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

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

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Speaker 3: And I'm Joe McCormick, and we're back to complete our

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Speaker 3: trilogy of Florida movies.

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Speaker 4: Now.

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Speaker 3: Recently on Weird House Cinema, we looked at the movie

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Speaker 3: Frogs starring Sam Elliott, which is about as Florida as

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Speaker 3: a movie can get. And then we also recently discussed

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Speaker 3: the movie Zat, which is about a man who dreamed

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Speaker 3: he was a catfish and then turned himself into one,

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Speaker 3: though didn't really look like a catfish, but just sort

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Speaker 3: of like went around settling grudges and getting revenge and

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Speaker 3: semi catfish form. And it's more Florida again. This time

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Speaker 3: it's going to be Florida Nazi zombies.

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Speaker 2: That's right. We're going to be looking at the nineteen

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Speaker 2: seventy seven film shock Waves. I believe it was actually

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Speaker 2: filmed in nineteen seventy five, so it's still a few

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Speaker 2: years later than our two previous Florida films, but it

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Speaker 2: is very much a product of the nineteen seventies, and

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Speaker 2: it is I should make it clear here, it's actually

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Speaker 2: supposed to take place on a Caribbean island, but it's

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Speaker 2: very much filmed in Florida, and I think it's ultimately

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Speaker 2: a Florida movie to its core. It has elements in

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Speaker 2: common with our previous two picks, but it's also doing

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Speaker 2: its own thing.

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Speaker 3: You know. I think it's fitting that we discuss our

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Speaker 3: final Florida movie today because I have to be honest

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Speaker 3: and say, I am running right now. My gas tank

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Speaker 3: is full of sand. So Rob, I hope you can

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Speaker 3: bring the life to inject into this podcast today. I'm

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Speaker 3: going to do my best, all right.

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Speaker 2: All right, Well I have my tea here, so I

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Speaker 2: hopefully that will invigorate me as well. Okay, so yeah,

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Speaker 2: this movie has things in common with both ZAT and Frogs,

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Speaker 2: but it's very much doing its own thing because for starters,

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Speaker 2: it's a zombie movie. Furthermore, it digs into two different

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Speaker 2: subgenres of zombie movies by being both an aquatic zombie

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Speaker 2: movie and a Nazis zombie movie. And you know, it's

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Speaker 2: pretty early in either of these subgenre traditions. And I

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Speaker 2: think you could also make a strong case that this

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Speaker 2: is this film might be the true trendsetter, if not

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Speaker 2: one of the key trendsetters for both.

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Speaker 3: You know, I think I've said on the show before

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Speaker 3: that of all the different types of creatures in horror movies,

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Speaker 3: I feel like, on average, it's zombie movies that are

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Speaker 3: the most often trying to say something with the story

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Speaker 3: they tell. You know that zombies, for some reason just

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Speaker 3: lend themselves quite well to cultural commentary. This movie, I

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Speaker 3: don't think it's trying to say anything.

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Speaker 2: No, I don't think it is. I think you can

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Speaker 2: lean into we'll discuss you might be able to lean

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Speaker 2: into it a little bit and draw maybe a little

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Speaker 2: bit of nuance from it. But for the most part,

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Speaker 2: this is a film that just wants to scare you

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Speaker 2: and have some creepy stuff going on in it, and

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Speaker 2: and it ultimately succeeds.

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Speaker 3: Yeah, yeah, yeah, this is a I would say a

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Speaker 3: success on the front of stylesh horror movie, and that

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Speaker 3: the creatures look creepy, and you spend a lot of

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Speaker 3: this movie just looking at them. They're just like popping

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Speaker 3: up out of the water, popping up from behind roots,

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Speaker 3: kind of like you might open a drawer in the

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Speaker 3: kitchen and there's one of these zombies in there, and

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Speaker 3: it's just looking up at you with those goggles and yeah,

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Speaker 3: that's what it does. It does it well, and I

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Speaker 3: give it all all credit.

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Speaker 2: Yeah, so we'll talk about the zombies in this film

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Speaker 2: a bit more now now on the zombie front, on

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Speaker 2: the Nazi zombie front. Rather, there are only a handful

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Speaker 2: of cinematic predecessors to this movie. There's nineteen forty three's

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Speaker 2: Revenge of the Zombies, which had John Carodine in it,

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Speaker 2: who's also in this film that involved a mad scientist

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Speaker 2: trying to create zombies for the Third Reich.

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Speaker 3: But Williams hasn't it, hasn't it been proven that John

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Speaker 3: Carodine is actually in all films ever made?

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Speaker 2: Just about Yeah, well, we'll do a proper breakdown on

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Speaker 2: Carodine in a bit. But he's come up before because

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Speaker 2: he yeah, he has a minous filmography.

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Speaker 3: Wait a minute, I challenge you name a film John

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Speaker 3: Carridine was not in. You can't do.

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Speaker 2: It within his lifetime or well, he was actually in

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Speaker 2: some films outside of his lifetime, which we'll discuss.

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Speaker 3: But yeah.

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Speaker 2: There was also a nineteen sixty six film called The

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Speaker 2: Frozen Dead which had thought Nazis zombies in it, and

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Speaker 2: there are a handful of other films that also involved

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Speaker 2: Nazis in the occult as part of a general trend

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Speaker 2: in science fiction and horror as well as new age

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Speaker 2: and conspiracy thinking. Because the filmmakers behind Shockwaves they're pretty

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Speaker 2: upfront about citing a nineteen sixty book titled The Morning

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Speaker 2: of the Magicians as a prime influence. So this, I

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Speaker 2: think we've briefly discussed this book before, talking about like

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Speaker 2: ancient alien stuff before, but this was a popular book

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Speaker 2: in conspiracy theory circles, remains popular in conspiracy theory circles

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Speaker 2: because it entails just a whole host of their favorite

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Speaker 2: topics like UFOs and Nazi occultism and so forth.

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Speaker 3: So it's funny we think about the I don't know

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Speaker 3: the occult Nazi subjection genre as a I don't know

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Speaker 3: the special remit of sort of obscure dreck in the

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Speaker 3: film world. But it's easy to forget that some of

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Speaker 3: the most mainstream movies ever got into this territory. This

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Speaker 3: is what Indiana Jones is about. It's all like occult

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Speaker 3: Nazi stuff.

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Speaker 2: Yeah, Raiders the Lost Arc is the biggest Nazi occultist

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Speaker 2: film of all time, and later on you had Gaelmo

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Speaker 2: de Toro's hell Boy got into the same territory, but

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Speaker 2: that was a little bit later. Initially, like Shockwaves was

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Speaker 2: a big trendsetter. There's a film in nineteen eighty called

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Speaker 2: Zombie Lake that I think was a French Spanish production

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Speaker 2: that was I think heavily inspired by Shockwaves, if not

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Speaker 2: just kind of a you know, very very much followed

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Speaker 2: in its footsteps, because you went on to see people

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Speaker 2: like Joel Schumacher get involved in the Nazi zombie subgenre

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Speaker 2: like two thousand and nine Blood Creek. You see it

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Speaker 2: in all sorts of video games. So it's become something

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Speaker 2: that sci fi and horror is really on. And I

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Speaker 2: think a lot of that probably has to do with

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Speaker 2: just the simple formula of taking you know, human evil

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Speaker 2: and supernatural evil and combining them, taking traditional movie villains

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Speaker 2: and traditional movie monsters and combining them. And maybe if

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Speaker 2: you're you know, daring to get a little contemplative, you

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Speaker 2: might say, you know, the fear of reemergence of a

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Speaker 2: dreadful and destructive ideology, plus the just the the the

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Speaker 2: obvious metaphor of reanimated corpses.

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Speaker 3: Oh yeah, I mean that would be an interesting thematic resonence,

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Speaker 3: though I don't think I can honestly say that this

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Speaker 3: movie seems like it had that on its mind.

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Speaker 2: No, no, no, no, no, that would that would be

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Speaker 2: an add on if you just think too hard about chockletz.

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Speaker 3: Right, if you were to try to make an intellectually

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Speaker 3: curious zombie Nazi movie, that would be a good direction

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Speaker 3: to go with it.

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Speaker 4: Yeah.

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Speaker 2: Oh, but I should mention on the aquatic zombie front,

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Speaker 2: there aren't a lot of films that may be come

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Speaker 2: to mind in this category. There's nineteen seventy nine's Zombie

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Speaker 2: from Lucio Fulci, which which had a pretty tremendous scene

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Speaker 2: with an underwater zombie a shark and I think a snorkeler.

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Speaker 2: It's been a while since I've seen Zombie.

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Speaker 3: It's best remembered for the zombie fighting the shark, and

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Speaker 3: I think the zombie wins. I think it like bites

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Speaker 3: the shark And okay, that's it.

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Speaker 2: Well it is called zombie, not shark, so that makes sense.

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Speaker 2: But that was seventy nine.

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Speaker 3: Now I can't stand by that. Sorry, I'm not sure.

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Speaker 2: Maybe it's a draw, I don't know, But at any rate,

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Speaker 2: that came after Shock Waves. A film that came before

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Speaker 2: it but just barely was The Ghost Gallleon from nineteen

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Speaker 2: seventy four that was one of a Mando Diosario's Blind

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Speaker 2: Dead films. I don't know if you've seen any of these, Joe.

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Speaker 2: They're the pretty low budget and they have a bunch

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Speaker 2: of undead templars engaging in Generally they're just chasing people

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Speaker 2: down and killing them, but in this particular one, they're

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Speaker 2: engaging in some beach and underwater horror.

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Speaker 3: Oh well, so the undead templars connects to a thing

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Speaker 3: I was going to ask you about, which is I

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Speaker 3: was trying to think if there is some thing else

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Speaker 3: like that, you know, because there are tons of these

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Speaker 3: Nazi zombie movies, if there's something else like that, like

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Speaker 3: a group of like it's all zombies, but they're united

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Speaker 3: by something they had in common in life, maybe like

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Speaker 3: they are a certain type of soldier. Yeah, and I

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Speaker 3: really couldn't think. I could think of tons of Nazi

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Speaker 3: zombie movies, but couldn't really think of many other examples.

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Speaker 3: So it makes me think that what's attractive about this

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Speaker 3: subgenre is not that it's like, oh they are you know,

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Speaker 3: they all have this in common, and then they become undead.

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Speaker 3: It's the specific historical resonances of the Nazis, And I

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Speaker 3: think that's I think you're exactly right when you say

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Speaker 3: it's probably as simple as what's the evilest human thing

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Speaker 3: you can think of and then just make it supernatural.

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Speaker 2: Yeah, yeah, I think so. And it remains a winning formula,

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Speaker 2: like now more so than ever.

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Speaker 3: But anyway, the Templars thing here, you say, that would

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Speaker 3: be one counter example. Okay, here's something else. This is

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Speaker 3: like they're all Templars and now they're templar zombies.

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Speaker 2: Yes, and maybe there's some other samples out there in

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Speaker 2: the film world I'm just not aware of. So there

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Speaker 2: if there's something like maybe there's are there zombie Samurai films?

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Speaker 2: I don't know, nothing's coming to mind, but maybe I'm

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Speaker 2: missing something obvious.

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Speaker 3: Are there zombie Chicago Bears, or like a specific sports team.

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Speaker 2: A zombie that sounds like it could be like a

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Speaker 2: good sort of field Goally movie, you know, where it's like,

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Speaker 2: there's nothing in the rule book that says a team

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Speaker 2: of zombies can't take to the field and try to

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Speaker 2: win the Super Bowl, And then it happens and it's

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Speaker 2: magical for everybody.

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Speaker 3: You producers out there, We're just feeding you gold day

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Speaker 3: after day. I know, I know, going to send us

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Speaker 3: the checks.

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Speaker 2: All right, let's get to the elevator pitch for this film.

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Speaker 2: It's pretty simple. Aquatic Nazi zombies left over from World

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Speaker 2: War Two rise from the deep in the Caribbean to

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Speaker 2: hunt down tourists through a desolated beach resort in the

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Speaker 2: mid nineteen seventies.

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Speaker 3: Yeah, with Peter Cushing. Yes, Peter Cushing just happens to

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Speaker 3: be in the mix.

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Speaker 2: All right, let's have some of that trailer audio.

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Speaker 4: You are now in the deep end of horror, shock

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Speaker 4: waves once they were almost human. You mean to say

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Speaker 4: that what we all saw out there is just a mirage.

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Speaker 4: It was a minor underwater disturbance, the hot sky acting

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Speaker 4: on Nicole Current, coming from a mile down below. Something unknown,

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Speaker 4: something unforeseen, something unspeakable, lives below, and it lives to destroy.

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Speaker 4: They have risen.

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Speaker 3: All right? So who directed this thing?

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Speaker 2: This film was directed by Ken Viderhorn, director and writer,

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Speaker 2: and while this was his big breakout film, he went

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Speaker 2: on to direct a number of genre features, including Eyes

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Speaker 2: of a Stranger, Return of the Living Dead, Two Dark Tower,

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Speaker 2: which I believe is a haunted skyscraper movie. I haven't

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Speaker 2: actually seen it, and he also directed seven episodes of

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Speaker 2: Freddy's Nightmares, as well as A House in the Hills.

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Speaker 3: I think I have seen Dark Tower. I think somehow

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Speaker 3: I just found that on the internet one night and

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Speaker 3: put it on and it was pretty bad. Return to

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Speaker 3: the Living Dead two I haven't seen, but Return to

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Speaker 3: the Living Dead one is one of my favorite comedy

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Speaker 3: horror movies. That movie is near perfect.

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Speaker 2: Yeah, Dan O'Bannon on that one. Yeah, that's a great one.

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Speaker 3: Yeah, But I've heard that the second one is still

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Speaker 3: I've heard it described as still pretty fun, but sort

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Speaker 3: of taking the premise of the first movie to a

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Speaker 3: kind of Looney Tunes elevation.

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Speaker 2: All right, now, I mentioned Viderhorn was one of the writers.

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Speaker 2: The co writer on this was John Kent Harrison, who

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Speaker 2: enjoyed quite a writing and directing career after this, though

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Speaker 2: not a lot of stuff that I'm personally familiar with.

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Speaker 2: But his credits include nineteen ninety nine's You Know My

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Speaker 2: Name starring Sam Elliott, as well as a bear named Winnie,

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Speaker 2: which I think it's like a Winnie the Pooh or

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Speaker 2: it's a maybe. It's a biopic about the creator of

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Speaker 2: Winnie the Pooh. It starred Michael Fastbender as Winnie the Pooh.

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Speaker 2: Michael Fastbender was in I think he was in a

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Speaker 2: Nazi zombie movie, the one directed by Joel Schumacher by

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Speaker 2: the way, okay, as well as Stephen Frye. I was

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Speaker 2: also in that. Wow. Yeah. Also responsible for The Courageous

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Speaker 2: Heart of Irene Sindler starring Anna Paquin. So yeah, this

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Speaker 2: guy went on to do a lot of stuff and

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Speaker 2: is still active.

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Speaker 3: Did the writer of Shockwaves write mister Hollands Opus.

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Speaker 2: I don't think so, But that's like the sort of

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Speaker 2: genre of film that he seemed to have gone on too.

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Speaker 3: Uh huh.

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Speaker 2: All right, Well, let's talk about the cast here top

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Speaker 2: billing and we've already mentioned him. Peter Cushing is in this.

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Speaker 2: He plays SS Commander no given name for this character.

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Speaker 2: They're light on names, that's right.

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Speaker 3: He never says his name, Yeah.

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Speaker 2: Yep, doesn't introduce himself.

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Speaker 3: Also, I don't think he even tries a German accent,

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Speaker 3: does he. I don't recall one.

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Speaker 2: You know, it's a little it's a little German. It's

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Speaker 2: very clearly identifiable as Peter Cushing. It's Peter Cushing like

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Speaker 2: germaned up ten percent.

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Speaker 3: Okay, apologies for misremembering.

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Speaker 2: So Peter Cushing, of course lived nineteen thirteen through nineteen

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Speaker 2: ninety four. He's a legend. This is Hammer's Doctor Frankenstein.

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Speaker 2: This is Star Wars grand Moth Tarkin, enthusiastic war gamer

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Speaker 2: and the man with the sharpest cheekbones and the biz

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Speaker 2: he can.

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Speaker 3: Use multiple parts of his face as an ice pick.

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Speaker 2: Yeah.

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Speaker 4: This.

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Speaker 2: I used to own the Blue Underground DVD of this

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Speaker 2: film and somehow lost it. But I remember in the

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Speaker 2: various extras on that they talked to some of the

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Speaker 2: cast members on this and they talked about working with

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Speaker 2: Peter Cushing, and like everybody else, it seems they just

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Speaker 2: had nice things to say about him. He was just

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Speaker 2: like a total professional, super nice And I think the

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Speaker 2: only even slightly negative thing is like is one of

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Speaker 2: the actors said something to the effect of, yeah, he

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Speaker 2: showed up and he was he just had all his

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Speaker 2: lines memorized and he was so professional that he made

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Speaker 2: me feel like a little crappy for not being as

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Speaker 2: on top of things as he was. But yeah, everybody

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Speaker 2: seems to have loved Cushing.

