WEBVTT - Weirdhouse Cinema: Shock Waves

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Weird House Cinema. This is Rob Lamb.

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

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<v Speaker 3>trilogy of Florida movies.

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<v Speaker 4>Now.

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<v Speaker 3>Recently on Weird House Cinema, we looked at the movie

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<v Speaker 3>Frogs starring Sam Elliott, which is about as Florida as

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<v Speaker 3>a movie can get. And then we also recently discussed

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<v Speaker 3>the movie Zat, which is about a man who dreamed

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<v Speaker 3>he was a catfish and then turned himself into one,

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<v Speaker 3>though didn't really look like a catfish, but just sort

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<v Speaker 3>of like went around settling grudges and getting revenge and

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<v Speaker 3>semi catfish form. And it's more Florida again. This time

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<v Speaker 3>it's going to be Florida Nazi zombies.

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

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<v Speaker 2>seventy seven film shock Waves. I believe it was actually

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<v Speaker 2>filmed in nineteen seventy five, so it's still a few

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<v Speaker 2>years later than our two previous Florida films, but it

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<v Speaker 2>is very much a product of the nineteen seventies, and

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<v Speaker 2>it is I should make it clear here, it's actually

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<v Speaker 2>supposed to take place on a Caribbean island, but it's

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<v Speaker 2>very much filmed in Florida, and I think it's ultimately

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<v Speaker 2>a Florida movie to its core. It has elements in

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<v Speaker 2>common with our previous two picks, but it's also doing

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<v Speaker 2>its own thing.

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<v Speaker 3>You know. I think it's fitting that we discuss our

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<v Speaker 3>final Florida movie today because I have to be honest

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<v Speaker 3>and say, I am running right now. My gas tank

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<v Speaker 3>is full of sand. So Rob, I hope you can

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<v Speaker 3>bring the life to inject into this podcast today. I'm

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<v Speaker 3>going to do my best, all right.

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<v Speaker 2>All right, Well I have my tea here, so I

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<v Speaker 2>hopefully that will invigorate me as well. Okay, so yeah,

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<v Speaker 2>this movie has things in common with both ZAT and Frogs,

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

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<v Speaker 2>it's a zombie movie. Furthermore, it digs into two different

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<v Speaker 2>subgenres of zombie movies by being both an aquatic zombie

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<v Speaker 2>movie and a Nazis zombie movie. And you know, it's

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<v Speaker 2>pretty early in either of these subgenre traditions. And I

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<v Speaker 2>think you could also make a strong case that this

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<v Speaker 2>is this film might be the true trendsetter, if not

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<v Speaker 2>one of the key trendsetters for both.

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<v Speaker 3>You know, I think I've said on the show before

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<v Speaker 3>that of all the different types of creatures in horror movies,

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<v Speaker 3>I feel like, on average, it's zombie movies that are

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<v Speaker 3>the most often trying to say something with the story

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<v Speaker 3>they tell. You know that zombies, for some reason just

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<v Speaker 3>lend themselves quite well to cultural commentary. This movie, I

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<v Speaker 3>don't think it's trying to say anything.

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<v Speaker 2>No, I don't think it is. I think you can

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<v Speaker 2>lean into we'll discuss you might be able to lean

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<v Speaker 2>into it a little bit and draw maybe a little

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<v Speaker 2>bit of nuance from it. But for the most part,

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<v Speaker 2>this is a film that just wants to scare you

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<v Speaker 2>and have some creepy stuff going on in it, and

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<v Speaker 2>and it ultimately succeeds.

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<v Speaker 3>Yeah, yeah, yeah, this is a I would say a

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<v Speaker 3>success on the front of stylesh horror movie, and that

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<v Speaker 3>the creatures look creepy, and you spend a lot of

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<v Speaker 3>this movie just looking at them. They're just like popping

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<v Speaker 3>up out of the water, popping up from behind roots,

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<v Speaker 3>kind of like you might open a drawer in the

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<v Speaker 3>kitchen and there's one of these zombies in there, and

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

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<v Speaker 3>that's what it does. It does it well, and I

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<v Speaker 3>give it all all credit.

