
00:57:31,120 --> 00:57:33,400
Speaker 1: was you know, obviously this was before two thousand and

1030
00:57:33,440 --> 00:57:37,800
Speaker 1: one a Space Odyssey, which you know, really set an

1031
00:57:37,800 --> 00:57:41,960
Speaker 1: all new standard for what visions of a sci fi

1032
00:57:42,000 --> 00:57:44,680
Speaker 1: future might look like in space. But man, it Forbidden

1033
00:57:44,680 --> 00:57:45,920
Speaker 1: Planet just looks amazing.

1034
00:57:46,760 --> 00:57:49,919
Speaker 3: So the crew lands on the surface, and I like, here,

1035
00:57:51,080 --> 00:57:54,680
Speaker 3: how the different members of the crew have different reactions

1036
00:57:54,680 --> 00:57:57,040
Speaker 3: to it, Like they debate how pleasant it is. One

1037
00:57:57,080 --> 00:57:59,680
Speaker 3: person likes it, another person is put off and just

1038
00:57:59,680 --> 00:58:03,880
Speaker 3: missing Earth. And so the crew they get out and

1039
00:58:03,920 --> 00:58:07,040
Speaker 3: they are greeted by a robot whom they first see

1040
00:58:07,120 --> 00:58:09,400
Speaker 3: hot rotting a buggy through the desert, like they just

1041
00:58:09,440 --> 00:58:13,120
Speaker 3: see dust kicking up in the desert in the distance, like, Wow,

1042
00:58:13,160 --> 00:58:15,680
Speaker 3: something's coming to meet us. And when it pulls up.

1043
00:58:16,520 --> 00:58:19,240
Speaker 3: When they first got there, I couldn't remember exactly what

1044
00:58:19,320 --> 00:58:21,120
Speaker 3: was happening. I was like, Oh, did they get attacked

1045
00:58:21,160 --> 00:58:24,800
Speaker 3: by the monster this early? No, that's not It's just

1046
00:58:24,960 --> 00:58:28,480
Speaker 3: Robbie driving a buggy. He really looks like he would

1047
00:58:28,480 --> 00:58:30,800
Speaker 3: be weighing down the front of this thing and making

1048
00:58:30,840 --> 00:58:32,840
Speaker 3: it do I don't know whatever. The opposite of popping

1049
00:58:32,880 --> 00:58:34,880
Speaker 3: a wheelie is like coming down in the front, but

1050
00:58:35,680 --> 00:58:40,040
Speaker 3: somehow it stays. It stays on all four wheels, and

1051
00:58:40,400 --> 00:58:42,800
Speaker 3: it arrives and sort of a cage opens in the

1052
00:58:42,800 --> 00:58:46,640
Speaker 3: front and Robbie walks out, and oh boy, what a

1053
00:58:46,720 --> 00:58:48,960
Speaker 3: vision he is. We've already talked about how much I

1054
00:58:49,040 --> 00:58:52,680
Speaker 3: like the design of Robbie the robot, but he the

1055
00:58:52,760 --> 00:58:56,520
Speaker 3: meeting is a magical moment, and the crew were kind

1056
00:58:56,520 --> 00:58:58,440
Speaker 3: of at a loss for words. He's like, you know,

1057
00:58:58,880 --> 00:59:02,120
Speaker 3: I am monitored to respond to the name Robbie. And

1058
00:59:02,160 --> 00:59:04,160
Speaker 3: he tries to say, hey, if you don't speak English,

1059
00:59:04,240 --> 00:59:05,880
Speaker 3: you know, I speak one hundred and eighty seven other

1060
00:59:05,960 --> 00:59:10,520
Speaker 3: languages and there are various various sub tongues, and they're like,

1061
00:59:10,560 --> 00:59:14,919
Speaker 3: no English is okay? And they say hi to each other,

1062
00:59:14,920 --> 00:59:16,960
Speaker 3: and we get a lot of kind of yuck yuck moments.

1063
00:59:17,000 --> 00:59:20,080
Speaker 3: So with the more bumpkinny members of the crew trying

1064
00:59:20,080 --> 00:59:23,280
Speaker 3: to figure out what to make of Robbie. Yeah, so

1065
00:59:23,480 --> 00:59:27,800
Speaker 3: Robbie takes Adams, his lieutenant Jerry Farman, and the ship's

1066
00:59:27,800 --> 00:59:32,160
Speaker 3: doctor Doc Astro to the home of Edward Morbius, the

1067
00:59:32,200 --> 00:59:36,080
Speaker 3: guy they talked to on the radio, and Morbius greets

1068
00:59:36,120 --> 00:59:40,200
Speaker 3: them courteously and invites them in for lunch. Now, what

1069
00:59:40,240 --> 00:59:43,160
Speaker 3: would you say is what's your read on Morbius when

1070
00:59:43,160 --> 00:59:44,200
Speaker 3: we first meet him here?

1071
00:59:44,960 --> 00:59:48,200
Speaker 1: I mean, it's very much a Captain Nemo sort of vibe,

1072
00:59:48,280 --> 00:59:52,200
Speaker 1: and and you know, this is a highly influential film

1073
00:59:52,240 --> 00:59:54,320
Speaker 1: like it. You know, there are also elements like it

1074
00:59:54,360 --> 00:59:56,479
Speaker 1: reminds me of Alien Covenant a bit like, yeah, okay,

1075
00:59:56,480 --> 00:59:59,440
Speaker 1: there's there's a guy here and he seems to be

1076
00:59:59,480 --> 01:00:02,760
Speaker 1: doing just on a world where everyone else is absolutely dead.

1077
01:00:03,400 --> 01:00:07,600
Speaker 1: Something here is us. But that being said, Morbius comes

1078
01:00:07,600 --> 01:00:11,680
Speaker 1: off very pleasant, you know, in his his crib is

1079
01:00:11,840 --> 01:00:16,040
Speaker 1: just luxurious. I love the blast curtains that the oh,

1080
01:00:16,320 --> 01:00:19,840
Speaker 1: stop motion blast curtains that he demonstrates. I mean, so

1081
01:00:20,080 --> 01:00:23,760
Speaker 1: he wins us over with charm, but you know, remains suspicious.

1082
01:00:23,960 --> 01:00:25,840
Speaker 3: Yeah, the blast curtains you're talking about. There's like an

1083
01:00:25,880 --> 01:00:28,960
Speaker 3: open design of the house. It's one of those mid

1084
01:00:29,000 --> 01:00:32,280
Speaker 3: century kind of West Coast designs where it's all glass

1085
01:00:32,320 --> 01:00:35,520
Speaker 3: walls all around or loose sight maybe. But then yeah,

1086
01:00:35,560 --> 01:00:38,280
Speaker 3: suddenly he can like snap his fingers or press a

1087
01:00:38,280 --> 01:00:41,080
Speaker 3: button and all of the windows get replaced with like

1088
01:00:41,200 --> 01:00:41,919
Speaker 3: solid lead.

1089
01:00:42,480 --> 01:00:45,320
Speaker 1: Yeah, yeah, which is which is created via some sort

1090
01:00:45,320 --> 01:00:47,720
Speaker 1: of a stop motion approach. But it looks really good,

1091
01:00:47,800 --> 01:00:50,920
Speaker 1: Like I totally buy this as as a technology.

1092
01:00:51,560 --> 01:00:53,800
Speaker 3: So they get to know each other here over a

1093
01:00:53,920 --> 01:00:56,440
Speaker 3: over a pleasant lunch, and we learn about Robbie. We

1094
01:00:56,520 --> 01:00:59,680
Speaker 3: learned that Robbie is immensely strong, uh, and that he

1095
01:00:59,760 --> 01:01:03,200
Speaker 3: has the power to synthesize any object or material that

1096
01:01:03,240 --> 01:01:06,320
Speaker 3: he analyzes in his sort of male slot mouth in

1097
01:01:06,360 --> 01:01:09,800
Speaker 3: his chest. I think we correct me if I'm wrong,

1098
01:01:09,840 --> 01:01:12,720
Speaker 3: But it sort of suggested that the delicious food they

1099
01:01:12,800 --> 01:01:16,320
Speaker 3: just ate was somehow extruded out of Robbie's holes.

1100
01:01:16,720 --> 01:01:18,200
Speaker 1: I guess so. Yeah.

1101
01:01:18,240 --> 01:01:20,440
Speaker 3: And also we learned, I think, in borrowing from some

1102
01:01:20,520 --> 01:01:24,760
Speaker 3: other science fiction, that Robbie has some of the laws

1103
01:01:24,800 --> 01:01:28,920
Speaker 3: of robotics written into him, like that Isaac Asimov, Susan

1104
01:01:28,960 --> 01:01:33,840
Speaker 3: Calvin robopsychology stories, the laws of robotics. So Morbius demonstrates,

1105
01:01:33,880 --> 01:01:37,840
Speaker 3: for example, that Robbie cannot harm a human by and

1106
01:01:37,960 --> 01:01:40,720
Speaker 3: he demonstrates this in a great way. He's like, mister Adams,

1107
01:01:40,760 --> 01:01:43,160
Speaker 3: you know, give me your gun, and he takes it.

1108
01:01:43,560 --> 01:01:46,440
Speaker 3: He puts it in Robbie's hand first, as Robbie zap

1109
01:01:46,480 --> 01:01:49,480
Speaker 3: a plant in their garden, and then he's like, Okay,

1110
01:01:49,520 --> 01:01:53,320
Speaker 3: point the blaster at Commander Adams and kill him. But

1111
01:01:53,920 --> 01:01:56,280
Speaker 3: Robbie can't do it. He starts to sizzle and fry.