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Speaker 3: That's something I'm always kind of curious about when you

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Speaker 3: hear those little things about which actors memorize their lines

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Speaker 3: and which one stone.

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Speaker 2: Yeah, Cushion was I think he was one of yea

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Speaker 2: with total pro like. He doesn't matter what caliber of

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Speaker 2: film it was. He showed up and he did the job.

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Speaker 2: All right, did we mention you? We did mention. John

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Speaker 2: Carradine is in this. Yeah. He has the distinction of

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Speaker 2: playing the only character with a last namely, Yeah, he

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Speaker 2: plays Captain Ben Morris.

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Speaker 3: I don't say really, because I am surprised nobody else

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Speaker 3: had a last name. I'm surprised because I didn't remember

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Speaker 3: him having one.

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Speaker 2: Now, but maybe that was one of his demands. He's like,

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Speaker 2: I'll do it, but you've got to give me a

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Speaker 2: last name. I'm not playing a character with just a

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Speaker 2: first name or no name. You leave that to Cushing.

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Speaker 3: Oh, he's kind of grizzled in this.

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Speaker 2: Yeah. So yeah. This is another another film legend, certainly

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Speaker 2: a horror screen legend. He was in any and everything

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Speaker 2: from nineteen thirty to nineteen ninety five, yes, seven years

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Speaker 2: after his death. A little film called Jacko that I

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Speaker 2: think you've seen.

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Speaker 3: Yeah, I don't even know how to describe that one.

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Speaker 3: It's like a it's an omega grade direct to video

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Speaker 3: Halloween themed movie that has him in scenes where he

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Speaker 3: is not on screen with anybody else because I think

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Speaker 3: the footage his footage in the movie appears to have

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Speaker 3: been shot approximately seventeen years before the rest of the film. Otherwise,

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Speaker 3: it's got like linea Quigley and a bunch of teenagers

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Speaker 3: running around getting attacked by this thing with a pumpkinhead.

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Speaker 2: I think, okay, sounds like a winning concept. So yeah, Kerodein,

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Speaker 2: he was in a lot of Indian horror films, but

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Speaker 2: we have to remember he was also in the Grapes

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Speaker 2: of Wrath. He was in Stagecoach, he was in The

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Speaker 2: Ten Commandments, which also featured Vincent Price. Speaking of horror icons. Yeah,

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Speaker 2: and of course John Carrodeine is the was also an

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Speaker 2: not as the patriarch of the Carridine family, the father

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Speaker 2: of David Keith and Robert Carrodine, who all carried on

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Speaker 2: this tradition of being in you know, all different sorts

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Speaker 2: of films but also doing a good job. Like Carridine

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Speaker 2: is always John Carrodyin's always watchable.

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Speaker 3: I was really hoping he would sing a song in

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Speaker 3: this one, though, Like he couldn't even do his so

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Speaker 3: he's done the night Train to Mundo, fee he could

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Speaker 3: he not come up with a you know, the Island

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Speaker 3: of the shock Waves. It seems like they should have

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Speaker 3: put in the effort.

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Speaker 2: I've I've either read or remember from the Digital I'm

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Speaker 2: not Digital Underground Blue Underground DVD that that he did

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Speaker 2: all of his stunts in this, which don't really amount

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Speaker 2: to a lot. But he was seventy one years old

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Speaker 2: at the time and like he did like all the

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Speaker 2: physicality that was asked of him in this, so oh

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Speaker 2: so quite a.

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Speaker 3: Trooper at the part when you see his dead body

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Speaker 3: under the glass as they have they like ride a

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Speaker 3: glass bottom boat over his corpse and he's their shirtless

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Speaker 3: his hair swinging around in the water. So that's him.

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Speaker 3: That's yeah, yeahs olay, So yeah, all right.

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Speaker 2: All right, So these guys get top billing, you know,

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Speaker 2: because they're the horror icons, and they're the ones you

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Speaker 2: want to put on your horror poster. But the real star,

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Speaker 2: like our lead and our main hero, is the character Rose,

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Speaker 2: played by Brooke Adams born nineteen forty nine.

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Speaker 3: I love brook Adams. Brook Adams is in one of

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Speaker 3: my all time favorite horror movies, the nineteen seventy eight

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Speaker 3: remake of Invasion to the Body Snatchers, which you've never seen,

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Speaker 3: is just excellent, just one of the best ever made.

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Speaker 2: This is the Philip Kaufman win. Yes, yes, yeah. So

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Speaker 2: at the time of Shockwaves, she was an Indian TV actor,

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Speaker 2: though she had appeared uncredited I think a very bit

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Speaker 2: role in nineteen seventy four is The Great Gatsby. But her, yeah,

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Speaker 2: her career took off after Shockwaves. Maybe because of Shockwaves,

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Speaker 2: I don't know. She was in Terrence Malix Days of

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Speaker 2: Heaven the following year. You already mentioned Body Snatchers. She

356
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Speaker 2: also went on to star opposite Christopher Walken and David

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Speaker 2: Cronenberg's adaptation of Stephen King's The Dead Zone. She was

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Speaker 2: in The Stuff The Unborn, and she did a whole

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Speaker 2: lot of TV work and it is a bit of trivia.

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Speaker 2: She's been married to actor Tony Shaloub since nineteen ninety two.

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Speaker 3: Oh, I had no idea. Yeah, Broke Adams is great.

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Speaker 3: She's got that great screen presence of the kind of

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Speaker 3: just instantly likable always. Yeah.

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Speaker 2: Yeah, she checks off all the major boxes for female

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Speaker 2: lead in the seventies horror film in this, while also

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Speaker 2: like having that extra you know, bit of charisma and

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Speaker 2: talent you know, you could, it's not surprising that she

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Speaker 2: went on to be in all these other things. You know.

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Speaker 2: There's sometimes just the way she delivers certain lines in

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Speaker 2: this that might otherwise be throwaway lines. She's able to

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Speaker 2: inject a certain amount of nuance or comedy into it.

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Speaker 3: Yeah, okay, So who's our mustache for the movie?

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Speaker 2: Oh? Well, this is Luke Halpin playing Keith. Halpin was

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Speaker 2: born in nineteen forty seven, a handsome fellow with a

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Speaker 2: maximum mid seventies stash, and his main claim to fame

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Speaker 2: prior to this is that he played the character Sandy Ricks,

377
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Speaker 2: a child, in the nineteen sixty three film Flipper opposite

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Speaker 2: Chuck Connors, and then played the same role in the

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Speaker 2: TV show to follow, though in this the TV show

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Speaker 2: did not have Chuck Connors and a dolphin. It had

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Speaker 2: Brian Kelly and a dolphin. Fun fact, Brian Kelly has

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Speaker 2: a single executive producer credit on IMDb, and it's for

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Speaker 2: Blade Runner. But anyway, it happens good in this. I

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Speaker 2: liked him. Yeah, maybe it's his mustache.

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Speaker 4: I don't know.

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Speaker 3: We can call him the Mustache Runner from here on out.

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Speaker 3: I always thinking he's very seventies. To me, he looks

388
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Speaker 3: like one of the members of Stillwater, you know. He

389
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Speaker 3: looks like he just lost four cases of beer playing

390
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Speaker 3: cards with Humble Pie.

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Speaker 2: Yeah. Yeah, I mean he's got a certain I mean

392
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Speaker 2: he's he's no Sam Elliott, you know, but but he

393
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Speaker 2: has a certain laid back mid seventies style to him

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Speaker 2: that that works well on the film. And and he's

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Speaker 2: he's also decent at at bringing across a certain level

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Speaker 2: of fear and anxiety that becomes absolutely necessary in a

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Speaker 2: film like this.

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Speaker 3: Yeah. Now, the rest of the cast just sort of

399
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Speaker 3: is rounded out mostly by these people playing tourists who

400
00:20:12,600 --> 00:20:13,600
Speaker 3: are zombie fodder.

401
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Speaker 2: Yeah, and I'm not sure how many of them are

402
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Speaker 2: necessarily worth spending a lot of time on, but they're

403
00:20:21,080 --> 00:20:22,840
Speaker 2: all pretty good in their role. You have this guy

404
00:20:23,160 --> 00:20:27,280
Speaker 2: Fred Butch I believe it is. I lived thirty five

405
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Speaker 2: through twenty twelve. Yeah, plays the character Chuck. This is

406
00:20:31,840 --> 00:20:35,119
Speaker 2: a guy who had various roles in eighties movies, including

407
00:20:35,240 --> 00:20:38,440
Speaker 2: cocoon and Caddy shack, and he looks like he was

408
00:20:38,480 --> 00:20:41,400
Speaker 2: in another Florida movie, this time of slasher titled Nightmare

409
00:20:41,440 --> 00:20:44,840
Speaker 2: Beach from nineteen eighty nine that Romberto Lindsay was involved

410
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Speaker 2: in and that also featured Michael Parks and John Saxon.

411
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Speaker 3: But yeah, I was thinking of Chuck in this movie

412
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Speaker 3: as Bacardi Man. I didn't know what his name was,

413
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Speaker 3: so I just called him Bacardi Man the whole time.

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Speaker 2: Yeah, he has a signature look, often shirtless, sometimes just

415
00:21:00,080 --> 00:21:03,359
Speaker 2: and tidy white. He's running around on the deck of

416
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Speaker 2: a ship. He's great because he's kind of like you.

417
00:21:06,800 --> 00:21:09,080
Speaker 2: You always have to have your array of characters from

418
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Speaker 2: detestable to likable or lovable, and he's nicely situated in

419
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Speaker 2: the middle. You know, you don't really hate him, but

420
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Speaker 2: you're not going to be that disappointed when a zombie

421
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Speaker 2: kills him.

422
00:21:21,440 --> 00:21:24,800
Speaker 3: He also has a seemingly out of character freak out

423
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Speaker 3: toward the end of the movie that's pretty amusing.

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Speaker 2: Yeah.

425
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Speaker 3: Yeah, oh, but then we also have like this angry,

426
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Speaker 3: aggressive nerd character named Norman.

427
00:21:33,840 --> 00:21:37,439
Speaker 2: Yes, Norman is great, played by Jack Davidson born nineteen

428
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Speaker 2: thirty six. This actor did a lot of small parts

429
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Speaker 2: in films, including eighty seven's The Secret of My Success.

430
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Speaker 2: Eighty three is trading places. In this he is a

431
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Speaker 2: used car salesman on vacation with his wife Beverly and

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Speaker 2: oh man, he is not satisfied and he will be

433
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Speaker 2: speaking to your manager.

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Speaker 3: Yes, he exudes not satisfied with my service. That is

435
00:21:58,800 --> 00:21:59,840
Speaker 3: his personality.

436
00:22:00,320 --> 00:22:04,680
Speaker 2: Yeah. Beverly is great in this too, played by DJ Sydney,

437
00:22:04,720 --> 00:22:06,320
Speaker 2: but she wasn't really in much beyond this.

438
00:22:07,280 --> 00:22:09,719
Speaker 3: Oh, and then there's also Dobbs. He's like Bacardi Man

439
00:22:09,800 --> 00:22:12,360
Speaker 3: number two. This movie has multiple Bacardi men.

440
00:22:12,920 --> 00:22:15,960
Speaker 2: Dobbs is your straight Bacardi man, though he is going

441
00:22:15,960 --> 00:22:19,160
Speaker 2: to drink the Baccardi straight, no no mixers, no ice,

442
00:22:19,200 --> 00:22:22,240
Speaker 2: and he will have it for breakfast. He plays our

443
00:22:22,880 --> 00:22:25,680
Speaker 2: the dive boats alcoholic cook and I guess like sort

444
00:22:25,720 --> 00:22:30,520
Speaker 2: of general like boat guy played by a Cola based

445
00:22:30,560 --> 00:22:35,520
Speaker 2: actor Don Scout who lived nineteen twenty three through two

446
00:22:35,520 --> 00:22:37,840
Speaker 2: thousand and four. And even he's good and this is

447
00:22:37,920 --> 00:22:40,960
Speaker 2: kind of a you know, a throwaway role, I guess.

448
00:22:40,960 --> 00:22:44,159
Speaker 2: But he's he's amusing, he's this, Yeah, just this, this

449
00:22:44,280 --> 00:22:46,680
Speaker 2: alcoholic boat guy who you know is not going to

450
00:22:46,720 --> 00:22:48,960
Speaker 2: make it far into the film. But he is also

451
00:22:49,040 --> 00:22:50,560
Speaker 2: not you know, you're not. He's not hateable.

452
00:22:50,840 --> 00:22:53,439
Speaker 3: He has an interesting death scene we'll get too later on.

453
00:22:53,680 --> 00:22:57,679
Speaker 2: Yeah, just a small role. But there's a fisherman that

454
00:22:57,680 --> 00:22:59,840
Speaker 2: shows up early on, played by the actor Clarence to

455
00:23:00,000 --> 00:23:02,400
Speaker 2: i'ms who live thirty four through two thousand and nine,

456
00:23:02,920 --> 00:23:06,440
Speaker 2: an actor and according to IMDb, which again can sometimes

457
00:23:06,960 --> 00:23:10,280
Speaker 2: be incorrect, but IMDb claims he was the first African

458
00:23:10,359 --> 00:23:14,160
Speaker 2: American Florida Branch President of the Screen Actors Guild from

459
00:23:14,160 --> 00:23:16,440
Speaker 2: two thousand to two thousand and two. So there you go.

460
00:23:16,920 --> 00:23:20,440
Speaker 3: Now, there's one reason I know you must have wanted

461
00:23:20,480 --> 00:23:23,479
Speaker 3: to do this movie, which is it has an electronic score.

462
00:23:24,160 --> 00:23:26,520
Speaker 2: Yes, as far as I'm concerned, one of the and

463
00:23:26,520 --> 00:23:28,919
Speaker 2: I think this is essential for my understanding of the

464
00:23:28,960 --> 00:23:31,359
Speaker 2: Florida movie. But yeah, one of the true stars of

465
00:23:31,400 --> 00:23:36,119
Speaker 2: this film is Richard Einhorn because he is responsible for

466
00:23:36,720 --> 00:23:41,000
Speaker 2: Shockwave's tremendous score. I think it's absolutely top shelf composed

467
00:23:41,040 --> 00:23:44,760
Speaker 2: and performed by contemporary classic musical composer Richard Einhorn.

468
00:23:45,160 --> 00:23:48,240
Speaker 3: So this is not an Italian composed score, but I

469
00:23:48,240 --> 00:23:50,119
Speaker 3: would say it feels Italian to me.

470
00:23:51,040 --> 00:23:53,840
Speaker 2: Yeah, Yeah, it definitely has some of those vibes going on.

471
00:23:54,040 --> 00:23:58,080
Speaker 2: It's it's worth that a lot of electronic music in

472
00:23:58,119 --> 00:24:02,119
Speaker 2: the genre score world, they come from individuals who in

473
00:24:02,160 --> 00:24:04,640
Speaker 2: some cases they were largely self taught, or they came

474
00:24:04,720 --> 00:24:08,960
Speaker 2: up playing for and working with bands. Einhorn, however, was

475
00:24:09,000 --> 00:24:12,320
Speaker 2: a graduate of Columbia University, where he studied electronic music

476
00:24:12,400 --> 00:24:17,439
Speaker 2: and composition under some individuals that are apparently major names

477
00:24:18,440 --> 00:24:22,239
Speaker 2: in that field of not just popular electronic music, but

478
00:24:22,359 --> 00:24:27,320
Speaker 2: like you know, classical composition and electronic music, like Vladimir

479
00:24:27,560 --> 00:24:31,679
Speaker 2: Yusochevsky and Mario David Ofsky. And Einhorn went on to

480
00:24:31,720 --> 00:24:36,439
Speaker 2: compose such works as The Origin and opera that was

481
00:24:36,480 --> 00:24:39,720
Speaker 2: inspired by Charles Darwin's life and work with lyrics by

482
00:24:39,720 --> 00:24:44,960
Speaker 2: poet Catherine Barnett. Interesting another composition, Voices of Light, was

483
00:24:45,040 --> 00:24:47,679
Speaker 2: inspired by the silent Joan of Arc film, and you

484
00:24:47,680 --> 00:24:51,440
Speaker 2: can find this particular piece of music on Spotify and

485
00:24:51,520 --> 00:24:52,800
Speaker 2: various other streaming sites.

486
00:24:53,080 --> 00:24:55,120
Speaker 3: Budd He also did some trash horror.

487
00:24:54,760 --> 00:25:00,240
Speaker 2: Movies YEP, including ultimately several Viderhorn movies. He did Eyes

488
00:25:00,240 --> 00:25:03,680
Speaker 2: of a Stranger as well as he also did the

489
00:25:04,080 --> 00:25:06,640
Speaker 2: influential nineteen eighty one slasher film, The Prowler.

