WEBVTT - Weirdhouse Cinema Rewind: Forbidden Planet 0:00:04.400 --> 0:00:07.640 Hey, you welcome to Weird House Cinema. Rewind. Yeah, it's 0:00:07.800 --> 0:00:10.719 it's winter break week, so we have a rewind episode 0:00:10.720 --> 0:00:13.200 here for you. This one originally published three seven, twenty 0:00:13.280 --> 0:00:16.640 twenty five. It is our episode on the nineteen fifty 0:00:16.680 --> 0:00:21.759 six science fiction classic Forbidden Planet. Such and such a 0:00:21.760 --> 0:00:25.800 fun film, oh and such an iconic electronic musical score. 0:00:26.400 --> 0:00:27.320 Let's jump right in. 0:00:30.080 --> 0:00:38.159 Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 0:00:40.680 --> 0:00:43.400 Hey, welcome to Weird House Cinema. 0:00:43.440 --> 0:00:46.360 This is Rob Lamb and this is Joe McCormick. And 0:00:46.400 --> 0:00:49.159 today we are going to be talking about the nineteen 0:00:49.280 --> 0:00:54.560 fifty six American science fiction adventure Forbidden Planet, starring Walter 0:00:54.640 --> 0:00:59.320 Pigeon and Francis and Leslie Nielsen. Yes, that Leslie Nielsen. 0:00:59.400 --> 0:01:01.560 You know before where he went full irony mode with 0:01:01.840 --> 0:01:05.040 movies like Airplane and The Naked Gun. He was a stern, 0:01:05.480 --> 0:01:09.560 square jawed ham from outer space. And this movie makes 0:01:09.600 --> 0:01:11.280 the best and the worst use of him. 0:01:11.800 --> 0:01:16.280 Yes, this movie is full of male actors just like that. 0:01:16.760 --> 0:01:20.440 I had such a good time rewatching Forbidden Planet. This 0:01:20.560 --> 0:01:22.559 wasn't the first time I'd seen it, but the first 0:01:22.600 --> 0:01:25.520 time in a while, and It's one of those classic 0:01:25.560 --> 0:01:29.360 films that both holds up so well and doesn't and 0:01:30.080 --> 0:01:33.040 both ways are good. Like it is at once gorgeous, 0:01:33.200 --> 0:01:37.840 thoughtful and clever and also dated, corny and numb skullish, 0:01:37.959 --> 0:01:40.960 and like both aspects make for a very good time. 0:01:41.560 --> 0:01:44.200 I will say that, at least in my viewing of 0:01:44.240 --> 0:01:49.440 the film, it never felt completely offensive, and it never was, 0:01:49.480 --> 0:01:52.440 but it was never boring. I guess it is a 0:01:52.480 --> 0:01:56.680 film that has a well earned place in sci fi 0:01:56.760 --> 0:02:00.200 cinema legend, and if you could, it's easy to go 0:02:00.280 --> 0:02:03.920 into Forbidden Planet expecting it to like wholly and completely 0:02:04.080 --> 0:02:07.120 live up to that legend. But this is a film 0:02:07.160 --> 0:02:09.240 that is clearly trying to do multiple things at the 0:02:09.240 --> 0:02:13.280 same time in essence to justify its budget. I imagine, 0:02:13.320 --> 0:02:15.880 you know, it needs to be a film with a 0:02:15.919 --> 0:02:19.200 brilliant sci fi vision. It also needs to have laughs, 0:02:19.480 --> 0:02:23.000 It needs to have some you know, some winky sex appeal. 0:02:23.520 --> 0:02:26.799 It needs to deliver on all of these things, and 0:02:27.080 --> 0:02:29.320 you know, ultimately it does and does so in a 0:02:29.360 --> 0:02:34.640 way that is not completely shameful decades later. So I 0:02:34.680 --> 0:02:36.840 think I have to tip my hat to it in 0:02:36.880 --> 0:02:37.440 that regard. 0:02:37.760 --> 0:02:40.639 You know, I had completely forgotten about the sixty gallons 0:02:40.639 --> 0:02:46.920 of whiskey scene. That really adds a whole other dimension 0:02:47.080 --> 0:02:50.000 to the Forbidden Planet experience. You did not think this 0:02:50.080 --> 0:02:53.840 movie would be so much about men stranded in space 0:02:53.919 --> 0:02:55.959 who are horny and want booze. 0:02:56.360 --> 0:02:59.799 Yeah, there's a huge element of mad men in space, 0:03:00.080 --> 0:03:04.240 the bunch of Don Draper esque male characters essentially hitting on, 0:03:04.639 --> 0:03:09.320 relentlessly hitting on the one female in their vicinity. Only 0:03:09.360 --> 0:03:12.760 instead of a like a secretary in a in like 0:03:12.800 --> 0:03:16.160 a New York office space, it is the daughter of 0:03:16.200 --> 0:03:18.800 a brilliant scientist on a distant world. 0:03:18.840 --> 0:03:21.280 The one true extraterrestrial we get to meet in the movie. 0:03:21.320 --> 0:03:23.480 Though she is a human, but she's from another planet. 0:03:23.840 --> 0:03:26.560 Now, Joe, you fished up one of the posters for 0:03:26.560 --> 0:03:30.120 Forbidden Planet, and oh, it's so it's so beautiful. It 0:03:30.160 --> 0:03:35.000 of course features a non human entity carrying an unconscious, 0:03:35.080 --> 0:03:38.800 beautiful woman. I can't recall. Does Robbie the robot ever 0:03:38.960 --> 0:03:40.800 carry Anne Francis in this picture? 0:03:41.040 --> 0:03:43.800 I don't remember if he does. He does carry the 0:03:43.880 --> 0:03:46.040 doctor Doc Austro, Remember. 0:03:45.720 --> 0:03:48.160 That and wonder that that should have been on the poster? 0:03:48.320 --> 0:03:51.040 Close enough? Yeah, it should have been like a uniformed 0:03:51.080 --> 0:03:53.960 guy who just got his brains apped by an alien computer. 0:03:55.080 --> 0:03:57.640 But no, he's he's carrying a blonde lady here, and 0:03:57.720 --> 0:04:00.800 she doesn't look that much like Anne Francis, Like really long, 0:04:00.840 --> 0:04:04.240 but you know it's close enough. This was the format 0:04:04.280 --> 0:04:07.000 at the time they tore Johnson to Robbie the Robot. 0:04:09.080 --> 0:04:11.360 I love it. Well, Yeah, this film is gonna be 0:04:11.400 --> 0:04:13.240 a lot of fun to talk about. I believe this 0:04:13.280 --> 0:04:16.160 is the third time we've covered a movie that's referenced 0:04:16.480 --> 0:04:19.120 in the lyrics of science fiction double Feature from the 0:04:19.200 --> 0:04:22.760 Rocky Horror Picture Show. Because we've done Doctor X, and 0:04:22.800 --> 0:04:27.200 we've done Tarantula, and now we've done Forbidden Planet. Of course, 0:04:27.320 --> 0:04:29.680 in the chorus we get to hear we are reminded 0:04:30.480 --> 0:04:34.279 several times that Ann Francis stars in Forbidden Planet. 0:04:34.800 --> 0:04:38.200 Ah, because planet runs with Janet. Yeah, yeah, it's perfect. 0:04:38.760 --> 0:04:41.360 In addition to the film score, I will I won't 0:04:41.360 --> 0:04:44.360 say that I have the film score to Forbidden Planet 0:04:44.480 --> 0:04:46.960 stuck in my head. It's not really an earworming score 0:04:46.960 --> 0:04:50.440 in the traditional sense, but I've certainly had science fiction 0:04:50.520 --> 0:04:54.240 double feature in my head all week ever since I 0:04:54.320 --> 0:04:55.480 watched Forbidden Planet. 0:04:55.760 --> 0:04:59.200 You know one thing that I think really sets Forbidden 0:04:59.200 --> 0:05:02.440 Planet apart from most of the science fiction of the 0:05:02.520 --> 0:05:06.360 nineteen fifties is that it is an extreme example of 0:05:06.360 --> 0:05:10.039 our show category of a rub the Fur movie. It 0:05:10.160 --> 0:05:16.159 is an overwhelming experience of pleasing visual and sonic textures. 0:05:16.200 --> 0:05:18.920 Like even if the movie had no dialogue or story 0:05:19.040 --> 0:05:22.440 at all, I think it would be a wonderful experience 0:05:22.600 --> 0:05:25.600 just to sit and absorb the sets and the painted 0:05:25.600 --> 0:05:28.920 back drops, the special effects, the costumes and the props. 0:05:29.160 --> 0:05:31.600 I'm thinking about so many things that are just you know, 0:05:32.000 --> 0:05:35.599 caramel chocolate to the eyes, Like you know, the green 0:05:35.720 --> 0:05:38.280 sky and the mountains that we see on Altair four, 0:05:39.240 --> 0:05:42.679 the mid century future chic decor of the Morbius house, 0:05:42.680 --> 0:05:45.839 so that pink mod furniture and all the loosight beams 0:05:45.880 --> 0:05:50.360 and everything, the forced perspective shots of the Krell technology 0:05:50.400 --> 0:05:53.679 where you've got these bridges going over the bottomless pits 0:05:53.720 --> 0:05:57.520 of the power generators and whatever those big white globes 0:05:57.560 --> 0:05:59.680 are that are like riding belts up and down the 0:05:59.720 --> 0:06:03.400 wall into the darkness. You've got that great alien garden 0:06:03.440 --> 0:06:06.279 around the Morbius swimming pool. You've got the design of 0:06:06.360 --> 0:06:08.520 Robbie the robot, which is just I don't know, we 0:06:08.839 --> 0:06:11.760 should come back to that, because that alone is unbelievable, 0:06:12.760 --> 0:06:17.119 those great diamond shaped archways. And I love, of course 0:06:17.520 --> 0:06:21.080 when we finally see the hand animated blood red outline 0:06:21.520 --> 0:06:23.719 of the beast in the movie, the id Beast that 0:06:23.800 --> 0:06:27.039 hunts the Astronauts. And also not just the visual but 0:06:27.080 --> 0:06:29.359 the sonic textures as well. As you were just alluding to. 0:06:29.520 --> 0:06:33.320 It might not be earworms, but the sounds of the 0:06:33.360 --> 0:06:37.200 movie are so interesting. It's just a corn ucopia of 0:06:37.360 --> 0:06:42.880 fascinating ambient sound. And so I was thinking that while 0:06:42.920 --> 0:06:46.320 we are today quite used to thinking of sci fi 0:06:46.440 --> 0:06:50.039 movies as rubbed the fur events, full of pleasing images 0:06:50.080 --> 0:06:53.919 and sounds, just great textures, having watched a lot of 0:06:53.960 --> 0:06:56.800 sci fi movies from the nineteen fifties for the show, 0:06:57.320 --> 0:06:59.600 I would argue that this was not the norm at 0:06:59.640 --> 0:07:02.800 the time. A ton of sci fi movies from the 0:07:02.800 --> 0:07:08.080 fifties are not full of pleasing visual and sonic textures. 0:07:08.120 --> 0:07:11.520 They are low budget affairs without much exciting to show 0:07:11.560 --> 0:07:14.880 you other than maybe like a monster costume. Even a 0:07:14.880 --> 0:07:18.920 lot of the better ones are usually good because of 0:07:19.000 --> 0:07:22.800 the like premise, or they're about ideas in some interesting way, 0:07:23.200 --> 0:07:26.680 and they consist primarily of dudes standing around talking in 0:07:26.720 --> 0:07:28.360 a sparsely decorated set. 0:07:28.920 --> 0:07:31.440 Yeah, I agree. I was just looking back at the 0:07:31.440 --> 0:07:33.800 films we've covered from the nineteen fifties, and some of 0:07:33.840 --> 0:07:37.840 them are, you know, definitely lower budget affairs. But yeah, 0:07:38.080 --> 0:07:40.480 there is, they're generally and that's part of it. You know, 0:07:40.520 --> 0:07:44.920 they're making do with less. They're leaning more into the 0:07:45.040 --> 0:07:49.520 ideas and we're not getting into that reb defer territory 0:07:49.640 --> 0:07:51.880 that we get with Forbidden Planet, which again is just 0:07:51.920 --> 0:07:55.200 like it's not like you can even single out well 0:07:55.280 --> 0:07:58.080 one or two visual elements or sonic elements as well. 0:07:58.480 --> 0:08:01.040 They're just so many. It's like, is just a feast 0:08:01.040 --> 0:08:01.720 for the eyes. 0:08:02.040 --> 0:08:04.320 Every scene is full of shots that are just like 0:08:04.360 --> 0:08:07.560 a poster you'd want to hang on your wall. And 0:08:08.360 --> 0:08:12.080 one reason, of course, is an obvious thing. Forbidden Planet 0:08:12.080 --> 0:08:14.720 stands out because it was shot in color. Specifically, the 0:08:14.760 --> 0:08:18.960 color process was Eastman color, and almost all of the 0:08:18.960 --> 0:08:21.080 other sci fi movies from the fifties that I can 0:08:21.120 --> 0:08:25.360 think of were in black and white. And this was funny, actually, 0:08:25.440 --> 0:08:27.920 I was trying to find a list of exceptions. I 0:08:27.960 --> 0:08:30.240 was like, Okay, what were the other color sci fi 0:08:30.320 --> 0:08:33.920 movies from the fifties, and when I did a Google search, 0:08:34.000 --> 0:08:36.920 the AI summary at the top of the search results 0:08:36.960 --> 0:08:40.840 kept telling me, insisting that movies like The Thing from 0:08:40.880 --> 0:08:43.920 Another World The Incredible Shrinking Man, both of which we 0:08:44.000 --> 0:08:46.000 watched for the show, were in color. No, they're not, 0:08:46.920 --> 0:08:49.080 it said The Day the Earth Stood Still was in color. 0:08:49.160 --> 0:08:52.400 The original one is not. You know, I've seen these movies. 0:08:52.440 --> 0:08:55.559 They're in black and white. But there are some examples. 0:08:55.559 --> 0:08:57.600 I can think of a few that I've seen. One 0:08:57.679 --> 0:09:00.840 is Invaders from Mars from nineteen fifty three, directed by 0:09:00.880 --> 0:09:05.160 William Cameron Menzies. Though this was shot in something called 0:09:05.360 --> 0:09:09.160 super cinicolor, which is a two color process that doesn't 0:09:09.280 --> 0:09:12.360 quite end up looking like full color. It has an 0:09:12.480 --> 0:09:16.640 interesting color palette, but it's kind of pale and faded, faded, 0:09:16.760 --> 0:09:19.959 kind of greenish gold. And then the same year there 0:09:20.000 --> 0:09:22.800 was a color adaptation of H. G. Wells War of 0:09:22.800 --> 0:09:25.920 the Worlds directed by Byron Haskin that was in technicolor. 0:09:27.200 --> 0:09:29.320 There was an adapt there was the adaptation of twenty 0:09:29.360 --> 0:09:31.040 Thousand Leagues. Of course, we talked about that just a 0:09:31.040 --> 0:09:33.640 week or two ago, the one with James Mason that 0:09:33.720 --> 0:09:35.800 was in nineteen fifty four. That's in color, and it 0:09:35.840 --> 0:09:38.840 looks great. There is, of course, This Island Earth in 0:09:38.920 --> 0:09:40.439 fifty five that's in color. 0:09:40.880 --> 0:09:43.360 Yeah, And I think This Island Earth is indeed probably 0:09:43.440 --> 0:09:47.640 Forbidden Planet's closest peer. You know, it doesn't have a robot, 0:09:47.679 --> 0:09:50.679 but it has a wonderful monster. It has some you know, 0:09:50.679 --> 0:09:54.000 a lot of color and bizazz to it. But the 0:09:54.040 --> 0:09:58.160 thing about about This Island Earth much smaller budget. Forbidden 0:09:58.200 --> 0:10:00.400 Planet costs more than twice as much. 0:10:00.880 --> 0:10:04.040 Yeah. So there are some other examples of great looking 0:10:04.080 --> 0:10:06.760 color sci fi films from the fifties, but not many, 0:10:06.960 --> 0:10:09.319 and it just was not the norm for sci fi 0:10:09.400 --> 0:10:12.319 movies at the time. Frankly, a lot of these movies 0:10:12.800 --> 0:10:15.600 from the fifties, even the relatively good ones, are not 0:10:15.760 --> 0:10:19.520 any more visually exciting than It Conquered the world. You know, 0:10:19.559 --> 0:10:22.760 would make them good might be good writing or good acting. 0:10:23.400 --> 0:10:27.120 Yeah, or maybe how well they shoot the monster costume 0:10:27.679 --> 0:10:28.440 and so forth. 0:10:29.040 --> 0:10:31.199 And as we were just saying, even when you consider 0:10:31.280 --> 0:10:33.720 the other color pictures, I just don't think there is 0:10:34.320 --> 0:10:37.600 another one that even comes close to Forbidden Planet. It's 0:10:37.640 --> 0:10:41.120 just exquisite to look upon this the whole box of crayons. 0:10:41.640 --> 0:10:45.280 Yeah, I mean nine years later you would get Planet 0:10:45.280 --> 0:10:48.240 of the Vampires, which, of course is another film we've 0:10:48.240 --> 0:10:50.000 talked about on the show that is set in space 0:10:50.080 --> 0:10:54.320 and has brilliant use of sets and costumes. Yeah, but 0:10:54.360 --> 0:10:57.239 this is this is a this is this is the forerunner, 0:10:57.280 --> 0:10:58.920 and you could probably make a very strong case that 0:10:58.960 --> 0:11:01.839 a film like Planet of the Vampires wouldn't exist if 0:11:01.840 --> 0:11:04.800 you didn't have Forbidden Planet getting there early and setting 0:11:04.800 --> 0:11:05.200 the trend. 0:11:05.600 --> 0:11:07.800 Yeah, I think Planet of the Vampires has got to 0:11:07.840 --> 0:11:10.000 be at least in part inspired by the look of 0:11:10.040 --> 0:11:14.040 Forbidden Planet. Okay, so we've established it's a ten course 0:11:14.080 --> 0:11:17.080 dinner for the eyes. But another thing I wonder if 0:11:17.280 --> 0:11:19.920 is this a good place to talk about this movie's 0:11:19.960 --> 0:11:23.840 relationship to Shakespeare's The Tempest, because that's the thing. A 0:11:23.880 --> 0:11:26.760 lot of people commenting on this over the years have 0:11:26.840 --> 0:11:31.160 pointed out the plot of Forbidden Planet seems like a 0:11:31.440 --> 0:11:36.680 very loose adaptation of Shakespeare's The Tempest, And I think 0:11:36.720 --> 0:11:38.520 that was kind of interesting because I know I've heard 0:11:38.559 --> 0:11:41.920 it said before that compared to most of the plays 0:11:41.960 --> 0:11:46.800 of Shakespeare, The Tempest is rarely put on film in 0:11:46.840 --> 0:11:49.520 anything like its original form. It's just not a play 0:11:49.559 --> 0:11:54.199 that gets a straight adaptation to film very much. Adaptations 0:11:54.240 --> 0:11:57.840 of the Tempest in cinema are almost always very loose. 