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<v Speaker 2>Yeah, so we'll talk about the zombies in this film

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<v Speaker 2>a bit more now now on the zombie front, on

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<v Speaker 2>the Nazi zombie front. Rather, there are only a handful

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<v Speaker 2>of cinematic predecessors to this movie. There's nineteen forty three's

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<v Speaker 2>Revenge of the Zombies, which had John Carodine in it,

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<v Speaker 2>who's also in this film that involved a mad scientist

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<v Speaker 2>trying to create zombies for the Third Reich.

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<v Speaker 3>But Williams hasn't it, hasn't it been proven that John

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<v Speaker 3>Carodine is actually in all films ever made?

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<v Speaker 2>Just about Yeah, well, we'll do a proper breakdown on

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<v Speaker 2>Carodine in a bit. But he's come up before because

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<v Speaker 2>he yeah, he has a minous filmography.

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<v Speaker 3>Wait a minute, I challenge you name a film John

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<v Speaker 3>Carridine was not in. You can't do.

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<v Speaker 2>It within his lifetime or well, he was actually in

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<v Speaker 2>some films outside of his lifetime, which we'll discuss.

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<v Speaker 3>But yeah.

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<v Speaker 2>There was also a nineteen sixty six film called The

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<v Speaker 2>Frozen Dead which had thought Nazis zombies in it, and

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<v Speaker 2>there are a handful of other films that also involved

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<v Speaker 2>Nazis in the occult as part of a general trend

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<v Speaker 2>in science fiction and horror as well as new age

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<v Speaker 2>and conspiracy thinking. Because the filmmakers behind Shockwaves they're pretty

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<v Speaker 2>upfront about citing a nineteen sixty book titled The Morning

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<v Speaker 2>of the Magicians as a prime influence. So this, I

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<v Speaker 2>think we've briefly discussed this book before, talking about like

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<v Speaker 2>ancient alien stuff before, but this was a popular book

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<v Speaker 2>in conspiracy theory circles, remains popular in conspiracy theory circles

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<v Speaker 2>because it entails just a whole host of their favorite

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<v Speaker 2>topics like UFOs and Nazi occultism and so forth.

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<v Speaker 3>So it's funny we think about the I don't know

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<v Speaker 3>the occult Nazi subjection genre as a I don't know

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<v Speaker 3>the special remit of sort of obscure dreck in the

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<v Speaker 3>film world. But it's easy to forget that some of

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<v Speaker 3>the most mainstream movies ever got into this territory. This

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<v Speaker 3>is what Indiana Jones is about. It's all like occult

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<v Speaker 3>Nazi stuff.

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<v Speaker 2>Yeah, Raiders the Lost Arc is the biggest Nazi occultist

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<v Speaker 2>film of all time, and later on you had Gaelmo

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<v Speaker 2>de Toro's hell Boy got into the same territory, but

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<v Speaker 2>that was a little bit later. Initially, like Shockwaves was

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<v Speaker 2>a big trendsetter. There's a film in nineteen eighty called

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<v Speaker 2>Zombie Lake that I think was a French Spanish production

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<v Speaker 2>that was I think heavily inspired by Shockwaves, if not

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<v Speaker 2>just kind of a you know, very very much followed

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<v Speaker 2>in its footsteps, because you went on to see people

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<v Speaker 2>like Joel Schumacher get involved in the Nazi zombie subgenre

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<v Speaker 2>like two thousand and nine Blood Creek. You see it

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<v Speaker 2>in all sorts of video games. So it's become something

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<v Speaker 2>that sci fi and horror is really on. And I

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<v Speaker 2>think a lot of that probably has to do with

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<v Speaker 2>just the simple formula of taking you know, human evil

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<v Speaker 2>and supernatural evil and combining them, taking traditional movie villains

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<v Speaker 2>and traditional movie monsters and combining them. And maybe if

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<v Speaker 2>you're you know, daring to get a little contemplative, you

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<v Speaker 2>might say, you know, the fear of reemergence of a

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<v Speaker 2>dreadful and destructive ideology, plus the just the the the

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<v Speaker 2>obvious metaphor of reanimated corpses.