490
00:25:07,200 --> 00:25:09,600
Speaker 3: Oh yeah, that was when we talked about. When I

491
00:25:09,640 --> 00:25:13,119
Speaker 3: was a guest on movie Crush with Chuck Bryant and

492
00:25:13,440 --> 00:25:16,840
Speaker 3: several of our other friends from the office, we talked

493
00:25:16,840 --> 00:25:20,600
Speaker 3: about slasher movies. That one's not I mean, there really

494
00:25:20,680 --> 00:25:23,520
Speaker 3: are no slasher movies that are like really good movies,

495
00:25:23,560 --> 00:25:27,359
Speaker 3: maybe Halloween or something, but that one's just in terms

496
00:25:27,359 --> 00:25:30,199
Speaker 3: of slasher style. It's got a lot going for it.

497
00:25:30,200 --> 00:25:32,800
Speaker 3: It's got a very menacing looking killer in terms of

498
00:25:32,840 --> 00:25:36,000
Speaker 3: the costume, which is similar to what this movie really

499
00:25:36,000 --> 00:25:36,760
Speaker 3: has going for it.

500
00:25:37,080 --> 00:25:41,280
Speaker 2: Yeah, definitely menacing looking adversaries. Now, Einhorn also did Let's

501
00:25:41,280 --> 00:25:44,080
Speaker 2: See Blood, Rage, Dead of Winter, The Dark Tower, but

502
00:25:44,119 --> 00:25:48,639
Speaker 2: he also composed the scores for, in particular the score

503
00:25:48,680 --> 00:25:52,399
Speaker 2: for nineteen ninety one's Closet Land. This starred Madeline Stowe

504
00:25:52,480 --> 00:25:55,720
Speaker 2: and Alan Rickman, and Philip Glass was involved as that

505
00:25:55,760 --> 00:26:00,439
Speaker 2: as well as creative musical supervision, and from there he

506
00:26:00,440 --> 00:26:05,240
Speaker 2: also did various work for documentaries and art films. Now, interestingly,

507
00:26:05,840 --> 00:26:08,879
Speaker 2: Einhorn lost his hearing at the age of fifty seven,

508
00:26:09,280 --> 00:26:12,280
Speaker 2: and there's a twenty eleven New York Times article that

509
00:26:12,320 --> 00:26:15,200
Speaker 2: details how the use of a hearing loop allowed him

510
00:26:15,200 --> 00:26:18,840
Speaker 2: to enjoy live music again. So if you're interested, I

511
00:26:18,880 --> 00:26:22,040
Speaker 2: recommend looking that article up and reading it. It's quite

512
00:26:22,119 --> 00:26:24,560
Speaker 2: it's quite breath tacking because it gets into the technology

513
00:26:24,600 --> 00:26:27,120
Speaker 2: a bit, but also just talking to Einhorn about how,

514
00:26:27,280 --> 00:26:29,800
Speaker 2: you know, he'd lost his hearing. He thought that he'd

515
00:26:29,800 --> 00:26:34,280
Speaker 2: never be able to enjoy live musical performances again, and

516
00:26:34,320 --> 00:26:37,199
Speaker 2: then he's trying on this loop and he went to

517
00:26:37,240 --> 00:26:40,800
Speaker 2: see Wicked, I think, or something like that, and he said,

518
00:26:40,800 --> 00:26:45,720
Speaker 2: I'm not even a fan of musicals, but the experience

519
00:26:46,040 --> 00:26:49,200
Speaker 2: reduced him to tears, you know, because he was able

520
00:26:49,200 --> 00:26:51,640
Speaker 2: to hear this again. So it's a really great read

521
00:26:52,040 --> 00:26:56,320
Speaker 2: that's inspiring. Now the score for Shockwaves again, in my opinion,

522
00:26:56,320 --> 00:27:01,000
Speaker 2: I think it's absolutely great, legitimately jarring deeply disturbed. I

523
00:27:01,000 --> 00:27:03,800
Speaker 2: think Shockwaves would have ultimately been an interesting film with

524
00:27:03,840 --> 00:27:06,320
Speaker 2: a different score, but I'm not sure it would have

525
00:27:06,520 --> 00:27:09,560
Speaker 2: really succeeded to the level that it does because Einhorn

526
00:27:09,640 --> 00:27:13,080
Speaker 2: just fills the picture with sonic dread that makes everything

527
00:27:13,080 --> 00:27:15,440
Speaker 2: else work ten times as well as it would otherwise.

528
00:27:15,480 --> 00:27:18,040
Speaker 2: There are bits where he bleeds in the audio of

529
00:27:18,600 --> 00:27:22,200
Speaker 2: like Chance from the third Reich and there are also

530
00:27:22,240 --> 00:27:27,200
Speaker 2: some really unsettling nature sounds as well, underwater reverberations. There's

531
00:27:27,240 --> 00:27:30,679
Speaker 2: this disturbing shrieking sound at one point. So the music

532
00:27:30,800 --> 00:27:33,760
Speaker 2: really really keeps you on your toes. Let's hear some

533
00:27:33,840 --> 00:27:34,200
Speaker 2: of it.

534
00:27:44,640 --> 00:27:44,760
Speaker 3: Now.

535
00:27:44,800 --> 00:27:47,480
Speaker 2: I don't think the score is officially available anywhere in

536
00:27:47,600 --> 00:27:50,480
Speaker 2: digital form. Sadly you may be able to find some

537
00:27:50,560 --> 00:27:54,800
Speaker 2: unofficial streams, but Waxwork Records has it out on vinyl.

538
00:27:54,920 --> 00:27:57,639
Speaker 2: And again, I'm not a vinyl collector, I don't do

539
00:27:57,720 --> 00:28:00,520
Speaker 2: not have a record player, but this looks absolutely splendid

540
00:28:00,520 --> 00:28:05,840
Speaker 2: because it's remastered and it's available in Seafoam Green. The

541
00:28:05,880 --> 00:28:08,560
Speaker 2: actual record is Seafoam Green, and then it has some

542
00:28:09,160 --> 00:28:12,119
Speaker 2: custom art on the front and on the back and

543
00:28:12,160 --> 00:28:15,560
Speaker 2: some new liner notes. So any vinyl fans out there,

544
00:28:16,680 --> 00:28:18,800
Speaker 2: if you're interested to check this out, and if you

545
00:28:18,880 --> 00:28:21,080
Speaker 2: already own it, tell me what it is like.

546
00:28:21,480 --> 00:28:23,720
Speaker 3: Oh, I may have to order this one. Yeah, it

547
00:28:23,720 --> 00:28:24,720
Speaker 3: has good art.

548
00:28:24,720 --> 00:28:28,280
Speaker 2: All right. I guess a couple of more connections here

549
00:28:29,000 --> 00:28:32,600
Speaker 2: in passing. Alan Ormsby was born nineteen forty three is

550
00:28:32,600 --> 00:28:34,959
Speaker 2: responsible for the special makeup we see in the picture

551
00:28:34,960 --> 00:28:38,680
Speaker 2: of these Nazi zombies, and while he worked special makeup

552
00:28:38,720 --> 00:28:41,640
Speaker 2: and a few films previously, including Children Shouldn't Play With

553
00:28:41,720 --> 00:28:44,800
Speaker 2: Dead Things. He also wrote that film and actually served

554
00:28:44,800 --> 00:28:47,760
Speaker 2: as a screenwriter for many years, with credits that include

555
00:28:47,800 --> 00:28:51,560
Speaker 2: Paul Schrader's Cat People, the nineteen ninety one horror anthology

556
00:28:51,560 --> 00:28:56,320
Speaker 2: film Popcorn The Substitute starring Tom Bearringer, and its various sequels,

557
00:28:56,360 --> 00:29:00,440
Speaker 2: which I think we've talked about and can fused it

558
00:29:00,480 --> 00:29:03,120
Speaker 2: with other films on previous episodes of Weird House.

559
00:29:03,400 --> 00:29:06,880
Speaker 3: I think, on reflection, I have not actually seen that movie.

560
00:29:06,960 --> 00:29:09,960
Speaker 3: I just find it conceptually funny because it's Tom bearn

561
00:29:10,040 --> 00:29:11,080
Speaker 3: Are looking so stern.

562
00:29:11,520 --> 00:29:13,520
Speaker 2: Yeah, yeah, I think that's the only thing he does

563
00:29:13,520 --> 00:29:16,680
Speaker 2: in it. But then also Ormsby has an additional story

564
00:29:16,760 --> 00:29:21,960
Speaker 2: material credit on Disney's animated version of Mulan, So yeah,

565
00:29:22,080 --> 00:29:25,400
Speaker 2: strange connections on this one. But yeah, the death Cord

566
00:29:25,800 --> 00:29:28,520
Speaker 2: Troopers in this do look very creepy with the goggles

567
00:29:28,560 --> 00:29:33,480
Speaker 2: and the model pale flesh and wet seaweed like blonde hair.

568
00:29:33,840 --> 00:29:36,400
Speaker 3: This is one of those movies that knows it has

569
00:29:36,480 --> 00:29:40,240
Speaker 3: a great looking monster and so they just show it.

570
00:29:40,280 --> 00:29:42,280
Speaker 3: You know. It reminds me of the story about the

571
00:29:42,280 --> 00:29:44,959
Speaker 3: production of the first Friday the thirteenth movie when they

572
00:29:45,000 --> 00:29:48,280
Speaker 3: had oh, what's his name, who's doing the blood the

573
00:29:48,280 --> 00:29:52,000
Speaker 3: makeup effects? Tom Savini, Tom Savini doing the makeup effects,

574
00:29:52,040 --> 00:29:54,880
Speaker 3: and they realized the makeup effects looked so good. They

575
00:29:54,880 --> 00:29:56,120
Speaker 3: were like, well, we got to get we got to

576
00:29:56,160 --> 00:29:59,080
Speaker 3: put those more on screens. Let's just plait it up.

577
00:29:59,400 --> 00:30:01,320
Speaker 3: You get the sense that's what was going on here.

578
00:30:01,800 --> 00:30:05,800
Speaker 3: I suspect the zombies in this movie ended up looking

579
00:30:05,960 --> 00:30:08,840
Speaker 3: creepier than the director might have hoped, and so we

580
00:30:08,920 --> 00:30:15,120
Speaker 3: end up just seeing them a lot.

581
00:30:19,480 --> 00:30:22,520
Speaker 2: Well, let's get into the plot breakdown for this film.

582
00:30:22,560 --> 00:30:24,640
Speaker 2: Let's explore shockwaves.

583
00:30:24,880 --> 00:30:27,920
Speaker 3: Okay, Well, this is one of those movies that starts

584
00:30:27,960 --> 00:30:33,080
Speaker 3: with a Texas chainsaw massacre style grim voiceover before you

585
00:30:33,080 --> 00:30:35,280
Speaker 3: get any action or meet any of the characters.

586
00:30:35,600 --> 00:30:38,680
Speaker 2: Yeah, it wants you to know this really happened, or

587
00:30:38,960 --> 00:30:39,840
Speaker 2: to a certain extent.

588
00:30:40,120 --> 00:30:42,920
Speaker 3: The following is a true story about Nazi zombies.

589
00:30:43,200 --> 00:30:45,320
Speaker 2: Yeah, and I'll just go ahead and read it verbatim

590
00:30:45,320 --> 00:30:48,480
Speaker 2: real quick, you know, in a creepy voice. Shortly before

591
00:30:48,480 --> 00:30:50,640
Speaker 2: the start of World War Two, the German High Command

592
00:30:50,720 --> 00:30:53,800
Speaker 2: began a secret investigation into the powers of the supernatural

593
00:30:54,320 --> 00:30:56,960
Speaker 2: ancient legend told of a race of warriors who used

594
00:30:57,120 --> 00:31:00,520
Speaker 2: neither weapons nor shields, and whose superhuman power came from

595
00:31:00,600 --> 00:31:03,719
Speaker 2: within the earth itself. As Germany prepared for war, the

596
00:31:03,800 --> 00:31:06,360
Speaker 2: SS secretly enlisted a group of scientists to create an

597
00:31:06,360 --> 00:31:09,600
Speaker 2: invincible soldier. It is known that the bodies of soldiers

598
00:31:09,680 --> 00:31:13,040
Speaker 2: killed in battle were returned to a secret laboratory near Koblin's,

599
00:31:13,320 --> 00:31:16,240
Speaker 2: where they were used in a variety of scientific experiments.

600
00:31:16,520 --> 00:31:18,360
Speaker 2: It was rumored that toward the end of the war,

601
00:31:18,480 --> 00:31:22,200
Speaker 2: Allied forces met German squads that fought without weapons, killing

602
00:31:22,200 --> 00:31:24,800
Speaker 2: only with their bare hands. No one knows who they

603
00:31:24,800 --> 00:31:27,200
Speaker 2: were or what became of them, but one thing is certain.

604
00:31:27,560 --> 00:31:29,880
Speaker 2: Of all the SS units, there was only one that

605
00:31:29,920 --> 00:31:32,280
Speaker 2: the Allies never captured a single member of.

606
00:31:33,280 --> 00:31:34,920
Speaker 3: This is not a true story.

607
00:31:34,800 --> 00:31:38,600
Speaker 2: No, this is not true at all, but it sets

608
00:31:38,600 --> 00:31:41,280
Speaker 2: the stage, and you know you're going to see all

609
00:31:41,320 --> 00:31:44,480
Speaker 2: the soldiers in the photo again in an altered form.

610
00:31:44,880 --> 00:31:47,040
Speaker 2: And if you weren't paying attention, don't worry. Peter Cushing

611
00:31:47,040 --> 00:31:49,200
Speaker 2: will come around later in the film and he'll basically

612
00:31:49,240 --> 00:31:50,160
Speaker 2: tell you everything again.

613
00:31:50,240 --> 00:31:51,040
Speaker 3: Oh yeah, that's true.

614
00:31:51,120 --> 00:31:51,320
Speaker 4: Yeah.

615
00:31:51,360 --> 00:31:55,240
Speaker 3: You get a second exposition dump, which somewhat varies from

616
00:31:55,280 --> 00:31:57,680
Speaker 3: the narration at the beginning, which makes you wonder if

617
00:31:57,680 --> 00:32:00,160
Speaker 3: Peter Cushing is maybe lying a little bit or I

618
00:32:00,200 --> 00:32:02,240
Speaker 3: don't know, or maybe I don't know, maybe I only

619
00:32:02,280 --> 00:32:05,480
Speaker 3: perceive the differences anyway, So we start off with a

620
00:32:05,560 --> 00:32:08,320
Speaker 3: fishing boat rescue. There are some fishermen who were out

621
00:32:08,680 --> 00:32:11,280
Speaker 3: on the high seas and they spy a small boat

622
00:32:11,320 --> 00:32:14,640
Speaker 3: adrift and they pull alongside to help. And then we

623
00:32:14,680 --> 00:32:18,360
Speaker 3: get some more narration, not by the John Laraquette style

624
00:32:18,480 --> 00:32:21,840
Speaker 3: narration from the beginning, but instead from Brook Adams. And

625
00:32:22,000 --> 00:32:24,400
Speaker 3: she's lying there in the boat and you hear her

626
00:32:24,440 --> 00:32:27,320
Speaker 3: saying in voiceover, I don't know how long that dinghy

627
00:32:27,360 --> 00:32:29,880
Speaker 3: floated around with me lying in it. All I can

628
00:32:29,960 --> 00:32:33,120
Speaker 3: remember was the sound of the water slapping against the side.

629
00:32:33,440 --> 00:32:36,560
Speaker 3: Then I heard the engine sound getting closer. That was

630
00:32:36,600 --> 00:32:40,160
Speaker 3: when I realized I was still alive. And it's Brook

631
00:32:40,200 --> 00:32:43,520
Speaker 3: Adams in the boat, delirious with terror. She is helped

632
00:32:43,560 --> 00:32:46,200
Speaker 3: onto the fishing boat by the captain of the fishing boat,

633
00:32:46,240 --> 00:32:49,600
Speaker 3: and she tries to tell her rescuers what happened, but

634
00:32:49,680 --> 00:32:52,000
Speaker 3: she seems like she can't speak. She's just sitting there

635
00:32:52,080 --> 00:32:55,400
Speaker 3: kind of catatonic, and she says in the voiceover that

636
00:32:55,440 --> 00:32:59,560
Speaker 3: it's only now that she remembers. So we immediately cut

637
00:32:59,600 --> 00:33:02,280
Speaker 3: to the and now we're on a pleasure boat, I guess.

638
00:33:02,280 --> 00:33:03,800
Speaker 3: So we're not on the boat. We see, like you know,

639
00:33:03,880 --> 00:33:07,160
Speaker 3: Brooke Adams is diving around a reef with flippers and

640
00:33:07,200 --> 00:33:10,080
Speaker 3: the diving mask, and she says it was the second

641
00:33:10,120 --> 00:33:12,960
Speaker 3: day on one of those small dive boats that takes

642
00:33:13,000 --> 00:33:16,080
Speaker 3: you around the islands. The engine had broken down for

643
00:33:16,120 --> 00:33:21,280
Speaker 3: the second time. And yeah, immediately you noticed something about

644
00:33:21,280 --> 00:33:22,600
Speaker 3: the boat that I noticed too.