0:11:58.880 --> 0:12:01.800 Yeah. And you know, I took a few different Shakespeare 0:12:01.800 --> 0:12:04.920 classes in college and we never directly covered the Tempest, 0:12:04.920 --> 0:12:08.760 as I recall, so maybe in part because we didn't 0:12:08.800 --> 0:12:12.960 have as many adaptations to watch on video to discuss it. 0:12:13.040 --> 0:12:17.000 But yeah, this is frequently cited as an adaptation of 0:12:17.040 --> 0:12:21.680 the Tempest. We have the we have our Prospero character, 0:12:21.760 --> 0:12:24.560 our Miranda, and I guess we have our Caliban of 0:12:24.640 --> 0:12:27.760 sorts as well, our monstrous creature not to be confused 0:12:27.760 --> 0:12:31.080 with the Caliban in Clash of the Titans. Was he 0:12:31.080 --> 0:12:33.080 called Caliban and then I can't recall, but he the 0:12:33.160 --> 0:12:36.880 character in that is very much based on this element 0:12:36.880 --> 0:12:37.800 of the Tempest as well. 0:12:38.720 --> 0:12:42.000 Yeah. I think people have said have pointed out that 0:12:42.160 --> 0:12:44.960 Robbie the robot is kind of aerial from the Tempest. 0:12:45.120 --> 0:12:46.600 Ah, yeah, yeah, and that. 0:12:47.440 --> 0:12:50.840 Adams is the Leslie Nielsen character is sort of I 0:12:50.880 --> 0:12:53.400 forget the name, but like one of the Italian nobles 0:12:53.480 --> 0:12:55.320 that gets a lured to the island. 0:12:55.280 --> 0:12:59.240 And who's cook cook have a don't know don't know 0:12:59.240 --> 0:13:02.360 about cook. All right, we'll get back to cook. So, yeah, 0:13:02.360 --> 0:13:07.280 we have a groundbreaking sonic and visual science fiction film here, 0:13:07.679 --> 0:13:11.640 shot in color with a health very healthy by budget, 0:13:11.920 --> 0:13:15.360 and it has Shakespearean elements in its plotting. All right, Joe, 0:13:15.360 --> 0:13:16.920 do you have an elevator pitch for this film? 0:13:17.559 --> 0:13:20.000 I couldn't get it down to one sentence, but here's 0:13:20.000 --> 0:13:24.040 the setup. By the twenty third century, humankind has colonized 0:13:24.120 --> 0:13:26.760 the galaxy with the help of faster than light travel, 0:13:27.440 --> 0:13:30.760 but one mission, a mission to an exoplanet called Alta 0:13:31.040 --> 0:13:36.760 four by the explorationship Bellerophon, has gone silent after it arrived. 0:13:37.200 --> 0:13:41.640 Twenty years later, a United Planet's starship under Commander JJ 0:13:41.760 --> 0:13:45.560 Adams is sent to the Altaar system to investigate the 0:13:45.559 --> 0:13:48.840 fate of the lost ship and its crew. Once there, 0:13:48.960 --> 0:13:51.600 Adams and his men find that the only survivor of 0:13:51.640 --> 0:13:55.760 the Belerophon is a language scholar named doctor Morbius, as 0:13:55.800 --> 0:13:59.080 well as his twenty year old daughter Altera, who was 0:13:59.200 --> 0:14:02.160 born on the planet. What happened to the rest of 0:14:02.200 --> 0:14:05.880 the crew? How have Morbius and Altera survived all this time? 0:14:06.280 --> 0:14:09.199 And where can a guy find bourbon and kissing lessons. 0:14:09.200 --> 0:14:10.280 On a planet such as. 0:14:10.200 --> 0:14:15.120 This, all this and morel will be explored. All right, 0:14:15.160 --> 0:14:17.079 let's go ahead and listen to a little trailer on here. 0:14:25.080 --> 0:14:27.600 You imagine yourself as one of the crew of this 0:14:27.760 --> 0:14:32.440 faster than light spaceship of the future, sharing their curiosity 0:14:32.480 --> 0:14:37.600 to know the unknown, their tension, their readiness for inconceivable adventures. 0:14:38.720 --> 0:14:42.120 When you reach the Forbidden Planet, you will meet Doctor 0:14:42.240 --> 0:14:46.240 Morbius played by Walter Pigeon. The doctor is sole owner 0:14:46.280 --> 0:14:50.720 of this fabulous world. Anne Francis is his alluring daughter, Alta, 0:14:51.120 --> 0:14:53.920 who has never seen a young man till she meets 0:14:53.960 --> 0:14:58.560 Commander Adams played by talented Leslie Nielson. You will meet 0:14:58.600 --> 0:15:02.120 a charming character in a robot able to produce on 0:15:02.320 --> 0:15:05.720 order ten tons of lead or a slinky evening gown 0:15:06.120 --> 0:15:11.600 always at your service. You explore all the wonders of 0:15:11.640 --> 0:15:17.120 a vanished civilization. You travel deep down into the heart 0:15:17.200 --> 0:15:20.840 of the Forbidden Planet to discover the incredible marvels of 0:15:20.920 --> 0:15:25.600 this last genious race. These magnificent scenes in striking Eastman 0:15:25.680 --> 0:15:30.080 color stagger the imagination. Yet the wonders of the planet 0:15:30.160 --> 0:15:36.960 all tear four conceal a strange and evil force unknown irresistible. 0:15:55.920 --> 0:15:58.960 All right. Well, you may be wondering where can I 0:15:59.080 --> 0:16:03.160 watch Forbidden Planet. Well, this was a major release. It 0:16:03.200 --> 0:16:06.120 has been released on all formats over the years. It 0:16:06.200 --> 0:16:09.840 is definitely available on Blu ray I belief from Warner 0:16:09.840 --> 0:16:12.960 Home Video or something, and I'm not I didn't check 0:16:13.000 --> 0:16:14.920 for this, but it's possible, I guess. Given in this 0:16:14.960 --> 0:16:17.840 an MGM film, maybe MGM Plus has its streaming. You 0:16:17.920 --> 0:16:20.880 might check around for that. I, however, watched this film 0:16:20.920 --> 0:16:24.200 on the big screen. I saw it over the weekend 0:16:24.520 --> 0:16:27.600 at Atlanta's Historic Plaza Theater, presented as part of the 0:16:27.600 --> 0:16:30.400 Silver Screen Spook Show series, and I have to say, 0:16:30.640 --> 0:16:34.440 looks terrific watching it in those old squeaky chairs there. 0:16:36.160 --> 0:16:40.240 You know, the colors are fantastic. The sound is just 0:16:40.320 --> 0:16:43.120 resonating around you and sometimes feeling like it's moving from 0:16:43.120 --> 0:16:47.720 ear to ear. So I highly recommend seeing films like 0:16:47.800 --> 0:16:50.480 this in the theater if you do get a chance 0:16:50.800 --> 0:16:53.280 to see them. Silver Screens Spook Show. By the way, 0:16:53.400 --> 0:16:57.480 we'll be doing mathra versus Godzilla on May seventeenth, two 0:16:57.520 --> 0:17:00.840 shows as usual, a family friendly nay and a late 0:17:00.960 --> 0:17:02.920 night show for grown ups. If you were in the 0:17:02.960 --> 0:17:04.480 Atlanta area on that date. 0:17:12.520 --> 0:17:14.679 All right, should we get into the connections. 0:17:15.160 --> 0:17:19.200 Yeah, Starting at the top with the director. It's Fred M. Wilcox, 0:17:19.280 --> 0:17:22.760 who lived nineteen oh seven through nineteen sixty four, American 0:17:22.760 --> 0:17:25.480 director who started out at MGM as an assistant to 0:17:25.560 --> 0:17:28.919 King Vedoor, eventually working his way up through the MGM 0:17:28.960 --> 0:17:32.360 Shorts department to direct the nineteen forty three feature Lassie 0:17:32.359 --> 0:17:36.200 Come Home, which starred a fourteen year old Roddy McDowell. 0:17:36.359 --> 0:17:38.520 Is he the voice of the kid yelling Lassie? 0:17:39.560 --> 0:17:42.080 I mean, he's the kid that presumably yells Lassie, So 0:17:42.119 --> 0:17:46.080 I guess, so okay? Cool. I felt this one was 0:17:46.119 --> 0:17:49.040 evidently a success because it had a sequel, nineteen forty 0:17:49.080 --> 0:17:51.320 six is Courage of Lassie, And this one had a 0:17:51.320 --> 0:17:52.919 fully grown Elizabeth Taylor in it. 0:17:53.320 --> 0:17:55.640 Okay? Did it also still have Roddy McDowell. 0:17:55.920 --> 0:18:00.280 No, No, Roddy McDowell, this okay, Elizabeth Taylor only okay? 0:18:00.960 --> 0:18:04.360 And then Roddy McDowell. He went from Lassie to Laser Blast. 0:18:04.480 --> 0:18:05.200 That's amazing. 0:18:05.720 --> 0:18:09.159 Yeah. Another film he director was nineteen forty nine is 0:18:09.160 --> 0:18:11.560 The Secret Garden, which had a twelve year old Dean 0:18:11.640 --> 0:18:14.800 Stockwall in it. Huh yeah, yeah, You can look up 0:18:15.080 --> 0:18:18.680 screenshots from The Secret Garden and there's a little kid, 0:18:18.720 --> 0:18:19.480 Dean Stockwell. 0:18:20.400 --> 0:18:23.359 Fact to check, Dean Stockwell was never twelve years old. 0:18:24.160 --> 0:18:27.200 It's amazing. He also did nineteen fifty two Shadow in 0:18:27.240 --> 0:18:30.840 the Sky with Nancy Reagan. Forbidden Planet was produced by 0:18:30.840 --> 0:18:35.119 Willcox's nephew in law, producer Nicholas Nefek, and he was 0:18:35.200 --> 0:18:40.520 apparently going to produce another big budget sci fi film 0:18:40.560 --> 0:18:44.240 with a title something like Robot Planet, and Willcox was 0:18:44.280 --> 0:18:46.919 going to direct that as well, but Nefact died in 0:18:47.000 --> 0:18:51.080 nineteen fifty eight. Wilcock directed one more film himself, and 0:18:51.119 --> 0:18:53.879 then he also died in nineteen sixty four at the 0:18:53.880 --> 0:18:57.240 age of fifty six. Wow. But I believe this is 0:18:57.280 --> 0:19:00.800 one of those examples where the director, you know, didn't 0:19:00.800 --> 0:19:04.359 come out of science fiction, and his life and career 0:19:04.440 --> 0:19:07.359 wasn't long enough afterwards to return to any science fiction, 0:19:07.520 --> 0:19:10.359 so you know, it kind of stands out as a 0:19:10.359 --> 0:19:12.199 one off. But boy, what a one off. This is 0:19:12.280 --> 0:19:14.960 easily the film he's best remembered for, all right. The 0:19:15.000 --> 0:19:18.800 screenplay is by Cyril Hume, who lived nineteen hundred through 0:19:18.880 --> 0:19:22.639 nineteen sixty six, American writer whose first novel The Wife 0:19:22.680 --> 0:19:24.760 of the Centaur was a big hit in nineteen twenty 0:19:24.800 --> 0:19:27.879 three and adapted into a King Vidor Silent film in 0:19:27.960 --> 0:19:30.800 nineteen twenty four. He wrote a few more novels, but 0:19:30.840 --> 0:19:34.280 mostly transitioned into screenwriting, working on several Tarzan movies in 0:19:34.320 --> 0:19:37.280 the nineteen thirties, a nineteen forty nine adaptation of The 0:19:37.280 --> 0:19:41.080 Great Gatsby, and then also a nineteen fifty six film 0:19:41.119 --> 0:19:45.920 titled Ransom exclamation Point, which was remade in nineteen ninety six, 0:19:46.200 --> 0:19:50.200 the Mel Gibson picture that some of you might remember. 0:19:51.000 --> 0:19:53.680 But it's worth noting that the nineteen fifty six Ransom 0:19:53.840 --> 0:19:57.760 was itself an adaptation of a nineteen fifty four episode 0:19:58.400 --> 0:20:01.560 that aired on the anthology series The United States Steel Hour. 0:20:01.720 --> 0:20:03.640 What the United States Steel Out? 0:20:03.760 --> 0:20:03.879 Oh? 0:20:03.960 --> 0:20:05.640 It was just named after a sponsor. 0:20:06.000 --> 0:20:08.399 Yeah, yeah, Like what should we call it? Should we 0:20:08.400 --> 0:20:11.600 call it like action or thriller or you know, maybe 0:20:11.720 --> 0:20:13.960 some sort of a zone And they're like, nope, the 0:20:14.080 --> 0:20:15.320 United States Steel Hour. 0:20:15.640 --> 0:20:17.320 Oh, it's like the Colgate Comedy Hour. 0:20:17.560 --> 0:20:21.680 Yeah, yeah, yeah, I guess somewhere to deal. Hume also 0:20:21.680 --> 0:20:25.159 did some westerns. His only other sci fi screenplay was 0:20:25.240 --> 0:20:28.480 nineteen fifty seven's The Invisible Boy, a sort of sequel 0:20:28.520 --> 0:20:30.720 spin off to Forbidden Planet, which we'll come back to. 0:20:31.880 --> 0:20:35.920 Forbidden Planet is Hume's most famous work, again highly influential, 0:20:36.160 --> 0:20:39.199 and is itself, at least a very loose adaptation of 0:20:39.240 --> 0:20:42.159 Shakespeare's The Tempest. Now there are a couple of story 0:20:42.240 --> 0:20:48.440 credits Irving Block and Alan Adler. Alan Adler lived nineteen 0:20:48.480 --> 0:20:50.960 sixteen through nineteen sixty four, also worked on a film 0:20:51.000 --> 0:20:54.639 in fifty nine called The Giant Behemoth, and then Block 0:20:55.400 --> 0:20:57.720 lived nineteen ten through nineteen eighty six. He was a 0:20:57.920 --> 0:21:01.600 I think mostly a special effects visual effects guy who 0:21:01.760 --> 0:21:06.359 worked exclusively in genre pictures, often B movies, mostly science fiction, 0:21:06.800 --> 0:21:09.920 and he sometimes contributed story ideas, this being the first 0:21:09.960 --> 0:21:13.600 case of that. Other story credits include fifty seven's Kronos, 0:21:13.920 --> 0:21:16.560 as well as Oh boys, here's a title for you, 0:21:16.880 --> 0:21:19.119 The Saga of the Viking Women and their voyage to 0:21:19.119 --> 0:21:20.639 the waters of the Great Sea Serpent. 0:21:21.400 --> 0:21:22.240 I've seen that one. 0:21:22.560 --> 0:21:24.840 Yeah, yeah, does that title cover everything? 0:21:25.840 --> 0:21:26.240 No? 0:21:26.240 --> 0:21:31.720 No, there's more, Okay, a longer title is possible. He 0:21:31.840 --> 0:21:34.840 also has story credits on Roger Corman's War of the 0:21:34.920 --> 0:21:36.760 Satellites in fifty eight. 0:21:37.040 --> 0:21:38.680 Those are both Roger Corman movies. 0:21:38.720 --> 0:21:41.160 Oh so the saga the Viking Women and their Voyage 0:21:41.200 --> 0:21:44.240 to the Waters of the Great Sea Serpent also Corman. 0:21:44.480 --> 0:21:46.400 Also Corman, I think in the same year. 0:21:47.040 --> 0:21:48.760 Yeah, Yeah, that's right, they're both fifty eight. 0:21:48.920 --> 0:21:49.960 Yeah. 0:21:50.000 --> 0:21:52.640 And then he also has story credits on The thirty 0:21:52.680 --> 0:21:55.720 foot Bride of Candy Rock and Atomic Submarine, both in 0:21:55.760 --> 0:21:56.360 fifty nine. 0:21:56.960 --> 0:21:59.359 I haven't seen it, but I've just I have a 0:21:59.400 --> 0:22:02.679 premonition that the movie Atomic Submarine is super boring. 0:22:04.840 --> 0:22:08.040 Getting into the cast, Let's start at the top in 0:22:08.119 --> 0:22:11.879 terms of billing with Doctor Morbius, played by Walter Pigeon, 0:22:11.920 --> 0:22:15.800 who lived eighteen ninety seven through nineteen eighty four. Walter Pigeon, 0:22:15.880 --> 0:22:19.080 a two time Oscar nominee who had not done I 0:22:19.080 --> 0:22:21.199 don't believe he'd really done a sci fi film up 0:22:21.240 --> 0:22:24.639 to this point, having been mostly known for stuff like 0:22:24.720 --> 0:22:28.440 nineteen forty one's How Green Was My Valley? After Forbidden Planet, 0:22:28.480 --> 0:22:30.240 he'd go on to appear in a handful of other 0:22:30.280 --> 0:22:33.000 sci fi flicks, sixty one's Voyage to the Bottom of 0:22:33.040 --> 0:22:36.720 the Sea, seventy three's The Neptune Factor. Oh, and then 0:22:36.760 --> 0:22:39.080 this was interesting. This is apparently like a made for 0:22:39.119 --> 0:22:42.240 TV film Movie of the Week Situation nineteen seventy fours 0:22:42.359 --> 0:22:45.720 Live Again, Die Again, which is like about a woman 0:22:45.840 --> 0:22:49.800 who is cryogenically frozen and then is brought back to 0:22:49.880 --> 0:22:52.359 life and her husband is old now and played by 0:22:52.400 --> 0:22:53.119 Walter Pigeon. 0:22:53.480 --> 0:22:57.959 Oh okay, you know, I was thinking, I like the 0:22:58.480 --> 0:23:02.280 line that Walter Pigeon rides in this movie between hero 0:23:02.400 --> 0:23:06.080 and villain. For much of the film, you can't quite 0:23:06.160 --> 0:23:09.760 tell how like what his intentions are. So he's that 0:23:09.840 --> 0:23:13.600 kind of character who's mostly polite and helpful and seems 0:23:13.680 --> 0:23:16.919 mostly forthright, but also maybe seems to be hiding something. 0:23:16.960 --> 0:23:18.600 You don't know how much you can trust him. 0:23:18.840 --> 0:23:21.480 Yeah, Like is he going to be is he Captain Nemo? 0:23:21.640 --> 0:23:23.040 Like that's kind of the big question that had to 0:23:23.080 --> 0:23:24.639 be on a lot of people's minds. 0:23:24.760 --> 0:23:28.320 Yeah, yeah, yeah, And so I don't know, I could 0:23:28.320 --> 0:23:31.080 see him. I could see him in another life of 0:23:31.119 --> 0:23:34.520 playing of having played a Bond villain or something like. 0:23:34.560 --> 0:23:37.600 Maybeybe nothing against Michael Lonsdale. He's great, but like he 0:23:37.640 --> 0:23:38.760 could have been in Moonriker. 0:23:39.280 --> 0:23:42.640 Yeah yeah, yeah, things have played out differently. Yeah yeah. 0:23:42.680 --> 0:23:47.320 I also like the ambiguity regarding his character. You're never 0:23:47.359 --> 0:23:51.280 really sure that he's a villain or what villainous elements 0:23:51.280 --> 0:23:53.760 he might have, but you also don't completely trust him. 0:23:54.720 --> 0:23:57.119 I guess it's easier, as a modern viewer of this 0:23:57.200 --> 0:23:59.200 film to assume that he's up to no good. That's 0:23:59.440 --> 0:24:01.600 my kid also watch the film with me, and they 0:24:01.600 --> 0:24:04.960 were like, oh, yeah, yeah, I knew he was hiding something, But. 0:24:05.000 --> 0:24:08.119 Did he know he was hiding something? I guess he 0:24:08.200 --> 0:24:10.800 knew he was hiding something, but maybe not the thing 0:24:10.840 --> 0:24:11.560 you're thinking of. 0:24:11.960 --> 0:24:16.000 Yeah. Yeah. He also did some horror movies. He appeared 0:24:16.000 --> 0:24:18.840 in seventy two's The Screaming Woman, and also a couple 0:24:18.880 --> 0:24:21.320 of gorilla movies in the twenties and thirties. I think 0:24:21.359 --> 0:24:24.480 they're two separate gorilla movies and not the same gorilla movie. 