1112
01:01:56,280 --> 01:01:59,560
Speaker 3: All these like purple sparks shoot inside his head. And

1113
01:01:59,640 --> 01:02:03,400
Speaker 3: this is caused by a contradiction between receiving the order

1114
01:02:03,440 --> 01:02:06,200
Speaker 3: which he is supposed to follow and his inability to

1115
01:02:06,200 --> 01:02:08,560
Speaker 3: harm anyone. And he just stands there, frozen in that

1116
01:02:08,600 --> 01:02:10,760
Speaker 3: state until Morbius says, canceled the order.

1117
01:02:11,360 --> 01:02:17,280
Speaker 1: Yeah, and they're very forgiving of doctor Morbius's terrifying demonstration

1118
01:02:17,360 --> 01:02:17,880
Speaker 1: of power.

1119
01:02:18,760 --> 01:02:22,480
Speaker 3: I would say we also get the impression that Morbius

1120
01:02:22,600 --> 01:02:25,400
Speaker 3: is not too happy about this visit from the crew.

1121
01:02:25,560 --> 01:02:29,000
Speaker 3: He is not rude to them, but he says, for

1122
01:02:29,280 --> 01:02:32,480
Speaker 3: one of the lines, is how ironic that a simple

1123
01:02:32,520 --> 01:02:36,760
Speaker 3: scholar with no ambition beyond a modest measure of seclusion, should,

1124
01:02:36,760 --> 01:02:39,600
Speaker 3: out of the clear sky find himself besieged by an

1125
01:02:39,720 --> 01:02:43,760
Speaker 3: army of fellow creatures, all grimly determined to be of service.

1126
01:02:44,360 --> 01:02:46,840
Speaker 1: Yeah. But Adams is like, we've got to do it

1127
01:02:46,880 --> 01:02:49,160
Speaker 1: by the book, you know, We've got to stick around,

1128
01:02:49,160 --> 01:02:50,720
Speaker 1: and then we have to follow up.

1129
01:02:50,880 --> 01:03:06,000
Speaker 3: The mission, so we learn what happened to the rest

1130
01:03:06,040 --> 01:03:09,520
Speaker 3: of the crew the original crew of the Bellerophon. Morbius

1131
01:03:09,560 --> 01:03:12,400
Speaker 3: tells the story of how after they landed and began

1132
01:03:12,440 --> 01:03:18,120
Speaker 3: to explore the planet, something started going wrong, something started happening. Eventually,

1133
01:03:18,480 --> 01:03:23,240
Speaker 3: every other member of the crew was murdered, literally torn

1134
01:03:23,440 --> 01:03:28,400
Speaker 3: limb from limb by what he calls an invisible planetary force,

1135
01:03:29,120 --> 01:03:32,200
Speaker 3: and when a certain group of the only survivors who

1136
01:03:32,240 --> 01:03:35,280
Speaker 3: were left, say for Morbius, tried to flee the planet

1137
01:03:35,360 --> 01:03:40,240
Speaker 3: in their spaceship, that ship was obliterated upon takeoff. Now,

1138
01:03:40,280 --> 01:03:43,640
Speaker 3: Morbius himself has no idea what the force was, but

1139
01:03:43,960 --> 01:03:48,240
Speaker 3: it seems he is somehow immune to it, as is

1140
01:03:48,520 --> 01:03:52,600
Speaker 3: surprise we find out about his twenty year old daughter, Altara,

1141
01:03:52,800 --> 01:03:56,400
Speaker 3: who was born right after their arrival on the planet.

1142
01:03:56,800 --> 01:04:00,959
Speaker 3: Altara's mother was another scientist of the original Billerophon Crewe.

1143
01:04:01,520 --> 01:04:04,200
Speaker 3: She and Morbius fell in love and married on the

1144
01:04:04,200 --> 01:04:08,560
Speaker 3: way to the planet, but unfortunately, Altera's mother also died,

1145
01:04:08,640 --> 01:04:12,520
Speaker 3: though she died of natural causes. So whatever it was

1146
01:04:12,640 --> 01:04:15,840
Speaker 3: that literally ripped apart the bodies of the other members

1147
01:04:15,840 --> 01:04:19,120
Speaker 3: of the crew, for some reason, it has never tried

1148
01:04:19,120 --> 01:04:21,400
Speaker 3: to harm Morbius or his daughter.

1149
01:04:21,400 --> 01:04:27,200
Speaker 1: Which is also deeply suspicious. And when we meet Altaria again,

1150
01:04:27,240 --> 01:04:29,200
Speaker 1: I hadn't seen the film before, so it's like, is

1151
01:04:29,240 --> 01:04:32,680
Speaker 1: she she a space vampire? She is she a robot?

1152
01:04:33,080 --> 01:04:36,280
Speaker 1: Is she an evil destructive force? I was trusting neither

1153
01:04:36,320 --> 01:04:37,120
Speaker 1: of these two. Really.

1154
01:04:37,360 --> 01:04:39,560
Speaker 3: Yeah, we don't know what to make of her at first,

1155
01:04:40,040 --> 01:04:44,280
Speaker 3: and especially because it seems Morbius was hoping to keep

1156
01:04:44,320 --> 01:04:47,600
Speaker 3: Altara's existence a secret from Adams and the crew. It's

1157
01:04:47,640 --> 01:04:49,440
Speaker 3: like he was trying to hide her. And when she

1158
01:04:49,520 --> 01:04:53,480
Speaker 3: becomes her existence becomes revealed, he's like, oh no, She.

1159
01:04:53,520 --> 01:04:56,520
Speaker 1: Like wanders out, like it's past her bedtime, and like

1160
01:04:56,600 --> 01:04:58,640
Speaker 1: guests have come over, and it's like, oh, honey, go

1161
01:04:58,680 --> 01:05:00,600
Speaker 1: back to bed, and it may be you go. There

1162
01:05:00,600 --> 01:05:02,440
Speaker 1: are at least a couple of scenes where she is

1163
01:05:02,440 --> 01:05:04,760
Speaker 1: told to go to bed by yeah, the male characters.

1164
01:05:05,040 --> 01:05:08,880
Speaker 3: Yeah. Yeah, So we already talked about Altara how she

1165
01:05:09,160 --> 01:05:13,160
Speaker 3: is at once brilliant and naive, like she you know,

1166
01:05:13,240 --> 01:05:16,000
Speaker 3: she is schooled in all of the arts and sciences,

1167
01:05:16,040 --> 01:05:20,680
Speaker 3: but she has no experience dealing with human society. She's

1168
01:05:20,720 --> 01:05:23,400
Speaker 3: also kind of like snow White in that she has

1169
01:05:23,520 --> 01:05:27,200
Speaker 3: animal friends like it's deer and a tiger and stuff

1170
01:05:27,200 --> 01:05:29,280
Speaker 3: that run out of the garden and just hang out

1171
01:05:29,280 --> 01:05:33,720
Speaker 3: with her. And the tiger represents no threat. When it

1172
01:05:33,760 --> 01:05:36,440
Speaker 3: first shows up, Adams is like pulling out his gun,

1173
01:05:36,840 --> 01:05:39,640
Speaker 3: but they're like no, no, no, wait, watch and yeah,

1174
01:05:40,000 --> 01:05:42,280
Speaker 3: it just wants to hang. So Adams and the rest

1175
01:05:42,360 --> 01:05:45,960
Speaker 3: offered to take Morbius and Altera home to Earth, but

1176
01:05:46,160 --> 01:05:50,360
Speaker 3: Morbius has no desire to go. And after this there's

1177
01:05:50,360 --> 01:05:52,439
Speaker 3: some kind of technical work that has to be done

1178
01:05:52,440 --> 01:05:54,200
Speaker 3: and I don't remember exactly what the deal is. I

1179
01:05:54,240 --> 01:05:56,200
Speaker 3: think the crew of the ship has to build like

1180
01:05:56,520 --> 01:06:00,000
Speaker 3: a faster than light radio transmitter to communicate with Earth

1181
01:06:00,200 --> 01:06:02,439
Speaker 3: and find out what their orders are or something like that.

1182
01:06:03,000 --> 01:06:05,160
Speaker 1: Yeah, yeah, there's something in stalls them. So there's a

1183
01:06:05,160 --> 01:06:07,560
Speaker 1: little time to meander about and get into trouble.