645
00:33:23,120 --> 00:33:25,680
Speaker 2: Yeah, small dive boat is not how I would I

646
00:33:25,720 --> 00:33:27,800
Speaker 2: would describe this. This looks pretty big. I've been on

647
00:33:27,840 --> 00:33:30,760
Speaker 2: some dive boats and they were all smaller than this.

648
00:33:30,960 --> 00:33:32,960
Speaker 3: Yeah, this is a large boat, but it is. It

649
00:33:33,040 --> 00:33:35,880
Speaker 3: is a large boat, and it is a struggling boat.

650
00:33:36,080 --> 00:33:38,680
Speaker 3: We have a struggle boat here, chugging around in the

651
00:33:38,720 --> 00:33:41,560
Speaker 3: water as best it can. But they do communicate that

652
00:33:41,640 --> 00:33:45,400
Speaker 3: this boat has seen better days. And then no fooling around.

653
00:33:45,600 --> 00:33:50,320
Speaker 3: We have Carodine. We immediately get Carrodine, as often happened,

654
00:33:50,360 --> 00:33:53,160
Speaker 3: So Carrodine, there were like two captains of the ship,

655
00:33:53,240 --> 00:33:57,200
Speaker 3: or Carodeine is the captain maybe and still water boy

656
00:33:57,240 --> 00:34:00,160
Speaker 3: with the mustache is the first mate maybe, but he

657
00:34:00,160 --> 00:34:03,320
Speaker 3: he's like steering the ship and John Krodine just choose

658
00:34:03,440 --> 00:34:06,560
Speaker 3: him out a lot. But as often happens, when we

659
00:34:06,600 --> 00:34:10,040
Speaker 3: first meet John Carodine in this movie, he walks on

660
00:34:10,080 --> 00:34:14,200
Speaker 3: set looking and sounding like he just ate three jars

661
00:34:14,239 --> 00:34:17,560
Speaker 3: of capers right before he came onto the camera. He's

662
00:34:17,680 --> 00:34:22,719
Speaker 3: just he's just briny and dyspeptic. From word one, absolutely

663
00:34:23,560 --> 00:34:25,960
Speaker 3: he's saying like keep at half speed, no sense putting

664
00:34:25,960 --> 00:34:30,680
Speaker 3: strain on a crank shaft. And uh, there's immediately conflicts

665
00:34:30,680 --> 00:34:32,520
Speaker 3: between them because I guess you know you got you

666
00:34:32,560 --> 00:34:34,800
Speaker 3: got your old cap'ain and you got your young cap'n.

667
00:34:34,840 --> 00:34:38,160
Speaker 3: And old cap'n is dressed like he's in some kind

668
00:34:38,160 --> 00:34:41,680
Speaker 3: of auxiliary naval unit. This is, of course Carodine, and

669
00:34:42,040 --> 00:34:45,319
Speaker 3: young cap'n looks like seventies rock and roll. You know,

670
00:34:45,640 --> 00:34:48,359
Speaker 3: he's been playing cards with Humble Pie and now he's

671
00:34:48,400 --> 00:34:53,160
Speaker 3: out here not taking his responsibilities seriously. And there's just

672
00:34:53,200 --> 00:34:55,560
Speaker 3: some glorious chewing out that goes on at You know,

673
00:34:55,640 --> 00:34:59,920
Speaker 3: John Carodine's saying, it's north northwest, not northwest, you slaw,

674
00:35:00,360 --> 00:35:04,879
Speaker 3: we must have accurate navigation. The sailor's best friend. And oh,

675
00:35:04,880 --> 00:35:08,040
Speaker 3: and he goes into this speech about how you can't

676
00:35:08,080 --> 00:35:11,320
Speaker 3: be a good captain just by being good looking. It's

677
00:35:11,400 --> 00:35:16,200
Speaker 3: his ability to navigate that makes him a good captain. Also,

678
00:35:16,239 --> 00:35:19,640
Speaker 3: did you notice that? So during the boat piloting scenes,

679
00:35:19,719 --> 00:35:22,880
Speaker 3: there's a problem that I notice in a lot of movies,

680
00:35:22,960 --> 00:35:27,279
Speaker 3: which is an implausible amount of characters who are used

681
00:35:27,320 --> 00:35:31,160
Speaker 3: to doing something talking about what they're doing, you know.

682
00:35:31,239 --> 00:35:33,799
Speaker 3: So they're just saying back and forth to each other

683
00:35:33,840 --> 00:35:36,400
Speaker 3: steer one sixty five and keep her steady and that

684
00:35:36,480 --> 00:35:38,920
Speaker 3: kind of thing. But they're standing right next to each other.

685
00:35:39,120 --> 00:35:40,600
Speaker 3: It just feels like the kind of thing that they

686
00:35:40,600 --> 00:35:42,040
Speaker 3: wouldn't need to say out loud.

687
00:35:42,719 --> 00:35:44,719
Speaker 2: Yeah, like, even if this is the first day they've

688
00:35:44,760 --> 00:35:47,759
Speaker 2: worked together, and yeah, even though you have the you know,

689
00:35:47,840 --> 00:35:52,600
Speaker 2: clearly the elder captain here, you know, trying to instruct

690
00:35:52,680 --> 00:35:54,040
Speaker 2: the younger seventies guy.

691
00:35:54,360 --> 00:35:57,960
Speaker 3: Yeah. Now immediately we get some spooky underwater stuff that

692
00:35:58,080 --> 00:36:01,759
Speaker 3: we start seeing these shots of a son submarine. And

693
00:36:02,920 --> 00:36:05,520
Speaker 3: it's weird because in some ways, I would say this

694
00:36:05,600 --> 00:36:10,080
Speaker 3: movie is for the most part not stylistically anything to

695
00:36:10,120 --> 00:36:12,560
Speaker 3: write home about in terms of photography and all that,

696
00:36:12,880 --> 00:36:16,920
Speaker 3: But there were like a select number of underwater shots

697
00:36:16,960 --> 00:36:20,680
Speaker 3: and shots of the zombies that are actually very stylish

698
00:36:20,719 --> 00:36:22,959
Speaker 3: and cool, and some of the underwater footage here where

699
00:36:23,040 --> 00:36:27,200
Speaker 3: they capture schools of fish sort of darting around back

700
00:36:27,239 --> 00:36:30,880
Speaker 3: and forth in unison, and the synchronized swimming patterns in

701
00:36:30,920 --> 00:36:33,319
Speaker 3: the in the wreckage of this submarine we see at

702
00:36:33,360 --> 00:36:36,160
Speaker 3: the bottom of the water. That's all great stuff.

703
00:36:36,520 --> 00:36:39,360
Speaker 2: Yeah, in its best moments, this film feels like a

704
00:36:39,400 --> 00:36:43,840
Speaker 2: traumatic dream in the best way possible for a horror film.

705
00:36:43,960 --> 00:36:46,680
Speaker 3: But okay, so something spooky is under the water. The

706
00:36:46,760 --> 00:36:49,439
Speaker 3: music lets us know, you know, as we're going around

707
00:36:49,480 --> 00:36:52,880
Speaker 3: this wreckage there's something wrong with it, something supernaturally wrong.

708
00:36:53,640 --> 00:36:57,080
Speaker 3: And then something happens with the sun. Everything turns orange.

709
00:36:57,200 --> 00:36:59,719
Speaker 3: This is not really explained, and I didn't really get

710
00:36:59,719 --> 00:37:01,920
Speaker 3: what was going on, but suddenly there's just an orange

711
00:37:01,920 --> 00:37:03,080
Speaker 3: filter on the camera.

712
00:37:03,520 --> 00:37:05,279
Speaker 2: Yeah, I think, and I don't know how much of

713
00:37:05,280 --> 00:37:07,440
Speaker 2: this is me reading into it knowing you know that

714
00:37:07,480 --> 00:37:09,879
Speaker 2: they were high on the morning of the Magicians when

715
00:37:09,920 --> 00:37:12,160
Speaker 2: they put this together. But I think this is like

716
00:37:12,239 --> 00:37:16,399
Speaker 2: some sort of a solar phenomenon or there's some sort

717
00:37:16,400 --> 00:37:19,120
Speaker 2: of like like because later we keep hearing from them

718
00:37:19,120 --> 00:37:22,200
Speaker 2: about how the compass isn't working anymore, you know, and

719
00:37:22,800 --> 00:37:25,560
Speaker 2: clearly it's had some other weird effects on their surroundings.

720
00:37:25,640 --> 00:37:28,480
Speaker 2: So perhaps it's kind of again, maybe kind of Texas

721
00:37:28,560 --> 00:37:30,800
Speaker 2: Chainsaw MASc here in a way like that film opens

722
00:37:30,880 --> 00:37:35,480
Speaker 2: up with this implied astrological disorder, and maybe here we're

723
00:37:35,480 --> 00:37:38,360
Speaker 2: getting a more overt astrological disorder.

724
00:37:38,719 --> 00:37:41,960
Speaker 3: Okay, so you know, Saturn is in retrograde or something,

725
00:37:42,000 --> 00:37:44,320
Speaker 3: and that's when the zombies wake up from the bottom

726
00:37:44,320 --> 00:37:47,760
Speaker 3: of the ocean, I see. So then we start meeting

727
00:37:47,800 --> 00:37:51,560
Speaker 3: the other characters. We get to meet Norman and his

728
00:37:51,600 --> 00:37:55,640
Speaker 3: wife Beverly, and they're arguing about whether the captain knows

729
00:37:55,680 --> 00:37:59,520
Speaker 3: what he's doing, and there's a great like Norman decides

730
00:37:59,560 --> 00:38:01,960
Speaker 3: he's going to go up and help the captain steer

731
00:38:02,000 --> 00:38:05,000
Speaker 3: the boat. Norman, as I said earlier, is a cranky,

732
00:38:05,120 --> 00:38:06,160
Speaker 3: aggressive nerd.

733
00:38:06,760 --> 00:38:11,839
Speaker 2: Yeah, he's a joy to watch, but he is such

734
00:38:11,880 --> 00:38:15,719
Speaker 2: a such a complainer, Like he just can't wait for

735
00:38:15,840 --> 00:38:18,440
Speaker 2: yelp to be invented so he can properly review this

736
00:38:18,600 --> 00:38:19,280
Speaker 2: dive company.

737
00:38:19,560 --> 00:38:23,480
Speaker 3: This guy's he's a terror at restaurants. He gets cashiers

738
00:38:23,520 --> 00:38:27,440
Speaker 3: fired everywhere he goes. Yeah, but on the way up

739
00:38:27,480 --> 00:38:30,799
Speaker 3: to chew out the captain, he meets Bacardi Man, who

740
00:38:30,800 --> 00:38:33,480
Speaker 3: I think his name is Chuck, who is more laid back.

741
00:38:33,800 --> 00:38:36,319
Speaker 3: Bacardi Man is making a house of cards, one might

742
00:38:36,360 --> 00:38:40,040
Speaker 3: say a bunker of cards, and his characteristics when we

743
00:38:40,120 --> 00:38:43,080
Speaker 3: first meet him, or that he's got his shirt unbuttoned

744
00:38:43,360 --> 00:38:47,319
Speaker 3: several more buttons down than Norman does, so you can

745
00:38:47,360 --> 00:38:51,200
Speaker 3: tell he's cooler. And he just drinks rum and chills.

746
00:38:50,960 --> 00:38:54,880
Speaker 2: Out yeap, just having having rum and coke and stacking cards.

747
00:38:55,760 --> 00:38:58,000
Speaker 3: And then of course we meet Dobbs, the cook we

748
00:38:58,040 --> 00:39:02,120
Speaker 3: already talked about, who makes his Baccardi straight, unlike Chuck,

749
00:39:02,160 --> 00:39:05,160
Speaker 3: who likes his with Coca cola. And Dobbs is sort

750
00:39:05,200 --> 00:39:10,200
Speaker 3: of Coleridge's ancient mariner. He's got strong unhand me graybeard

751
00:39:10,280 --> 00:39:13,560
Speaker 3: loon energy. Oh, and then they all meet up for dinner.

752
00:39:14,160 --> 00:39:16,120
Speaker 3: And so during this dinner you're supposed to be paying

753
00:39:16,160 --> 00:39:19,319
Speaker 3: attention to the dialogue because John Carrodine and Norman get

754
00:39:19,320 --> 00:39:21,960
Speaker 3: into this big blow up about I don't know about

755
00:39:22,000 --> 00:39:25,560
Speaker 3: whether the ship is seaworthy or not, I think, But

756
00:39:25,640 --> 00:39:28,319
Speaker 3: the main thing I couldn't stop paying attention to was

757
00:39:28,400 --> 00:39:32,239
Speaker 3: this old school can of craft grated parmesan cheese on

758
00:39:32,280 --> 00:39:36,320
Speaker 3: the table and the can looks blue. Now that product

759
00:39:36,400 --> 00:39:39,120
Speaker 3: is decidedly in a green can. And I was trying

760
00:39:39,160 --> 00:39:41,440
Speaker 3: to figure out, Okay, were these cans blue in the

761
00:39:41,480 --> 00:39:44,120
Speaker 3: eighties or the color is screwed up on the film?

762
00:39:44,600 --> 00:39:46,399
Speaker 2: Yeah, or I get well, this would have been seventy five,

763
00:39:46,480 --> 00:39:48,440
Speaker 2: so maybe they were blue in the mid seventies.

764
00:39:48,480 --> 00:39:50,160
Speaker 3: Yeah, the seventies, okay.

765
00:39:50,200 --> 00:39:53,279
Speaker 2: Or perhaps that astrological disorder. One of the things it

766
00:39:53,280 --> 00:39:56,880
Speaker 2: did is it flipped the colors on the craft grated parmesan.

767
00:39:57,000 --> 00:40:02,960
Speaker 3: Oh ye, can products are blue now, yeah, reverse polarity

768
00:40:03,520 --> 00:40:06,280
Speaker 3: and also change the color of grated parmesan canisters.

769
00:40:06,440 --> 00:40:09,640
Speaker 2: Uh huh. But let's get back to Norman's mutiny here.

770
00:40:10,200 --> 00:40:12,680
Speaker 3: What is Dobbs serving that with? Though he's got the

771
00:40:12,680 --> 00:40:15,280
Speaker 3: graded parmesan on the boat? Did he make Italian food?

772
00:40:17,480 --> 00:40:19,920
Speaker 2: I guess. I mean, we see his kitchen later and

773
00:40:19,960 --> 00:40:22,560
Speaker 2: it is awful looking, like it's just it's got like

774
00:40:22,680 --> 00:40:25,840
Speaker 2: just it's pin ups, like plastered to the wall, like

775
00:40:25,840 --> 00:40:28,480
Speaker 2: like just like a fixed in place with bile or

776
00:40:28,480 --> 00:40:31,319
Speaker 2: something and chewing gum and then just like junk all

777
00:40:31,320 --> 00:40:33,640
Speaker 2: over the floor. It looks like there has been some

778
00:40:33,880 --> 00:40:35,719
Speaker 2: just dosag I mean, maybe the ideas is supposed to

779
00:40:35,760 --> 00:40:38,120
Speaker 2: have been at that point there's been like rough seas,

780
00:40:38,160 --> 00:40:40,120
Speaker 2: but I don't know. It just looks it looks gross.

781
00:40:40,320 --> 00:40:43,080
Speaker 3: He lights the burner on his stove with old playboys.

782
00:40:43,520 --> 00:40:45,040
Speaker 2: Yeah, but as I was.

783
00:40:45,000 --> 00:40:47,640
Speaker 3: Saying earlier, Norman does not like the way Carrodine is

784
00:40:47,719 --> 00:40:51,320
Speaker 3: running things, and he I think he basically literally proposes

785
00:40:51,360 --> 00:40:54,240
Speaker 3: a mutiny, Like he talks to the other he's trying

786
00:40:54,280 --> 00:40:57,360
Speaker 3: to talk to the other tourists into taking over the boat.

787
00:40:58,200 --> 00:41:00,880
Speaker 2: Yeah, they're they're like, what you You're gonna take over.

788
00:41:00,920 --> 00:41:02,360
Speaker 2: He's like, now we'll have one of these other people

789
00:41:02,360 --> 00:41:03,960
Speaker 2: do it. They're idiots, but they can do it, Like

790
00:41:04,000 --> 00:41:05,400
Speaker 2: he's just awful.

791
00:41:05,160 --> 00:41:07,560
Speaker 3: To act, just like we'll have Dobbs drive the boat.

792
00:41:09,440 --> 00:41:12,120
Speaker 3: And this seems to be a reaction to, quote what

793
00:41:12,360 --> 00:41:17,200
Speaker 3: happened earlier and to some unspecified story that Dobbs allegedly

794
00:41:17,239 --> 00:41:20,920
Speaker 3: told about spooky doings out on the ocean. But again,

795
00:41:21,000 --> 00:41:23,840
Speaker 3: what actually happened earlier, like the sky turned orange. But

796
00:41:23,880 --> 00:41:26,960
Speaker 3: I don't get what happened that it is they're reacting to.