0:24:24.960 --> 0:24:27.159 But you know, someone had to starring gerrilla movies, so 0:24:28.040 --> 0:24:28.880 more power to him. 0:24:29.119 --> 0:24:31.560 Was he in any of the Machist Goes to Hell movies? 0:24:33.840 --> 0:24:36.679 All right? Well, again, we know that Ann Francis stars 0:24:36.680 --> 0:24:40.360 in Forbidden Planet, and indeed she does, playing Altara Morbius, 0:24:40.600 --> 0:24:44.200 the daughter of doctor Morbius. Anne Francis lived nineteen thirty 0:24:44.200 --> 0:24:47.080 through twenty and eleven. She's our lone female character in 0:24:47.119 --> 0:24:50.800 the film the daughter of doctor Morbius, so again seemingly 0:24:50.840 --> 0:24:53.880 doomed to never know love or earth, at least until 0:24:53.880 --> 0:24:56.000 the rest of the cast shows up to just relentlessly 0:24:56.040 --> 0:24:58.600 hit on her again like she's a secretary and a 0:24:58.600 --> 0:25:03.639 Madman era office. She's our Miranda character, Golden Globe winning 0:25:03.680 --> 0:25:06.920 actress whose other films include nineteen fifty five's Bad Day 0:25:06.960 --> 0:25:09.800 at Black Rock and nineteen sixty eight's Funny Girl, which 0:25:09.880 --> 0:25:13.359 also co starred Walter Pigeon. Her screen credits begin in 0:25:13.400 --> 0:25:15.679 the late forties. I believe she appeared on Broadway as 0:25:15.680 --> 0:25:18.840 a child, and she remained active, especially on TV up 0:25:18.840 --> 0:25:21.880 through two thousand and four, and she did two episodes 0:25:21.920 --> 0:25:23.359 of the original Twilight Zone. 0:25:23.840 --> 0:25:26.159 I also like Anne Francis in this role quite a 0:25:26.200 --> 0:25:29.879 lot because she she does bring a kind of edge 0:25:29.920 --> 0:25:33.120 to it in a way that you don't expect when 0:25:33.119 --> 0:25:36.120 you first meet the character. So the character, as we'll 0:25:36.160 --> 0:25:40.160 get into later, I was describing her as sort of 0:25:40.200 --> 0:25:44.600 like Arnold Schwarzenegger and Twins, like she has learned all 0:25:44.640 --> 0:25:47.240 of the you know, all of the academic subjects, as 0:25:47.280 --> 0:25:50.240 she knows all the sciences and literature and everything, but 0:25:50.400 --> 0:25:54.199 is hopelessly naive about society and human interactions. 0:25:55.040 --> 0:25:57.000 Yeah, kind of a subset of like she's not a 0:25:57.000 --> 0:26:00.520 full blown doll person where she's just like a child 0:26:00.600 --> 0:26:03.800 in an adult's body. She knows plenty of things, she 0:26:03.840 --> 0:26:06.480 just doesn't have like a lot of like social real 0:26:06.600 --> 0:26:08.840 world experience because she's never been to Earth. 0:26:08.960 --> 0:26:11.240 Yeah, she has no street smarts or savvy, so like 0:26:11.320 --> 0:26:13.520 has no doesn't know what to do when somebody is 0:26:13.600 --> 0:26:16.040 like trying to lie to her or take advantage of her. 0:26:16.320 --> 0:26:19.119 So there's a scene where this where a creep character 0:26:19.280 --> 0:26:22.560 is giving her kissing lessons. But she has a great 0:26:22.960 --> 0:26:25.879 kind of turn in that scene because he's like he's like, oh, 0:26:25.920 --> 0:26:29.040 let's try kissing again, and she's like, I don't get it. 0:26:29.080 --> 0:26:30.400 There's it's not very good. 0:26:31.920 --> 0:26:34.199 That got a lot of laughs with the audience, the 0:26:34.280 --> 0:26:38.560 live audience. So there's the humor in this film. You know, 0:26:38.600 --> 0:26:41.800 it mostly holds up sometimes, I mean it it holds 0:26:41.840 --> 0:26:44.119 it holds up in places, and it's just kind of 0:26:44.119 --> 0:26:47.320 hammy and too old fashioned in other places, but in 0:26:47.359 --> 0:26:52.439 both regards generates laughter, So still effective. But yeah, I agree, 0:26:52.480 --> 0:26:54.560 I think she's she's good in the role. And of 0:26:54.560 --> 0:26:58.240 course she's a real beauty, no denying that, but I 0:26:58.280 --> 0:27:01.760 was surprised at how how skimpy the outfits get in 0:27:01.840 --> 0:27:05.720 this picture. Oh like there is. I was confused by 0:27:05.760 --> 0:27:09.159 the bathing sequence. At first it seems like she's bathing nude, 0:27:09.200 --> 0:27:11.600 and then maybe she's wearing a garment, but maybe that's 0:27:11.640 --> 0:27:14.280 also a garment that they wore in movies at the 0:27:14.280 --> 0:27:17.600 time to make it seem like someone was bathing naked. 0:27:17.640 --> 0:27:18.240 I'm not sure. 0:27:18.400 --> 0:27:21.439 It does seem to be really pushing the limits of 0:27:21.480 --> 0:27:23.920 what like an MGM picture would have allowed in the 0:27:24.000 --> 0:27:27.760 nineteen fifties. But yeah, she's in the scene where she's swimming, 0:27:27.800 --> 0:27:29.760 I think she is supposed to be nude, and then 0:27:30.080 --> 0:27:32.320 she's just like you know, when she gets out of 0:27:32.320 --> 0:27:34.320 the pool in a brief shot. I think she's wearing 0:27:35.240 --> 0:27:38.159 a garment match to her skin, and then it's supposed 0:27:38.160 --> 0:27:39.960 to just go by real quick. But maybe they weren't 0:27:39.960 --> 0:27:42.199 expecting to have the kind of definition that people have 0:27:42.280 --> 0:27:43.199 on screens today. 0:27:43.320 --> 0:27:45.520 It's true like later in the picture, there's some very 0:27:45.560 --> 0:27:49.320 delicate wire work that allows Robbie the robot to carry 0:27:49.400 --> 0:27:54.760 the doctor's body and or doc's body, and it's very 0:27:54.760 --> 0:27:57.240 good wire work, because you can barely see it even 0:27:57.280 --> 0:27:59.680 in like higher definition, so I'm guessing it would have 0:27:59.680 --> 0:28:03.400 been most invisible at one point. All Right, it's time 0:28:03.400 --> 0:28:06.720 to talk about Leslie Nielsen. He's our leading man here 0:28:07.119 --> 0:28:11.080 playing Commander Adams. Lesli Nielsen lived nineteen twenty six through 0:28:11.119 --> 0:28:16.000 twenty ten, and I think many many of you out there, 0:28:16.520 --> 0:28:19.720 myself included, for a long time anyway, when I thought 0:28:19.720 --> 0:28:23.720 about this Canadian actor, I mostly or even exclusively thought 0:28:23.720 --> 0:28:28.120 about his late career reinvention as a dead pan, comedic 0:28:28.160 --> 0:28:31.560 goof all of this coming in the wake of nineteen 0:28:31.640 --> 0:28:35.879 eighties Airplane and this era gave like that lasted the 0:28:35.920 --> 0:28:38.000 rest of his life and career gave us the likes 0:28:38.000 --> 0:28:41.600 of TV's Police Squad It's Naked Gun spinoff films. I 0:28:41.600 --> 0:28:45.000 believe there were three of those, and such spoofs as 0:28:45.120 --> 0:28:48.480 mel Brooks Dracula Dead and Loving It from nineteen ninety five, 0:28:48.800 --> 0:28:52.800 and just a host of other goofy pictures where Leslie 0:28:52.880 --> 0:28:58.120 Nielsen continually plays these kind of either dead pan, funny 0:28:58.200 --> 0:29:04.840 characters or increasingly goofy characters. But they all stem from 0:29:05.440 --> 0:29:11.760 this initial Airplane Naked Gun phase where and these were 0:29:11.760 --> 0:29:13.960 both the work of David and Jerry Zucker. 0:29:14.440 --> 0:29:17.080 It's impossible to know, but I almost feel I could 0:29:17.080 --> 0:29:20.920 have predicted his career would or should take that turn, 0:29:21.120 --> 0:29:23.480 if you were to transport me back to the fifties 0:29:23.520 --> 0:29:26.920 and just show me his performance and Forbidden Planet, because 0:29:27.600 --> 0:29:30.880 he's playing the role totally serious, but he is such 0:29:31.080 --> 0:29:35.400 a natural ham just he's one of those guys who 0:29:35.920 --> 0:29:40.080 the more serious and deadpan and stern he tries to act, 0:29:40.200 --> 0:29:41.479 the funnier it gets. 0:29:42.440 --> 0:29:45.640 Yeah. Yeah, And I think the important thing to realize 0:29:45.680 --> 0:29:51.080 about this late career reinvention as a comedic actor, especially 0:29:51.120 --> 0:29:54.000 with those early examples. They work entirely on the basis 0:29:54.080 --> 0:29:57.640 that Nielsen was known for these straightforward, serious roles that 0:29:57.760 --> 0:30:01.760 were a little bit hammy and you know, maybe lacking 0:30:01.800 --> 0:30:07.280 in a lot of nuance, and his roland Forbidden Plannet 0:30:07.320 --> 0:30:09.880 is probably like the most famous example, you know, along 0:30:09.920 --> 0:30:12.000 side some other films and a great deal of TV work. 0:30:12.600 --> 0:30:15.120 Yeah. We've talked on the show before about the concept 0:30:15.120 --> 0:30:18.640 of the nineteen fifties movie the leading man as the 0:30:18.640 --> 0:30:22.280 rectangle as sort of a character type. Leslie Nielsen in 0:30:22.320 --> 0:30:26.800 this movie is the ultimate rectangle. Yeah, that is exactly 0:30:26.800 --> 0:30:29.600 what he is he is just he is just there 0:30:30.080 --> 0:30:34.880 to sternly and straightforwardly execute the main motions of the 0:30:34.880 --> 0:30:37.400 plot and then eventually to kiss the girl. 0:30:38.000 --> 0:30:40.719 Yeah. I think we would not be talking about him 0:30:40.760 --> 0:30:42.560 as much if he did not go on to all 0:30:42.640 --> 0:30:45.880 these other interesting things, because it's it's not a character 0:30:45.920 --> 0:30:48.720 that I found myself really connecting with on any level. 0:30:48.760 --> 0:30:52.600 Like he's just this this sort of hyper masculine ideal 0:30:52.720 --> 0:30:54.000 of the fifties. 0:30:54.480 --> 0:30:55.840 But not in an interesting way. 0:30:55.960 --> 0:30:57.320 Not an interesting way. Yeah. 0:30:57.480 --> 0:30:59.959 Yeah, it doesn't like get into that as themes like 0:31:00.280 --> 0:31:03.320 say the Incredible Shrinking Man or something. Instead, it's just 0:31:03.360 --> 0:31:06.720 sort of unexamined. There are interesting characters in the movie, 0:31:06.920 --> 0:31:09.960 like Morbius and Alta are interesting, but yeah, uh. 0:31:10.640 --> 0:31:13.000 Doc, I think Doc, who will get to in a second, 0:31:13.120 --> 0:31:16.320 like he's the character that, in many ways should be 0:31:16.560 --> 0:31:19.120 like the main point of focus for us as the 0:31:19.160 --> 0:31:21.680 audience because he does the most amazing things. 0:31:21.920 --> 0:31:25.920 Yes, but Adams is almos. It almost feels like he's 0:31:26.000 --> 0:31:27.440 made boring on purpose. 0:31:28.080 --> 0:31:34.600 Yeah. Now, and of course this is not entirely Leslie 0:31:34.640 --> 0:31:38.240 Nielsen's fault, And I want to point out that Nielsen 0:31:38.880 --> 0:31:41.960 did have I think a pretty strong villain era. He 0:31:42.480 --> 0:31:44.720 he appears as a villain in one of my favorite 0:31:44.840 --> 0:31:48.000 Night Gallery episodes nineteen sixty nine, is a question of fear. 0:31:48.920 --> 0:31:52.239 I believe he's like a former mercenary, just a real 0:31:52.360 --> 0:31:55.920 ruthless character. And I think he ultimately did that really well, 0:31:55.960 --> 0:31:58.960 playing in as he you know, aged out of being 0:31:59.000 --> 0:32:01.640 any kind of a leading and character. He could play 0:32:01.640 --> 0:32:04.800 these like ruthless, cold characters really well. He plays one 0:32:04.840 --> 0:32:07.400 in Stephen King's Creep Show from nineteen eighty two, in 0:32:07.440 --> 0:32:10.960 which he viciously murders his wife and her lover, who's 0:32:10.960 --> 0:32:12.440 played by Ted Danson. 0:32:12.320 --> 0:32:14.680 And then gets some supernatural vengeance. 0:32:14.800 --> 0:32:17.080 Oh yeah, there's some zombie action of course. 0:32:17.200 --> 0:32:20.160 Or vengeance visited upon him, not gets the vengeance. 0:32:20.280 --> 0:32:23.959 Yeah. Other villain roles of note include nineteen seventy seven's 0:32:24.040 --> 0:32:26.120 Day of the Animals, in which he plays a really 0:32:26.200 --> 0:32:29.440 nasty character, and also nineteen eighty seven's Nuts. 0:32:29.840 --> 0:32:31.480 I'm gonna have to see some more of the Leslie 0:32:31.520 --> 0:32:33.920 Nielsen villain stuff. I'm interested in that. 0:32:34.320 --> 0:32:36.360 And it is interesting that some of these villain roles 0:32:36.400 --> 0:32:38.880 that we just mentioned they occurred after airplanes, so he 0:32:39.000 --> 0:32:41.200 was really It's not like he just was like, oh, 0:32:41.240 --> 0:32:43.680 airplanes here, I can just do comedy from here on out. Like, No, 0:32:43.800 --> 0:32:46.200 he was sort of, you know, keeping it a little 0:32:46.280 --> 0:32:48.800 varied there for a bit, you know, playing a real 0:32:48.840 --> 0:32:51.320 dirt bag here and then you know, hamming it up 0:32:51.360 --> 0:32:53.520 for laughs on the other side. Yeah. 0:32:53.600 --> 0:32:56.120 Yeah, at some point the rectangle was just cut loose. 0:32:56.480 --> 0:32:59.440 You got some curves, got some corners. Yeah. 0:32:59.840 --> 0:33:02.320 The next character we want to talk about is Lieutenant 0:33:02.360 --> 0:33:06.000 doc Ostro, played by Warren Stevens, who of nineteen nineteen 0:33:06.040 --> 0:33:09.320 through twenty twelve. This is the character that I think 0:33:10.160 --> 0:33:12.920 is the most interesting. He's the male character that I 0:33:12.960 --> 0:33:16.080 found myself relating to the most because he seemed most 0:33:16.120 --> 0:33:18.240 on mission. I think he was the only one that 0:33:18.400 --> 0:33:22.120 was not concerned with hitting on the strange alien woman. 0:33:22.760 --> 0:33:26.120 He's the one who actually attempts to solve problems that 0:33:26.200 --> 0:33:30.120 are the larger problems of the plot and has a 0:33:30.160 --> 0:33:34.960 tragic trajectory as opposed to the heroic trajectory of Leslie 0:33:35.000 --> 0:33:35.760 Nielsen's character. 0:33:36.240 --> 0:33:39.560 You know, I feel like there are things said about 0:33:39.800 --> 0:33:44.280 this character that are not fully demonstrated in any way 0:33:44.320 --> 0:33:47.080 that I recall, and that makes me wonder if there 0:33:47.080 --> 0:33:50.320 were more originally in the script. Maybe some more interactions 0:33:50.360 --> 0:33:53.200 with him that didn't make it to the final cut. Specifically, 0:33:53.280 --> 0:33:59.560 I'm thinking of how it's implied that when Morbius meets 0:33:59.640 --> 0:34:02.600 the the main members of the crew, that he really 0:34:02.640 --> 0:34:06.000 sort of bonds with Ostro about like Ostro being a 0:34:06.120 --> 0:34:09.400 kind of scholar, a man of learning, somebody who's interested 0:34:09.480 --> 0:34:13.960 in learning scientific complexities and stuff like that, which, unless 0:34:14.000 --> 0:34:16.560 I'm forgetting something, I don't think we ever really see 0:34:16.760 --> 0:34:20.440 demonstrated about the character. It's just sort of said about him. 0:34:20.880 --> 0:34:24.560 It's worth noting that this film in many ways influenced 0:34:24.560 --> 0:34:27.400 Star Trek. We'll get to some examples of that with 0:34:27.640 --> 0:34:30.839 from a visual standpoint in a bit, But also you 0:34:30.840 --> 0:34:34.520 can easily look at Commander Adams Leslie Nilsen's character as 0:34:34.560 --> 0:34:37.120 sort of being a proto Kirk, and you can kind 0:34:37.160 --> 0:34:41.080 of look at Ostro as being a proto Spock. Kind of. 0:34:41.160 --> 0:34:44.080 Yeah, you would think Bones because the doctor Bones settlement, 0:34:44.200 --> 0:34:46.759 but no, Yeah, he's a little bit more Spocky. He's 0:34:46.760 --> 0:34:48.360 somewhere between Bones and Spock. 0:34:48.760 --> 0:34:50.799 He does the sort of thing that I guess you 0:34:50.800 --> 0:34:55.040 could see Bones or Spock doing what this character ultimately does, 0:34:55.120 --> 0:34:56.080 but especially Spock. 0:34:56.400 --> 0:34:58.760 Yeah, and then the third guy in the main three 0:34:58.920 --> 0:35:00.799 landing Party is just like Kirk two. 0:35:01.840 --> 0:35:05.359 Yes, yeah, I'll get to him. Well, I'll go ahead 0:35:05.400 --> 0:35:07.520 mention him and then come back to to Stevens. But yeah. 0:35:07.560 --> 0:35:11.399 Jack Kelly plays Lieutenant Farman who Live nineteen twenty seven 0:35:11.440 --> 0:35:14.320 through nineteen ninety two American actor whose other credits include 0:35:14.320 --> 0:35:16.920 sixty one's A Fever in the Blood and the TV 0:35:16.960 --> 0:35:21.000 show Maverick Warren Stevens. He also did a fair amount 0:35:21.040 --> 0:35:25.360 of TV, best remembered for his role here in Forbidden Planet. 