1184
01:06:07,800 --> 01:06:10,640
Speaker 3: Yeah, time for kissing lessons. So here's where we get

1185
01:06:10,680 --> 01:06:15,080
Speaker 3: to that portion of the story. Essentially, Altara is she's

1186
01:06:15,200 --> 01:06:17,320
Speaker 3: very interested in all of the young men who have

1187
01:06:17,400 --> 01:06:20,440
Speaker 3: arrived on this ship, and many of this the men

1188
01:06:20,480 --> 01:06:22,960
Speaker 3: on the ship are interested in hers. Some of the

1189
01:06:23,000 --> 01:06:26,680
Speaker 3: lovelorn dudes and the crew get obsessed with Altara. She's

1190
01:06:26,680 --> 01:06:28,800
Speaker 3: known as Alta for short, by the way, so that

1191
01:06:28,880 --> 01:06:31,440
Speaker 3: was kind of confusing at first. But sometimes Morbies is

1192
01:06:31,480 --> 01:06:35,360
Speaker 3: calling her Alta, and there is a scene where Jerry Farman,

1193
01:06:35,680 --> 01:06:40,160
Speaker 3: the lieutenant sort of Adams's number two, takes Alta for

1194
01:06:40,200 --> 01:06:42,320
Speaker 3: a walk on the planet's surface and they sort of

1195
01:06:42,360 --> 01:06:45,440
Speaker 3: wander into the forest and he ends up trying to

1196
01:06:45,560 --> 01:06:48,840
Speaker 3: convince her that he needs to teach her how to

1197
01:06:49,000 --> 01:06:51,479
Speaker 3: kiss so that she can be in proper health, because

1198
01:06:51,520 --> 01:06:54,520
Speaker 3: you need to kiss in order to be healthy. This

1199
01:06:54,640 --> 01:06:58,200
Speaker 3: scene is both pretty cringey but also, as I was

1200
01:06:58,240 --> 01:07:01,919
Speaker 3: mentioning earlier, kind of funny because Alta does say these

1201
01:07:01,920 --> 01:07:05,040
Speaker 3: like really cutting things at him. She's like, isn't this

1202
01:07:05,080 --> 01:07:09,960
Speaker 3: supposed to be stimulating? I don't find it remarkable. Yeah,

1203
01:07:10,000 --> 01:07:13,040
Speaker 3: And in the middle of all this, Adams catches them

1204
01:07:13,320 --> 01:07:16,320
Speaker 3: and so he chews out Jerry, but then he also

1205
01:07:16,360 --> 01:07:21,920
Speaker 3: gets super flustered and he criticizes Alta for wearing revealing clothes,

1206
01:07:22,680 --> 01:07:26,640
Speaker 3: and in one funny note, adams freak out here contains

1207
01:07:26,640 --> 01:07:29,560
Speaker 3: a rant about like how attractive and sext up his

1208
01:07:29,680 --> 01:07:34,680
Speaker 3: men are. Yeah, He's like, all of my crew members

1209
01:07:34,720 --> 01:07:37,440
Speaker 3: are the prizest specimens of twenty four year old men

1210
01:07:37,520 --> 01:07:41,240
Speaker 3: on Earth. But I was thinking, like, even Cook, is

1211
01:07:41,280 --> 01:07:42,440
Speaker 3: that what he thinks about Cook?

1212
01:07:42,760 --> 01:07:44,440
Speaker 1: Well, Cook is in a supporting role.

1213
01:07:44,280 --> 01:07:44,480
Speaker 4: You know.

1214
01:07:44,920 --> 01:07:47,760
Speaker 3: Yeah, no offense to the looks of Cook. I just

1215
01:07:47,840 --> 01:07:51,800
Speaker 3: mean like, is he the best Earth has at cooking?

1216
01:07:52,400 --> 01:07:55,160
Speaker 3: Maybe we didn't know this was a breeding mission, Yeah,

1217
01:07:55,240 --> 01:07:59,640
Speaker 3: exactly so. Anyway, but Altara, after this, goes home and

1218
01:07:59,720 --> 01:08:02,480
Speaker 3: co miss Robbie to make her a new dress that

1219
01:08:02,520 --> 01:08:05,480
Speaker 3: will cover her whole body. Of course, we will see

1220
01:08:05,480 --> 01:08:07,720
Speaker 3: that dress later, and it also looks beautiful. It's kind

1221
01:08:07,720 --> 01:08:13,479
Speaker 3: of a Greek goddess kind of address. But interesting things

1222
01:08:13,520 --> 01:08:18,200
Speaker 3: in the scene, like the uncomfortable sexual politics of it. Aside,

1223
01:08:18,840 --> 01:08:22,439
Speaker 3: the scene is interesting because it is supposed to be

1224
01:08:22,479 --> 01:08:27,080
Speaker 3: I think Alta's first real experience with the rest of humanity,

1225
01:08:27,760 --> 01:08:31,200
Speaker 3: with people who would judge her unfairly, with people who

1226
01:08:31,240 --> 01:08:34,639
Speaker 3: would lie to her and treat her unkindly, with people

1227
01:08:34,720 --> 01:08:38,280
Speaker 3: who would exploit and take advantage of her. She's coming

1228
01:08:38,320 --> 01:08:42,519
Speaker 3: into collision with human nature after having grown up in

1229
01:08:42,640 --> 01:08:48,280
Speaker 3: what's presented as a sort of perfect bubble of cool, detached, trustworthy,

1230
01:08:48,400 --> 01:08:52,800
Speaker 3: scholarly enlightenment, and she's learning that human nature has a

1231
01:08:52,920 --> 01:08:57,599
Speaker 3: dark and bestial side as well. Meanwhile, things also start

1232
01:08:57,680 --> 01:09:00,599
Speaker 3: going wrong at the ship. In the middle of the night,

1233
01:09:00,840 --> 01:09:05,080
Speaker 3: something invisible sneaks into the ship. And I love the

1234
01:09:05,120 --> 01:09:07,920
Speaker 3: special effects in these nighttime sneaking scenes, by the way,

1235
01:09:08,200 --> 01:09:11,480
Speaker 3: But something sneaks into the ship and sabotages the equipment.

1236
01:09:12,280 --> 01:09:16,519
Speaker 1: Yeah, yeah, so already we're getting little invisible attacks that

1237
01:09:16,560 --> 01:09:19,000
Speaker 1: are sabotaging the ship, keeping it from leaving.

1238
01:09:19,600 --> 01:09:21,800
Speaker 3: Now. The next day, Adams goes to the home of

1239
01:09:22,040 --> 01:09:25,439
Speaker 3: Morbius and Alta to apologize to Alta for one thing,

1240
01:09:25,439 --> 01:09:28,200
Speaker 3: for his behavior the day before. He sort of realizes

1241
01:09:28,240 --> 01:09:31,320
Speaker 3: he was in the wrong, and when he arrives, Alta

1242
01:09:31,360 --> 01:09:34,160
Speaker 3: is swimming naked in the pool and Adams gets all

1243
01:09:34,200 --> 01:09:37,160
Speaker 3: super flustered again. He's like, oh uh, I don't know

1244
01:09:37,160 --> 01:09:40,479
Speaker 3: what to do. But in a scene after this, it

1245
01:09:40,560 --> 01:09:43,840
Speaker 3: becomes clear that they are both interested in each other,

1246
01:09:44,200 --> 01:09:48,960
Speaker 3: and Alta kisses Adams, and while they are kissing, they

1247
01:09:49,000 --> 01:09:52,840
Speaker 3: are suddenly attacked by Alta's tiger friend. The tiger they

1248
01:09:52,880 --> 01:09:55,840
Speaker 3: saw earlier that was so friendly and you know, and

1249
01:09:55,880 --> 01:09:58,200
Speaker 3: not a threat at all, appears on a sort of

1250
01:09:58,280 --> 01:10:01,040
Speaker 3: ledge above them and then leaps at them, claws out

1251
01:10:01,080 --> 01:10:04,240
Speaker 3: as if ready to attack. Adams just at the last

1252
01:10:04,280 --> 01:10:07,320
Speaker 3: second has to zapf it with his phaser gun, and

1253
01:10:07,400 --> 01:10:11,000
Speaker 3: it's like, there's this feeling Alta has of how why,

1254
01:10:11,400 --> 01:10:13,839
Speaker 3: Like the tiger had never tried to harm her before

1255
01:10:14,160 --> 01:10:16,160
Speaker 3: and suddenly it has turned hostile.

1256
01:10:16,720 --> 01:10:19,840
Speaker 1: Yeah, something has changed. And this was also I was

1257
01:10:19,880 --> 01:10:23,480
Speaker 1: really shocked by this scene when the tiger was completely

1258
01:10:24,360 --> 01:10:28,520
Speaker 1: annihilated in mid air by the laser gun, absolutely disintegrated.

1259
01:10:28,760 --> 01:10:31,280
Speaker 3: Now from here we move on to a big reveal

1260
01:10:31,439 --> 01:10:34,479
Speaker 3: and a sequence of a lot of the best sets

1261
01:10:34,800 --> 01:10:38,400
Speaker 3: and special effects shots in the movie. Morbius comes to

1262
01:10:38,439 --> 01:10:42,080
Speaker 3: talk to Adams and doctor Ostro. Astro was like along

1263
01:10:42,200 --> 01:10:44,080
Speaker 3: for the whole time, so just hanging out for the

1264
01:10:44,160 --> 01:10:48,200
Speaker 3: kissing and the tiger killing. But Morbius comes to tell

1265
01:10:48,200 --> 01:10:52,280
Speaker 3: Adams and Astro about the secrets of the planet, the

1266
01:10:52,320 --> 01:10:56,560
Speaker 3: main secret being that All Tai four was once inhabited

1267
01:10:56,760 --> 01:11:01,439
Speaker 3: by an extremely technologically advanced species of alien known as

1268
01:11:01,720 --> 01:11:05,599
Speaker 3: the Krell. And here I'm going to read Morbius's monologue

1269
01:11:05,600 --> 01:11:09,040
Speaker 3: about the Krell. He says, in times long past, this

1270
01:11:09,240 --> 01:11:11,880
Speaker 3: planet was the home of a mighty and noble race

1271
01:11:11,920 --> 01:11:16,160
Speaker 3: of beings which called themselves the Krell. Ethically as well

1272
01:11:16,240 --> 01:11:19,800
Speaker 3: as technologically, they were a million years ahead of humankind,

1273
01:11:20,320 --> 01:11:23,479
Speaker 3: for in unlocking the mysteries of nature, they had conquered

1274
01:11:23,600 --> 01:11:27,120
Speaker 3: even their baser selves. And when in the course of

1275
01:11:27,160 --> 01:11:31,600
Speaker 3: eons they had abolished sickness and insanity, and crime and

1276
01:11:31,720 --> 01:11:36,759
Speaker 3: all injustice, they turned still with high benevolence outward towards space.