797
00:41:27,440 --> 00:41:32,040
Speaker 2: Yeah, I don't know, just sort of general Bermuda triangleness. Occurred.

798
00:41:32,080 --> 00:41:34,400
Speaker 2: You know, this guy went weird, the sun went weird,

799
00:41:34,719 --> 00:41:37,440
Speaker 2: compasses aren't working. Maybe they felt weird as well. I

800
00:41:37,440 --> 00:41:37,799
Speaker 2: don't know.

801
00:41:38,320 --> 00:41:41,200
Speaker 3: You know, there's a great scene where Brooke Adams is

802
00:41:41,239 --> 00:41:43,359
Speaker 3: she supposed to be married to Biccardi man.

803
00:41:44,400 --> 00:41:44,600
Speaker 2: No.

804
00:41:45,200 --> 00:41:45,560
Speaker 3: Oh.

805
00:41:45,640 --> 00:41:48,000
Speaker 2: It may not be completely clear in the early stages

806
00:41:48,000 --> 00:41:49,960
Speaker 2: as we're trying to feel out these characters, but it

807
00:41:50,040 --> 00:41:51,880
Speaker 2: becomes clear that yeah, they're not married.

808
00:41:52,000 --> 00:41:55,400
Speaker 3: Oh, okay, okay, but she After this, it's like the

809
00:41:55,440 --> 00:41:59,640
Speaker 3: middle of the night and Maximum mustaches driving the boat

810
00:42:00,160 --> 00:42:03,319
Speaker 3: and Brooke Adams comes up to talk to him and

811
00:42:03,360 --> 00:42:05,880
Speaker 3: it's great. So it's like nighttime out on the ocean,

812
00:42:06,160 --> 00:42:09,279
Speaker 3: and we find out from this conversation that he likes

813
00:42:09,320 --> 00:42:12,120
Speaker 3: to be alone up here and he doesn't know where

814
00:42:12,120 --> 00:42:12,480
Speaker 3: they are.

815
00:42:14,560 --> 00:42:14,719
Speaker 4: Oh.

816
00:42:14,760 --> 00:42:17,800
Speaker 3: But then their little moment is interrupted because a ghost

817
00:42:17,840 --> 00:42:22,120
Speaker 3: ship comes out of the dark and slams into their boat. Yeah,

818
00:42:22,160 --> 00:42:24,920
Speaker 3: and so they argue about this. John Carodine does not

819
00:42:24,960 --> 00:42:27,360
Speaker 3: believe it. He's like, oh, the ghost ship, huh, I

820
00:42:27,400 --> 00:42:30,399
Speaker 3: bet you believe in fairies too. But then they find

821
00:42:30,400 --> 00:42:32,400
Speaker 3: a bunch of damage on the hull and they shoot

822
00:42:32,400 --> 00:42:34,600
Speaker 3: a flare out into the dark and there it is,

823
00:42:34,719 --> 00:42:36,480
Speaker 3: and this is a good creepy scene.

824
00:42:36,680 --> 00:42:38,799
Speaker 2: Yeah, yeah, because what's going on? Where did this ghost

825
00:42:38,800 --> 00:42:39,560
Speaker 2: ship come from?

826
00:42:40,320 --> 00:42:43,080
Speaker 3: But then in the morning, all kinds of problems. In

827
00:42:43,080 --> 00:42:45,920
Speaker 3: the morning, the boat is beached on a mysterious island.

828
00:42:46,520 --> 00:42:50,560
Speaker 3: Captain Carrodine is just gone, and so everybody has to

829
00:42:50,600 --> 00:42:53,200
Speaker 3: go ashore until they can get the ship free of

830
00:42:53,280 --> 00:42:56,719
Speaker 3: the shoal that it has run aground on. Oh and

831
00:42:56,719 --> 00:42:59,120
Speaker 3: then I mentioned this moment earlier, but while Norman and

832
00:42:59,120 --> 00:43:02,439
Speaker 3: Beverly are being rowed ashore by Keith, they're being rowed

833
00:43:02,440 --> 00:43:05,719
Speaker 3: ashore in a glass bottom dinghy, which I've never heard

834
00:43:05,760 --> 00:43:07,760
Speaker 3: of before. I mean, I've heard of glass bottom boats,

835
00:43:07,760 --> 00:43:10,560
Speaker 3: but those usually tend to be, you know, have more passengers.

836
00:43:10,560 --> 00:43:11,000
Speaker 3: I think.

837
00:43:11,160 --> 00:43:12,920
Speaker 2: I guess it's because since this is supposed to be

838
00:43:12,920 --> 00:43:15,760
Speaker 2: a vacation boat that they just have a glass bottom

839
00:43:15,760 --> 00:43:21,520
Speaker 2: boat on hand. But yeah, it's effective because yeah, they're

840
00:43:21,560 --> 00:43:25,040
Speaker 2: they're they're moving right along. And then there's Carradine's corpse

841
00:43:25,120 --> 00:43:26,600
Speaker 2: just bobbing up against the glass.

842
00:43:26,719 --> 00:43:30,799
Speaker 3: Yeah, he's bubbling in the water, right pray in MUNDOPI.

843
00:43:32,120 --> 00:43:35,880
Speaker 3: And so anyway, on the island, Bacardi Man climbs a

844
00:43:35,920 --> 00:43:39,080
Speaker 3: palm tree. He sees a building and so they're like, Okay,

845
00:43:39,200 --> 00:43:41,560
Speaker 3: that's where we're going. So everybody hikes through the jungle

846
00:43:41,680 --> 00:43:45,080
Speaker 3: to reach this building, which is a sort of classic

847
00:43:45,600 --> 00:43:49,080
Speaker 3: Caribbean or Florida kind of Spanish opulent style.

848
00:43:50,160 --> 00:43:52,239
Speaker 2: Yeah, so I want to mention real quick, this is

849
00:43:52,280 --> 00:43:55,680
Speaker 2: pretty fun because this, uh, this is this is this

850
00:43:55,800 --> 00:43:59,040
Speaker 2: hotel that we visit here is is very much a

851
00:43:59,040 --> 00:44:02,960
Speaker 2: real place in Florida. This ruined hotel. They apparently paid

852
00:44:03,000 --> 00:44:05,279
Speaker 2: something like two hundred and fifty dollars to rent the

853
00:44:05,440 --> 00:44:10,360
Speaker 2: entire thing for the picture, but it was subsequently fixed

854
00:44:10,360 --> 00:44:13,759
Speaker 2: back up a few years later and is known as

855
00:44:13,800 --> 00:44:17,520
Speaker 2: the Builtmore Hotel. It's in Coral Gables, Florida, just outside

856
00:44:17,520 --> 00:44:20,040
Speaker 2: of Miami, and you can look it up online. You

857
00:44:20,040 --> 00:44:22,439
Speaker 2: can go to build More Hotel dot com and see

858
00:44:22,440 --> 00:44:27,960
Speaker 2: it is. It's super fancy. The story here. According to

859
00:44:28,080 --> 00:44:30,880
Speaker 2: Jason Scott Degan at golf Pass, that's where I always

860
00:44:30,880 --> 00:44:34,360
Speaker 2: go to get my shirts, my stories about sets in

861
00:44:34,480 --> 00:44:38,360
Speaker 2: seventies zombie movies. It opened in the twenties and was

862
00:44:38,800 --> 00:44:41,400
Speaker 2: the sort of fancy Florida destination for the likes of

863
00:44:41,440 --> 00:44:45,120
Speaker 2: Al Capone and President Franklin D. Roosevelt, but then it

864
00:44:45,160 --> 00:44:48,279
Speaker 2: was converted into a hospital in nineteen forty two, and

865
00:44:48,320 --> 00:44:51,200
Speaker 2: it remained one all the way through nineteen sixty eight,

866
00:44:51,920 --> 00:44:54,360
Speaker 2: and then it was just empty for more than a decade,

867
00:44:54,640 --> 00:44:56,840
Speaker 2: and that was during that time, that's when they filmed

868
00:44:56,840 --> 00:44:59,840
Speaker 2: Shockwaves there. But then Coral Gables had it renovated and

869
00:44:59,880 --> 00:45:02,760
Speaker 2: it open back up in eighty seven, entered private ownership

870
00:45:02,800 --> 00:45:06,239
Speaker 2: in nineteen ninety two, and I checked earlier. If you

871
00:45:06,280 --> 00:45:08,400
Speaker 2: want to get a room there, it's like two hundred

872
00:45:08,400 --> 00:45:11,480
Speaker 2: and sixty eight dollars a night or something like that.

873
00:45:11,480 --> 00:45:13,080
Speaker 2: That probably changes. Don't quote me on that if you're

874
00:45:13,080 --> 00:45:16,360
Speaker 2: planning to stay there. But the point is they rented

875
00:45:16,400 --> 00:45:19,440
Speaker 2: the whole thing when it was a ruin, for the

876
00:45:19,560 --> 00:45:22,240
Speaker 2: duration of the filming for just two hundred and fifty bucks.

877
00:45:22,600 --> 00:45:24,040
Speaker 2: And so there are going to be some scenes in

878
00:45:24,080 --> 00:45:27,160
Speaker 2: Shockwaves where they're in like some sizable hallways and you

879
00:45:27,200 --> 00:45:30,360
Speaker 2: see some columns and a big fireplace in the background.

880
00:45:30,560 --> 00:45:32,759
Speaker 2: It's fun because you can pause the film and then

881
00:45:32,760 --> 00:45:34,960
Speaker 2: you can go grab your computer and you can look

882
00:45:35,040 --> 00:45:38,440
Speaker 2: up current photos and you can see like those same

883
00:45:38,520 --> 00:45:41,800
Speaker 2: places that are now super fancy and ritzy and colorful

884
00:45:41,880 --> 00:45:44,640
Speaker 2: and just you know, done up like a fancy golf

885
00:45:44,680 --> 00:45:47,960
Speaker 2: course hotel, and I'm looking at that, I'm like, oh man,

886
00:45:48,000 --> 00:45:49,880
Speaker 2: how many people are walking through that and they don't

887
00:45:49,920 --> 00:45:51,879
Speaker 2: realize that Peter Cushing was here.

888
00:45:52,200 --> 00:45:55,919
Speaker 3: You know, this was Shockwaves no idea, They've never been

889
00:45:56,000 --> 00:45:59,279
Speaker 3: on the Shockwaves tour. I was thinking, so, okay, if

890
00:45:59,320 --> 00:46:01,880
Speaker 3: they had wanted to go a true direction, then with

891
00:46:01,920 --> 00:46:05,760
Speaker 3: this hotel instead of the you know, SS zombies direction,

892
00:46:06,200 --> 00:46:08,640
Speaker 3: they could have embraced the fact that this was where

893
00:46:08,640 --> 00:46:11,600
Speaker 3: al Capone and Franklin D. Roosevelt came so they could

894
00:46:11,600 --> 00:46:17,279
Speaker 3: have zombie I guess prohibitions like liquor smugglers, and then

895
00:46:17,320 --> 00:46:20,000
Speaker 3: they could have what I don't know, zombie members of

896
00:46:20,040 --> 00:46:22,120
Speaker 3: the Sphillian Conservation Corps.

897
00:46:22,160 --> 00:46:25,520
Speaker 2: I guess dead and zing as well does it. But

898
00:46:25,560 --> 00:46:27,440
Speaker 2: it could have changed the course, like that's that's of

899
00:46:27,800 --> 00:46:30,160
Speaker 2: of of media. That's where we would we would have

900
00:46:30,160 --> 00:46:33,560
Speaker 2: in video games now it would be uh, you know,

901
00:46:33,719 --> 00:46:37,960
Speaker 2: zombie Bootlegger video games. That would be the big craze.

902
00:46:37,680 --> 00:46:39,319
Speaker 3: That can maybe be interesting. I don't know.

903
00:46:39,400 --> 00:46:42,040
Speaker 2: I don't know anyway in this film though, Yeah, the

904
00:46:42,080 --> 00:46:44,840
Speaker 2: place looks it's just an effective Florida ruin, and I

905
00:46:44,840 --> 00:46:46,720
Speaker 2: think it's one of the things that makes that helps

906
00:46:46,760 --> 00:46:49,239
Speaker 2: make the movie work is that this is this is

907
00:46:49,400 --> 00:46:55,040
Speaker 2: like the ruined splendor of Florida, which you inevitably encounter,

908
00:46:56,080 --> 00:46:58,480
Speaker 2: you know, examples of you know, you can't have, you know,

909
00:46:58,560 --> 00:47:02,960
Speaker 2: coastal tourism exists in a place without things following in,

910
00:47:03,080 --> 00:47:06,640
Speaker 2: falling into disrepair and becoming kind of you know, mysterious

911
00:47:06,719 --> 00:47:08,120
Speaker 2: or half mysterious ruins.

912
00:47:08,480 --> 00:47:10,439
Speaker 3: Yeah, so it's a good setting. And I would say

913
00:47:10,760 --> 00:47:14,359
Speaker 3: this moment is also where the movie shifts gears and

914
00:47:14,600 --> 00:47:18,320
Speaker 3: it goes into what it remains actually for the remainder

915
00:47:18,360 --> 00:47:22,240
Speaker 3: of the movie mostly, which is shots of zombies lumen

916
00:47:22,480 --> 00:47:26,360
Speaker 3: goggle zombies. Again, there's excellent costume and makeup design because

917
00:47:26,440 --> 00:47:29,680
Speaker 3: it's pretty simple. They're just in these old uniforms and

918
00:47:29,680 --> 00:47:32,200
Speaker 3: they've got kind of messed up looking skin, and then

919
00:47:32,239 --> 00:47:34,960
Speaker 3: they have these goggles and the goggles. The goggles are

920
00:47:35,000 --> 00:47:37,360
Speaker 3: just bottomless pits. It's really good.

921
00:47:37,680 --> 00:47:40,600
Speaker 2: Yeah, it all comes together to make a very evocative

922
00:47:42,640 --> 00:47:44,719
Speaker 2: adversary here. And at first they just seem to be

923
00:47:44,800 --> 00:47:48,000
Speaker 2: scouting things out like they've been they've clearly been awakened,

924
00:47:48,360 --> 00:47:50,200
Speaker 2: and now they're scoping out the joint.

925
00:47:50,560 --> 00:47:55,040
Speaker 3: So meanwhile, our tourists wander through the old hotel Bacardi

926
00:47:55,160 --> 00:47:58,680
Speaker 3: man and Dobbs, who is also swinging Baccardy. They they

927
00:47:58,760 --> 00:48:03,279
Speaker 3: find a tankful fish or these frog fish that like

928
00:48:03,360 --> 00:48:06,520
Speaker 3: your your checklist for Florida movies, it has tanks of

929
00:48:06,560 --> 00:48:07,120
Speaker 3: fish in it.

930
00:48:07,440 --> 00:48:09,400
Speaker 2: Yeah, yeah, I'm not sure off hand what this was.

931
00:48:09,400 --> 00:48:12,000
Speaker 2: Maybe scorpion fish, but either way, it's got some big

932
00:48:12,080 --> 00:48:15,560
Speaker 2: zat energy going on and I love it. Yeah, And Dobbs,

933
00:48:15,640 --> 00:48:18,200
Speaker 2: it becomes clear, has this this never ending supply of

934
00:48:18,239 --> 00:48:20,800
Speaker 2: booze on his person. He pulls out the largest flask

935
00:48:21,239 --> 00:48:23,319
Speaker 2: I've ever seen in some of these these scenes. Like,

936
00:48:23,360 --> 00:48:26,440
Speaker 2: it's not a hip flask, it's like a leg flask.

937
00:48:26,680 --> 00:48:28,120
Speaker 3: It's like a backpack flask.

938
00:48:28,320 --> 00:48:29,280
Speaker 2: Yeah.

939
00:48:29,320 --> 00:48:31,680
Speaker 3: But also at this point it's Cushing time, so they're

940
00:48:31,719 --> 00:48:34,279
Speaker 3: they're wandering around. Oh well, I think they somehow come

941
00:48:34,360 --> 00:48:38,200
Speaker 3: across a like a there's like an old phonograph that

942
00:48:38,280 --> 00:48:42,600
Speaker 3: starts playing warped, creepy music, and everybody comes and finds

943
00:48:42,640 --> 00:48:45,239
Speaker 3: that thing. And they're standing in this big hallway and

944
00:48:45,320 --> 00:48:48,760
Speaker 3: then from out of somewhere you get you get cushing voice,

945
00:48:48,840 --> 00:48:53,000
Speaker 3: kind of nasal cushing voice, disembodied eternal saying why have

946
00:48:53,120 --> 00:48:56,080
Speaker 3: you come to this place, and they say where are you?