0:35:25.400 --> 0:35:27.720 His other film credits include nineteen fifty four is Gorilla 0:35:27.760 --> 0:35:29.879 at Large Again you got to have a Gorilla movie 0:35:29.920 --> 0:35:32.600 in there somewhere, and the Barefoot Contests I believe in 0:35:32.680 --> 0:35:36.240 the same year, opposite Humphrey Bogart and Ava Gardner nineteen 0:35:36.280 --> 0:35:39.640 sixty six is Cyborg twenty eighty seven, and he apparently 0:35:39.680 --> 0:35:42.080 has a cameo in nineteen ninety one Samurai Cop. 0:35:42.120 --> 0:35:46.480 Wow Man Cyborg twenty eighty seven. That sounds like the 0:35:46.600 --> 0:35:49.240 name of a movie from the eighties, not a movie 0:35:49.239 --> 0:35:50.239 from the sixties. 0:35:50.600 --> 0:35:52.399 Yeah, I'm gonna have to look into that one more. 0:35:53.000 --> 0:35:55.920 Another crew member to briefly mention, we have Richard Anderson 0:35:55.960 --> 0:35:59.560 playing Chief Quinn. He lived nineteen twenty six through twenty seventeen, 0:35:59.600 --> 0:36:03.040 American actor who also appeared in Stanley Kubrick's nineteen fifty 0:36:03.040 --> 0:36:06.359 seven war picture Paths of Glory. I don't remember who 0:36:06.400 --> 0:36:09.080 exactly he was in that. It's been a while since 0:36:09.080 --> 0:36:13.040 I've seen that movie. But he was also a regular 0:36:13.080 --> 0:36:16.680 cast member on TV's The Six Million Dollar Man. But 0:36:16.760 --> 0:36:18.320 now it's time to talk about Cook. 0:36:18.680 --> 0:36:22.160 COOKOK, what a character. I think at some point the 0:36:22.200 --> 0:36:26.560 other day I just texted you the word cook. Yeah. 0:36:26.680 --> 0:36:28.919 Cook. I was not expecting Cook. I should also add 0:36:29.120 --> 0:36:31.520 I had not seen for Bid Blennett before before seeing 0:36:31.560 --> 0:36:35.480 it in the theater, and I think I was kind 0:36:35.480 --> 0:36:40.480 of expecting more like pure high minded science fiction. So 0:36:41.160 --> 0:36:44.760 the Hammier elements kind of surprised me, and then Cook 0:36:45.400 --> 0:36:48.960 really surprised me. A character, a pure comic relief character 0:36:49.640 --> 0:36:52.600 who initially just kind of like wanders into the scene, 0:36:52.640 --> 0:36:56.600 like stirring some biscuits or something and starts asking wise 0:36:56.600 --> 0:36:59.080 guy questions about the plot. Yeah. 0:36:59.120 --> 0:37:02.120 I mean, so they're going to another star system on 0:37:02.160 --> 0:37:05.239 this like multi year voyage to Altara four, and some 0:37:05.280 --> 0:37:08.000 of the crew members are just guys like Cook. Cook 0:37:08.120 --> 0:37:11.040 is just a total bumpkin who is looking for whiskey 0:37:11.200 --> 0:37:12.719 on the other edge of the galaxy. 0:37:13.760 --> 0:37:16.120 Yeah, he's like he sees Robby the rovine. He's like, well, 0:37:16.120 --> 0:37:17.680 what is it as a man? Is it a woman? 0:37:19.640 --> 0:37:19.879 What? 0:37:21.280 --> 0:37:24.680 Yeah, we we have a lot to say about Cook here, 0:37:24.719 --> 0:37:27.279 played by Earl Holloman who lived in nineteen twenty eight 0:37:27.280 --> 0:37:30.319 through twenty twenty four. A real Mike Nelson looking guy. 0:37:30.360 --> 0:37:33.240 I have to say, yeah, yeah, I could see Cook 0:37:33.440 --> 0:37:36.400 was almost like a character Mike Nelson would have played 0:37:36.400 --> 0:37:37.880 in one of the early show skits. 0:37:38.120 --> 0:37:42.279 Yes, exactly. I could have easily imagined Mike Nelson, you know, 0:37:42.360 --> 0:37:44.640 walking out on the set of the Sidle Out of Love, 0:37:44.920 --> 0:37:48.440 like stirring the pot here. Now. Holloman's pretty interesting tho, 0:37:48.440 --> 0:37:49.759 because he went on to appear in a number of 0:37:49.800 --> 0:37:52.200 big films in the nineteen fifties. He was in A 0:37:52.239 --> 0:37:55.600 fifty six Giant. He was also in The rain Maker 0:37:56.640 --> 0:37:59.239 and in The rain Maker. His role in that earned 0:37:59.320 --> 0:38:03.160 him a Golden Globe Award for Best Supporting Actor, and 0:38:03.360 --> 0:38:06.520 he remained active up until I believe two thousand, doing 0:38:06.520 --> 0:38:08.520 a lot of TV, as well as popping up in 0:38:08.600 --> 0:38:12.319 nineteen eighty one Sharky's Machine, which keeps coming up on 0:38:12.360 --> 0:38:14.360 the show in the Connections. I've never seen it, but 0:38:14.360 --> 0:38:17.480 it is a neo noir set in Atlanta, directed by 0:38:17.520 --> 0:38:19.320 Burt Reynolds. So at some point I need to actually 0:38:19.360 --> 0:38:20.720 sit down and watch Sharky's Machine. 0:38:20.760 --> 0:38:22.479 I guess, yeah, I've never seen it either. 0:38:22.560 --> 0:38:22.799 I don't. 0:38:22.880 --> 0:38:24.480 I mean, I don't even know that it actually has 0:38:24.480 --> 0:38:27.480 a machine. I was I had that question pop into 0:38:27.480 --> 0:38:30.160 my head and I was looking at the Wikipedia article 0:38:30.200 --> 0:38:32.440 and like the plot summary, It's like, well, is there 0:38:32.480 --> 0:38:34.200 a machine or is there not a machine? I think 0:38:34.280 --> 0:38:37.239 the machine is one of the supporting characters. I don't know. 0:38:38.040 --> 0:38:39.799 I know Sharky is Burt Reynolds, that's all. 0:38:39.800 --> 0:38:43.760 Oh okay, maybe machine is like a like a system 0:38:43.840 --> 0:38:47.440 of people doing something like a like a crime. Crime 0:38:47.480 --> 0:38:49.359 syndicate is a machine in some way. 0:38:49.880 --> 0:38:54.440 And speaking of machines, this film also famously stars Robbie 0:38:54.480 --> 0:38:57.160 the Robot playing Robbie the Robot. 0:38:57.480 --> 0:38:59.359 They give him billing, he. 0:38:59.360 --> 0:39:03.040 Has bill in and I am just ever pleased by 0:39:03.040 --> 0:39:06.120 the fact that he has his own IMDb page. He 0:39:06.200 --> 0:39:10.720 is treated by IMDb as an actual actor, alongside various 0:39:10.760 --> 0:39:14.240 dogs and cats, and of course living in deceased human beings. 0:39:15.560 --> 0:39:19.719 This was his screen debut. Robbie the Robot was essentially 0:39:19.719 --> 0:39:22.120 born in nineteen fifty five. He was born in the 0:39:22.200 --> 0:39:27.040 MGM Props Department, with credit generally going to a. Arnold Gailepsi, 0:39:27.600 --> 0:39:32.720 Doug Hubbard, and Robert Kinoshita. He's voiced here by Marvin Miller, 0:39:32.719 --> 0:39:36.200 who lived nineteen thirteen through nineteen eighty five, with Frankie 0:39:36.280 --> 0:39:39.560 Darrow who lived nineteen seventeen through nineteen seventy six. Actually 0:39:39.680 --> 0:39:44.080 in the suit, it is a suit. It's a big 0:39:44.200 --> 0:39:49.680 clunky prop. Shane Morton, the host of the Silver Screens 0:39:49.680 --> 0:39:54.120 Spook Show, mentioned that in the intro to the presentation 0:39:54.160 --> 0:39:56.520 of the picture that it was apparently really loud, and 0:39:56.560 --> 0:40:00.000 if you watch Forbidden Planet a lot, you can maybe 0:40:00.200 --> 0:40:03.080 note that actors are maybe speaking a little louder when 0:40:03.080 --> 0:40:05.600 they're sharing a screen time with Robbie the Robot, because 0:40:05.640 --> 0:40:08.480 he had all sorts of clunky of business going on 0:40:08.600 --> 0:40:13.080 in his body. And it is probably a clunky, old 0:40:13.120 --> 0:40:16.120 fashioned design by today's standards, but it's an amazing build 0:40:16.239 --> 0:40:18.759 that you know, certainly resonated with sci fi fans and 0:40:18.920 --> 0:40:21.680 it made him icon of the genre. You know, this 0:40:21.800 --> 0:40:25.920 is you think about robots from the nineteen fifties and sixties, 0:40:26.160 --> 0:40:28.200 you're probably going to think about Robbie the Robot. 0:40:28.520 --> 0:40:32.360 Oh Man, the clunkiness does not downgrade him at all. 0:40:32.480 --> 0:40:35.239 In my mind. I think Robbie is still to this 0:40:35.440 --> 0:40:38.840 day one of the best robots ever put on film. 0:40:39.320 --> 0:40:42.719 I'd love so much about his design. I love the 0:40:42.840 --> 0:40:47.240 non humanoid moving parts, so not just the arms and legs, 0:40:47.280 --> 0:40:52.320 but things like the cycling typewriter guts inside, the clear 0:40:52.360 --> 0:40:56.600 plastic dome of his head and the chemical analyzer, the 0:40:56.640 --> 0:41:00.640 male slot mouth thing in his chest, the spinning navigation, 0:41:00.800 --> 0:41:04.120 and timmy. It's just one of the best robot designs ever. 0:41:04.200 --> 0:41:07.680 And I love every moment he's on screen. I love 0:41:07.760 --> 0:41:11.279 the I think this is what you were just alluding to, 0:41:11.600 --> 0:41:16.200 being very loud. I love the clacking sound that starts 0:41:16.239 --> 0:41:19.640 as like the parts are moving inside before he starts talking. 0:41:20.120 --> 0:41:23.600 Yeah, yeah, it's a great design. I love his shape. 0:41:23.640 --> 0:41:27.400 He has a great silhouette, instantly recognizable. I love his 0:41:27.480 --> 0:41:34.320 little centaur vehicle that he climbs into to roam about 0:41:34.320 --> 0:41:35.280 on the planet's surface. 0:41:35.360 --> 0:41:36.560 Oh the buggy, Yeah. 0:41:36.480 --> 0:41:39.680 Yeah, so yeah, Robbie the Robot. He followed this up 0:41:39.760 --> 0:41:42.799 with the spinoff The Invisible Boy, in which a boy 0:41:42.880 --> 0:41:45.640 named Kimmy in the year nineteen fifty seven is given 0:41:45.680 --> 0:41:48.960 a given super intelligence by a supercomputer and then he 0:41:49.120 --> 0:41:52.440 like reassembles Robbie again. This is kind of like a 0:41:52.480 --> 0:41:55.840 loose spinoff sequel. I don't think it really necessarily supposed 0:41:55.880 --> 0:41:59.160 to think it is a legitimate follow up to Forbid 0:41:59.160 --> 0:42:03.520 the Planet. But Robbie the Robot mostly appeared in TV 0:42:03.640 --> 0:42:06.720 cameos after this. He showed up on The Twilight Zone, 0:42:06.960 --> 0:42:11.680 The Adams Family, Lost in Space opposite the Robot. The 0:42:11.760 --> 0:42:15.600 Robot from Lost in Space is another iconic robot costume 0:42:15.640 --> 0:42:19.000 of the time period, showed up on Colombo, Wonder Woman, 0:42:19.120 --> 0:42:22.200 More Can Mindy, the Love Boat, and then you know 0:42:22.239 --> 0:42:24.800 of later appearances and things like Earth Girls Are Easy 0:42:24.960 --> 0:42:30.080 and sometimes a IMDb he's credited as toy. Like I'm guessing, 0:42:30.080 --> 0:42:32.120 like maybe he just shows up as a Robbie the 0:42:32.200 --> 0:42:33.920 Robot toy, which isn't quite the same thing. 0:42:34.320 --> 0:42:36.760 Yeah, some of his cameos are just he's a prop 0:42:36.800 --> 0:42:37.719 in the background. 0:42:38.040 --> 0:42:40.680 Yeah, but I think I like the Twilight Zone, he 0:42:41.000 --> 0:42:43.880 shows up as like it is a plot element and 0:42:43.920 --> 0:42:45.400 to some extent like he has a Robot. 0:42:53.560 --> 0:42:56.520 So I mentioned earlier that the special effects throughout the 0:42:56.560 --> 0:43:01.440 film just looked fantastic, Robbie of course being a major 0:43:01.480 --> 0:43:04.080 one of them the prop created there. But also there 0:43:04.120 --> 0:43:08.160 are some animation effects in this movie that are I 0:43:08.200 --> 0:43:11.960 think just unparalleled, just absolutely spectacular. 0:43:12.680 --> 0:43:16.920 That's right, because eventually we begin we begin to have 0:43:17.000 --> 0:43:20.560 these attacks by some sort of a monster, but it 0:43:20.600 --> 0:43:23.560 is an invisible monster for the most part, and we 0:43:23.600 --> 0:43:27.560 only get glimpses of its form as it interacts with 0:43:27.640 --> 0:43:33.000 various force fields and so forth, various like energy sources 0:43:33.040 --> 0:43:37.160 and the like. And when this occurs, we are seeing 0:43:37.800 --> 0:43:40.600 special effects that I believe are largely the work of 0:43:40.760 --> 0:43:44.920 one Joshua Mador who lived nineteen eleven through nineteen sixty five. 0:43:45.719 --> 0:43:49.920 He's credited with special effects through courtesy of Walt Disney Productions, 0:43:50.480 --> 0:43:53.040 because indeed, he was an animator and special effects artist 0:43:53.280 --> 0:43:56.399 who had worked on numerous Walt Disney animated features such 0:43:56.400 --> 0:44:00.640 as thirty seven Snow White nineteen forties, Fan Tasa nineteen 0:44:00.960 --> 0:44:04.479 fifty Cinderella later on, as well as such live action 0:44:04.560 --> 0:44:07.279 productions as fifty four to twenty thousand Leagues under the Sea, 0:44:07.320 --> 0:44:11.120 which we just mentioned, and so yeah, his talents helped 0:44:11.120 --> 0:44:14.719 bring to life the Invisible Monstrosity. You know, they have 0:44:14.760 --> 0:44:17.320 some practical effects too, like you know, a tree getting 0:44:17.360 --> 0:44:20.200 knocked over on the set when the creature passes. But 0:44:20.239 --> 0:44:23.400 then also these animated effects that kind of give us 0:44:23.400 --> 0:44:26.480 a glimpse of this big kind of you know, monstrous 0:44:26.480 --> 0:44:29.279 almost I don't know, kind of like dog like, bear, 0:44:29.480 --> 0:44:30.840 like grimlin like being. 0:44:31.280 --> 0:44:34.120 I mean, we never see a very clear picture of 0:44:34.120 --> 0:44:37.000 what it is, which makes it all the more interesting, 0:44:37.120 --> 0:44:41.759 Like you only get these sort of illuminated electric outlines 0:44:41.800 --> 0:44:44.240 of the face in which it is. It is something 0:44:44.280 --> 0:44:48.240 that's kind of raging. It has a snarling, toothy mouth. 0:44:48.360 --> 0:44:52.000 It's gigantic, of course, and it also appears to be 0:44:52.440 --> 0:44:54.520 I don't know, almost kind of pyramid shaped. 0:44:54.960 --> 0:44:58.239 Yeah, so it's it's really cool and I think these 0:44:58.280 --> 0:45:02.400 effects hold up really well. Mayde Or outside of this, 0:45:02.440 --> 0:45:05.120 would mostly continue to work on Disney films and TV 0:45:05.280 --> 0:45:08.400 projects for the rest of his career, including animation effects 0:45:08.440 --> 0:45:10.840 on Darby Ogill and The Little People in fifty nine. 0:45:11.080 --> 0:45:12.880 He was also apparently an accomplished painter. 0:45:14.040 --> 0:45:16.040 Now, Rob, I know you already said you had been 0:45:16.160 --> 0:45:19.239 listening to the sounds from the film I don't know 0:45:19.239 --> 0:45:22.920 if they called it a soundtrack in this in this 0:45:23.000 --> 0:45:25.839 case because a lot of it is not exactly what 0:45:25.880 --> 0:45:28.640 we'd think of as music, but is very important for 0:45:28.960 --> 0:45:32.000 the feeling of the film. But it was produced by 0:45:32.080 --> 0:45:34.080 actually a pair of creators, right. 0:45:34.160 --> 0:45:38.560 Yeah, husband and wife team Beebe and Lewis Baron. Boebe 0:45:38.640 --> 0:45:40.960 lived nineteen twenty sixty two thousand and eight and Lewis 0:45:41.000 --> 0:45:44.120 lived nineteen twenty through nineteen eighty nine, and they are 0:45:44.280 --> 0:45:51.760 credited as composer electronic tonalities, which is perfect, a perfect 0:45:51.760 --> 0:45:55.640 way to describe the music that they create. But I 0:45:55.640 --> 0:46:00.720 think there were also some technicalities regarding like unions where 0:46:00.760 --> 0:46:03.680 they weren't allowed to say that it was a film 0:46:03.719 --> 0:46:08.279 score because they were not in the Music Film Score 0:46:08.400 --> 0:46:11.840 Union at the time, and I think therefore we're also 0:46:11.960 --> 0:46:17.120 not eligible for OSCAR nomination. But yes, the score is terrific. 0:46:17.160 --> 0:46:20.279 It is an historic score in that it is the 0:46:20.400 --> 0:46:24.480 first fully electronic score for a motion picture. By nineteen 0:46:24.480 --> 0:46:28.120 fifty six, movies had been utilizing electronic elements in their 0:46:28.160 --> 0:46:31.160 sound design for quite a while. I was reading a 0:46:31.200 --> 0:46:33.440 little bit about the use of the theorem and in 0:46:33.560 --> 0:46:36.200 film in a twenty eighteen article for the Script Lab 0:46:36.320 --> 0:46:40.960 by Claire Nina Narelli pointing out that the Theoreman was 0:46:41.000 --> 0:46:45.880 invented in nineteen twenty and by around nineteen thirty nineteen 0:46:45.880 --> 0:46:49.440 thirty one it was used in the Russian film auDNA 0:46:49.600 --> 0:46:52.719 or Alone. This was originally going to be a silent film, 0:46:52.760 --> 0:46:56.440 but then apparently had music, sound effects and some dialogue 0:46:56.560 --> 0:46:59.919 recorded in post and then played alongside it, and among 0:47:00.120 --> 0:47:05.400 those sounds we had Theramy music. There's another electronic instrument 0:47:05.520 --> 0:47:08.279 of the time period, an early electronic instrument called the 0:47:08.640 --> 0:47:12.439 let's say, the one Martineau, and this was also used 0:47:12.480 --> 0:47:17.800 in various scores and sound designs, including Bride of Frankenstein. 