1277
01:11:37,439 --> 01:11:40,479
Speaker 3: Long before the dawn of man's history, they had walked

1278
01:11:40,479 --> 01:11:45,080
Speaker 3: our earth and brought back many biological specimens like the

1279
01:11:45,120 --> 01:11:49,759
Speaker 3: tiger exactly he goes on the heights they had reached.

1280
01:11:50,320 --> 01:11:54,280
Speaker 3: But then, seemingly on the threshold of some supreme accomplishment

1281
01:11:54,600 --> 01:11:57,840
Speaker 3: which was to have crowned their entire history, this all

1282
01:11:57,880 --> 01:12:02,080
Speaker 3: but divine race perished in a single night. In the

1283
01:12:02,080 --> 01:12:06,839
Speaker 3: two thousand centuries since that unexplained catastrophe, even their cloud

1284
01:12:06,880 --> 01:12:11,400
Speaker 3: piercing towers of glass and porcelain and adamantine steel have

1285
01:12:11,600 --> 01:12:15,240
Speaker 3: crumbled back into the soil of all Ta four, and nothing,

1286
01:12:15,479 --> 01:12:18,280
Speaker 3: absolutely nothing remains above ground.

1287
01:12:19,040 --> 01:12:23,120
Speaker 1: Yeah, so we're getting into some pretty ambitious science fiction here.

1288
01:12:23,960 --> 01:12:27,880
Speaker 1: Reminds me a bit of the various Sublime civilizations and

1289
01:12:28,080 --> 01:12:32,640
Speaker 1: Ian m Banks culture series civilizations that advanced to a

1290
01:12:32,680 --> 01:12:35,160
Speaker 1: state where they end up leaving our dimension of space

1291
01:12:35,200 --> 01:12:38,760
Speaker 1: and time for higher dimensions, generally leaving behind a great

1292
01:12:38,800 --> 01:12:42,400
Speaker 1: deal of technology that's now redundant to them. But I

1293
01:12:42,439 --> 01:12:45,280
Speaker 1: guess in this scenario, it sounds like the Krell might

1294
01:12:45,320 --> 01:12:49,240
Speaker 1: have been on the cusp of subliming, of moving on,

1295
01:12:49,439 --> 01:12:53,040
Speaker 1: and then something terrible kept them from not only kept

1296
01:12:53,080 --> 01:12:56,240
Speaker 1: them from moving on to this next level level of existence,

1297
01:12:56,560 --> 01:12:59,280
Speaker 1: but also just eradicated them entirely, and all we have

1298
01:12:59,439 --> 01:13:03,960
Speaker 1: left are the technological depths of the planet.

1299
01:13:04,240 --> 01:13:07,360
Speaker 3: That's right, when we get a tour of these technological depths,

1300
01:13:07,360 --> 01:13:10,040
Speaker 3: a tour of their underground facilities, and again I can't

1301
01:13:10,080 --> 01:13:15,639
Speaker 3: emphasize enough how amazing these sets and special effects are.

1302
01:13:16,040 --> 01:13:18,200
Speaker 1: Some are like paintings are just amazing.

1303
01:13:18,400 --> 01:13:21,120
Speaker 3: Yeah, it's so good. So they go through like a

1304
01:13:21,160 --> 01:13:24,679
Speaker 3: giant underground power plant that they say is a huge

1305
01:13:24,760 --> 01:13:28,280
Speaker 3: buried cube running something that's like twenty miles in every direction,

1306
01:13:29,160 --> 01:13:32,519
Speaker 3: which we see them. They're crossing this great chasm on

1307
01:13:32,920 --> 01:13:36,439
Speaker 3: a little suspension bridge, and we see these things moving

1308
01:13:36,520 --> 01:13:41,120
Speaker 3: up and down the chasm and electricity arcing through it. Also,

1309
01:13:41,439 --> 01:13:44,479
Speaker 3: there is a device they come across. They go to

1310
01:13:44,520 --> 01:13:48,519
Speaker 3: this essentially Krell schoolhouse, where there is a device that

1311
01:13:48,560 --> 01:13:51,800
Speaker 3: the Crell used to train the brains of their young,

1312
01:13:52,600 --> 01:13:56,320
Speaker 3: and Morbius explains when this device is used by humans

1313
01:13:56,360 --> 01:13:59,800
Speaker 3: it is almost always fatal, but if you can use

1314
01:13:59,840 --> 01:14:04,000
Speaker 3: it and survive, it will double your IQ. And that's

1315
01:14:04,040 --> 01:14:06,320
Speaker 3: how Morby has got so smart. By the way he

1316
01:14:06,479 --> 01:14:09,799
Speaker 3: increased his intelligence with the machine, I guess he started

1317
01:14:09,800 --> 01:14:12,519
Speaker 3: off pretty smart, though he's humble about it, but then

1318
01:14:12,560 --> 01:14:14,360
Speaker 3: he's like, you know, I took my normal, you know,

1319
01:14:14,439 --> 01:14:16,680
Speaker 3: my middling intellect when I first got here, and I

1320
01:14:16,720 --> 01:14:19,920
Speaker 3: doubled it with this machine. Everybody else who tried it

1321
01:14:20,000 --> 01:14:25,040
Speaker 3: was killed. But by surviving that process himself, that allowed

1322
01:14:25,120 --> 01:14:28,639
Speaker 3: him to decipher the Krell histories and figure out parts

1323
01:14:28,640 --> 01:14:32,439
Speaker 3: of Krell technology and to for example, a symbol Robbie

1324
01:14:32,439 --> 01:14:33,000
Speaker 3: the robot.

1325
01:14:33,600 --> 01:14:37,759
Speaker 1: It's explained as well that this maybe not the device itself,

1326
01:14:37,800 --> 01:14:40,160
Speaker 1: but there's an element of the device that is like

1327
01:14:40,200 --> 01:14:43,200
Speaker 1: a high striker a strong man game from your fare

1328
01:14:43,320 --> 01:14:46,559
Speaker 1: or carnival, you know, where you hit a circle with

1329
01:14:46,560 --> 01:14:48,720
Speaker 1: a hammer or mallet as hard as you can and

1330
01:14:48,760 --> 01:14:52,360
Speaker 1: then it causes this little float be ley to go,

1331
01:14:52,560 --> 01:14:55,040
Speaker 1: you know, to rise up and with your brain, but

1332
01:14:55,160 --> 01:14:58,160
Speaker 1: with your brain. Yeah, so it's it's the smart man game.

1333
01:14:58,760 --> 01:15:02,120
Speaker 3: Yeah, And I like Striker. They put Leslie Nielsen on

1334
01:15:02,160 --> 01:15:04,160
Speaker 3: it and he can barely get the thing to go off,

1335
01:15:04,160 --> 01:15:06,599
Speaker 3: and they're like, well that's you know, it doesn't take

1336
01:15:06,640 --> 01:15:08,240
Speaker 3: brains to command a starship.

1337
01:15:09,760 --> 01:15:11,519
Speaker 1: Yeah. Massive dig on Adams here.

1338
01:15:11,840 --> 01:15:14,920
Speaker 3: Anyway, after learning about all this stuff that this like power,

1339
01:15:15,040 --> 01:15:18,160
Speaker 3: this underground power plant that can generate generate what seems

1340
01:15:18,200 --> 01:15:21,880
Speaker 3: to be an infinite amount of energy, and this brain

1341
01:15:21,960 --> 01:15:25,240
Speaker 3: boosting machine, Adams says, you know what, this changes everything

1342
01:15:25,400 --> 01:15:29,360
Speaker 3: Earth has to know about these devices. But Morbius resists.

1343
01:15:29,439 --> 01:15:32,280
Speaker 3: He's like, I think this is what he was trying

1344
01:15:32,320 --> 01:15:35,040
Speaker 3: to hide from them before. He's like, humans are not

1345
01:15:35,360 --> 01:15:39,760
Speaker 3: ready for this kind of power, and this technology may

1346
01:15:39,840 --> 01:15:43,439
Speaker 3: have been what wiped out the Krell, but if so,

1347
01:15:43,800 --> 01:15:44,559
Speaker 3: we don't know how.

1348
01:15:45,040 --> 01:15:47,920
Speaker 1: Yeah again, because the Krell were millions of years ahead

1349
01:15:47,920 --> 01:15:52,360
Speaker 1: of humans and something tripped them up in their dizzying

1350
01:15:52,360 --> 01:15:55,680
Speaker 1: ascent with this technology, So we're clearly not ready for it.

1351
01:15:56,040 --> 01:15:58,519
Speaker 3: Should we do something on the B plot here about

1352
01:15:58,600 --> 01:16:01,360
Speaker 3: cook and the synth synthesis of whiskey?

1353
01:16:01,680 --> 01:16:05,120
Speaker 1: Yeah, yeah, yeah, this is this is so you set

1354
01:16:05,120 --> 01:16:07,880
Speaker 1: this one up so you know cook, I guess in

1355
01:16:08,000 --> 01:16:10,879
Speaker 1: sort of like the you know, you know, old fashioned

1356
01:16:11,040 --> 01:16:14,400
Speaker 1: US military sense of these kind of plot developments. He's

1357
01:16:14,400 --> 01:16:18,800
Speaker 1: supposed to acquire some local ingredients and also find like

1358
01:16:18,960 --> 01:16:23,679
Speaker 1: local illicit sources of hooch for cooking, but also clearly

1359
01:16:23,760 --> 01:16:24,479
Speaker 1: not for cooking.