947
00:48:56,160 --> 00:49:00,680
Speaker 3: And he says, I am near but also far. But yeah,

948
00:49:00,719 --> 00:49:04,000
Speaker 3: and so from this conversation, let's see, they explain how

949
00:49:04,040 --> 00:49:06,759
Speaker 3: they got here. Cushing tells them he can't help them.

950
00:49:07,200 --> 00:49:10,960
Speaker 3: They explain the ghost ship that rammed their boat. Actually

951
00:49:10,960 --> 00:49:13,720
Speaker 3: it is a long wrecked ship that's out on the reef.

952
00:49:14,480 --> 00:49:16,920
Speaker 3: And then this was pretty funny. Cushing just freaks out

953
00:49:16,960 --> 00:49:20,319
Speaker 3: at this news. And then you see him and he

954
00:49:20,400 --> 00:49:21,960
Speaker 3: learns the name of the ship and he just sort

955
00:49:22,000 --> 00:49:24,200
Speaker 3: of busts out, running through the forest to go look

956
00:49:24,239 --> 00:49:25,560
Speaker 3: at it.

957
00:49:25,560 --> 00:49:28,319
Speaker 2: It's kind of an interesting twist on what you might

958
00:49:28,360 --> 00:49:30,319
Speaker 2: expect in a lot of these films, where I mean,

959
00:49:30,560 --> 00:49:33,160
Speaker 2: not too big of a twist. I guess there's always

960
00:49:33,160 --> 00:49:36,560
Speaker 2: this idea that the mastermind or the mad scientist involved

961
00:49:36,600 --> 00:49:39,120
Speaker 2: in a scenario is going to be consumed by his

962
00:49:39,120 --> 00:49:43,200
Speaker 2: own creations. But there's never even any idea, like even

963
00:49:43,360 --> 00:49:46,440
Speaker 2: a pretense that he has control over these things, like

964
00:49:46,760 --> 00:49:49,400
Speaker 2: he's afraid of them as everyone else from the get go.

965
00:49:49,480 --> 00:49:51,360
Speaker 2: He just has a little more information.

966
00:49:51,360 --> 00:49:53,839
Speaker 3: Right exactly, So he goes out there to look at them.

967
00:49:53,880 --> 00:49:58,760
Speaker 3: He clearly is he's shaken. Meanwhile, the tourists establish camp

968
00:49:58,920 --> 00:50:01,839
Speaker 3: within Hotel SA. They just like go into a room

969
00:50:01,880 --> 00:50:03,879
Speaker 3: and they start getting pillows and.

970
00:50:03,640 --> 00:50:05,040
Speaker 2: After as well get comfy.

971
00:50:05,160 --> 00:50:08,319
Speaker 3: Yeah, they get comfy and oh and then there's this

972
00:50:08,360 --> 00:50:08,920
Speaker 3: great shot.

973
00:50:09,000 --> 00:50:09,280
Speaker 2: Again.

974
00:50:09,560 --> 00:50:11,799
Speaker 3: Most of what's the best about this movie is just

975
00:50:11,920 --> 00:50:16,200
Speaker 3: good creepy shots of zombies with in goggles doing creepy stuff.

976
00:50:16,600 --> 00:50:18,839
Speaker 3: One of my favorites is this moment that's coming right

977
00:50:18,920 --> 00:50:23,000
Speaker 3: up where the zombies have like these little cubicles of

978
00:50:23,200 --> 00:50:25,600
Speaker 3: coral that they appear to be sleeping in. They're like

979
00:50:25,719 --> 00:50:29,600
Speaker 3: laying down horizontally in these little boxes around the reef,

980
00:50:30,120 --> 00:50:32,400
Speaker 3: and there's one scene where one of them reaches up

981
00:50:32,440 --> 00:50:34,719
Speaker 3: from below the water and grips the part of the

982
00:50:34,760 --> 00:50:37,040
Speaker 3: reef that protrudes. It's very cool.

983
00:50:37,360 --> 00:50:38,960
Speaker 2: Yeah, and again this is one of the things like

984
00:50:39,000 --> 00:50:40,280
Speaker 2: imagery from a dark dream.

985
00:50:40,640 --> 00:50:51,359
Speaker 3: Yeah. But anyway, we're forty minutes in and I think

986
00:50:51,360 --> 00:50:54,560
Speaker 3: we've just officially reached the zombie attack part of the movie,

987
00:50:54,560 --> 00:50:56,879
Speaker 3: and that defines the rest of what goes on. There's

988
00:50:56,920 --> 00:50:59,000
Speaker 3: two main things that happen from here on out. It's

989
00:50:59,360 --> 00:51:03,360
Speaker 3: zombies being creepy looming looking at you with the goggles

990
00:51:03,400 --> 00:51:06,200
Speaker 3: and zombies grabbing people and killing them.

991
00:51:06,400 --> 00:51:10,080
Speaker 2: Yeah, and uh, and it's it's pretty effective because you

992
00:51:10,120 --> 00:51:12,480
Speaker 2: have you have basically two locations go well three, I

993
00:51:12,480 --> 00:51:15,240
Speaker 2: guess there's the surf and out in the water there's

994
00:51:15,320 --> 00:51:18,920
Speaker 2: the sort of Florida coastal jungle, and then they are

995
00:51:18,960 --> 00:51:21,600
Speaker 2: the ruins of the hotel. And and in all of

996
00:51:21,600 --> 00:51:26,520
Speaker 2: those the the the death Core troopers here. They man,

997
00:51:26,560 --> 00:51:28,960
Speaker 2: they just they move around in very interesting ways. They're

998
00:51:29,000 --> 00:51:33,840
Speaker 2: not like shambling zombies. They're very deliberate and and and

999
00:51:34,000 --> 00:51:38,239
Speaker 2: slow and stealthy like when they stalk and hunt their

1000
00:51:38,280 --> 00:51:40,960
Speaker 2: prey in this and it's it's it's very unsettling.

1001
00:51:41,280 --> 00:51:44,719
Speaker 3: There is a moment where the cook daubs he goes

1002
00:51:44,760 --> 00:51:47,200
Speaker 3: out to get supplies to cook food for everybody. I

1003
00:51:47,200 --> 00:51:48,799
Speaker 3: don't know what he plans to cook it on, but

1004
00:51:49,480 --> 00:51:51,400
Speaker 3: he does that. And I guess he's coming back with

1005
00:51:51,520 --> 00:51:54,640
Speaker 3: food supplies from the boat and he gets attacked by

1006
00:51:54,680 --> 00:51:59,280
Speaker 3: a goggle beast. But the attack is interesting. The goggle

1007
00:51:59,320 --> 00:52:03,320
Speaker 3: beast does not grab him. Instead, it menaces him until

1008
00:52:03,360 --> 00:52:07,040
Speaker 3: he falls to his death in a pool of sea urchins.

1009
00:52:07,080 --> 00:52:09,440
Speaker 3: And I think that is a first and only for me.

1010
00:52:09,800 --> 00:52:12,560
Speaker 3: I don't think I've ever seen pit of sea urchins

1011
00:52:12,680 --> 00:52:15,040
Speaker 3: otherwise used as a murder weapon in a movie.

1012
00:52:15,760 --> 00:52:18,000
Speaker 2: I winced when I saw this, and it's been a

1013
00:52:18,000 --> 00:52:20,560
Speaker 2: while since I've seen it, so I'd forgotten about this scene.

1014
00:52:20,600 --> 00:52:23,480
Speaker 2: But I certainly have been around sea urchins, and you

1015
00:52:23,480 --> 00:52:26,000
Speaker 2: know sometimes when I'm in the water with them, and yeah,

1016
00:52:26,040 --> 00:52:27,600
Speaker 2: you have that in the back of your head. I

1017
00:52:27,600 --> 00:52:29,160
Speaker 2: don't want to touch that. I certainly don't want to

1018
00:52:29,200 --> 00:52:32,879
Speaker 2: fall on it with my face like Dobbs does. So

1019
00:52:32,960 --> 00:52:34,240
Speaker 2: this one gave me the all overs.

1020
00:52:34,560 --> 00:52:38,000
Speaker 3: Yeah. Oh, and then it's funny with everybody discovers that

1021
00:52:38,080 --> 00:52:40,680
Speaker 3: Dobbs has died. When Brooke Adams puts on the bathing

1022
00:52:40,719 --> 00:52:43,400
Speaker 3: suit and decides to go swimming in this fetid pond

1023
00:52:43,480 --> 00:52:44,560
Speaker 3: full of sea urchins.

1024
00:52:44,960 --> 00:52:46,440
Speaker 2: Yeah, well it's hot, it's hot out there.

1025
00:52:46,560 --> 00:52:50,960
Speaker 3: Yeah, but she just she literally bumps right into him.

1026
00:52:51,000 --> 00:52:53,480
Speaker 3: So he's all mangled laying there in the reeds and

1027
00:52:53,520 --> 00:52:57,120
Speaker 3: she back strokes into him, and then yeah, freaks out. Whoops.

1028
00:52:57,400 --> 00:53:01,520
Speaker 2: This movie has more finding of drowned characters than any

1029
00:53:01,520 --> 00:53:04,319
Speaker 2: other film I've seen, but that it's very well done,

1030
00:53:04,320 --> 00:53:08,279
Speaker 2: like each discovery is horrific, and even though like all

1031
00:53:08,280 --> 00:53:09,879
Speaker 2: the kill I think all the kills in the film

1032
00:53:09,880 --> 00:53:13,360
Speaker 2: are bloodless, but they're still they tend to be disturbing.

1033
00:53:13,520 --> 00:53:17,680
Speaker 3: Oh yeah, yeah, they're disturbing because of the atmosphere, the music,

1034
00:53:17,840 --> 00:53:20,640
Speaker 3: the you know, the goggles and all that. It's yeah,

1035
00:53:21,320 --> 00:53:24,400
Speaker 3: you don't need blood to be disturbing. In fact, I

1036
00:53:24,440 --> 00:53:26,960
Speaker 3: was actually just talking about this with with Rachel not

1037
00:53:27,040 --> 00:53:30,279
Speaker 3: too long ago, about how when you go back and

1038
00:53:30,360 --> 00:53:34,799
Speaker 3: watch Texas Chainsaw massacre, it's surprising how little blood there

1039
00:53:34,920 --> 00:53:35,319
Speaker 3: is in it.

1040
00:53:35,440 --> 00:53:39,040
Speaker 2: M yeah, yes, it's definitely similar energy in this.

1041
00:53:39,280 --> 00:53:41,359
Speaker 3: But there's even less in this than there is in that.

1042
00:53:42,239 --> 00:53:44,759
Speaker 3: But anyway, so everybody goes back to the hotel and

1043
00:53:44,800 --> 00:53:47,160
Speaker 3: in the meantime, I don't know what to make of this.

1044
00:53:47,200 --> 00:53:49,560
Speaker 3: Suddenly they go back to the hotel and there's stuff

1045
00:53:49,600 --> 00:53:52,160
Speaker 3: there that I don't remember seeing the previous time, which

1046
00:53:52,200 --> 00:53:55,600
Speaker 3: is that like Cushing has like swastika crap hanging up.

1047
00:53:55,640 --> 00:53:59,520
Speaker 3: He's like he's like put up Nazi decorations since they

1048
00:54:00,400 --> 00:54:02,960
Speaker 3: were last in his area. Is that? Is that what

1049
00:54:03,000 --> 00:54:04,160
Speaker 3: we're supposed to understand.

1050
00:54:04,760 --> 00:54:06,719
Speaker 2: I thought it was maybe just a section of this

1051
00:54:06,800 --> 00:54:09,680
Speaker 2: big hotel that we hadn't seen yet, But yeah, he

1052
00:54:09,760 --> 00:54:13,000
Speaker 2: has it decorated with a billion mirrors, which I don't know,

1053
00:54:13,080 --> 00:54:15,960
Speaker 2: maybe that's some sort of anxiety about things creeping up

1054
00:54:16,000 --> 00:54:19,799
Speaker 2: on him, like his own creations here or and then

1055
00:54:19,800 --> 00:54:23,719
Speaker 2: he has the Nazi flags up. But this is all

1056
00:54:23,760 --> 00:54:25,840
Speaker 2: we see of his life here. There's no mad science

1057
00:54:25,880 --> 00:54:28,440
Speaker 2: lab or anything. There's no even inclination that he's been

1058
00:54:28,520 --> 00:54:33,000
Speaker 2: up to anything the past, you know what. Ever, since

1059
00:54:33,040 --> 00:54:35,399
Speaker 2: the end of the Second World War, he's just been

1060
00:54:35,440 --> 00:54:38,880
Speaker 2: hanging out here in this ruined hotel, just doing nothing.

1061
00:54:38,960 --> 00:54:41,080
Speaker 3: What's he eating, what's he surviving on it?

1062
00:54:41,360 --> 00:54:44,160
Speaker 2: I don't know. He's He's not doing great though, I

1063
00:54:44,160 --> 00:54:45,839
Speaker 2: mean he looks really.

1064
00:54:45,560 --> 00:54:47,080
Speaker 3: Shabby, Yes he does.

1065
00:54:47,360 --> 00:54:49,440
Speaker 2: I don't think I've ever seen Peter Cushing and short

1066
00:54:49,480 --> 00:54:51,960
Speaker 2: sleeves before, but he's got these raggedy short sleeves and

1067
00:54:52,000 --> 00:54:54,279
Speaker 2: a kerchief tied around his neck. I mean he looks

1068
00:54:54,400 --> 00:54:55,919
Speaker 2: he looks shipwrecked the whole time.

1069
00:54:56,120 --> 00:54:58,360
Speaker 3: That's a good point. I did not notice the Cushing

1070
00:54:58,440 --> 00:55:00,640
Speaker 3: short sleeves. But you're right in that that is a

1071
00:55:00,719 --> 00:55:03,719
Speaker 3: defined I mean Cushing Cushing is somebody who needs a

1072
00:55:03,800 --> 00:55:07,480
Speaker 3: jacket and tie. That's part of who he is. But

1073
00:55:07,640 --> 00:55:12,360
Speaker 3: here here we get our exposition dump. Should we have

1074
00:55:12,440 --> 00:55:15,400
Speaker 3: exposition dump music that plays every time we get to

1075
00:55:15,440 --> 00:55:17,520
Speaker 3: that part of the plot. I don't know, Seth. I'll

1076
00:55:17,560 --> 00:55:22,840
Speaker 3: let you decide that anyway. But exposition dump Cushing is

1077
00:55:22,880 --> 00:55:25,880
Speaker 3: now explains everything to them. He's hanging out with Norman

1078
00:55:26,000 --> 00:55:28,680
Speaker 3: and Chuck and these goobers.

1079
00:55:28,160 --> 00:55:31,040
Speaker 2: And he's very succinct though, like he doesn't mess around.

1080
00:55:31,040 --> 00:55:33,280
Speaker 2: There's no gloating. He just tells it like it seems

1081
00:55:33,320 --> 00:55:33,560
Speaker 2: to be.

1082
00:55:33,760 --> 00:55:36,640
Speaker 3: No Here are the facts from his exposition dump it is.

1083
00:55:36,800 --> 00:55:40,239
Speaker 3: You are dumb. You should have left. Now you will die.

1084
00:55:40,640 --> 00:55:43,640
Speaker 3: Allow me to explain. I was an SS commander in

1085
00:55:43,680 --> 00:55:46,640
Speaker 3: World War Two. I commanded a group of aquatic zombie

1086
00:55:46,760 --> 00:55:50,040
Speaker 3: SS troops that could live underwater without ever having to surface.

1087
00:55:50,920 --> 00:55:52,960
Speaker 3: And then there was one part I wanted to quote

1088
00:55:53,200 --> 00:55:56,160
Speaker 3: because it was so weird. He says, we created the

1089
00:55:56,160 --> 00:56:00,399
Speaker 3: perfect soldier from street hoodlums and thugs and a good

1090
00:56:00,480 --> 00:56:04,600
Speaker 3: number of pathological murderers and sadists. We called them the

1091
00:56:04,600 --> 00:56:08,919
Speaker 3: Totin Core, the death Core. Creatures more horrible than any

1092
00:56:09,000 --> 00:56:12,800
Speaker 3: you can imagine, not dead, not alive, but somewhere in between.

1093
00:56:13,440 --> 00:56:16,040
Speaker 3: And then he starts complaining about how they wouldn't obey

1094
00:56:16,120 --> 00:56:19,439
Speaker 3: orders and couldn't be controlled, but he says they made them.

1095
00:56:19,560 --> 00:56:22,960
Speaker 3: They just like tried to get pathological murderers and sadists.

1096
00:56:23,400 --> 00:56:25,920
Speaker 3: And then he starts complaining about how they would not

1097
00:56:26,000 --> 00:56:28,920
Speaker 3: obey orders and could not be controlled. And at the

1098
00:56:29,000 --> 00:56:31,520
Speaker 3: end of the war, Cushing came to this island, I guess,

1099
00:56:31,520 --> 00:56:35,080
Speaker 3: to escape justice, and he sank the ship containing the

1100
00:56:35,120 --> 00:56:39,080
Speaker 3: Death Core, and somehow in the past couple days the

1101
00:56:39,120 --> 00:56:42,280
Speaker 3: ship unsank and the Death Corps are now on the loose.