0:47:19.040 --> 0:47:22.520 And the author here points out that the instruments, this instrument, 0:47:22.600 --> 0:47:25.440 that Theram in particular, began to pop up in Hollywood 0:47:25.440 --> 0:47:28.960 films during the mid nineteen forties, generally at first to 0:47:28.960 --> 0:47:33.560 emphasize instability, such as in nineteen forty five Spellbound, so 0:47:33.600 --> 0:47:37.080 a destabilizing sonic effect, but then it began to be 0:47:37.120 --> 0:47:42.239 associated with sci fi and spaceships, in nineteen fifty with 0:47:42.440 --> 0:47:45.360 rocket Ship XM, and then of course in nineteen fifty 0:47:45.360 --> 0:47:48.120 one's The Day the Earth Stood Still, which features a 0:47:48.120 --> 0:47:53.040 traditional orchestral score, but with two theremins so again. Up 0:47:53.120 --> 0:47:57.359 until this point, cinema had been playing with a little 0:47:57.400 --> 0:48:00.560 electronic sound, but no one had fully committed to a 0:48:00.760 --> 0:48:06.719 full length motion picture with exclusively electronic music until now. 0:48:07.239 --> 0:48:09.920 And apparently, like I was reading, apparently the way it 0:48:09.960 --> 0:48:12.040 started out, they were like, well, let's these guys were 0:48:12.080 --> 0:48:15.000 doing some really interesting work BB and Lewis, Let's bring 0:48:15.080 --> 0:48:16.839 him in to do you know, a few minutes worth 0:48:16.840 --> 0:48:20.000 of sound. And then like the right people liked it 0:48:20.040 --> 0:48:22.080 and they were like, let's have them do the whole thing. 0:48:22.280 --> 0:48:28.880 Let's let's do this exclusively, which you know, for various reasons, 0:48:28.920 --> 0:48:32.399 this wasn't popular with everyone. And I can imagine, yeah, 0:48:32.400 --> 0:48:34.400 there were probably some people who are like, this doesn't 0:48:34.440 --> 0:48:37.520 sound like a film score, this doesn't sound like music. 0:48:38.920 --> 0:48:42.360 I mean, I would disagree. But their work was apparently 0:48:42.480 --> 0:48:48.640 very avant garde. They you know, they used ring modulator 0:48:48.800 --> 0:48:52.680 circuits and then altered the results with reverb, tape delay 0:48:52.800 --> 0:48:56.279 and other editing techniques. Apparently there was a very high 0:48:56.360 --> 0:49:00.080 unpredictability with their work, like if they successfully create they 0:49:00.120 --> 0:49:03.080 did a certain soundscape, they couldn't necessarily come back and 0:49:03.120 --> 0:49:06.160 recreate it in the same way, so it was kind 0:49:06.200 --> 0:49:09.040 of a roll of the dice and then and then 0:49:09.080 --> 0:49:11.640 an editing exercise to get something that they wanted. 0:49:12.120 --> 0:49:14.759 Yeah. I think a lot of music creators today might 0:49:14.840 --> 0:49:16.720 know that effect. If you've got like a pedal board 0:49:16.719 --> 0:49:19.920 that you runar through and you might create some sound 0:49:20.000 --> 0:49:22.200 you really like, but then you mess with the knobs 0:49:22.239 --> 0:49:23.719 and then you can't get it to sound the same 0:49:23.760 --> 0:49:25.239 way again, you forget how you did it. 0:49:25.680 --> 0:49:28.359 Oh wow wow. So yeah, at this point, yeah, they 0:49:28.360 --> 0:49:32.560 were very avant garde. They had been contributing electronic sounds 0:49:32.560 --> 0:49:35.399 to various generally got short art films, like the work 0:49:35.440 --> 0:49:38.759 of Ian Hugo. I believe he did some adaptations of 0:49:38.760 --> 0:49:42.359 anis nin short stories, that sort of thing, So nothing 0:49:42.400 --> 0:49:46.080 that was at all mainstream Hollywood. And then here they 0:49:46.160 --> 0:49:51.479 are scoring the tonalities of Forbidden Planet, and I think, yeah, 0:49:51.520 --> 0:49:54.800 it's it's tremendous, but it is deeply weird and alien. 0:49:54.920 --> 0:49:59.759 It is largely devoid of any melodic content. It just 0:50:00.680 --> 0:50:03.680 the sounds like twinkle like stars against the dark void. 0:50:03.680 --> 0:50:06.799 They drip like liquid metal and alien caves, and it 0:50:06.880 --> 0:50:11.240 just delivers an overwhelming vibe of just inhuman mystery. Which 0:50:11.800 --> 0:50:15.759 works exceedingly well with various aspects of the plot and 0:50:15.760 --> 0:50:18.680 certainly the look of the picture. Maybe less so with 0:50:18.760 --> 0:50:22.680 the more hammy aspects of it, but to their credit, 0:50:22.960 --> 0:50:26.160 nobody went in and added like goofy sound effects for 0:50:26.200 --> 0:50:29.239 the comedic moments. Like all the sound design we have 0:50:29.280 --> 0:50:30.919 there is exclusively sci fi. 0:50:31.280 --> 0:50:34.879 I think it's the kind of thing that to audiences 0:50:34.920 --> 0:50:39.279 going back today feels less groundbreaking because we have experienced 0:50:39.320 --> 0:50:42.759 a lot of what followed in its footsteps, and that 0:50:42.840 --> 0:50:46.200 if we were to be there in nineteen fifty six, 0:50:46.320 --> 0:50:50.040 we would probably recognize the sound of this movie as 0:50:50.080 --> 0:50:54.480 being more we would recognize it for being how unique 0:50:54.480 --> 0:50:55.440 in time it was. 0:50:56.480 --> 0:51:00.000 Yeah, I mean it seems I can imagine people being 0:51:00.280 --> 0:51:03.839 surprised though, because it at least, you know, to my ears, 0:51:03.880 --> 0:51:06.319 it hits pretty hard. It seems it feels pretty far 0:51:06.400 --> 0:51:09.080 removed from something like you know, some of the work 0:51:09.080 --> 0:51:11.080 of say Wendy Carlos you would get a little over 0:51:11.120 --> 0:51:14.759 a decade later, was like Switched on Bach Yeah, yeah, 0:51:14.880 --> 0:51:17.840 very melodic but very electronic at the same time, and 0:51:17.920 --> 0:51:21.240 this is just like, yeah, this stuff is just alien. 0:51:21.400 --> 0:51:23.520 It does not have the human touch, And I love 0:51:23.560 --> 0:51:26.400 it for that, but it it seems like a minor 0:51:26.440 --> 0:51:28.880 miracle that this score exists at all. It seems like 0:51:29.000 --> 0:51:32.000 exactly the sort of sort of score that some sort 0:51:32.040 --> 0:51:34.040 of producer would come along and say and say like, 0:51:34.120 --> 0:51:35.799 we can't use this. You can use it when the 0:51:35.800 --> 0:51:38.920 spaceship's landing. But let's let's get some stock music in 0:51:38.960 --> 0:51:41.080 here so that the humans can connect with the plot. 0:51:41.280 --> 0:51:44.560 Yeah, that's too weird. Yeah, but no, they got away 0:51:44.600 --> 0:51:47.279 with it, and I'm glad they did. All Right, you 0:51:47.280 --> 0:51:48.760 want to talk about the plot. 0:51:48.760 --> 0:51:49.920 Let's get into the plot. 0:51:50.440 --> 0:51:53.080 Warning that this movie does have, in my opinion, some 0:51:53.120 --> 0:51:56.400 pretty good twists and reveals in it, especially the ending, 0:51:56.400 --> 0:51:58.480 and we are going to be talking about those. So 0:51:58.600 --> 0:52:00.880 if you want to see it without having anything spoiled, 0:52:01.160 --> 0:52:03.560 I would suggest pausing and doing that now. 0:52:04.840 --> 0:52:06.440 But you're still here, so I guess it's okay. 0:52:06.600 --> 0:52:10.040 Yeah. So opening monologue. I'm just going to read this 0:52:10.320 --> 0:52:13.080 to set the tone. The voice over tells us, in 0:52:13.120 --> 0:52:16.000 the final decade of the twenty first century, men and 0:52:16.080 --> 0:52:20.000 women in rocket ships landed on the Moon. Great start. 0:52:20.080 --> 0:52:21.400 Do you think we're going to make it to the 0:52:21.400 --> 0:52:26.920 moon by the twenty nineties, by twenty two hundred AD, 0:52:27.040 --> 0:52:29.560 they had reached the other planets of our Solar system 0:52:30.040 --> 0:52:33.640 almost at once. There followed the discovery of hyperdrive, through 0:52:33.640 --> 0:52:36.640 which the speed of light was first attained and later 0:52:36.920 --> 0:52:41.239 greatly surpassed. And so at last mankind began the conquest 0:52:41.280 --> 0:52:46.040 and colonization of deep space. United Planets. Cruiser C fifty 0:52:46.120 --> 0:52:48.960 seven D now more than a year out from Earth 0:52:49.000 --> 0:52:52.120 base on a special mission to the planetary system of 0:52:52.160 --> 0:52:56.320 the great main sequence star Altear And so it's showing 0:52:56.400 --> 0:52:58.440 us the spaceship as it tells us what it is. 0:52:59.560 --> 0:53:03.120 One thing I want to note here in Forbidden Planet, 0:53:03.560 --> 0:53:08.880 the spaceship used by the human heroes is a flying saucer. 0:53:09.800 --> 0:53:12.080 And I think this is notable because while the flying 0:53:12.080 --> 0:53:15.640 saucer was absolutely well known in science fiction of the time, 0:53:15.680 --> 0:53:19.120 it had already been used in multiple movies. I think 0:53:19.200 --> 0:53:22.480 it was usually the form of ship used by non 0:53:22.719 --> 0:53:28.280 human aliens. More often, human ships are shown as elongated 0:53:28.360 --> 0:53:31.640 and cylindrical, vaguely rocket shaped, or maybe they were shaped 0:53:31.719 --> 0:53:35.400 like an airplane. I don't know if there is anything 0:53:35.440 --> 0:53:38.279 to read into this choice as far as the intentions 0:53:38.280 --> 0:53:41.719 of the filmmakers go, but at least to me, the 0:53:41.800 --> 0:53:46.040 choice of putting humans inside the flying Saucer instead of 0:53:46.040 --> 0:53:49.680 having that be the alien vessel, suggests that we are 0:53:49.800 --> 0:53:52.920 the aliens, which is relevant to the movie in multiple ways. 0:53:52.960 --> 0:53:55.120 One of these will be a spoiler, so again spoiler 0:53:55.120 --> 0:53:58.720 warning number one. Of course, in this story, the humans 0:53:58.760 --> 0:54:01.759 are colonizing an ex soa planet far beyond Earth, So 0:54:02.280 --> 0:54:04.960 we are the aliens in the scenario. We're not in 0:54:05.000 --> 0:54:08.359 our own cosmic neighborhood. But the other sense in which 0:54:08.440 --> 0:54:11.600 humans are the aliens in this movie has to do 0:54:11.640 --> 0:54:15.360 with the big twist at the end, the supposedly alien 0:54:15.640 --> 0:54:18.920 force that is attacking the humans is not actually of 0:54:19.040 --> 0:54:22.840 alien origin but of human origin. And so anyway, I 0:54:22.840 --> 0:54:24.400 was thinking about this for a bit. It made me 0:54:24.440 --> 0:54:26.439 think it might be interesting at some point to come 0:54:26.480 --> 0:54:29.879 back into a deep dive on the history of this 0:54:30.160 --> 0:54:33.319 ship form, on the idea of the flying Saucer as 0:54:33.360 --> 0:54:36.560 a shape, to kind of look at that in history 0:54:36.840 --> 0:54:39.440 as far as like UFO reports go, and then also 0:54:39.480 --> 0:54:42.880 in popular culture, but then also compare that to real 0:54:43.080 --> 0:54:44.920 you know, flying machine designs. 0:54:45.640 --> 0:54:49.120 Yeah, yeah, I'm all for it. One quick note on 0:54:49.160 --> 0:54:54.080 ship design again, this film was very influential on the 0:54:54.080 --> 0:54:57.279 the ultimate shape that star Trek would take. And it's 0:54:57.320 --> 0:55:00.680 often pointed out that the stars the starship Inner is 0:55:00.719 --> 0:55:03.920 in many ways a disc based ship as well. It 0:55:03.960 --> 0:55:06.960 is a flying saucer, but with other elements added to it, 0:55:07.840 --> 0:55:10.640 you know, with engines and the lower you know, engineering 0:55:10.719 --> 0:55:13.319 portion of the ship and all. But you know, it's 0:55:13.440 --> 0:55:18.839 mostly flying saucer, and part of that seems to come 0:55:18.880 --> 0:55:19.920 from Forbidden Planet. 0:55:20.160 --> 0:55:21.760 Yeah, it's kind of like a it's like a flying 0:55:21.760 --> 0:55:23.480 saucer with a stem and legs. 0:55:23.880 --> 0:55:24.320 Yeah. 0:55:24.800 --> 0:55:27.160 So anyway, I'm going to try to summarize the setup 0:55:27.160 --> 0:55:30.600 of the film here. So, the crew of the uninspiringly 0:55:30.680 --> 0:55:34.080 named C fifty seven D are on a mission to 0:55:34.120 --> 0:55:38.400 the planet all Tear four to investigate what happened to 0:55:38.680 --> 0:55:41.719 a ship named the Beleerophon, which ventured out to the 0:55:41.719 --> 0:55:45.200 planet twenty years prior. In command of this mission is 0:55:45.280 --> 0:55:48.839 jj Adams, a by God rectangle. If we ever saw 0:55:48.920 --> 0:55:53.400 one gruff tough, no nonsense, you'd really get the feeling 0:55:53.400 --> 0:55:56.040 that he expects a rost ready when he gets home 0:55:56.080 --> 0:56:00.160 from space. Yes. Yeah, So when the crew reached which 0:56:00.160 --> 0:56:03.720 is the vicinity of Altar four, they receive a radio 0:56:03.760 --> 0:56:06.719 message from a man. It's a human voice he comes 0:56:06.719 --> 0:56:10.520 on the radio and identifies himself as doctor Edward Morbius. 0:56:11.160 --> 0:56:14.040 They check that against the manifest of the original mission, 0:56:14.080 --> 0:56:16.560 and they verified that was part of the original crew. 0:56:17.160 --> 0:56:20.640 Morbius is supposed to be there, though curiously they note 0:56:20.640 --> 0:56:24.560 that he was a philologist a language expert, which is 0:56:24.560 --> 0:56:27.040 not exactly what you imagine in the landing party among 0:56:27.080 --> 0:56:32.920 your geologists and exobiologists and engineers and so forth. Morbius 0:56:32.960 --> 0:56:36.479 warns them not to land. He says doing so would 0:56:36.480 --> 0:56:40.520 put them in grave danger, but Adams is not deterred. 0:56:40.680 --> 0:56:43.920 It's the mission, gentlemen. We've got a land So they 0:56:43.920 --> 0:56:46.600 come and set down in the middle of this vast 0:56:46.760 --> 0:56:51.320 desert plain surrounded by jagged mountains. And oh, I love 0:56:51.760 --> 0:56:55.120 love the design of the surface of Altaar four. Here 0:56:55.880 --> 0:56:59.600 there is a painted backdrop which has a green sky 0:57:00.360 --> 0:57:04.040 and sort of different strata of clouds with multiple moons 0:57:04.120 --> 0:57:07.719 in the background. I love the rocky mountains. But also 0:57:07.800 --> 0:57:10.280 this is not a barren, rocky planet, like we're looking 0:57:10.320 --> 0:57:12.520 at a kind of desert plane. But different parts of 0:57:12.560 --> 0:57:17.400 the planet have more vegetation, have strange looking trees and 0:57:17.520 --> 0:57:18.920 brush and things like that. 0:57:19.400 --> 0:57:23.000 Yeah, it does just look absolutely terrific. You can just 0:57:23.080 --> 0:57:27.520 imagine how sci fi fans of the time just probably 0:57:27.560 --> 0:57:31.000 lost their mind when they'd seen this. You know, this 0:57:31.120 --> 0:57:33.400 was you know, obviously this was before two thousand and 0:57:33.440 --> 0:57:37.800 one a Space Odyssey, which you know, really set an 0:57:37.800 --> 0:57:41.960 all new standard for what visions of a sci fi 0:57:42.000 --> 0:57:44.680 future might look like in space. But man, it Forbidden 0:57:44.680 --> 0:57:45.920 Planet just looks amazing. 0:57:46.760 --> 0:57:49.919 So the crew lands on the surface, and I like, here, 0:57:51.080 --> 0:57:54.680 how the different members of the crew have different reactions 0:57:54.680 --> 0:57:57.040 to it, Like they debate how pleasant it is. One 0:57:57.080 --> 0:57:59.680 person likes it, another person is put off and just 0:57:59.680 --> 0:58:03.880 missing Earth. And so the crew they get out and 0:58:03.920 --> 0:58:07.040 they are greeted by a robot whom they first see 0:58:07.120 --> 0:58:09.400 hot rotting a buggy through the desert, like they just 0:58:09.440 --> 0:58:13.120 see dust kicking up in the desert in the distance, like, Wow, 0:58:13.160 --> 0:58:15.680 something's coming to meet us. And when it pulls up. 0:58:16.520 --> 0:58:19.240 When they first got there, I couldn't remember exactly what 0:58:19.320 --> 0:58:21.120 was happening. I was like, Oh, did they get attacked 0:58:21.160 --> 0:58:24.800 by the monster this early? No, that's not It's just 0:58:24.960 --> 0:58:28.480 Robbie driving a buggy. He really looks like he would 0:58:28.480 --> 0:58:30.800 be weighing down the front of this thing and making 0:58:30.840 --> 0:58:32.840 it do I don't know whatever. The opposite of popping 0:58:32.880 --> 0:58:34.880 a wheelie is like coming down in the front, but 0:58:35.680 --> 0:58:40.040 somehow it stays. It stays on all four wheels, and 0:58:40.400 --> 0:58:42.800 it arrives and sort of a cage opens in the 0:58:42.800 --> 0:58:46.640 front and Robbie walks out, and oh boy, what a 0:58:46.720 --> 0:58:48.960 vision he is. We've already talked about how much I 0:58:49.040 --> 0:58:52.680 like the design of Robbie the robot, but he the 0:58:52.760 --> 0:58:56.520 meeting is a magical moment, and the crew were kind 0:58:56.520 --> 0:58:58.440 of at a loss for words. He's like, you know, 0:58:58.880 --> 0:59:02.120 I am monitored to respond to the name Robbie. And 0:59:02.160 --> 0:59:04.160 he tries to say, hey, if you don't speak English, 0:59:04.240 --> 0:59:05.880 you know, I speak one hundred and eighty seven other 0:59:05.960 --> 0:59:10.520 languages and there are various various sub tongues, and they're like, 0:59:10.560 --> 0:59:14.919 no English is okay? And they say hi to each other, 0:59:14.920 --> 0:59:16.960 and we get a lot of kind of yuck yuck moments. 