1360
01:16:24,680 --> 01:16:26,519
Speaker 3: He's like, I need to go out and look for

1361
01:16:27,160 --> 01:16:30,479
Speaker 3: some wild radishes. Yeah, yeah, that's it.

1362
01:16:31,200 --> 01:16:35,080
Speaker 1: Yeah, and basically what he runs into Robbie the robot,

1363
01:16:35,120 --> 01:16:37,559
Speaker 1: and he's like, hey, I need some more of this stuff.

1364
01:16:37,600 --> 01:16:40,679
Speaker 1: And he shows him like a mostly empty flask of whiskey,

1365
01:16:41,040 --> 01:16:44,519
Speaker 1: and Robbie grabs it shoots it back into his mail slot,

1366
01:16:44,880 --> 01:16:48,800
Speaker 1: and Cook is like, well, well that was my last twig.

1367
01:16:48,880 --> 01:16:51,280
Speaker 1: How could you do that? And Robbie's like, I will

1368
01:16:51,280 --> 01:16:54,360
Speaker 1: now synthesize this for you. Will let you say, like,

1369
01:16:54,479 --> 01:16:56,360
Speaker 1: will sixty gallons be sufficient?

1370
01:16:56,560 --> 01:16:56,800
Speaker 3: Yes?

1371
01:16:58,520 --> 01:16:58,760
Speaker 1: Yeah?

1372
01:16:58,800 --> 01:17:02,000
Speaker 3: And then Cook comes back later and there's there's like

1373
01:17:02,040 --> 01:17:06,000
Speaker 3: a giant pyramid of heights of whiskey in their own

1374
01:17:06,040 --> 01:17:07,960
Speaker 3: individual glass bottles.

1375
01:17:08,520 --> 01:17:11,800
Speaker 1: And somehow Cook doesn't die at this moment, Like I

1376
01:17:11,840 --> 01:17:17,800
Speaker 1: feel like later on in like in speculative media, like

1377
01:17:17,840 --> 01:17:19,760
Speaker 1: this would be the moment where the monster comes and

1378
01:17:19,840 --> 01:17:21,640
Speaker 1: kills him, you know, where he's like, I have all

1379
01:17:21,680 --> 01:17:24,000
Speaker 1: the whiskey in the world. What could possibly go wrong,

1380
01:17:24,080 --> 01:17:28,080
Speaker 1: instant monster death booze enough at last, yes, exactly, but

1381
01:17:28,160 --> 01:17:30,120
Speaker 1: now Cook will survive a little bit longer.

1382
01:17:30,560 --> 01:17:33,040
Speaker 3: So another thing that happens at this point in the

1383
01:17:33,040 --> 01:17:37,360
Speaker 3: story is that the attacks on the ship become much

1384
01:17:37,400 --> 01:17:39,760
Speaker 3: more severe. What we got in the first attack by

1385
01:17:39,760 --> 01:17:43,559
Speaker 3: the Invisible Force at night was just the sabotaging of equipment.

1386
01:17:43,960 --> 01:17:47,920
Speaker 3: But this escalates to in one instance, murder. I believe

1387
01:17:48,000 --> 01:17:52,040
Speaker 3: the communications officer Quinn is found murder. Did they say?

1388
01:17:52,640 --> 01:17:54,920
Speaker 3: They describe it in a quite grizzly way. I think

1389
01:17:54,960 --> 01:17:57,479
Speaker 3: they say he smeared all over the walls of the

1390
01:17:57,479 --> 01:18:02,240
Speaker 3: communication room. And after that they set up a perimeter.

1391
01:18:03,080 --> 01:18:04,720
Speaker 3: You know what we should do sometime on the show

1392
01:18:04,800 --> 01:18:07,479
Speaker 3: is we should set up a list of the best

1393
01:18:07,760 --> 01:18:09,479
Speaker 3: establishing a perimeter scenes.

1394
01:18:09,920 --> 01:18:13,160
Speaker 1: Yes, beca, isn't it? This is pretty good though, I mean,

1395
01:18:13,200 --> 01:18:18,640
Speaker 1: the the technology is convincing, and yeah, everyone left, I

1396
01:18:18,680 --> 01:18:21,080
Speaker 1: mean it really This also reminded me of what would

1397
01:18:21,080 --> 01:18:23,320
Speaker 1: come much later with Aliens with you know, it's like,

1398
01:18:23,360 --> 01:18:25,320
Speaker 1: all right, is it? You know it's inside the perimeter.

1399
01:18:26,080 --> 01:18:29,439
Speaker 1: You know I'm reading it's reading right, and so forth.

1400
01:18:29,760 --> 01:18:32,720
Speaker 3: Yeah, it's very similar what happens here. In fact, I

1401
01:18:32,720 --> 01:18:35,639
Speaker 3: almost feel like that that scene in Aliens. It feels

1402
01:18:35,720 --> 01:18:36,680
Speaker 3: like a callback to this.

1403
01:18:37,080 --> 01:18:46,360
Speaker 1: Yeah.

1404
01:18:46,520 --> 01:18:50,040
Speaker 3: Yeah, they establish a perimeter and eventually this creature, this

1405
01:18:50,120 --> 01:18:53,479
Speaker 3: invisible creature comes in a brazen frontal attack where the

1406
01:18:53,560 --> 01:18:56,960
Speaker 3: crew are resisting with big energy weapons, these big beam

1407
01:18:57,040 --> 01:19:02,080
Speaker 3: weapons and then handheld a laser rifle. And when the thing,

1408
01:19:02,240 --> 01:19:06,000
Speaker 3: when the invisible creature gets illuminated by all of the

1409
01:19:06,120 --> 01:19:09,679
Speaker 3: energy weapons that are hitting it, we suddenly see pieces

1410
01:19:09,800 --> 01:19:13,760
Speaker 3: of its form and yeah, it's oh, it's frightening. I mean,

1411
01:19:13,800 --> 01:19:16,920
Speaker 3: I've read things that, like, I think the producers were

1412
01:19:17,040 --> 01:19:20,960
Speaker 3: worried that this would be so frightening that like it

1413
01:19:21,000 --> 01:19:24,120
Speaker 3: would be it would make the movie inappropriate for younger audiences.

1414
01:19:24,160 --> 01:19:27,840
Speaker 3: And I can see why. It's a truly scary thing

1415
01:19:27,920 --> 01:19:31,080
Speaker 3: that they conjure up. It's like a kind of a

1416
01:19:31,200 --> 01:19:37,400
Speaker 3: ram lion bulldog monster with sort of horns or something,

1417
01:19:37,439 --> 01:19:38,960
Speaker 3: and it's made out of flames.

1418
01:19:39,520 --> 01:19:41,920
Speaker 1: Yeah. To compare it to things that would come much

1419
01:19:42,000 --> 01:19:44,800
Speaker 1: later and may have been each in their own way,

1420
01:19:44,920 --> 01:19:47,640
Speaker 1: or at least in their visualization on screen, been inspired by.

1421
01:19:47,680 --> 01:19:50,360
Speaker 1: This reminds me a bit of the ball Rog, reminds

1422
01:19:50,360 --> 01:19:52,519
Speaker 1: me a bit of the Red Bull from the last unicorn.

1423
01:19:52,920 --> 01:19:53,200
Speaker 4: Yeah.

1424
01:19:53,400 --> 01:19:57,400
Speaker 3: Yeah. Oh, and Jerry Farman, the lieutenant who is trying

1425
01:19:57,400 --> 01:19:59,559
Speaker 3: to do the kissing lessons, he gets killed in one

1426
01:19:59,600 --> 01:20:00,400
Speaker 3: of these attacks.

1427
01:20:00,800 --> 01:20:04,240
Speaker 1: Yeah. Eventually Cook does too, right, Cook's taken out by

1428
01:20:04,240 --> 01:20:04,679
Speaker 1: the monster.

1429
01:20:04,800 --> 01:20:07,479
Speaker 3: Oh is he? I didn't remember that? How could they

1430
01:20:07,479 --> 01:20:10,120
Speaker 3: do that to Cook?

1431
01:20:09,880 --> 01:20:12,360
Speaker 1: Thank god he's secured all that whiskey first.

1432
01:20:14,920 --> 01:20:17,640
Speaker 3: But during this attack we start to get an indication

1433
01:20:18,760 --> 01:20:22,240
Speaker 3: of where this alien monster is coming from, because we

1434
01:20:22,320 --> 01:20:25,960
Speaker 3: cut away in the middle of the attack to Morbius,

1435
01:20:26,320 --> 01:20:28,679
Speaker 3: who is sleeping in his home. I think he's fallen

1436
01:20:28,720 --> 01:20:33,439
Speaker 3: asleep on his desk and he is maybe having a nightmare.

1437
01:20:34,000 --> 01:20:37,040
Speaker 3: And at one point suddenly he snaps awake in his

1438
01:20:37,160 --> 01:20:39,479
Speaker 3: home and then at the other end of the planet,

1439
01:20:39,560 --> 01:20:41,599
Speaker 3: not the other end of the planet, but away where

1440
01:20:41,600 --> 01:20:47,280
Speaker 3: the monster is attacking, it suddenly vanishes. Oh oh. So

1441
01:20:47,400 --> 01:20:51,880
Speaker 3: after this attack, Adams goes back to the Morbius and

1442
01:20:52,240 --> 01:20:55,519
Speaker 3: Altara house to try to get I think the reason

1443
01:20:55,600 --> 01:20:57,760
Speaker 3: is he wants Altara to leave the planet with him.

1444
01:20:57,840 --> 01:21:00,320
Speaker 3: He's like, you know, this monster is attacking. You've got

1445
01:21:00,360 --> 01:21:02,439
Speaker 3: to go now, and for your own safety you should

1446
01:21:02,439 --> 01:21:02,880
Speaker 3: come with me.