1102
00:56:42,800 --> 00:56:45,480
Speaker 3: Oh Andy pulls out his luger and he says, now,

1103
00:56:45,520 --> 00:56:47,319
Speaker 3: I want you to leave. If I see any of

1104
00:56:47,360 --> 00:56:49,000
Speaker 3: you at all, I will shoot on site.

1105
00:56:49,320 --> 00:56:54,400
Speaker 2: Yep. And they're like, okay, fair enough, gotcha.

1106
00:56:55,120 --> 00:56:57,839
Speaker 3: So then Cushing he starts running around. I couldn't quite

1107
00:56:57,880 --> 00:56:59,799
Speaker 3: understand what it was he was trying to do with

1108
00:56:59,840 --> 00:57:02,200
Speaker 3: this point, but he goes out waiting in the water,

1109
00:57:02,560 --> 00:57:06,080
Speaker 3: and then did you understand what he was trying to

1110
00:57:06,120 --> 00:57:06,880
Speaker 3: do at this point?

1111
00:57:07,120 --> 00:57:09,719
Speaker 2: Yeah. So my read on this, and it could be incorrect,

1112
00:57:09,880 --> 00:57:13,120
Speaker 2: is that is that I think ultimately that he was

1113
00:57:13,239 --> 00:57:16,400
Speaker 2: trying to distract them, trying to distract the Death Core

1114
00:57:16,840 --> 00:57:18,840
Speaker 2: because even though he's like, you guys are dumb. I

1115
00:57:18,880 --> 00:57:20,400
Speaker 2: told you how to get away and you didn't, and

1116
00:57:20,440 --> 00:57:21,880
Speaker 2: now you're just going to die, like all of us

1117
00:57:21,920 --> 00:57:24,520
Speaker 2: are going to die. There are a couple of lines

1118
00:57:24,560 --> 00:57:29,160
Speaker 2: where he admits some level of responsibility for all the

1119
00:57:29,160 --> 00:57:32,040
Speaker 2: deaths that have occurred because of these things, and so

1120
00:57:32,120 --> 00:57:34,400
Speaker 2: there's kind of a sense, but not like a super

1121
00:57:34,840 --> 00:57:37,360
Speaker 2: like Hammy sense, but there's this I kind of got

1122
00:57:37,360 --> 00:57:39,800
Speaker 2: a sense that he was trying to distract them, because

1123
00:57:39,800 --> 00:57:42,160
Speaker 2: he's like calling to the death Corps and he always

1124
00:57:42,160 --> 00:57:46,000
Speaker 2: he can't control them. So the only alternative seems to

1125
00:57:46,000 --> 00:57:49,680
Speaker 2: be that he wants to distract them away from the

1126
00:57:49,720 --> 00:57:53,240
Speaker 2: others so that they can possibly escape and live.

1127
00:57:54,480 --> 00:57:57,840
Speaker 3: It's harder to buy him as remorseful given that he's

1128
00:57:57,880 --> 00:58:00,920
Speaker 3: still hanging up swastika flags where he lives.

1129
00:58:01,120 --> 00:58:03,760
Speaker 2: Yeah, he's not like, I'm not saying he's a he's

1130
00:58:03,760 --> 00:58:07,240
Speaker 2: not a character you feel for, but that that's the

1131
00:58:07,280 --> 00:58:09,360
Speaker 2: only thing that makes any sense within the context of

1132
00:58:09,360 --> 00:58:12,520
Speaker 2: the plot, you know, because I otherwise, Yeah, I just

1133
00:58:12,600 --> 00:58:14,640
Speaker 2: I can't think of anything else. The listeners, If you've

1134
00:58:14,640 --> 00:58:16,080
Speaker 2: seen the film and you have an answer to this,

1135
00:58:16,520 --> 00:58:18,600
Speaker 2: let us know. But I think that's what they were

1136
00:58:18,600 --> 00:58:19,080
Speaker 2: going for.

1137
00:58:19,520 --> 00:58:22,280
Speaker 3: Yeah. Well, eventually, so he's running around all over the place,

1138
00:58:22,320 --> 00:58:24,959
Speaker 3: and at some point he stops and lays down next

1139
00:58:25,000 --> 00:58:28,720
Speaker 3: to a pond to drink some stagnant giardia water, and

1140
00:58:28,800 --> 00:58:31,200
Speaker 3: a zombie just reaches up out of the water, pulls

1141
00:58:31,240 --> 00:58:32,200
Speaker 3: him in, drowns him.

1142
00:58:32,480 --> 00:58:34,000
Speaker 2: Yeah, good scene, good.

1143
00:58:34,240 --> 00:58:38,040
Speaker 3: End of Cushing. Meanwhile, the tourists are trying to escape

1144
00:58:38,040 --> 00:58:40,560
Speaker 3: on a boat that Peter Cushing has told them about.

1145
00:58:40,600 --> 00:58:43,120
Speaker 3: It's just like a little rowboat. And there was a

1146
00:58:43,160 --> 00:58:46,640
Speaker 3: really funny scene of Norman the aggressive, angry nerd, carrying

1147
00:58:46,720 --> 00:58:49,120
Speaker 3: around his suitcases while he's trying to get in the boat.

1148
00:58:49,160 --> 00:58:52,200
Speaker 2: Yeah, he still has all of his baggage. He's ready

1149
00:58:52,240 --> 00:58:54,760
Speaker 2: to climb on this tiny boat with several other people,

1150
00:58:54,840 --> 00:58:56,200
Speaker 2: and of course they call him on it. They're like,

1151
00:58:56,240 --> 00:58:56,680
Speaker 2: what do you do?

1152
00:58:57,000 --> 00:58:59,560
Speaker 3: I know several of us have died, but I still

1153
00:58:59,560 --> 00:59:01,760
Speaker 3: have five suitcases I need to bring with us.

1154
00:59:01,840 --> 00:59:03,400
Speaker 2: Yeah, and then when they tell me can't bring them,

1155
00:59:03,400 --> 00:59:06,080
Speaker 2: he like throws them any tantrum. He's kind of like, fine,

1156
00:59:06,200 --> 00:59:10,000
Speaker 2: like I'm mad, I'm mad, don't get to keep my suitcase.

1157
00:59:11,040 --> 00:59:12,960
Speaker 3: One of the bags he's bringing with him looks like

1158
00:59:13,000 --> 00:59:16,200
Speaker 3: it's a folding one of those bags you transport suits in.

1159
00:59:16,800 --> 00:59:19,919
Speaker 3: So he's got like formal wear with him. Yeah, he's

1160
00:59:19,920 --> 00:59:24,080
Speaker 3: going to need that tuxedo after they escape. So anyway,

1161
00:59:24,000 --> 00:59:27,160
Speaker 3: they're trying to escape on a tiny row boat. This

1162
00:59:27,200 --> 00:59:29,440
Speaker 3: part I thought had some pretty cool shots of them,

1163
00:59:29,480 --> 00:59:33,000
Speaker 3: like paddling around through these mazes of mangrove roots while

1164
00:59:33,040 --> 00:59:36,360
Speaker 3: the Goggle boys are lurking beneath and all around spying

1165
00:59:36,400 --> 00:59:40,000
Speaker 3: on them. This part I thought was creepy. Yeah yeah, oh,

1166
00:59:40,040 --> 00:59:43,440
Speaker 3: but then it just turns into a parade of errors.

1167
00:59:43,440 --> 00:59:47,040
Speaker 3: Mishap after mishap. They run into a mud bank. They

1168
00:59:47,040 --> 00:59:48,840
Speaker 3: have to try to run the boat out of it.

1169
00:59:49,160 --> 00:59:52,600
Speaker 3: Beverly falls out, people go after her. Rose gets knocked

1170
00:59:52,600 --> 00:59:55,800
Speaker 3: out of the boat. That roses Broke Adams, and then eventually,

1171
00:59:55,880 --> 00:59:58,480
Speaker 3: after a bunch of screwing around, the boat floats away

1172
00:59:58,640 --> 01:00:00,760
Speaker 3: under sail with no passing. Whoops.

1173
01:00:01,040 --> 01:00:04,080
Speaker 2: Yeah, so now they've they've really failed. Well they failed

1174
01:00:04,080 --> 01:00:06,560
Speaker 2: for the second time here because now there's nothing they

1175
01:00:06,560 --> 01:00:08,600
Speaker 2: can do but run back to the hotel.

1176
01:00:09,040 --> 01:00:12,320
Speaker 3: Right, So there are various chases now, everybody's running around

1177
01:00:12,320 --> 01:00:15,280
Speaker 3: in different places. Norman gets attacked in the water and

1178
01:00:15,360 --> 01:00:19,360
Speaker 3: killed by by Norman. Brooke Adams gets chased, but there's

1179
01:00:19,400 --> 01:00:22,280
Speaker 3: a there's a cool moment where she manages to kill

1180
01:00:22,360 --> 01:00:28,200
Speaker 3: one of the zombies by knocking its goggles off. Here again,

1181
01:00:28,320 --> 01:00:30,400
Speaker 3: do you understand what was going on here? So the

1182
01:00:30,400 --> 01:00:34,120
Speaker 3: goggles come off and then somehow it's face like rapidly rots.

1183
01:00:34,400 --> 01:00:36,440
Speaker 2: I think it's like they're susceptible to the light, Like

1184
01:00:36,440 --> 01:00:38,120
Speaker 2: if the light gets in there and the sunlight gets

1185
01:00:38,120 --> 01:00:41,800
Speaker 2: in their eyes, it destroys them. And you know, we

1186
01:00:41,840 --> 01:00:43,920
Speaker 2: were also told that they draw their energy from the

1187
01:00:44,000 --> 01:00:46,400
Speaker 2: earth itself, so I think that's one of the reasons.

1188
01:00:46,440 --> 01:00:48,320
Speaker 2: I guess that we have all those scenes of them

1189
01:00:48,360 --> 01:00:51,440
Speaker 2: like in the water, walking along on the bottom of

1190
01:00:51,480 --> 01:00:53,840
Speaker 2: the seafloor. Like it's nothing like they have some sort

1191
01:00:53,880 --> 01:00:56,840
Speaker 2: of supernatural connection to the earth. M m, some sort

1192
01:00:56,840 --> 01:01:00,960
Speaker 2: of warped pagan magic that was co opted by the baddies.

1193
01:01:01,160 --> 01:01:04,520
Speaker 3: Okay, that would make sense anyway. Meanwhile, back at the hotel,

1194
01:01:05,040 --> 01:01:08,960
Speaker 3: so the remaining tourists, Chuck, Keith, Beverly, and Rose. They

1195
01:01:08,960 --> 01:01:13,040
Speaker 3: decide to hole up in a refrigerator overnight. By locking

1196
01:01:13,080 --> 01:01:14,800
Speaker 3: the door hiding in there, we get to watch the

1197
01:01:14,920 --> 01:01:15,880
Speaker 3: zombies walk in.

1198
01:01:16,600 --> 01:01:16,800
Speaker 4: Yeah.

1199
01:01:16,880 --> 01:01:20,480
Speaker 2: Yes, not like your refrigerator in your house, right, but

1200
01:01:20,600 --> 01:01:22,560
Speaker 2: a big one, a big walk in freezer thing.

1201
01:01:22,520 --> 01:01:24,760
Speaker 3: And it doesn't have power, so it's not like cold.

1202
01:01:26,000 --> 01:01:28,960
Speaker 3: But there we get to watch the zombies wrecking the hotel.

1203
01:01:29,040 --> 01:01:33,440
Speaker 3: They're just like smashing mirrors and everything. And then inside

1204
01:01:33,480 --> 01:01:37,000
Speaker 3: the fridge, this is the moment I mentioned where Chuck

1205
01:01:37,080 --> 01:01:39,400
Speaker 3: has this kind of out of character freak out. He

1206
01:01:39,520 --> 01:01:44,320
Speaker 3: just starts ranting and screaming and hyperventilatings hyperventilating. He's saying,

1207
01:01:44,400 --> 01:01:47,560
Speaker 3: let me out. I'll take my chances. Maybe he's clusterphobic

1208
01:01:47,680 --> 01:01:50,520
Speaker 3: or something. I guess, so, yeah, but it's revealed he's

1209
01:01:50,520 --> 01:01:53,160
Speaker 3: got a flare gun. He starts pointing the flare gun

1210
01:01:53,200 --> 01:01:55,520
Speaker 3: at people and he accidentally shoots it. I think this

1211
01:01:55,840 --> 01:01:59,640
Speaker 3: blinds Beverly. And it's during the scene where they like

1212
01:01:59,680 --> 01:02:02,320
Speaker 3: all have to run out of the refrigerator because Chuck

1213
01:02:02,400 --> 01:02:05,520
Speaker 3: has shot this flare gun inside it that I noticed

1214
01:02:05,560 --> 01:02:08,480
Speaker 3: finally that Keith is wearing bell bottoms, and I knows

1215
01:02:08,520 --> 01:02:10,000
Speaker 3: he has been the entire movie.

1216
01:02:10,200 --> 01:02:12,840
Speaker 2: Oh but of course, of course he has makes perfect sense.

1217
01:02:13,080 --> 01:02:17,320
Speaker 3: So then we're into endgame basically, like Chuck is running around,

1218
01:02:17,480 --> 01:02:20,240
Speaker 3: he's showing off his muscles and he's trying to fight

1219
01:02:20,320 --> 01:02:22,760
Speaker 3: back against the zombies. But he falls into a pool

1220
01:02:22,880 --> 01:02:24,520
Speaker 3: and he gets killed by zombies.

1221
01:02:24,880 --> 01:02:27,920
Speaker 2: Yeah, he effectively close lines one of them. Yeah, then

1222
01:02:27,920 --> 01:02:32,000
Speaker 2: they get him and that pool death scene is pretty horrifying. Again,

1223
01:02:32,280 --> 01:02:35,760
Speaker 2: the sort of vacation world ruins of this place.

1224
01:02:36,160 --> 01:02:40,080
Speaker 3: Yeah, Keith and Roe is actually successfully hide till morning,

1225
01:02:40,240 --> 01:02:43,720
Speaker 3: I think inside a furnace they like, open this metal

1226
01:02:43,720 --> 01:02:46,160
Speaker 3: grade and hide in there. And then in the morning

1227
01:02:46,200 --> 01:02:48,440
Speaker 3: when they come out, they find Beverly dead in a

1228
01:02:48,480 --> 01:02:51,560
Speaker 3: fish tank, and they find Chuck dead in a pool.

1229
01:02:51,600 --> 01:02:53,640
Speaker 3: So then it's just to escape mode. It's you know,

1230
01:02:53,720 --> 01:02:56,600
Speaker 3: they're trying to escape in a boat. Keith doesn't do

1231
01:02:56,680 --> 01:02:58,640
Speaker 3: so well either. He gets dragged out of the boat

1232
01:02:58,720 --> 01:03:02,440
Speaker 3: multiple times, and eventually we get yet another sighting of

1233
01:03:02,440 --> 01:03:05,280
Speaker 3: a corpse through the glass bottom and it is only

1234
01:03:05,320 --> 01:03:08,560
Speaker 3: Brooke Adams who makes it out, but even does she Really.

1235
01:03:08,760 --> 01:03:11,160
Speaker 3: Like the other Florida movies we've watched, this one has

1236
01:03:11,160 --> 01:03:13,240
Speaker 3: a downer ending where really nobody wins.

1237
01:03:13,960 --> 01:03:16,280
Speaker 2: Yeah, a real gut touch of an ending, because first

1238
01:03:16,320 --> 01:03:18,960
Speaker 2: of all, everyone except Rose has been murdered by the

1239
01:03:19,000 --> 01:03:23,360
Speaker 2: Death Corps, like everybody except well the fisherman and his son.

1240
01:03:23,400 --> 01:03:25,280
Speaker 2: At the beginning, they're going, yeah, they're doing okay, Yeah,

1241
01:03:25,280 --> 01:03:28,360
Speaker 2: they're doing right, but everybody else dead and even though

1242
01:03:28,360 --> 01:03:31,200
Speaker 2: she survives being adrift at sea for days without water,

1243
01:03:31,480 --> 01:03:35,120
Speaker 2: she's obviously left terribly traumatized. And the account that she's

1244
01:03:35,160 --> 01:03:39,440
Speaker 2: been writing down in her journal. There's this really awesome

1245
01:03:39,480 --> 01:03:42,000
Speaker 2: scene there at the end where the camera pans around

1246
01:03:42,240 --> 01:03:45,120
Speaker 2: and we see she's been writing. We assume she's writing

1247
01:03:45,840 --> 01:03:48,640
Speaker 2: the narration, she's writing her story, but then we see

1248
01:03:48,680 --> 01:03:52,240
Speaker 2: that her journal is filled with nothing but nonsensical scribbles.