0:59:17.000 --> 0:59:20.080 So with the more bumpkinny members of the crew trying 0:59:20.080 --> 0:59:23.280 to figure out what to make of Robbie. Yeah, so 0:59:23.480 --> 0:59:27.800 Robbie takes Adams, his lieutenant Jerry Farman, and the ship's 0:59:27.800 --> 0:59:32.160 doctor Doc Astro to the home of Edward Morbius, the 0:59:32.200 --> 0:59:36.080 guy they talked to on the radio, and Morbius greets 0:59:36.120 --> 0:59:40.200 them courteously and invites them in for lunch. Now, what 0:59:40.240 --> 0:59:43.160 would you say is what's your read on Morbius when 0:59:43.160 --> 0:59:44.200 we first meet him here? 0:59:44.960 --> 0:59:48.200 I mean, it's very much a Captain Nemo sort of vibe, 0:59:48.280 --> 0:59:52.200 and and you know, this is a highly influential film 0:59:52.240 --> 0:59:54.320 like it. You know, there are also elements like it 0:59:54.360 --> 0:59:56.479 reminds me of Alien Covenant a bit like, yeah, okay, 0:59:56.480 --> 0:59:59.440 there's there's a guy here and he seems to be 0:59:59.480 --> 1:00:02.760 doing just on a world where everyone else is absolutely dead. 1:00:03.400 --> 1:00:07.600 Something here is us. But that being said, Morbius comes 1:00:07.600 --> 1:00:11.680 off very pleasant, you know, in his his crib is 1:00:11.840 --> 1:00:16.040 just luxurious. I love the blast curtains that the oh, 1:00:16.320 --> 1:00:19.840 stop motion blast curtains that he demonstrates. I mean, so 1:00:20.080 --> 1:00:23.760 he wins us over with charm, but you know, remains suspicious. 1:00:23.960 --> 1:00:25.840 Yeah, the blast curtains you're talking about. There's like an 1:00:25.880 --> 1:00:28.960 open design of the house. It's one of those mid 1:00:29.000 --> 1:00:32.280 century kind of West Coast designs where it's all glass 1:00:32.320 --> 1:00:35.520 walls all around or loose sight maybe. But then yeah, 1:00:35.560 --> 1:00:38.280 suddenly he can like snap his fingers or press a 1:00:38.280 --> 1:00:41.080 button and all of the windows get replaced with like 1:00:41.200 --> 1:00:41.919 solid lead. 1:00:42.480 --> 1:00:45.320 Yeah, yeah, which is which is created via some sort 1:00:45.320 --> 1:00:47.720 of a stop motion approach. But it looks really good, 1:00:47.800 --> 1:00:50.920 Like I totally buy this as as a technology. 1:00:51.560 --> 1:00:53.800 So they get to know each other here over a 1:00:53.920 --> 1:00:56.440 over a pleasant lunch, and we learn about Robbie. We 1:00:56.520 --> 1:00:59.680 learned that Robbie is immensely strong, uh, and that he 1:00:59.760 --> 1:01:03.200 has the power to synthesize any object or material that 1:01:03.240 --> 1:01:06.320 he analyzes in his sort of male slot mouth in 1:01:06.360 --> 1:01:09.800 his chest. I think we correct me if I'm wrong, 1:01:09.840 --> 1:01:12.720 But it sort of suggested that the delicious food they 1:01:12.800 --> 1:01:16.320 just ate was somehow extruded out of Robbie's holes. 1:01:16.720 --> 1:01:18.200 I guess so. Yeah. 1:01:18.240 --> 1:01:20.440 And also we learned, I think, in borrowing from some 1:01:20.520 --> 1:01:24.760 other science fiction, that Robbie has some of the laws 1:01:24.800 --> 1:01:28.920 of robotics written into him, like that Isaac Asimov, Susan 1:01:28.960 --> 1:01:33.840 Calvin robopsychology stories, the laws of robotics. So Morbius demonstrates, 1:01:33.880 --> 1:01:37.840 for example, that Robbie cannot harm a human by and 1:01:37.960 --> 1:01:40.720 he demonstrates this in a great way. He's like, mister Adams, 1:01:40.760 --> 1:01:43.160 you know, give me your gun, and he takes it. 1:01:43.560 --> 1:01:46.440 He puts it in Robbie's hand first, as Robbie zap 1:01:46.480 --> 1:01:49.480 a plant in their garden, and then he's like, Okay, 1:01:49.520 --> 1:01:53.320 point the blaster at Commander Adams and kill him. But 1:01:53.920 --> 1:01:56.280 Robbie can't do it. He starts to sizzle and fry. 1:01:56.280 --> 1:01:59.560 All these like purple sparks shoot inside his head. And 1:01:59.640 --> 1:02:03.400 this is caused by a contradiction between receiving the order 1:02:03.440 --> 1:02:06.200 which he is supposed to follow and his inability to 1:02:06.200 --> 1:02:08.560 harm anyone. And he just stands there, frozen in that 1:02:08.600 --> 1:02:10.760 state until Morbius says, canceled the order. 1:02:11.360 --> 1:02:17.280 Yeah, and they're very forgiving of doctor Morbius's terrifying demonstration 1:02:17.360 --> 1:02:17.880 of power. 1:02:18.760 --> 1:02:22.480 I would say we also get the impression that Morbius 1:02:22.600 --> 1:02:25.400 is not too happy about this visit from the crew. 1:02:25.560 --> 1:02:29.000 He is not rude to them, but he says, for 1:02:29.280 --> 1:02:32.480 one of the lines, is how ironic that a simple 1:02:32.520 --> 1:02:36.760 scholar with no ambition beyond a modest measure of seclusion, should, 1:02:36.760 --> 1:02:39.600 out of the clear sky find himself besieged by an 1:02:39.720 --> 1:02:43.760 army of fellow creatures, all grimly determined to be of service. 1:02:44.360 --> 1:02:46.840 Yeah. But Adams is like, we've got to do it 1:02:46.880 --> 1:02:49.160 by the book, you know, We've got to stick around, 1:02:49.160 --> 1:02:50.720 and then we have to follow up. 1:02:50.880 --> 1:03:06.000 The mission, so we learn what happened to the rest 1:03:06.040 --> 1:03:09.520 of the crew the original crew of the Bellerophon. Morbius 1:03:09.560 --> 1:03:12.400 tells the story of how after they landed and began 1:03:12.440 --> 1:03:18.120 to explore the planet, something started going wrong, something started happening. Eventually, 1:03:18.480 --> 1:03:23.240 every other member of the crew was murdered, literally torn 1:03:23.440 --> 1:03:28.400 limb from limb by what he calls an invisible planetary force, 1:03:29.120 --> 1:03:32.200 and when a certain group of the only survivors who 1:03:32.240 --> 1:03:35.280 were left, say for Morbius, tried to flee the planet 1:03:35.360 --> 1:03:40.240 in their spaceship, that ship was obliterated upon takeoff. Now, 1:03:40.280 --> 1:03:43.640 Morbius himself has no idea what the force was, but 1:03:43.960 --> 1:03:48.240 it seems he is somehow immune to it, as is 1:03:48.520 --> 1:03:52.600 surprise we find out about his twenty year old daughter, Altara, 1:03:52.800 --> 1:03:56.400 who was born right after their arrival on the planet. 1:03:56.800 --> 1:04:00.959 Altara's mother was another scientist of the original Billerophon Crewe. 1:04:01.520 --> 1:04:04.200 She and Morbius fell in love and married on the 1:04:04.200 --> 1:04:08.560 way to the planet, but unfortunately, Altera's mother also died, 1:04:08.640 --> 1:04:12.520 though she died of natural causes. So whatever it was 1:04:12.640 --> 1:04:15.840 that literally ripped apart the bodies of the other members 1:04:15.840 --> 1:04:19.120 of the crew, for some reason, it has never tried 1:04:19.120 --> 1:04:21.400 to harm Morbius or his daughter. 1:04:21.400 --> 1:04:27.200 Which is also deeply suspicious. And when we meet Altaria again, 1:04:27.240 --> 1:04:29.200 I hadn't seen the film before, so it's like, is 1:04:29.240 --> 1:04:32.680 she she a space vampire? She is she a robot? 1:04:33.080 --> 1:04:36.280 Is she an evil destructive force? I was trusting neither 1:04:36.320 --> 1:04:37.120 of these two. Really. 1:04:37.360 --> 1:04:39.560 Yeah, we don't know what to make of her at first, 1:04:40.040 --> 1:04:44.280 and especially because it seems Morbius was hoping to keep 1:04:44.320 --> 1:04:47.600 Altara's existence a secret from Adams and the crew. It's 1:04:47.640 --> 1:04:49.440 like he was trying to hide her. And when she 1:04:49.520 --> 1:04:53.480 becomes her existence becomes revealed, he's like, oh no, She. 1:04:53.520 --> 1:04:56.520 Like wanders out, like it's past her bedtime, and like 1:04:56.600 --> 1:04:58.640 guests have come over, and it's like, oh, honey, go 1:04:58.680 --> 1:05:00.600 back to bed, and it may be you go. There 1:05:00.600 --> 1:05:02.440 are at least a couple of scenes where she is 1:05:02.440 --> 1:05:04.760 told to go to bed by yeah, the male characters. 1:05:05.040 --> 1:05:08.880 Yeah. Yeah, So we already talked about Altara how she 1:05:09.160 --> 1:05:13.160 is at once brilliant and naive, like she you know, 1:05:13.240 --> 1:05:16.000 she is schooled in all of the arts and sciences, 1:05:16.040 --> 1:05:20.680 but she has no experience dealing with human society. She's 1:05:20.720 --> 1:05:23.400 also kind of like snow White in that she has 1:05:23.520 --> 1:05:27.200 animal friends like it's deer and a tiger and stuff 1:05:27.200 --> 1:05:29.280 that run out of the garden and just hang out 1:05:29.280 --> 1:05:33.720 with her. And the tiger represents no threat. When it 1:05:33.760 --> 1:05:36.440 first shows up, Adams is like pulling out his gun, 1:05:36.840 --> 1:05:39.640 but they're like no, no, no, wait, watch and yeah, 1:05:40.000 --> 1:05:42.280 it just wants to hang. So Adams and the rest 1:05:42.360 --> 1:05:45.960 offered to take Morbius and Altera home to Earth, but 1:05:46.160 --> 1:05:50.360 Morbius has no desire to go. And after this there's 1:05:50.360 --> 1:05:52.439 some kind of technical work that has to be done 1:05:52.440 --> 1:05:54.200 and I don't remember exactly what the deal is. I 1:05:54.240 --> 1:05:56.200 think the crew of the ship has to build like 1:05:56.520 --> 1:06:00.000 a faster than light radio transmitter to communicate with Earth 1:06:00.200 --> 1:06:02.439 and find out what their orders are or something like that. 1:06:03.000 --> 1:06:05.160 Yeah, yeah, there's something in stalls them. So there's a 1:06:05.160 --> 1:06:07.560 little time to meander about and get into trouble. 1:06:07.800 --> 1:06:10.640 Yeah, time for kissing lessons. So here's where we get 1:06:10.680 --> 1:06:15.080 to that portion of the story. Essentially, Altara is she's 1:06:15.200 --> 1:06:17.320 very interested in all of the young men who have 1:06:17.400 --> 1:06:20.440 arrived on this ship, and many of this the men 1:06:20.480 --> 1:06:22.960 on the ship are interested in hers. Some of the 1:06:23.000 --> 1:06:26.680 lovelorn dudes and the crew get obsessed with Altara. She's 1:06:26.680 --> 1:06:28.800 known as Alta for short, by the way, so that 1:06:28.880 --> 1:06:31.440 was kind of confusing at first. But sometimes Morbies is 1:06:31.480 --> 1:06:35.360 calling her Alta, and there is a scene where Jerry Farman, 1:06:35.680 --> 1:06:40.160 the lieutenant sort of Adams's number two, takes Alta for 1:06:40.200 --> 1:06:42.320 a walk on the planet's surface and they sort of 1:06:42.360 --> 1:06:45.440 wander into the forest and he ends up trying to 1:06:45.560 --> 1:06:48.840 convince her that he needs to teach her how to 1:06:49.000 --> 1:06:51.479 kiss so that she can be in proper health, because 1:06:51.520 --> 1:06:54.520 you need to kiss in order to be healthy. This 1:06:54.640 --> 1:06:58.200 scene is both pretty cringey but also, as I was 1:06:58.240 --> 1:07:01.919 mentioning earlier, kind of funny because Alta does say these 1:07:01.920 --> 1:07:05.040 like really cutting things at him. She's like, isn't this 1:07:05.080 --> 1:07:09.960 supposed to be stimulating? I don't find it remarkable. Yeah, 1:07:10.000 --> 1:07:13.040 And in the middle of all this, Adams catches them 1:07:13.320 --> 1:07:16.320 and so he chews out Jerry, but then he also 1:07:16.360 --> 1:07:21.920 gets super flustered and he criticizes Alta for wearing revealing clothes, 1:07:22.680 --> 1:07:26.640 and in one funny note, adams freak out here contains 1:07:26.640 --> 1:07:29.560 a rant about like how attractive and sext up his 1:07:29.680 --> 1:07:34.680 men are. Yeah, He's like, all of my crew members 1:07:34.720 --> 1:07:37.440 are the prizest specimens of twenty four year old men 1:07:37.520 --> 1:07:41.240 on Earth. But I was thinking, like, even Cook, is 1:07:41.280 --> 1:07:42.440 that what he thinks about Cook? 1:07:42.760 --> 1:07:44.440 Well, Cook is in a supporting role. 1:07:44.280 --> 1:07:44.480 You know. 1:07:44.920 --> 1:07:47.760 Yeah, no offense to the looks of Cook. I just 1:07:47.840 --> 1:07:51.800 mean like, is he the best Earth has at cooking? 1:07:52.400 --> 1:07:55.160 Maybe we didn't know this was a breeding mission, Yeah, 1:07:55.240 --> 1:07:59.640 exactly so. Anyway, but Altara, after this, goes home and 1:07:59.720 --> 1:08:02.480 co miss Robbie to make her a new dress that 1:08:02.520 --> 1:08:05.480 will cover her whole body. Of course, we will see 1:08:05.480 --> 1:08:07.720 that dress later, and it also looks beautiful. It's kind 1:08:07.720 --> 1:08:13.479 of a Greek goddess kind of address. But interesting things 1:08:13.520 --> 1:08:18.200 in the scene, like the uncomfortable sexual politics of it. Aside, 1:08:18.840 --> 1:08:22.439 the scene is interesting because it is supposed to be 1:08:22.479 --> 1:08:27.080 I think Alta's first real experience with the rest of humanity, 1:08:27.760 --> 1:08:31.200 with people who would judge her unfairly, with people who 1:08:31.240 --> 1:08:34.639 would lie to her and treat her unkindly, with people 1:08:34.720 --> 1:08:38.280 who would exploit and take advantage of her. She's coming 1:08:38.320 --> 1:08:42.519 into collision with human nature after having grown up in 1:08:42.640 --> 1:08:48.280 what's presented as a sort of perfect bubble of cool, detached, trustworthy, 1:08:48.400 --> 1:08:52.800 scholarly enlightenment, and she's learning that human nature has a 1:08:52.920 --> 1:08:57.599 dark and bestial side as well. Meanwhile, things also start 1:08:57.680 --> 1:09:00.599 going wrong at the ship. In the middle of the night, 1:09:00.840 --> 1:09:05.080 something invisible sneaks into the ship. And I love the 1:09:05.120 --> 1:09:07.920 special effects in these nighttime sneaking scenes, by the way, 1:09:08.200 --> 1:09:11.480 But something sneaks into the ship and sabotages the equipment. 1:09:12.280 --> 1:09:16.519 Yeah, yeah, so already we're getting little invisible attacks that 1:09:16.560 --> 1:09:19.000 are sabotaging the ship, keeping it from leaving. 1:09:19.600 --> 1:09:21.800 Now. The next day, Adams goes to the home of 1:09:22.040 --> 1:09:25.439 Morbius and Alta to apologize to Alta for one thing, 1:09:25.439 --> 1:09:28.200 for his behavior the day before. He sort of realizes 1:09:28.240 --> 1:09:31.320 he was in the wrong, and when he arrives, Alta 1:09:31.360 --> 1:09:34.160 is swimming naked in the pool and Adams gets all 1:09:34.200 --> 1:09:37.160 super flustered again. He's like, oh uh, I don't know 1:09:37.160 --> 1:09:40.479 what to do. But in a scene after this, it 1:09:40.560 --> 1:09:43.840 becomes clear that they are both interested in each other, 1:09:44.200 --> 1:09:48.960 and Alta kisses Adams, and while they are kissing, they 1:09:49.000 --> 1:09:52.840 are suddenly attacked by Alta's tiger friend. The tiger they 1:09:52.880 --> 1:09:55.840 saw earlier that was so friendly and you know, and 1:09:55.880 --> 1:09:58.200 not a threat at all, appears on a sort of 1:09:58.280 --> 1:10:01.040 ledge above them and then leaps at them, claws out 1:10:01.080 --> 1:10:04.240 as if ready to attack. Adams just at the last 1:10:04.280 --> 1:10:07.320 second has to zapf it with his phaser gun, and 1:10:07.400 --> 1:10:11.000 it's like, there's this feeling Alta has of how why, 1:10:11.400 --> 1:10:13.839 Like the tiger had never tried to harm her before 1:10:14.160 --> 1:10:16.160 and suddenly it has turned hostile. 1:10:16.720 --> 1:10:19.840 Yeah, something has changed. And this was also I was 1:10:19.880 --> 1:10:23.480 really shocked by this scene when the tiger was completely 1:10:24.360 --> 1:10:28.520 annihilated in mid air by the laser gun, absolutely disintegrated. 1:10:28.760 --> 1:10:31.280 Now from here we move on to a big reveal 1:10:31.439 --> 1:10:34.479 and a sequence of a lot of the best sets 1:10:34.800 --> 1:10:38.400 and special effects shots in the movie. Morbius comes to 1:10:38.439 --> 1:10:42.080 talk to Adams and doctor Ostro. Astro was like along 1:10:42.200 --> 1:10:44.080 for the whole time, so just hanging out for the 1:10:44.160 --> 1:10:48.200 kissing and the tiger killing. But Morbius comes to tell 1:10:48.200 --> 1:10:52.280 Adams and Astro about the secrets of the planet, the 1:10:52.320 --> 1:10:56.560 main secret being that All Tai four was once inhabited 1:10:56.760 --> 1:11:01.439 by an extremely technologically advanced species of alien known as 1:11:01.720 --> 1:11:05.599 the Krell. And here I'm going to read Morbius's monologue 1:11:05.600 --> 1:11:09.040 about the Krell. He says, in times long past, this 1:11:09.240 --> 1:11:11.880 planet was the home of a mighty and noble race 1:11:11.920 --> 1:11:16.160 of beings which called themselves the Krell. Ethically as well 1:11:16.240 --> 1:11:19.800 as technologically, they were a million years ahead of humankind, 1:11:20.320 --> 1:11:23.479 for in unlocking the mysteries of nature, they had conquered 1:11:23.600 --> 1:11:27.120 even their baser selves. And when in the course of 1:11:27.160 --> 1:11:31.600 eons they had abolished sickness and insanity, and crime and 1:11:31.720 --> 1:11:36.759 all injustice, they turned still with high benevolence outward towards space. 