1447
01:21:03,320 --> 01:21:06,160
Speaker 1: Plus we're in love. Now this is meant to be

1448
01:21:06,840 --> 01:21:07,880
Speaker 1: you've got to run away with me.

1449
01:21:08,200 --> 01:21:11,360
Speaker 3: Yeah, And to be clear, it seems reciprocal, like she's

1450
01:21:11,479 --> 01:21:12,520
Speaker 3: very into him.

1451
01:21:12,760 --> 01:21:15,439
Speaker 1: Yeah, and that's that's part of you know, this part

1452
01:21:15,439 --> 01:21:17,679
Speaker 1: of the split that's going on here is that now

1453
01:21:18,320 --> 01:21:22,000
Speaker 1: she is more she is attracted to the outside world,

1454
01:21:22,320 --> 01:21:25,960
Speaker 1: the world of Adams, the world of Earth, and wants

1455
01:21:26,000 --> 01:21:28,240
Speaker 1: to leave. I mean, she wants to bring her father

1456
01:21:28,360 --> 01:21:30,760
Speaker 1: with her if possible, but she is also ready to

1457
01:21:30,880 --> 01:21:34,719
Speaker 1: leave her father's home, her father's world for the first time.

1458
01:21:35,240 --> 01:21:39,040
Speaker 3: I think when so, Adams and Astro go to the house,

1459
01:21:39,080 --> 01:21:41,599
Speaker 3: and when they first get there, Robbie's trying to block

1460
01:21:41,640 --> 01:21:44,080
Speaker 3: their way. He's like, I am monitored, not to permit you.

1461
01:21:44,160 --> 01:21:46,400
Speaker 3: But they're kind of discussing, like what's he gonna do.

1462
01:21:46,479 --> 01:21:48,760
Speaker 3: He can't hurt us, so I think we could. But

1463
01:21:48,800 --> 01:21:51,759
Speaker 3: then we never see that tested, right, because eventually Altara

1464
01:21:51,840 --> 01:21:53,880
Speaker 3: shows up and is like, cancel the order, let them in.

1465
01:21:54,360 --> 01:21:56,400
Speaker 3: But I was curious about that. It's like, Okay, if

1466
01:21:56,400 --> 01:21:58,400
Speaker 3: he can't hurt them, could they couldn't they just force

1467
01:21:58,439 --> 01:21:59,640
Speaker 3: their way past him?

1468
01:22:00,080 --> 01:22:01,599
Speaker 1: Yeah, though he is he's bulky.

1469
01:22:02,040 --> 01:22:06,280
Speaker 3: Yeah, that's true anyway. So, uh So, now we have

1470
01:22:06,680 --> 01:22:10,639
Speaker 3: Adams and Ostro in the in the Morbius home and

1471
01:22:10,760 --> 01:22:14,280
Speaker 3: at some point here Astro sneaks away because, oh, because

1472
01:22:14,320 --> 01:22:17,200
Speaker 3: this is another part of their plan. They're like, we've

1473
01:22:17,200 --> 01:22:19,519
Speaker 3: got to find a way to defeat this monster. So

1474
01:22:19,960 --> 01:22:22,599
Speaker 3: either Adams or Astro, one of them needs to use

1475
01:22:22,680 --> 01:22:26,080
Speaker 3: the brain enhancer machine, which you know they have learned

1476
01:22:26,080 --> 01:22:28,639
Speaker 3: will probably kill you, but if you can survive it,

1477
01:22:28,640 --> 01:22:30,760
Speaker 3: it'll make you super smart, and they think they will

1478
01:22:30,800 --> 01:22:35,240
Speaker 3: need those extra smarts in order to survive. Well. While

1479
01:22:35,240 --> 01:22:38,120
Speaker 3: they're hanging out, Robbie, Robbie at some point, like comes

1480
01:22:38,160 --> 01:22:41,759
Speaker 3: in carrying the body of Astro and it's like, uh, oh,

1481
01:22:41,840 --> 01:22:44,439
Speaker 3: he tried to he tried to get smart. Bad move.

1482
01:22:44,760 --> 01:22:47,240
Speaker 1: And this is an example of a scene that I

1483
01:22:47,280 --> 01:22:49,599
Speaker 1: wish we could have seen like this would have This

1484
01:22:50,000 --> 01:22:53,640
Speaker 1: is a highly dramatic moment for this character, and it

1485
01:22:53,680 --> 01:22:57,559
Speaker 1: occurs entirely off screen. They're like, oh, by the way,

1486
01:22:57,600 --> 01:23:00,000
Speaker 1: he did it. He plugged in and now he's done.

1487
01:23:00,600 --> 01:23:02,360
Speaker 1: But we do get some final last words.

1488
01:23:02,880 --> 01:23:06,080
Speaker 3: His final last words are solve the riddle. Solve the

1489
01:23:06,200 --> 01:23:09,960
Speaker 3: riddle of the movie. So by increasing his intelligence, he

1490
01:23:10,000 --> 01:23:13,200
Speaker 3: did doom himself to death, but he also was able

1491
01:23:13,240 --> 01:23:16,840
Speaker 3: to understand what happened to the Krell and how it's

1492
01:23:16,880 --> 01:23:19,599
Speaker 3: still affecting them now. So it turns out the big

1493
01:23:19,640 --> 01:23:25,280
Speaker 3: reveal is this giant underground power plant was created for

1494
01:23:25,439 --> 01:23:30,439
Speaker 3: the purpose of essentially doing a way with all need

1495
01:23:30,560 --> 01:23:36,920
Speaker 3: for mechanical labor and mechanical devices and instead would allow

1496
01:23:37,200 --> 01:23:42,600
Speaker 3: any of the Krell to make a physical reality manifest

1497
01:23:42,800 --> 01:23:46,559
Speaker 3: simply by thinking about it. So you can interface with

1498
01:23:46,680 --> 01:23:51,720
Speaker 3: this giant machine and it will interpret your thoughts and

1499
01:23:51,960 --> 01:23:58,040
Speaker 3: then manifest those thoughts as physical atoms and energy, which

1500
01:23:58,280 --> 01:24:00,880
Speaker 3: sounds great. Okay, it's just like in it free energy

1501
01:24:00,920 --> 01:24:03,680
Speaker 3: and labor. You know, you can all want all kind

1502
01:24:03,680 --> 01:24:07,040
Speaker 3: of problems. Material problems are done away with, right.

1503
01:24:07,160 --> 01:24:09,880
Speaker 1: Yeah, if the rational mind can imagine it, then it

1504
01:24:09,960 --> 01:24:11,639
Speaker 1: is real and it is in action.

1505
01:24:12,280 --> 01:24:15,600
Speaker 3: Except the problem is what the Crell did not foresee

1506
01:24:16,200 --> 01:24:19,639
Speaker 3: and what Ostro figures out happened to them is it's

1507
01:24:19,680 --> 01:24:22,639
Speaker 3: not only the rational mind that's in the driver's seat now, baby,

1508
01:24:23,000 --> 01:24:25,719
Speaker 3: Both the rational mind and the sort of the ego,

1509
01:24:25,840 --> 01:24:30,800
Speaker 3: the rational mind and the base desires of the ID

1510
01:24:31,040 --> 01:24:34,120
Speaker 3: are hooked up to this machine, and so it began

1511
01:24:34,360 --> 01:24:39,960
Speaker 3: manifesting the Krell's unconscious or subconscious thoughts and desires as well.

1512
01:24:40,400 --> 01:24:44,120
Speaker 3: Everything that they knew they shouldn't do, but deep down

1513
01:24:44,200 --> 01:24:48,160
Speaker 3: secretly wanted that was manifest as well, and so what

1514
01:24:48,200 --> 01:24:52,439
Speaker 3: that turned into was the slaughter and extermination of their

1515
01:24:52,600 --> 01:24:53,560
Speaker 3: entire people.

1516
01:24:53,920 --> 01:24:57,080
Speaker 1: All the demons of the mind unleashed on the planet

1517
01:24:57,479 --> 01:25:02,240
Speaker 1: with infinite power backing them up. Yeah, yeah, it's it's amazing, Like,

1518
01:25:02,280 --> 01:25:05,000
Speaker 1: this is such a Again, when this movie goes hard

1519
01:25:05,400 --> 01:25:10,920
Speaker 1: on its genre elements, it's really spectacular.

1520
01:25:11,160 --> 01:25:14,160
Speaker 3: I agree, it's a great premise, and it not to

1521
01:25:14,200 --> 01:25:17,479
Speaker 3: spoil it by saying this, but I realized I came

1522
01:25:17,520 --> 01:25:19,920
Speaker 3: to these in backwards order. But when I was younger,

1523
01:25:19,960 --> 01:25:23,439
Speaker 3: I read the books Fear by Michael Crichton, which essentially

1524
01:25:23,479 --> 01:25:27,120
Speaker 3: has the same premise. It's like they come across alien

1525
01:25:27,160 --> 01:25:30,519
Speaker 3: technology that can make your thoughts manifest, but then they

1526
01:25:30,560 --> 01:25:34,479
Speaker 3: realize like, oh, it's also making subconscious thoughts manifest. So

1527
01:25:34,520 --> 01:25:38,360
Speaker 3: everybody's anxieties and fears are like becoming physical objects that

1528
01:25:38,400 --> 01:25:43,360
Speaker 3: are attacking them. And so in fact, what the characters

1529
01:25:43,400 --> 01:25:46,200
Speaker 3: discover here and Forbidden Planet is not only is that

1530
01:25:46,240 --> 01:25:49,599
Speaker 3: what happened to the Krell, it's still operating that way,

1531
01:25:50,200 --> 01:25:55,440
Speaker 3: and so it is taking the subconscious fears and desires

1532
01:25:55,560 --> 01:26:00,960
Speaker 3: and complexes of doctor Morbius, who has linked his brain

1533
01:26:01,000 --> 01:26:04,839
Speaker 3: to the machine by by using it uh and making

1534
01:26:04,920 --> 01:26:09,360
Speaker 3: those manifest and in fact, not all of the links

1535
01:26:09,400 --> 01:26:12,680
Speaker 3: are fully spelled out, but it's sort of suggesting the

1536
01:26:12,760 --> 01:26:15,880
Speaker 3: idea that like, he doesn't want to go back to Earth.