1249
01:03:52,480 --> 01:03:55,600
Speaker 2: So you have this very classic weird horror ending as

1250
01:03:55,640 --> 01:03:59,240
Speaker 2: our protagonist has survived physically but not mentally, from a

1251
01:03:59,240 --> 01:04:00,880
Speaker 2: brush with super natural horror.

1252
01:04:01,160 --> 01:04:03,800
Speaker 3: This is actually extremely close to the ending of Zat,

1253
01:04:04,000 --> 01:04:08,200
Speaker 3: where it seems like all of the human characters who

1254
01:04:08,280 --> 01:04:12,560
Speaker 3: are not catfishified are either dead or there's one who

1255
01:04:12,800 --> 01:04:15,840
Speaker 3: was apparently saved but now just wants to march into

1256
01:04:15,840 --> 01:04:16,360
Speaker 3: the ocean.

1257
01:04:16,880 --> 01:04:19,400
Speaker 2: Yeah. I guess the thing is that at least you

1258
01:04:19,400 --> 01:04:21,919
Speaker 2: feel good for doctor Leopold, because it's like, well, doctor

1259
01:04:21,960 --> 01:04:24,000
Speaker 2: Leopold won, he got what he wanted, and I guess

1260
01:04:24,000 --> 01:04:27,000
Speaker 2: it's good for the fish. But in this like, nobody

1261
01:04:27,160 --> 01:04:30,520
Speaker 2: really wins, like the I mean, I guess the Death

1262
01:04:30,600 --> 01:04:33,280
Speaker 2: Corps wins, but they don't really want things. They just

1263
01:04:33,560 --> 01:04:35,800
Speaker 2: murder you know. So it's just it's kind of a

1264
01:04:35,880 --> 01:04:43,320
Speaker 2: nihilistic ending but feels feels you know, honestly nineteen seventies,

1265
01:04:43,360 --> 01:04:45,440
Speaker 2: you know, it's kind of It also reminds us a

1266
01:04:45,440 --> 01:04:48,600
Speaker 2: little bit of Texas Chainsaw Massacre, where in that our

1267
01:04:48,640 --> 01:04:53,040
Speaker 2: final girl gets away, but she's like laughing maniacally. There's

1268
01:04:53,040 --> 01:04:56,320
Speaker 2: a sense that, yeah, that perhaps she has not survived

1269
01:04:56,440 --> 01:05:02,080
Speaker 2: completely survived physically, but not you know, uh, mentally or emotionally.

1270
01:05:02,440 --> 01:05:04,000
Speaker 3: Oh well, I guess you could read it that way.

1271
01:05:04,000 --> 01:05:06,640
Speaker 3: But then then again, I don't know. I I can

1272
01:05:06,760 --> 01:05:12,640
Speaker 3: scarcely think of a movie ending where the protagonist escaping

1273
01:05:12,800 --> 01:05:16,760
Speaker 3: danger is as cathartic and feels as rewarding as the

1274
01:05:16,880 --> 01:05:19,880
Speaker 3: end of Texas Chainsaw Massacre. True, like when she gets

1275
01:05:19,880 --> 01:05:22,320
Speaker 3: into the truck and gets away at the end of TCM,

1276
01:05:22,440 --> 01:05:26,720
Speaker 3: Like that is probably like the biggest, like just absolutely

1277
01:05:27,120 --> 01:05:30,280
Speaker 3: visceral in the body sense of relief I can think

1278
01:05:30,320 --> 01:05:32,000
Speaker 3: of in any movie I've ever seen.

1279
01:05:32,240 --> 01:05:34,320
Speaker 2: You're right, it really it does feel like a victory

1280
01:05:34,440 --> 01:05:36,400
Speaker 2: at the end of TCM, like she has gotten away.

1281
01:05:36,680 --> 01:05:41,600
Speaker 2: Leather Face is defeated and gets it. In this though, Yeah,

1282
01:05:41,600 --> 01:05:45,040
Speaker 2: the baddies for the most part didn't get it, and

1283
01:05:45,080 --> 01:05:47,560
Speaker 2: she's in kind of a sad state. So yeah, it's

1284
01:05:48,040 --> 01:05:49,680
Speaker 2: like I say, I got punch of an ending, but

1285
01:05:49,760 --> 01:05:54,120
Speaker 2: one that feels, you know, on message for this film.

1286
01:05:54,480 --> 01:05:56,680
Speaker 3: We don't get to see the Death Corps doing chainsaw

1287
01:05:56,760 --> 01:05:59,480
Speaker 3: ballet on the beach like we do with the Leathers.

1288
01:06:00,320 --> 01:06:03,320
Speaker 2: All right, So let's say Florida movie checklist. We had

1289
01:06:03,320 --> 01:06:07,240
Speaker 2: Florida ruins, we had oppressive Florida wilderness, we had marine

1290
01:06:07,320 --> 01:06:11,200
Speaker 2: life and tanks, we had electronic music, and we had

1291
01:06:11,200 --> 01:06:14,200
Speaker 2: a dark ending. So really the only things we're lacking

1292
01:06:14,400 --> 01:06:17,680
Speaker 2: that were present in previous movies are well, I was

1293
01:06:17,720 --> 01:06:19,320
Speaker 2: gonna say shots of animals in the wild, but we

1294
01:06:19,360 --> 01:06:23,360
Speaker 2: do have some fish scenes early on, so see urchins. Yeah,

1295
01:06:23,520 --> 01:06:25,440
Speaker 2: just yes, the urchins are in there, just maybe not

1296
01:06:25,520 --> 01:06:29,600
Speaker 2: as much wildlife as we saw in Frogs certainly or

1297
01:06:29,600 --> 01:06:32,840
Speaker 2: in that. And also we don't have an ecological message.

1298
01:06:33,000 --> 01:06:36,000
Speaker 3: That's true this one. Uh, those two movies both, even

1299
01:06:36,040 --> 01:06:39,919
Speaker 3: if it was maybe not super well articulated, they yeah

1300
01:06:39,920 --> 01:06:42,440
Speaker 3: they've got an ecological message. I don't think this movie

1301
01:06:42,480 --> 01:06:46,200
Speaker 3: really has any message at all. Yeah, none that is intended.

1302
01:06:46,640 --> 01:06:49,360
Speaker 3: If it is, it's just like, don't create a death core.

1303
01:06:50,080 --> 01:06:53,760
Speaker 3: You not screw around with making undead superhuman Nazi soldiers.

1304
01:06:54,120 --> 01:06:59,760
Speaker 2: Yeah, or properly research your your scuba outlets before you

1305
01:06:59,800 --> 01:07:04,480
Speaker 2: can gone a vacation. But yeah, this one I think

1306
01:07:04,560 --> 01:07:08,320
Speaker 2: is pretty effective. I remember seeing I think I saw

1307
01:07:08,360 --> 01:07:13,000
Speaker 2: the last maybe thirty percent of it on TBS or

1308
01:07:13,040 --> 01:07:15,200
Speaker 2: TNT back in the day, Like, saw it during the

1309
01:07:15,320 --> 01:07:18,840
Speaker 2: day at my grandparents' house and was really creeped out

1310
01:07:18,920 --> 01:07:21,439
Speaker 2: by it. And it's actually it's a great horror movie

1311
01:07:21,440 --> 01:07:23,160
Speaker 2: to have seen during the day because most of the

1312
01:07:23,200 --> 01:07:27,320
Speaker 2: action takes place in the day. Like it makes daytime

1313
01:07:27,360 --> 01:07:32,720
Speaker 2: in Florida horrifying, you know, effectively horrifying. It doesn't have

1314
01:07:32,800 --> 01:07:35,400
Speaker 2: to be dark in Florida for you to be afraid.

1315
01:07:35,600 --> 01:07:41,640
Speaker 3: Actually, this violates a lot of rules about movie monsters. Usually,

1316
01:07:41,800 --> 01:07:45,520
Speaker 3: I think movie monsters are better when seen, less when

1317
01:07:45,600 --> 01:07:49,400
Speaker 3: kept in the dark more, you know, following the Jaws rule,

1318
01:07:49,440 --> 01:07:51,360
Speaker 3: like if you're going to finally see the monster, you

1319
01:07:51,360 --> 01:07:53,400
Speaker 3: want to wait towards the end of the movie to

1320
01:07:53,440 --> 01:07:56,120
Speaker 3: do it. This movie, no is just putting its monsters

1321
01:07:56,120 --> 01:07:58,760
Speaker 3: front and center, tons of screen time, showing you all

1322
01:07:58,840 --> 01:08:02,400
Speaker 3: the time. Much like that actually, but very different from

1323
01:08:02,440 --> 01:08:05,440
Speaker 3: Za the Monsters look very menacing in this and that

1324
01:08:05,520 --> 01:08:07,840
Speaker 3: actually works better when you see a ton of them.

1325
01:08:08,280 --> 01:08:10,720
Speaker 2: Yeah. Yeah, And in fact, there there's one scene in

1326
01:08:10,760 --> 01:08:14,040
Speaker 2: particular where I think we've effectively killed one of them

1327
01:08:14,080 --> 01:08:16,000
Speaker 2: at this point you pull the goggles off, and then

1328
01:08:16,040 --> 01:08:20,320
Speaker 2: we still see there're so many and I mean, chalk

1329
01:08:20,360 --> 01:08:22,240
Speaker 2: it up to a good film. I was. I was

1330
01:08:22,520 --> 01:08:24,640
Speaker 2: when that happened. In my recent reviewing of it. I

1331
01:08:24,640 --> 01:08:26,519
Speaker 2: was like, oh my goodness, Like I felt my heart sink.

1332
01:08:26,560 --> 01:08:28,479
Speaker 2: There were so many of them. Even though I knew

1333
01:08:28,479 --> 01:08:29,320
Speaker 2: what was going to happen.

1334
01:08:29,520 --> 01:08:31,640
Speaker 3: I wonder what those goggles actually were were they were

1335
01:08:31,680 --> 01:08:33,600
Speaker 3: like welding goggles. What do you think that was they

1336
01:08:33,640 --> 01:08:34,080
Speaker 3: were wearing.

1337
01:08:34,360 --> 01:08:36,840
Speaker 2: I don't know. They looked familiar, but I don't know

1338
01:08:36,840 --> 01:08:40,799
Speaker 2: where I've seen them before. But good find costuming department

1339
01:08:40,840 --> 01:08:41,080
Speaker 2: on that.

1340
01:08:41,439 --> 01:08:42,400
Speaker 3: Yeah, good job.

1341
01:08:43,439 --> 01:08:46,599
Speaker 2: All right. So you're probably wondering where can I see Shockwaves? Well,

1342
01:08:47,160 --> 01:08:49,120
Speaker 2: I mentioned that I used to own it on Blue

1343
01:08:49,200 --> 01:08:51,599
Speaker 2: Underground on DVD from Blue Underground, and I think it's

1344
01:08:51,600 --> 01:08:55,160
Speaker 2: on Blu Ray from Blue Underground as well. I misplaced

1345
01:08:55,160 --> 01:08:57,920
Speaker 2: it over the years, but it's it's really good. It's

1346
01:08:57,920 --> 01:09:00,679
Speaker 2: got a lot of good extras, it's a great restoration

1347
01:09:00,720 --> 01:09:03,559
Speaker 2: of the film. I think to a certain degree, there's

1348
01:09:03,600 --> 01:09:07,519
Speaker 2: a certain seventies graininess to this film that I think

1349
01:09:07,640 --> 01:09:09,920
Speaker 2: is essential, Like I wouldn't want to see it in

1350
01:09:09,920 --> 01:09:12,679
Speaker 2: too fine a quality, you know, it needs that, that's

1351
01:09:12,720 --> 01:09:16,040
Speaker 2: seventies ness to it. But yeah, the Blue Underground Edition

1352
01:09:16,160 --> 01:09:19,519
Speaker 2: is nice, has some fun extras. You can also rent

1353
01:09:19,520 --> 01:09:22,280
Speaker 2: it digitally, buy it digitally most places, and if you want,

1354
01:09:23,080 --> 01:09:25,040
Speaker 2: if you if you want to find like a a

1355
01:09:25,320 --> 01:09:28,839
Speaker 2: sort of a loophole to get it. I have noticed

1356
01:09:28,840 --> 01:09:32,240
Speaker 2: that if you do a free trial of the Full

1357
01:09:32,320 --> 01:09:35,559
Speaker 2: Moon Entertainment channel, like you can get through like Amazon Prime,

1358
01:09:36,080 --> 01:09:38,519
Speaker 2: you know, like a seven day trial, you can you

1359
01:09:38,560 --> 01:09:41,040
Speaker 2: can watch shock Waves through that channel.

1360
01:09:41,160 --> 01:09:43,760
Speaker 3: There's a Charles Band app now.

1361
01:09:44,560 --> 01:09:46,320
Speaker 2: I guess it's an app. Yeah, it's at least it's

1362
01:09:46,320 --> 01:09:48,160
Speaker 2: an Amazon Prime channel, and I think you can get

1363
01:09:48,200 --> 01:09:50,160
Speaker 2: it on It's probably on like Roku and stuff like that.

1364
01:09:50,240 --> 01:09:53,000
Speaker 2: I don't I'm not superversed in all that, okay, but

1365
01:09:53,400 --> 01:09:55,040
Speaker 2: but yeah, there's there are some ways to see this

1366
01:09:55,120 --> 01:09:56,640
Speaker 2: if you don't if you don't want to, you know,

1367
01:09:56,680 --> 01:09:59,560
Speaker 2: straight up rent or buy it or pick up that DVD.

1368
01:09:59,360 --> 01:10:01,760
Speaker 3: But subscribe to band Tube.

1369
01:10:02,880 --> 01:10:04,400
Speaker 2: I didn't check too B to see if it was

1370
01:10:04,439 --> 01:10:04,800
Speaker 2: on two B.

1371
01:10:05,360 --> 01:10:07,800
Speaker 3: Oh, yeah I didn't either. Yeah, you know you were

1372
01:10:07,800 --> 01:10:09,880
Speaker 3: talking about the look of this movie. One thing, last

1373
01:10:09,920 --> 01:10:12,160
Speaker 3: thing I have to say I realized is the look

1374
01:10:12,200 --> 01:10:15,639
Speaker 3: of this movie is a blue can of craft grated

1375
01:10:15,680 --> 01:10:19,840
Speaker 3: parmesan cheese from the seventies. That's what the aesthetic is.

1376
01:10:20,479 --> 01:10:23,559
Speaker 2: Yes, all right, Well, on that note, we would love

1377
01:10:23,560 --> 01:10:27,280
Speaker 2: to hear from everyone out there about your memories, especially

1378
01:10:27,320 --> 01:10:29,679
Speaker 2: you know, from older listeners, your memories of craft cheese

1379
01:10:29,720 --> 01:10:33,360
Speaker 2: canisters of the mid nineteen seventies. When did it change?

1380
01:10:33,360 --> 01:10:35,439
Speaker 2: Why did it change? Did it change? I don't know.

1381
01:10:36,640 --> 01:10:38,800
Speaker 2: Have you seen this movie? Did you see it on

1382
01:10:38,880 --> 01:10:40,639
Speaker 2: TBS back in the day when you were a child

1383
01:10:40,720 --> 01:10:44,320
Speaker 2: and when we're partially traumatized by it like me, or

1384
01:10:44,600 --> 01:10:46,640
Speaker 2: you know, did you check it out later? Let us know,

1385
01:10:46,680 --> 01:10:49,640
Speaker 2: we'd love to hear from you and you just in

1386
01:10:49,680 --> 01:10:52,040
Speaker 2: general about other films we've done on Weird House Cinema,

1387
01:10:52,439 --> 01:10:54,920
Speaker 2: films you think we should cover in the future, or

1388
01:10:55,160 --> 01:10:57,840
Speaker 2: like a lot of our listeners, just continue to write

1389
01:10:57,840 --> 01:11:01,599
Speaker 2: in about Sean Connery's accent Islander and to what degree

1390
01:11:01,640 --> 01:11:04,800
Speaker 2: it makes sense and what kind of backflips we have

1391
01:11:04,880 --> 01:11:06,960
Speaker 2: to do mentally to have it make sense.

1392
01:11:07,800 --> 01:11:10,760
Speaker 3: Huge thanks as always to our excellent audio producer Seth

1393
01:11:10,840 --> 01:11:13,200
Speaker 3: Nicholas Johnson. If you would like to get in touch

1394
01:11:13,240 --> 01:11:15,400
Speaker 3: with us with feedback on this episode or any other,

1395
01:11:15,560 --> 01:11:17,640
Speaker 3: to suggest a topic for the future, or just to

1396
01:11:17,680 --> 01:11:20,880
Speaker 3: say hello, you can email us at contact at stuff

1397
01:11:20,920 --> 01:11:29,479
Speaker 3: to Blow your Mind dot com.

1398
01:11:29,640 --> 01:11:32,600
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1399
01:11:32,680 --> 01:11:35,439
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1400
01:11:35,600 --> 01:11:38,360
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.