1:11:37.439 --> 1:11:40.479 Long before the dawn of man's history, they had walked 1:11:40.479 --> 1:11:45.080 our earth and brought back many biological specimens like the 1:11:45.120 --> 1:11:49.759 tiger exactly he goes on the heights they had reached. 1:11:50.320 --> 1:11:54.280 But then, seemingly on the threshold of some supreme accomplishment 1:11:54.600 --> 1:11:57.840 which was to have crowned their entire history, this all 1:11:57.880 --> 1:12:02.080 but divine race perished in a single night. In the 1:12:02.080 --> 1:12:06.839 two thousand centuries since that unexplained catastrophe, even their cloud 1:12:06.880 --> 1:12:11.400 piercing towers of glass and porcelain and adamantine steel have 1:12:11.600 --> 1:12:15.240 crumbled back into the soil of all Ta four, and nothing, 1:12:15.479 --> 1:12:18.280 absolutely nothing remains above ground. 1:12:19.040 --> 1:12:23.120 Yeah, so we're getting into some pretty ambitious science fiction here. 1:12:23.960 --> 1:12:27.880 Reminds me a bit of the various Sublime civilizations and 1:12:28.080 --> 1:12:32.640 Ian m Banks culture series civilizations that advanced to a 1:12:32.680 --> 1:12:35.160 state where they end up leaving our dimension of space 1:12:35.200 --> 1:12:38.760 and time for higher dimensions, generally leaving behind a great 1:12:38.800 --> 1:12:42.400 deal of technology that's now redundant to them. But I 1:12:42.439 --> 1:12:45.280 guess in this scenario, it sounds like the Krell might 1:12:45.320 --> 1:12:49.240 have been on the cusp of subliming, of moving on, 1:12:49.439 --> 1:12:53.040 and then something terrible kept them from not only kept 1:12:53.080 --> 1:12:56.240 them from moving on to this next level level of existence, 1:12:56.560 --> 1:12:59.280 but also just eradicated them entirely, and all we have 1:12:59.439 --> 1:13:03.960 left are the technological depths of the planet. 1:13:04.240 --> 1:13:07.360 That's right, when we get a tour of these technological depths, 1:13:07.360 --> 1:13:10.040 a tour of their underground facilities, and again I can't 1:13:10.080 --> 1:13:15.639 emphasize enough how amazing these sets and special effects are. 1:13:16.040 --> 1:13:18.200 Some are like paintings are just amazing. 1:13:18.400 --> 1:13:21.120 Yeah, it's so good. So they go through like a 1:13:21.160 --> 1:13:24.679 giant underground power plant that they say is a huge 1:13:24.760 --> 1:13:28.280 buried cube running something that's like twenty miles in every direction, 1:13:29.160 --> 1:13:32.519 which we see them. They're crossing this great chasm on 1:13:32.920 --> 1:13:36.439 a little suspension bridge, and we see these things moving 1:13:36.520 --> 1:13:41.120 up and down the chasm and electricity arcing through it. Also, 1:13:41.439 --> 1:13:44.479 there is a device they come across. They go to 1:13:44.520 --> 1:13:48.519 this essentially Krell schoolhouse, where there is a device that 1:13:48.560 --> 1:13:51.800 the Crell used to train the brains of their young, 1:13:52.600 --> 1:13:56.320 and Morbius explains when this device is used by humans 1:13:56.360 --> 1:13:59.800 it is almost always fatal, but if you can use 1:13:59.840 --> 1:14:04.000 it and survive, it will double your IQ. And that's 1:14:04.040 --> 1:14:06.320 how Morby has got so smart. By the way he 1:14:06.479 --> 1:14:09.799 increased his intelligence with the machine, I guess he started 1:14:09.800 --> 1:14:12.519 off pretty smart, though he's humble about it, but then 1:14:12.560 --> 1:14:14.360 he's like, you know, I took my normal, you know, 1:14:14.439 --> 1:14:16.680 my middling intellect when I first got here, and I 1:14:16.720 --> 1:14:19.920 doubled it with this machine. Everybody else who tried it 1:14:20.000 --> 1:14:25.040 was killed. But by surviving that process himself, that allowed 1:14:25.120 --> 1:14:28.639 him to decipher the Krell histories and figure out parts 1:14:28.640 --> 1:14:32.439 of Krell technology and to for example, a symbol Robbie 1:14:32.439 --> 1:14:33.000 the robot. 1:14:33.600 --> 1:14:37.759 It's explained as well that this maybe not the device itself, 1:14:37.800 --> 1:14:40.160 but there's an element of the device that is like 1:14:40.200 --> 1:14:43.200 a high striker a strong man game from your fare 1:14:43.320 --> 1:14:46.559 or carnival, you know, where you hit a circle with 1:14:46.560 --> 1:14:48.720 a hammer or mallet as hard as you can and 1:14:48.760 --> 1:14:52.360 then it causes this little float be ley to go, 1:14:52.560 --> 1:14:55.040 you know, to rise up and with your brain, but 1:14:55.160 --> 1:14:58.160 with your brain. Yeah, so it's it's the smart man game. 1:14:58.760 --> 1:15:02.120 Yeah, And I like Striker. They put Leslie Nielsen on 1:15:02.160 --> 1:15:04.160 it and he can barely get the thing to go off, 1:15:04.160 --> 1:15:06.599 and they're like, well that's you know, it doesn't take 1:15:06.640 --> 1:15:08.240 brains to command a starship. 1:15:09.760 --> 1:15:11.519 Yeah. Massive dig on Adams here. 1:15:11.840 --> 1:15:14.920 Anyway, after learning about all this stuff that this like power, 1:15:15.040 --> 1:15:18.160 this underground power plant that can generate generate what seems 1:15:18.200 --> 1:15:21.880 to be an infinite amount of energy, and this brain 1:15:21.960 --> 1:15:25.240 boosting machine, Adams says, you know what, this changes everything 1:15:25.400 --> 1:15:29.360 Earth has to know about these devices. But Morbius resists. 1:15:29.439 --> 1:15:32.280 He's like, I think this is what he was trying 1:15:32.320 --> 1:15:35.040 to hide from them before. He's like, humans are not 1:15:35.360 --> 1:15:39.760 ready for this kind of power, and this technology may 1:15:39.840 --> 1:15:43.439 have been what wiped out the Krell, but if so, 1:15:43.800 --> 1:15:44.559 we don't know how. 1:15:45.040 --> 1:15:47.920 Yeah again, because the Krell were millions of years ahead 1:15:47.920 --> 1:15:52.360 of humans and something tripped them up in their dizzying 1:15:52.360 --> 1:15:55.680 ascent with this technology, So we're clearly not ready for it. 1:15:56.040 --> 1:15:58.519 Should we do something on the B plot here about 1:15:58.600 --> 1:16:01.360 cook and the synth synthesis of whiskey? 1:16:01.680 --> 1:16:05.120 Yeah, yeah, yeah, this is this is so you set 1:16:05.120 --> 1:16:07.880 this one up so you know cook, I guess in 1:16:08.000 --> 1:16:10.879 sort of like the you know, you know, old fashioned 1:16:11.040 --> 1:16:14.400 US military sense of these kind of plot developments. He's 1:16:14.400 --> 1:16:18.800 supposed to acquire some local ingredients and also find like 1:16:18.960 --> 1:16:23.679 local illicit sources of hooch for cooking, but also clearly 1:16:23.760 --> 1:16:24.479 not for cooking. 1:16:24.680 --> 1:16:26.519 He's like, I need to go out and look for 1:16:27.160 --> 1:16:30.479 some wild radishes. Yeah, yeah, that's it. 1:16:31.200 --> 1:16:35.080 Yeah, and basically what he runs into Robbie the robot, 1:16:35.120 --> 1:16:37.559 and he's like, hey, I need some more of this stuff. 1:16:37.600 --> 1:16:40.679 And he shows him like a mostly empty flask of whiskey, 1:16:41.040 --> 1:16:44.519 and Robbie grabs it shoots it back into his mail slot, 1:16:44.880 --> 1:16:48.800 and Cook is like, well, well that was my last twig. 1:16:48.880 --> 1:16:51.280 How could you do that? And Robbie's like, I will 1:16:51.280 --> 1:16:54.360 now synthesize this for you. Will let you say, like, 1:16:54.479 --> 1:16:56.360 will sixty gallons be sufficient? 1:16:56.560 --> 1:16:56.800 Yes? 1:16:58.520 --> 1:16:58.760 Yeah? 1:16:58.800 --> 1:17:02.000 And then Cook comes back later and there's there's like 1:17:02.040 --> 1:17:06.000 a giant pyramid of heights of whiskey in their own 1:17:06.040 --> 1:17:07.960 individual glass bottles. 1:17:08.520 --> 1:17:11.800 And somehow Cook doesn't die at this moment, Like I 1:17:11.840 --> 1:17:17.800 feel like later on in like in speculative media, like 1:17:17.840 --> 1:17:19.760 this would be the moment where the monster comes and 1:17:19.840 --> 1:17:21.640 kills him, you know, where he's like, I have all 1:17:21.680 --> 1:17:24.000 the whiskey in the world. What could possibly go wrong, 1:17:24.080 --> 1:17:28.080 instant monster death booze enough at last, yes, exactly, but 1:17:28.160 --> 1:17:30.120 now Cook will survive a little bit longer. 1:17:30.560 --> 1:17:33.040 So another thing that happens at this point in the 1:17:33.040 --> 1:17:37.360 story is that the attacks on the ship become much 1:17:37.400 --> 1:17:39.760 more severe. What we got in the first attack by 1:17:39.760 --> 1:17:43.559 the Invisible Force at night was just the sabotaging of equipment. 1:17:43.960 --> 1:17:47.920 But this escalates to in one instance, murder. I believe 1:17:48.000 --> 1:17:52.040 the communications officer Quinn is found murder. Did they say? 1:17:52.640 --> 1:17:54.920 They describe it in a quite grizzly way. I think 1:17:54.960 --> 1:17:57.479 they say he smeared all over the walls of the 1:17:57.479 --> 1:18:02.240 communication room. And after that they set up a perimeter. 1:18:03.080 --> 1:18:04.720 You know what we should do sometime on the show 1:18:04.800 --> 1:18:07.479 is we should set up a list of the best 1:18:07.760 --> 1:18:09.479 establishing a perimeter scenes. 1:18:09.920 --> 1:18:13.160 Yes, beca, isn't it? This is pretty good though, I mean, 1:18:13.200 --> 1:18:18.640 the the technology is convincing, and yeah, everyone left, I 1:18:18.680 --> 1:18:21.080 mean it really This also reminded me of what would 1:18:21.080 --> 1:18:23.320 come much later with Aliens with you know, it's like, 1:18:23.360 --> 1:18:25.320 all right, is it? You know it's inside the perimeter. 1:18:26.080 --> 1:18:29.439 You know I'm reading it's reading right, and so forth. 1:18:29.760 --> 1:18:32.720 Yeah, it's very similar what happens here. In fact, I 1:18:32.720 --> 1:18:35.639 almost feel like that that scene in Aliens. It feels 1:18:35.720 --> 1:18:36.680 like a callback to this. 1:18:37.080 --> 1:18:46.360 Yeah. 1:18:46.520 --> 1:18:50.040 Yeah, they establish a perimeter and eventually this creature, this 1:18:50.120 --> 1:18:53.479 invisible creature comes in a brazen frontal attack where the 1:18:53.560 --> 1:18:56.960 crew are resisting with big energy weapons, these big beam 1:18:57.040 --> 1:19:02.080 weapons and then handheld a laser rifle. And when the thing, 1:19:02.240 --> 1:19:06.000 when the invisible creature gets illuminated by all of the 1:19:06.120 --> 1:19:09.679 energy weapons that are hitting it, we suddenly see pieces 1:19:09.800 --> 1:19:13.760 of its form and yeah, it's oh, it's frightening. I mean, 1:19:13.800 --> 1:19:16.920 I've read things that, like, I think the producers were 1:19:17.040 --> 1:19:20.960 worried that this would be so frightening that like it 1:19:21.000 --> 1:19:24.120 would be it would make the movie inappropriate for younger audiences. 1:19:24.160 --> 1:19:27.840 And I can see why. It's a truly scary thing 1:19:27.920 --> 1:19:31.080 that they conjure up. It's like a kind of a 1:19:31.200 --> 1:19:37.400 ram lion bulldog monster with sort of horns or something, 1:19:37.439 --> 1:19:38.960 and it's made out of flames. 1:19:39.520 --> 1:19:41.920 Yeah. To compare it to things that would come much 1:19:42.000 --> 1:19:44.800 later and may have been each in their own way, 1:19:44.920 --> 1:19:47.640 or at least in their visualization on screen, been inspired by. 1:19:47.680 --> 1:19:50.360 This reminds me a bit of the ball Rog, reminds 1:19:50.360 --> 1:19:52.519 me a bit of the Red Bull from the last unicorn. 1:19:52.920 --> 1:19:53.200 Yeah. 1:19:53.400 --> 1:19:57.400 Yeah. Oh, and Jerry Farman, the lieutenant who is trying 1:19:57.400 --> 1:19:59.559 to do the kissing lessons, he gets killed in one 1:19:59.600 --> 1:20:00.400 of these attacks. 1:20:00.800 --> 1:20:04.240 Yeah. Eventually Cook does too, right, Cook's taken out by 1:20:04.240 --> 1:20:04.679 the monster. 1:20:04.800 --> 1:20:07.479 Oh is he? I didn't remember that? How could they 1:20:07.479 --> 1:20:10.120 do that to Cook? 1:20:09.880 --> 1:20:12.360 Thank god he's secured all that whiskey first. 1:20:14.920 --> 1:20:17.640 But during this attack we start to get an indication 1:20:18.760 --> 1:20:22.240 of where this alien monster is coming from, because we 1:20:22.320 --> 1:20:25.960 cut away in the middle of the attack to Morbius, 1:20:26.320 --> 1:20:28.679 who is sleeping in his home. I think he's fallen 1:20:28.720 --> 1:20:33.439 asleep on his desk and he is maybe having a nightmare. 1:20:34.000 --> 1:20:37.040 And at one point suddenly he snaps awake in his 1:20:37.160 --> 1:20:39.479 home and then at the other end of the planet, 1:20:39.560 --> 1:20:41.599 not the other end of the planet, but away where 1:20:41.600 --> 1:20:47.280 the monster is attacking, it suddenly vanishes. Oh oh. So 1:20:47.400 --> 1:20:51.880 after this attack, Adams goes back to the Morbius and 1:20:52.240 --> 1:20:55.519 Altara house to try to get I think the reason 1:20:55.600 --> 1:20:57.760 is he wants Altara to leave the planet with him. 1:20:57.840 --> 1:21:00.320 He's like, you know, this monster is attacking. You've got 1:21:00.360 --> 1:21:02.439 to go now, and for your own safety you should 1:21:02.439 --> 1:21:02.880 come with me. 1:21:03.320 --> 1:21:06.160 Plus we're in love. Now this is meant to be 1:21:06.840 --> 1:21:07.880 you've got to run away with me. 1:21:08.200 --> 1:21:11.360 Yeah, And to be clear, it seems reciprocal, like she's 1:21:11.479 --> 1:21:12.520 very into him. 1:21:12.760 --> 1:21:15.439 Yeah, and that's that's part of you know, this part 1:21:15.439 --> 1:21:17.679 of the split that's going on here is that now 1:21:18.320 --> 1:21:22.000 she is more she is attracted to the outside world, 1:21:22.320 --> 1:21:25.960 the world of Adams, the world of Earth, and wants 1:21:26.000 --> 1:21:28.240 to leave. I mean, she wants to bring her father 1:21:28.360 --> 1:21:30.760 with her if possible, but she is also ready to 1:21:30.880 --> 1:21:34.719 leave her father's home, her father's world for the first time. 1:21:35.240 --> 1:21:39.040 I think when so, Adams and Astro go to the house, 1:21:39.080 --> 1:21:41.599 and when they first get there, Robbie's trying to block 1:21:41.640 --> 1:21:44.080 their way. He's like, I am monitored, not to permit you. 1:21:44.160 --> 1:21:46.400 But they're kind of discussing, like what's he gonna do. 1:21:46.479 --> 1:21:48.760 He can't hurt us, so I think we could. But 1:21:48.800 --> 1:21:51.759 then we never see that tested, right, because eventually Altara 1:21:51.840 --> 1:21:53.880 shows up and is like, cancel the order, let them in. 1:21:54.360 --> 1:21:56.400 But I was curious about that. It's like, Okay, if 1:21:56.400 --> 1:21:58.400 he can't hurt them, could they couldn't they just force 1:21:58.439 --> 1:21:59.640 their way past him? 1:22:00.080 --> 1:22:01.599 Yeah, though he is he's bulky. 1:22:02.040 --> 1:22:06.280 Yeah, that's true anyway. So, uh So, now we have 1:22:06.680 --> 1:22:10.639 Adams and Ostro in the in the Morbius home and 1:22:10.760 --> 1:22:14.280 at some point here Astro sneaks away because, oh, because 1:22:14.320 --> 1:22:17.200 this is another part of their plan. They're like, we've 1:22:17.200 --> 1:22:19.519 got to find a way to defeat this monster. So 1:22:19.960 --> 1:22:22.599 either Adams or Astro, one of them needs to use 1:22:22.680 --> 1:22:26.080 the brain enhancer machine, which you know they have learned 1:22:26.080 --> 1:22:28.639 will probably kill you, but if you can survive it, 1:22:28.640 --> 1:22:30.760 it'll make you super smart, and they think they will 1:22:30.800 --> 1:22:35.240 need those extra smarts in order to survive. Well. While 1:22:35.240 --> 1:22:38.120 they're hanging out, Robbie, Robbie at some point, like comes 1:22:38.160 --> 1:22:41.759 in carrying the body of Astro and it's like, uh, oh, 1:22:41.840 --> 1:22:44.439 he tried to he tried to get smart. Bad move. 1:22:44.760 --> 1:22:47.240 And this is an example of a scene that I 1:22:47.280 --> 1:22:49.599 wish we could have seen like this would have This 1:22:50.000 --> 1:22:53.640 is a highly dramatic moment for this character, and it 1:22:53.680 --> 1:22:57.559 occurs entirely off screen. They're like, oh, by the way, 1:22:57.600 --> 1:23:00.000 he did it. He plugged in and now he's done. 1:23:00.600 --> 1:23:02.360 But we do get some final last words. 