1537
01:26:15,960 --> 01:26:18,320
Speaker 3: He doesn't want Altera to go back to Earth. He

1538
01:26:18,360 --> 01:26:23,320
Speaker 3: doesn't want the corrupting influence of Earth to to change

1539
01:26:23,360 --> 01:26:26,479
Speaker 3: his daughter, to sort of like corrupt the perfect, precious

1540
01:26:26,520 --> 01:26:30,000
Speaker 3: existence he has created for them. And you know, you

1541
01:26:30,000 --> 01:26:32,720
Speaker 3: can kind of understand why. You can see how Alta's

1542
01:26:32,760 --> 01:26:37,120
Speaker 3: first encounter with the broader human kind involved like, you know,

1543
01:26:37,240 --> 01:26:40,439
Speaker 3: some dudes being creeps to her. Yeah, so you can

1544
01:26:40,479 --> 01:26:43,240
Speaker 3: see where his desires to kind of like just create

1545
01:26:43,240 --> 01:26:45,280
Speaker 3: a bubble and live in it with his family and

1546
01:26:46,400 --> 01:26:49,640
Speaker 3: live in that protective bubble without any without any intrusion

1547
01:26:50,360 --> 01:26:53,880
Speaker 3: where that desire comes from. But it is manifesting as

1548
01:26:54,000 --> 01:26:57,320
Speaker 3: the creation of a violent monster that lashes out to

1549
01:26:57,479 --> 01:26:59,920
Speaker 3: kill anything that threatens to puncture the bubble.

1550
01:27:00,960 --> 01:27:04,200
Speaker 1: Yeah, and now that we know what the monster is,

1551
01:27:04,960 --> 01:27:07,760
Speaker 1: it is coming for our main characters, and it is

1552
01:27:08,000 --> 01:27:12,639
Speaker 1: we realize inexorable. It is unstoppable. And this just leads

1553
01:27:12,680 --> 01:27:16,479
Speaker 1: to like an avalanche of scenes that are are really

1554
01:27:16,720 --> 01:27:17,600
Speaker 1: highly effective.

1555
01:27:17,840 --> 01:27:20,200
Speaker 3: Yeah, exactly, And I like the way that it really

1556
01:27:20,200 --> 01:27:22,920
Speaker 3: does make sense taken given the premise of the story,

1557
01:27:22,960 --> 01:27:25,599
Speaker 3: because you might think, well, couldn't he just call it off?

1558
01:27:26,200 --> 01:27:29,559
Speaker 3: But as anybody who's ever had like a panic attack, no,

1559
01:27:30,040 --> 01:27:34,320
Speaker 3: you know, you can know rationally that the thing that

1560
01:27:34,360 --> 01:27:37,760
Speaker 3: you are afraid of is not something you should be

1561
01:27:37,800 --> 01:27:40,439
Speaker 3: afraid of, it's not a real threat, and yet you

1562
01:27:40,560 --> 01:27:43,640
Speaker 3: still just can't make your subconscious mind give in. The

1563
01:27:43,680 --> 01:27:46,919
Speaker 3: subconscious is resistant to rational control.

1564
01:27:47,600 --> 01:27:50,080
Speaker 1: Yeah. Yeah, so he can't call it off. He can't

1565
01:27:50,160 --> 01:27:53,040
Speaker 1: control it. It is. It is coming no matter what,

1566
01:27:53,560 --> 01:27:55,920
Speaker 1: and even like knowing what it is doesn't give him

1567
01:27:55,960 --> 01:27:58,320
Speaker 1: power over it, which you know, matches up with some

1568
01:27:58,400 --> 01:28:01,840
Speaker 1: of these you know, states to the mind as we

1569
01:28:01,920 --> 01:28:05,400
Speaker 1: experience them as well. I mean, sometimes knowing can help,

1570
01:28:05,439 --> 01:28:07,479
Speaker 1: and that can be part of the tools of controlling

1571
01:28:07,520 --> 01:28:11,320
Speaker 1: things like anxiety in some cases. But but but yeah,

1572
01:28:11,400 --> 01:28:12,960
Speaker 1: not not necessarily at all.

1573
01:28:13,800 --> 01:28:15,760
Speaker 3: There are a lot of interesting things that happen in

1574
01:28:15,800 --> 01:28:18,720
Speaker 3: the climax here, Like at one point they try to

1575
01:28:18,760 --> 01:28:22,080
Speaker 3: command Robbie the robot to kill the monster that's attacking

1576
01:28:22,120 --> 01:28:26,200
Speaker 3: them in the house. But Robbie, knowing that the monster

1577
01:28:26,400 --> 01:28:30,559
Speaker 3: is a manifestation of a human mind, can't can't hurt it,

1578
01:28:31,120 --> 01:28:32,639
Speaker 3: right because he can't hurt a human.

1579
01:28:33,200 --> 01:28:36,200
Speaker 1: Yeah, that's that's excellent. And it just leads them to

1580
01:28:36,280 --> 01:28:39,160
Speaker 1: they have to like start retreating through these various levels

1581
01:28:39,200 --> 01:28:42,000
Speaker 1: of protection, so the for instance, the homes, combat shades

1582
01:28:42,040 --> 01:28:44,800
Speaker 1: come up, and of course the doors, yeah, the blast doors,

1583
01:28:44,800 --> 01:28:47,600
Speaker 1: and the monster makes pretty quick work of that. And

1584
01:28:47,640 --> 01:28:52,200
Speaker 1: they have to retreat into the into the Krell sub

1585
01:28:52,320 --> 01:28:56,639
Speaker 1: surface chambers, and they have all those really cool doors

1586
01:28:56,680 --> 01:29:00,360
Speaker 1: to move behind and the locking mechanism, but even that

1587
01:29:00,560 --> 01:29:02,120
Speaker 1: is not going to keep the monster at bay. And

1588
01:29:02,120 --> 01:29:04,760
Speaker 1: we get this terrific scene where the monster is like

1589
01:29:04,840 --> 01:29:07,439
Speaker 1: literally melting its way through the door.

1590
01:29:07,640 --> 01:29:10,080
Speaker 3: And we see the power plant. There's like a readout

1591
01:29:10,120 --> 01:29:14,040
Speaker 3: engine on this showing how much energy is being directed

1592
01:29:14,080 --> 01:29:17,680
Speaker 3: into the machine that this alien power plant is generating.

1593
01:29:18,360 --> 01:29:21,000
Speaker 3: And earlier we were seeing things happen where there's like,

1594
01:29:21,040 --> 01:29:23,639
Speaker 3: you know, fifty lights lined up and only the first

1595
01:29:23,680 --> 01:29:26,880
Speaker 3: one is barely lighting. But when the monster's trying to

1596
01:29:26,880 --> 01:29:28,720
Speaker 3: get through the door, we see it like lighting up

1597
01:29:28,800 --> 01:29:31,839
Speaker 3: all the way more and more, and like the energy

1598
01:29:31,960 --> 01:29:35,160
Speaker 3: produced is limitless, and they realize, like, it's just not

1599
01:29:35,400 --> 01:29:39,400
Speaker 3: going to stop now. I think finally, Morbius was resistant

1600
01:29:39,439 --> 01:29:41,519
Speaker 3: to the idea at first that he was the one

1601
01:29:41,560 --> 01:29:44,120
Speaker 3: creating the monster, but he eventually comes to accept it

1602
01:29:44,560 --> 01:29:46,679
Speaker 3: and then sort of gets in the path of the monster,

1603
01:29:46,760 --> 01:29:49,920
Speaker 3: and I think as he is fatally injured by it,

1604
01:29:50,120 --> 01:29:54,080
Speaker 3: that sort of like makes it demateialized for the moment.

1605
01:29:54,680 --> 01:29:56,760
Speaker 1: Yeah, Like he stands up to it, he basically has

1606
01:29:56,800 --> 01:30:01,360
Speaker 1: a you shall not pass moment. But yeah, at that

1607
01:30:01,640 --> 01:30:05,400
Speaker 1: I mean, he still can't overpower it, and it manages

1608
01:30:05,520 --> 01:30:07,640
Speaker 1: to fatally injure him in the process.

1609
01:30:07,960 --> 01:30:11,080
Speaker 3: Yeah, And so at that point they somehow they end

1610
01:30:11,160 --> 01:30:13,679
Speaker 3: up setting a self destruct thing for the entire planet.

1611
01:30:13,760 --> 01:30:18,120
Speaker 3: You have ten minutes to reach minimum safe distance. They

1612
01:30:18,360 --> 01:30:21,040
Speaker 3: set up a self destruct for the planet, and then

1613
01:30:21,120 --> 01:30:24,200
Speaker 3: Adams and Altara have to escape back to the ship.