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<v Speaker 3>Oh yeah, I mean that would be an interesting thematic resonence,

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<v Speaker 3>though I don't think I can honestly say that this

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<v Speaker 3>movie seems like it had that on its mind.

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<v Speaker 2>No, no, no, no, no, that would that would be

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<v Speaker 2>an add on if you just think too hard about chockletz.

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<v Speaker 3>Right, if you were to try to make an intellectually

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<v Speaker 3>curious zombie Nazi movie, that would be a good direction

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<v Speaker 3>to go with it.

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<v Speaker 4>Yeah.

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<v Speaker 2>Oh, but I should mention on the aquatic zombie front,

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<v Speaker 2>there aren't a lot of films that may be come

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<v Speaker 2>to mind in this category. There's nineteen seventy nine's Zombie

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<v Speaker 2>from Lucio Fulci, which which had a pretty tremendous scene

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<v Speaker 2>with an underwater zombie a shark and I think a snorkeler.

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<v Speaker 2>It's been a while since I've seen Zombie.

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<v Speaker 3>It's best remembered for the zombie fighting the shark, and

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<v Speaker 3>I think the zombie wins. I think it like bites

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<v Speaker 3>the shark And okay, that's it.

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<v Speaker 2>Well it is called zombie, not shark, so that makes sense.

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<v Speaker 2>But that was seventy nine.

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

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

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<v Speaker 2>that came after Shock Waves. A film that came before

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<v Speaker 2>it but just barely was The Ghost Gallleon from nineteen

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<v Speaker 2>seventy four that was one of a Mando Diosario's Blind

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

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<v Speaker 2>They're the pretty low budget and they have a bunch

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<v Speaker 2>of undead templars engaging in Generally they're just chasing people

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<v Speaker 2>down and killing them, but in this particular one, they're

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<v Speaker 2>engaging in some beach and underwater horror.

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<v Speaker 3>Oh well, so the undead templars connects to a thing

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<v Speaker 3>I was going to ask you about, which is I

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<v Speaker 3>was trying to think if there is some thing else

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<v Speaker 3>like that, you know, because there are tons of these

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<v Speaker 3>Nazi zombie movies, if there's something else like that, like

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

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<v Speaker 3>by something they had in common in life, maybe like

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<v Speaker 3>they are a certain type of soldier. Yeah, and I

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<v Speaker 3>really couldn't think. I could think of tons of Nazi

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

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<v Speaker 3>So it makes me think that what's attractive about this

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

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<v Speaker 3>they all have this in common, and then they become undead.

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<v Speaker 3>It's the specific historical resonances of the Nazis, And I

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<v Speaker 3>think that's I think you're exactly right when you say

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<v Speaker 3>it's probably as simple as what's the evilest human thing

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<v Speaker 3>you can think of and then just make it supernatural.

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<v Speaker 2>Yeah, yeah, I think so. And it remains a winning formula,

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<v Speaker 2>like now more so than ever.

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<v Speaker 3>But anyway, the Templars thing here, you say, that would

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

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<v Speaker 3>like they're all Templars and now they're templar zombies.

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<v Speaker 2>Yes, and maybe there's some other samples out there in

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<v Speaker 2>the film world I'm just not aware of. So there

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<v Speaker 2>if there's something like maybe there's are there zombie Samurai films?

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

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<v Speaker 2>missing something obvious.

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<v Speaker 3>Are there zombie Chicago Bears, or like a specific sports team.

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<v Speaker 2>A zombie that sounds like it could be like a

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

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<v Speaker 2>there's nothing in the rule book that says a team

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<v Speaker 2>of zombies can't take to the field and try to

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<v Speaker 2>win the Super Bowl, And then it happens and it's

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<v Speaker 2>magical for everybody.

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<v Speaker 3>You producers out there, We're just feeding you gold day

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<v Speaker 3>after day. I know, I know, going to send us

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<v Speaker 3>the checks.

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

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<v Speaker 2>It's pretty simple. Aquatic Nazi zombies left over from World

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<v Speaker 2>War Two rise from the deep in the Caribbean to

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<v Speaker 2>hunt down tourists through a desolated beach resort in the

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<v Speaker 2>mid nineteen seventies.