1:23:02.880 --> 1:23:06.080 His final last words are solve the riddle. Solve the 1:23:06.200 --> 1:23:09.960 riddle of the movie. So by increasing his intelligence, he 1:23:10.000 --> 1:23:13.200 did doom himself to death, but he also was able 1:23:13.240 --> 1:23:16.840 to understand what happened to the Krell and how it's 1:23:16.880 --> 1:23:19.599 still affecting them now. So it turns out the big 1:23:19.640 --> 1:23:25.280 reveal is this giant underground power plant was created for 1:23:25.439 --> 1:23:30.439 the purpose of essentially doing a way with all need 1:23:30.560 --> 1:23:36.920 for mechanical labor and mechanical devices and instead would allow 1:23:37.200 --> 1:23:42.600 any of the Krell to make a physical reality manifest 1:23:42.800 --> 1:23:46.559 simply by thinking about it. So you can interface with 1:23:46.680 --> 1:23:51.720 this giant machine and it will interpret your thoughts and 1:23:51.960 --> 1:23:58.040 then manifest those thoughts as physical atoms and energy, which 1:23:58.280 --> 1:24:00.880 sounds great. Okay, it's just like in it free energy 1:24:00.920 --> 1:24:03.680 and labor. You know, you can all want all kind 1:24:03.680 --> 1:24:07.040 of problems. Material problems are done away with, right. 1:24:07.160 --> 1:24:09.880 Yeah, if the rational mind can imagine it, then it 1:24:09.960 --> 1:24:11.639 is real and it is in action. 1:24:12.280 --> 1:24:15.600 Except the problem is what the Crell did not foresee 1:24:16.200 --> 1:24:19.639 and what Ostro figures out happened to them is it's 1:24:19.680 --> 1:24:22.639 not only the rational mind that's in the driver's seat now, baby, 1:24:23.000 --> 1:24:25.719 Both the rational mind and the sort of the ego, 1:24:25.840 --> 1:24:30.800 the rational mind and the base desires of the ID 1:24:31.040 --> 1:24:34.120 are hooked up to this machine, and so it began 1:24:34.360 --> 1:24:39.960 manifesting the Krell's unconscious or subconscious thoughts and desires as well. 1:24:40.400 --> 1:24:44.120 Everything that they knew they shouldn't do, but deep down 1:24:44.200 --> 1:24:48.160 secretly wanted that was manifest as well, and so what 1:24:48.200 --> 1:24:52.439 that turned into was the slaughter and extermination of their 1:24:52.600 --> 1:24:53.560 entire people. 1:24:53.920 --> 1:24:57.080 All the demons of the mind unleashed on the planet 1:24:57.479 --> 1:25:02.240 with infinite power backing them up. Yeah, yeah, it's it's amazing, Like, 1:25:02.280 --> 1:25:05.000 this is such a Again, when this movie goes hard 1:25:05.400 --> 1:25:10.920 on its genre elements, it's really spectacular. 1:25:11.160 --> 1:25:14.160 I agree, it's a great premise, and it not to 1:25:14.200 --> 1:25:17.479 spoil it by saying this, but I realized I came 1:25:17.520 --> 1:25:19.920 to these in backwards order. But when I was younger, 1:25:19.960 --> 1:25:23.439 I read the books Fear by Michael Crichton, which essentially 1:25:23.479 --> 1:25:27.120 has the same premise. It's like they come across alien 1:25:27.160 --> 1:25:30.519 technology that can make your thoughts manifest, but then they 1:25:30.560 --> 1:25:34.479 realize like, oh, it's also making subconscious thoughts manifest. So 1:25:34.520 --> 1:25:38.360 everybody's anxieties and fears are like becoming physical objects that 1:25:38.400 --> 1:25:43.360 are attacking them. And so in fact, what the characters 1:25:43.400 --> 1:25:46.200 discover here and Forbidden Planet is not only is that 1:25:46.240 --> 1:25:49.599 what happened to the Krell, it's still operating that way, 1:25:50.200 --> 1:25:55.440 and so it is taking the subconscious fears and desires 1:25:55.560 --> 1:26:00.960 and complexes of doctor Morbius, who has linked his brain 1:26:01.000 --> 1:26:04.839 to the machine by by using it uh and making 1:26:04.920 --> 1:26:09.360 those manifest and in fact, not all of the links 1:26:09.400 --> 1:26:12.680 are fully spelled out, but it's sort of suggesting the 1:26:12.760 --> 1:26:15.880 idea that like, he doesn't want to go back to Earth. 1:26:15.960 --> 1:26:18.320 He doesn't want Altera to go back to Earth. He 1:26:18.360 --> 1:26:23.320 doesn't want the corrupting influence of Earth to to change 1:26:23.360 --> 1:26:26.479 his daughter, to sort of like corrupt the perfect, precious 1:26:26.520 --> 1:26:30.000 existence he has created for them. And you know, you 1:26:30.000 --> 1:26:32.720 can kind of understand why. You can see how Alta's 1:26:32.760 --> 1:26:37.120 first encounter with the broader human kind involved like, you know, 1:26:37.240 --> 1:26:40.439 some dudes being creeps to her. Yeah, so you can 1:26:40.479 --> 1:26:43.240 see where his desires to kind of like just create 1:26:43.240 --> 1:26:45.280 a bubble and live in it with his family and 1:26:46.400 --> 1:26:49.640 live in that protective bubble without any without any intrusion 1:26:50.360 --> 1:26:53.880 where that desire comes from. But it is manifesting as 1:26:54.000 --> 1:26:57.320 the creation of a violent monster that lashes out to 1:26:57.479 --> 1:26:59.920 kill anything that threatens to puncture the bubble. 1:27:00.960 --> 1:27:04.200 Yeah, and now that we know what the monster is, 1:27:04.960 --> 1:27:07.760 it is coming for our main characters, and it is 1:27:08.000 --> 1:27:12.639 we realize inexorable. It is unstoppable. And this just leads 1:27:12.680 --> 1:27:16.479 to like an avalanche of scenes that are are really 1:27:16.720 --> 1:27:17.600 highly effective. 1:27:17.840 --> 1:27:20.200 Yeah, exactly, And I like the way that it really 1:27:20.200 --> 1:27:22.920 does make sense taken given the premise of the story, 1:27:22.960 --> 1:27:25.599 because you might think, well, couldn't he just call it off? 1:27:26.200 --> 1:27:29.559 But as anybody who's ever had like a panic attack, no, 1:27:30.040 --> 1:27:34.320 you know, you can know rationally that the thing that 1:27:34.360 --> 1:27:37.760 you are afraid of is not something you should be 1:27:37.800 --> 1:27:40.439 afraid of, it's not a real threat, and yet you 1:27:40.560 --> 1:27:43.640 still just can't make your subconscious mind give in. The 1:27:43.680 --> 1:27:46.919 subconscious is resistant to rational control. 1:27:47.600 --> 1:27:50.080 Yeah. Yeah, so he can't call it off. He can't 1:27:50.160 --> 1:27:53.040 control it. It is. It is coming no matter what, 1:27:53.560 --> 1:27:55.920 and even like knowing what it is doesn't give him 1:27:55.960 --> 1:27:58.320 power over it, which you know, matches up with some 1:27:58.400 --> 1:28:01.840 of these you know, states to the mind as we 1:28:01.920 --> 1:28:05.400 experience them as well. I mean, sometimes knowing can help, 1:28:05.439 --> 1:28:07.479 and that can be part of the tools of controlling 1:28:07.520 --> 1:28:11.320 things like anxiety in some cases. But but but yeah, 1:28:11.400 --> 1:28:12.960 not not necessarily at all. 1:28:13.800 --> 1:28:15.760 There are a lot of interesting things that happen in 1:28:15.800 --> 1:28:18.720 the climax here, Like at one point they try to 1:28:18.760 --> 1:28:22.080 command Robbie the robot to kill the monster that's attacking 1:28:22.120 --> 1:28:26.200 them in the house. But Robbie, knowing that the monster 1:28:26.400 --> 1:28:30.559 is a manifestation of a human mind, can't can't hurt it, 1:28:31.120 --> 1:28:32.639 right because he can't hurt a human. 1:28:33.200 --> 1:28:36.200 Yeah, that's that's excellent. And it just leads them to 1:28:36.280 --> 1:28:39.160 they have to like start retreating through these various levels 1:28:39.200 --> 1:28:42.000 of protection, so the for instance, the homes, combat shades 1:28:42.040 --> 1:28:44.800 come up, and of course the doors, yeah, the blast doors, 1:28:44.800 --> 1:28:47.600 and the monster makes pretty quick work of that. And 1:28:47.640 --> 1:28:52.200 they have to retreat into the into the Krell sub 1:28:52.320 --> 1:28:56.639 surface chambers, and they have all those really cool doors 1:28:56.680 --> 1:29:00.360 to move behind and the locking mechanism, but even that 1:29:00.560 --> 1:29:02.120 is not going to keep the monster at bay. And 1:29:02.120 --> 1:29:04.760 we get this terrific scene where the monster is like 1:29:04.840 --> 1:29:07.439 literally melting its way through the door. 1:29:07.640 --> 1:29:10.080 And we see the power plant. There's like a readout 1:29:10.120 --> 1:29:14.040 engine on this showing how much energy is being directed 1:29:14.080 --> 1:29:17.680 into the machine that this alien power plant is generating. 1:29:18.360 --> 1:29:21.000 And earlier we were seeing things happen where there's like, 1:29:21.040 --> 1:29:23.639 you know, fifty lights lined up and only the first 1:29:23.680 --> 1:29:26.880 one is barely lighting. But when the monster's trying to 1:29:26.880 --> 1:29:28.720 get through the door, we see it like lighting up 1:29:28.800 --> 1:29:31.839 all the way more and more, and like the energy 1:29:31.960 --> 1:29:35.160 produced is limitless, and they realize, like, it's just not 1:29:35.400 --> 1:29:39.400 going to stop now. I think finally, Morbius was resistant 1:29:39.439 --> 1:29:41.519 to the idea at first that he was the one 1:29:41.560 --> 1:29:44.120 creating the monster, but he eventually comes to accept it 1:29:44.560 --> 1:29:46.679 and then sort of gets in the path of the monster, 1:29:46.760 --> 1:29:49.920 and I think as he is fatally injured by it, 1:29:50.120 --> 1:29:54.080 that sort of like makes it demateialized for the moment. 1:29:54.680 --> 1:29:56.760 Yeah, Like he stands up to it, he basically has 1:29:56.800 --> 1:30:01.360 a you shall not pass moment. But yeah, at that 1:30:01.640 --> 1:30:05.400 I mean, he still can't overpower it, and it manages 1:30:05.520 --> 1:30:07.640 to fatally injure him in the process. 1:30:07.960 --> 1:30:11.080 Yeah, And so at that point they somehow they end 1:30:11.160 --> 1:30:13.679 up setting a self destruct thing for the entire planet. 1:30:13.760 --> 1:30:18.120 You have ten minutes to reach minimum safe distance. They 1:30:18.360 --> 1:30:21.040 set up a self destruct for the planet, and then 1:30:21.120 --> 1:30:24.200 Adams and Altara have to escape back to the ship. 1:30:24.560 --> 1:30:26.479 Oh and I think Robbie comes with them, doesn't he 1:30:26.600 --> 1:30:27.599 as Robbie comes. 1:30:27.400 --> 1:30:30.360 Too, Yeah, yeah, yeah, Robbie gets to come along for 1:30:30.400 --> 1:30:30.800 the ride. 1:30:31.080 --> 1:30:33.320 It's a fair trade. I mean, like they made the 1:30:33.400 --> 1:30:35.880 right decision to set the self destruct, like such a 1:30:36.240 --> 1:30:39.320 such a technology that makes all our thoughts manifest that 1:30:39.800 --> 1:30:43.160 there's no way that can be wielded correctly. You just 1:30:43.160 --> 1:30:46.960 just had to be destroyed. Can't be good. But Robbie, 1:30:47.000 --> 1:30:49.160 I feel like Robbie's he's good tech. You can bring 1:30:49.240 --> 1:30:49.600 him with this. 1:30:49.920 --> 1:30:53.479 Yeah, his programming is sound, and so yeah, he's a board. 1:30:53.560 --> 1:30:56.360 We have a moment where the surviving crew members there 1:30:56.439 --> 1:31:01.760 witness the destruction of the planet from Afar, which is 1:31:01.800 --> 1:31:04.280 a little weird because Adams is like, there it goes 1:31:04.520 --> 1:31:06.599 your dad's on that planet or what's left of him, 1:31:06.680 --> 1:31:08.360 and yeah, it's like, well, yes, obviously. 1:31:09.760 --> 1:31:12.960 And the ending line I remember is a little Hokia. 1:31:13.040 --> 1:31:17.519 He has basically a he tampered in God's domain statement, 1:31:18.560 --> 1:31:22.000 I think. But also there's a good observation where they're like, 1:31:23.040 --> 1:31:26.600 you know, what the Crell achieved is not unique to 1:31:26.640 --> 1:31:29.679 the Krell. Maybe someday long in the future, humans will 1:31:29.680 --> 1:31:32.800 achieve the same level of technology and then we'll be 1:31:32.840 --> 1:31:34.200 facing the same problem. 1:31:34.640 --> 1:31:36.960 Yeah, and this is a valid point. We see this 1:31:37.360 --> 1:31:41.120 in sci fi time and time again. It remains pretty accurate, 1:31:41.400 --> 1:31:44.600 and that is that our technological achievements tend to outstrip 1:31:44.600 --> 1:31:50.960 our ability to control ourselves regarding that technology at a 1:31:50.960 --> 1:31:53.639 personal level or at like a you know, governmental level. 1:31:54.000 --> 1:31:56.800 I think it's a plea for a kind of a 1:31:56.880 --> 1:32:01.439 regulatory or limiting consciousness about technology before it's achieved. It's 1:32:01.520 --> 1:32:05.719 recognizing that the story of the Krell is literally people 1:32:05.800 --> 1:32:09.240 achieving a power to do something before they've fully thought 1:32:09.320 --> 1:32:11.519 through what it would mean to have that power, and 1:32:11.560 --> 1:32:14.240 then of course it destroys them. And this is something 1:32:14.240 --> 1:32:17.519 we've seen happen again again in technological history. People figure 1:32:17.560 --> 1:32:20.519 out how to do something before they've thought through all 1:32:20.560 --> 1:32:22.400 of the ways in which it could be used for 1:32:22.520 --> 1:32:26.960 ill and should thus be constrained or constrained to the 1:32:26.960 --> 1:32:28.720 extent that it could be constrained. I mean, some things 1:32:28.760 --> 1:32:30.800 are really hard to constrain, but you know, to whatever 1:32:30.840 --> 1:32:33.600 extent we have the power to. And so, yeah, we 1:32:33.640 --> 1:32:35.960 don't want to become like the Krell. We should think 1:32:36.040 --> 1:32:40.640 hard about how technological creations could go wrong before we 1:32:40.720 --> 1:32:46.479 create them. It's kind of a plea for science fiction. Yeah, yeah, absolutely, anyway, 1:32:46.600 --> 1:32:47.519 that's forbidden Planet. 1:32:47.760 --> 1:32:51.680 That is the Forbidden Planet. And yeah, I think it 1:32:51.720 --> 1:32:55.080 was an absolute delight. I highly recommend checking this one 1:32:55.120 --> 1:32:57.960 out if you've managed to not see it thus far. 1:32:58.600 --> 1:33:02.479 Like we said before, sometimes the these highly influential films. 1:33:03.400 --> 1:33:05.960 They can be easy films to miss because you have 1:33:06.080 --> 1:33:09.400 at least sort of surface level understanding of what it's about, 1:33:09.760 --> 1:33:11.280 and it's easy to sort of put that one on 1:33:11.320 --> 1:33:14.120 the back burner. But this one's worth coming back to 1:33:14.240 --> 1:33:18.080 for sure. All Right, we would love to hear from 1:33:18.080 --> 1:33:20.840 everyone out there. What is your history with Forbidden Planet? 1:33:21.320 --> 1:33:24.360 What are your thoughts concerning it and other pictures from 1:33:24.400 --> 1:33:28.000 this timeframe? Or are there other movies that you would 1:33:28.000 --> 1:33:32.160 compare favorably to Forbidden Planet from the nineteen fifties? Yeah, 1:33:32.240 --> 1:33:34.320 right in, we'd love to hear from you. Just a 1:33:34.360 --> 1:33:36.760 reminder that Stuff to Blow Your Mind is primarily a 1:33:36.800 --> 1:33:40.880 science and culture podcast with core episodes of Stuff to 1:33:40.880 --> 1:33:43.000 Blow your Mind. In the Stuff to Blow your Mind 1:33:43.040 --> 1:33:46.000 podcast feed on Tuesdays and Thursdays, but on Fridays we 1:33:46.080 --> 1:33:48.120 set aside most serious concerns to just talk about a 1:33:48.160 --> 1:33:51.360 weird film here on Weird House Cinema. And if you 1:33:51.360 --> 1:33:53.200 want a complete list of all the movies we've covered 1:33:53.240 --> 1:33:56.760 thus far, well, you can head on over to letterbox 1:33:56.800 --> 1:33:59.200 dot com. You can look us up. Our user name 1:33:59.280 --> 1:34:02.080 is weird House, and we have an episode list of 1:34:02.120 --> 1:34:05.719 everything we've covered thus far I believe at this point 1:34:05.760 --> 1:34:10.599 what are we up to? It is exactly one hundred 1:34:10.600 --> 1:34:13.200 and ninety five films, so we're closing in on two hundred. 1:34:13.479 --> 1:34:15.920 If you have an idea for what we should cover 1:34:16.000 --> 1:34:18.880 for our two hundredth episode of Weird House Cinema, write 1:34:18.880 --> 1:34:20.080 in with suggestions. 1:34:20.520 --> 1:34:24.360 Here's thanks, as always to our excellent audio producer JJ Posway. 1:34:24.680 --> 1:34:26.160 If you would like to get in touch with us 1:34:26.240 --> 1:34:28.679 with feedback on this episode or any other, to suggest 1:34:28.720 --> 1:34:31.240 a topic for the future, to suggest a two hundredth 1:34:31.240 --> 1:34:33.639 film for us to cover, or just to say hi, 1:34:33.720 --> 1:34:36.599 you can email us at contact at stuff to Blow 1:34:36.600 --> 1:34:44.759 your Mind dot com. 1:34:44.880 --> 1:34:47.840 Stuff to Blow Your Mind is production of iHeartRadio. For 1:34:47.920 --> 1:34:50.719 more podcasts from my heart Radio, visit the iHeartRadio app, 1:34:50.880 --> 1:34:54.120 Apple Podcasts, or wherever you listen to your favorite shows.