1614
01:30:24,560 --> 01:30:26,479
Speaker 3: Oh and I think Robbie comes with them, doesn't he

1615
01:30:26,600 --> 01:30:27,599
Speaker 3: as Robbie comes.

1616
01:30:27,400 --> 01:30:30,360
Speaker 1: Too, Yeah, yeah, yeah, Robbie gets to come along for

1617
01:30:30,400 --> 01:30:30,800
Speaker 1: the ride.

1618
01:30:31,080 --> 01:30:33,320
Speaker 3: It's a fair trade. I mean, like they made the

1619
01:30:33,400 --> 01:30:35,880
Speaker 3: right decision to set the self destruct, like such a

1620
01:30:36,240 --> 01:30:39,320
Speaker 3: such a technology that makes all our thoughts manifest that

1621
01:30:39,800 --> 01:30:43,160
Speaker 3: there's no way that can be wielded correctly. You just

1622
01:30:43,160 --> 01:30:46,960
Speaker 3: just had to be destroyed. Can't be good. But Robbie,

1623
01:30:47,000 --> 01:30:49,160
Speaker 3: I feel like Robbie's he's good tech. You can bring

1624
01:30:49,240 --> 01:30:49,600
Speaker 3: him with this.

1625
01:30:49,920 --> 01:30:53,479
Speaker 1: Yeah, his programming is sound, and so yeah, he's a board.

1626
01:30:53,560 --> 01:30:56,360
Speaker 1: We have a moment where the surviving crew members there

1627
01:30:56,439 --> 01:31:01,760
Speaker 1: witness the destruction of the planet from Afar, which is

1628
01:31:01,800 --> 01:31:04,280
Speaker 1: a little weird because Adams is like, there it goes

1629
01:31:04,520 --> 01:31:06,599
Speaker 1: your dad's on that planet or what's left of him,

1630
01:31:06,680 --> 01:31:08,360
Speaker 1: and yeah, it's like, well, yes, obviously.

1631
01:31:09,760 --> 01:31:12,960
Speaker 3: And the ending line I remember is a little Hokia.

1632
01:31:13,040 --> 01:31:17,519
Speaker 3: He has basically a he tampered in God's domain statement,

1633
01:31:18,560 --> 01:31:22,000
Speaker 3: I think. But also there's a good observation where they're like,

1634
01:31:23,040 --> 01:31:26,600
Speaker 3: you know, what the Crell achieved is not unique to

1635
01:31:26,640 --> 01:31:29,679
Speaker 3: the Krell. Maybe someday long in the future, humans will

1636
01:31:29,680 --> 01:31:32,800
Speaker 3: achieve the same level of technology and then we'll be

1637
01:31:32,840 --> 01:31:34,200
Speaker 3: facing the same problem.

1638
01:31:34,640 --> 01:31:36,960
Speaker 1: Yeah, and this is a valid point. We see this

1639
01:31:37,360 --> 01:31:41,120
Speaker 1: in sci fi time and time again. It remains pretty accurate,

1640
01:31:41,400 --> 01:31:44,600
Speaker 1: and that is that our technological achievements tend to outstrip

1641
01:31:44,600 --> 01:31:50,960
Speaker 1: our ability to control ourselves regarding that technology at a

1642
01:31:50,960 --> 01:31:53,639
Speaker 1: personal level or at like a you know, governmental level.

1643
01:31:54,000 --> 01:31:56,800
Speaker 3: I think it's a plea for a kind of a

1644
01:31:56,880 --> 01:32:01,439
Speaker 3: regulatory or limiting consciousness about technology before it's achieved. It's

1645
01:32:01,520 --> 01:32:05,719
Speaker 3: recognizing that the story of the Krell is literally people

1646
01:32:05,800 --> 01:32:09,240
Speaker 3: achieving a power to do something before they've fully thought

1647
01:32:09,320 --> 01:32:11,519
Speaker 3: through what it would mean to have that power, and

1648
01:32:11,560 --> 01:32:14,240
Speaker 3: then of course it destroys them. And this is something

1649
01:32:14,240 --> 01:32:17,519
Speaker 3: we've seen happen again again in technological history. People figure

1650
01:32:17,560 --> 01:32:20,519
Speaker 3: out how to do something before they've thought through all

1651
01:32:20,560 --> 01:32:22,400
Speaker 3: of the ways in which it could be used for

1652
01:32:22,520 --> 01:32:26,960
Speaker 3: ill and should thus be constrained or constrained to the

1653
01:32:26,960 --> 01:32:28,720
Speaker 3: extent that it could be constrained. I mean, some things

1654
01:32:28,760 --> 01:32:30,800
Speaker 3: are really hard to constrain, but you know, to whatever

1655
01:32:30,840 --> 01:32:33,600
Speaker 3: extent we have the power to. And so, yeah, we

1656
01:32:33,640 --> 01:32:35,960
Speaker 3: don't want to become like the Krell. We should think

1657
01:32:36,040 --> 01:32:40,640
Speaker 3: hard about how technological creations could go wrong before we

1658
01:32:40,720 --> 01:32:46,479
Speaker 3: create them. It's kind of a plea for science fiction. Yeah, yeah, absolutely, anyway,

1659
01:32:46,600 --> 01:32:47,519
Speaker 3: that's forbidden Planet.

1660
01:32:47,760 --> 01:32:51,680
Speaker 1: That is the Forbidden Planet. And yeah, I think it

1661
01:32:51,720 --> 01:32:55,080
Speaker 1: was an absolute delight. I highly recommend checking this one

1662
01:32:55,120 --> 01:32:57,960
Speaker 1: out if you've managed to not see it thus far.

1663
01:32:58,600 --> 01:33:02,479
Speaker 1: Like we said before, sometimes the these highly influential films.

1664
01:33:03,400 --> 01:33:05,960
Speaker 1: They can be easy films to miss because you have

1665
01:33:06,080 --> 01:33:09,400
Speaker 1: at least sort of surface level understanding of what it's about,

1666
01:33:09,760 --> 01:33:11,280
Speaker 1: and it's easy to sort of put that one on

1667
01:33:11,320 --> 01:33:14,120
Speaker 1: the back burner. But this one's worth coming back to

1668
01:33:14,240 --> 01:33:18,080
Speaker 1: for sure. All Right, we would love to hear from

1669
01:33:18,080 --> 01:33:20,840
Speaker 1: everyone out there. What is your history with Forbidden Planet?

1670
01:33:21,320 --> 01:33:24,360
Speaker 1: What are your thoughts concerning it and other pictures from

1671
01:33:24,400 --> 01:33:28,000
Speaker 1: this timeframe? Or are there other movies that you would

1672
01:33:28,000 --> 01:33:32,160
Speaker 1: compare favorably to Forbidden Planet from the nineteen fifties? Yeah,

1673
01:33:32,240 --> 01:33:34,320
Speaker 1: right in, we'd love to hear from you. Just a

1674
01:33:34,360 --> 01:33:36,760
Speaker 1: reminder that Stuff to Blow Your Mind is primarily a

1675
01:33:36,800 --> 01:33:40,880
Speaker 1: science and culture podcast with core episodes of Stuff to

1676
01:33:40,880 --> 01:33:43,000
Speaker 1: Blow your Mind. In the Stuff to Blow your Mind

1677
01:33:43,040 --> 01:33:46,000
Speaker 1: podcast feed on Tuesdays and Thursdays, but on Fridays we

1678
01:33:46,080 --> 01:33:48,120
Speaker 1: set aside most serious concerns to just talk about a

1679
01:33:48,160 --> 01:33:51,360
Speaker 1: weird film here on Weird House Cinema. And if you

1680
01:33:51,360 --> 01:33:53,200
Speaker 1: want a complete list of all the movies we've covered

1681
01:33:53,240 --> 01:33:56,760
Speaker 1: thus far, well, you can head on over to letterbox

1682
01:33:56,800 --> 01:33:59,200
Speaker 1: dot com. You can look us up. Our user name

1683
01:33:59,280 --> 01:34:02,080
Speaker 1: is weird House, and we have an episode list of

1684
01:34:02,120 --> 01:34:05,719
Speaker 1: everything we've covered thus far I believe at this point

1685
01:34:05,760 --> 01:34:10,599
Speaker 1: what are we up to? It is exactly one hundred

1686
01:34:10,600 --> 01:34:13,200
Speaker 1: and ninety five films, so we're closing in on two hundred.

1687
01:34:13,479 --> 01:34:15,920
Speaker 1: If you have an idea for what we should cover

1688
01:34:16,000 --> 01:34:18,880
Speaker 1: for our two hundredth episode of Weird House Cinema, write

1689
01:34:18,880 --> 01:34:20,080
Speaker 1: in with suggestions.

1690
01:34:20,520 --> 01:34:24,360
Speaker 3: Here's thanks, as always to our excellent audio producer JJ Posway.

1691
01:34:24,680 --> 01:34:26,160
Speaker 3: If you would like to get in touch with us

1692
01:34:26,240 --> 01:34:28,679
Speaker 3: with feedback on this episode or any other, to suggest

1693
01:34:28,720 --> 01:34:31,240
Speaker 3: a topic for the future, to suggest a two hundredth

1694
01:34:31,240 --> 01:34:33,639
Speaker 3: film for us to cover, or just to say hi,

1695
01:34:33,720 --> 01:34:36,599
Speaker 3: you can email us at contact at stuff to Blow

1696
01:34:36,600 --> 01:34:44,759
Speaker 3: your Mind dot com.

1697
01:34:44,880 --> 01:34:47,840
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1698
01:34:47,920 --> 01:34:50,719
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1699
01:34:50,880 --> 01:34:54,120
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.