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<v Speaker 3>Yeah, with Peter Cushing. Yes, Peter Cushing just happens to

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<v Speaker 3>be in the mix.

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<v Speaker 2>All right, let's have some of that trailer audio.

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<v Speaker 4>You are now in the deep end of horror, shock

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<v Speaker 4>waves once they were almost human. You mean to say

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<v Speaker 4>that what we all saw out there is just a mirage.

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<v Speaker 4>It was a minor underwater disturbance, the hot sky acting

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<v Speaker 4>on Nicole Current, coming from a mile down below. Something unknown,

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<v Speaker 4>something unforeseen, something unspeakable, lives below, and it lives to destroy.

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<v Speaker 4>They have risen.

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<v Speaker 3>All right? So who directed this thing?

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<v Speaker 2>This film was directed by Ken Viderhorn, director and writer,

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<v Speaker 2>and while this was his big breakout film, he went

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<v Speaker 2>on to direct a number of genre features, including Eyes

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<v Speaker 2>of a Stranger, Return of the Living Dead, Two Dark Tower,

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<v Speaker 2>which I believe is a haunted skyscraper movie. I haven't

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<v Speaker 2>actually seen it, and he also directed seven episodes of

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<v Speaker 2>Freddy's Nightmares, as well as A House in the Hills.

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<v Speaker 3>I think I have seen Dark Tower. I think somehow

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<v Speaker 3>I just found that on the internet one night and

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<v Speaker 3>put it on and it was pretty bad. Return to

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<v Speaker 3>the Living Dead two I haven't seen, but Return to

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<v Speaker 3>the Living Dead one is one of my favorite comedy

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<v Speaker 3>horror movies. That movie is near perfect.

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<v Speaker 2>Yeah, Dan O'Bannon on that one. Yeah, that's a great one.

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<v Speaker 3>Yeah, But I've heard that the second one is still

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<v Speaker 3>I've heard it described as still pretty fun, but sort

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<v Speaker 3>of taking the premise of the first movie to a

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<v Speaker 3>kind of Looney Tunes elevation.

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<v Speaker 2>All right, now, I mentioned Viderhorn was one of the writers.

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<v Speaker 2>The co writer on this was John Kent Harrison, who

0:11:51.720 --> 0:11:54.960
<v Speaker 2>enjoyed quite a writing and directing career after this, though

0:11:55.000 --> 0:11:57.360
<v Speaker 2>not a lot of stuff that I'm personally familiar with.

0:11:57.559 --> 0:12:00.800
<v Speaker 2>But his credits include nineteen ninety nine's You Know My

0:12:00.960 --> 0:12:05.520
<v Speaker 2>Name starring Sam Elliott, as well as a bear named Winnie,

0:12:05.559 --> 0:12:07.360
<v Speaker 2>which I think it's like a Winnie the Pooh or

0:12:07.400 --> 0:12:09.959
<v Speaker 2>it's a maybe. It's a biopic about the creator of

0:12:10.000 --> 0:12:15.640
<v Speaker 2>Winnie the Pooh. It starred Michael Fastbender as Winnie the Pooh.

0:12:15.840 --> 0:12:17.760
<v Speaker 2>Michael Fastbender was in I think he was in a

0:12:17.840 --> 0:12:20.240
<v Speaker 2>Nazi zombie movie, the one directed by Joel Schumacher by

0:12:20.280 --> 0:12:22.760
<v Speaker 2>the way, okay, as well as Stephen Frye. I was

0:12:22.800 --> 0:12:26.560
<v Speaker 2>also in that. Wow. Yeah. Also responsible for The Courageous

0:12:26.559 --> 0:12:30.880
<v Speaker 2>Heart of Irene Sindler starring Anna Paquin. So yeah, this

0:12:30.920 --> 0:12:32.400
<v Speaker 2>guy went on to do a lot of stuff and

0:12:32.640 --> 0:12:33.320
<v Speaker 2>is still active.

0:12:33.559 --> 0:12:36.199
<v Speaker 3>Did the writer of Shockwaves write mister Hollands Opus.

0:12:37.800 --> 0:12:39.880
<v Speaker 2>I don't think so, But that's like the sort of

0:12:40.000 --> 0:12:41.960
<v Speaker 2>genre of film that he seemed to have gone on too.

0:12:42.360 --> 0:12:43.000
<v Speaker 3>Uh huh.

0:12:43.040 --> 0:12:45.880
<v Speaker 2>All right, Well, let's talk about the cast here top

0:12:45.920 --> 0:12:49.200
<v Speaker 2>billing and we've already mentioned him. Peter Cushing is in this.

0:12:49.800 --> 0:12:53.440
<v Speaker 2>He plays SS Commander no given name for this character.

0:12:53.480 --> 0:12:55.000
<v Speaker 2>They're light on names, that's right.

0:12:55.120 --> 0:12:57.679
<v Speaker 3>He never says his name, Yeah.

0:12:57.240 --> 0:12:58.640
<v Speaker 2>Yep, doesn't introduce himself.

0:12:58.880 --> 0:13:01.920
<v Speaker 3>Also, I don't think he even tries a German accent,

0:13:01.920 --> 0:13:03.280
<v Speaker 3>does he. I don't recall one.

0:13:03.440 --> 0:13:06.240
<v Speaker 2>You know, it's a little it's a little German. It's

0:13:06.400 --> 0:13:10.079
<v Speaker 2>very clearly identifiable as Peter Cushing. It's Peter Cushing like

0:13:10.440 --> 0:13:12.240
<v Speaker 2>germaned up ten percent.

0:13:12.640 --> 0:13:15.319
<v Speaker 3>Okay, apologies for misremembering.

0:13:16.600 --> 0:13:19.440
<v Speaker 2>So Peter Cushing, of course lived nineteen thirteen through nineteen

0:13:19.520 --> 0:13:23.480
<v Speaker 2>ninety four. He's a legend. This is Hammer's Doctor Frankenstein.

0:13:23.520 --> 0:13:27.080
<v Speaker 2>This is Star Wars grand Moth Tarkin, enthusiastic war gamer

0:13:27.440 --> 0:13:29.760
<v Speaker 2>and the man with the sharpest cheekbones and the biz

0:13:30.040 --> 0:13:30.440
<v Speaker 2>he can.

0:13:30.440 --> 0:13:32.960
<v Speaker 3>Use multiple parts of his face as an ice pick.

0:13:33.280 --> 0:13:34.800
<v Speaker 2>Yeah.

0:13:35.120 --> 0:13:35.280
<v Speaker 4>This.

0:13:36.720 --> 0:13:39.200
<v Speaker 2>I used to own the Blue Underground DVD of this

0:13:39.240 --> 0:13:41.880
<v Speaker 2>film and somehow lost it. But I remember in the

0:13:41.960 --> 0:13:44.880
<v Speaker 2>various extras on that they talked to some of the

0:13:44.920 --> 0:13:47.400
<v Speaker 2>cast members on this and they talked about working with

0:13:47.440 --> 0:13:50.480
<v Speaker 2>Peter Cushing, and like everybody else, it seems they just

0:13:50.520 --> 0:13:52.160
<v Speaker 2>had nice things to say about him. He was just

0:13:52.200 --> 0:13:55.560
<v Speaker 2>like a total professional, super nice And I think the

0:13:55.600 --> 0:13:58.360
<v Speaker 2>only even slightly negative thing is like is one of

0:13:58.400 --> 0:14:00.400
<v Speaker 2>the actors said something to the effect of, yeah, he

0:14:00.440 --> 0:14:02.200
<v Speaker 2>showed up and he was he just had all his

0:14:02.280 --> 0:14:04.840
<v Speaker 2>lines memorized and he was so professional that he made

0:14:04.880 --> 0:14:08.520
<v Speaker 2>me feel like a little crappy for not being as

0:14:08.559 --> 0:14:11.480
<v Speaker 2>on top of things as he was. But yeah, everybody

0:14:11.520 --> 0:14:12.600
<v Speaker 2>seems to have loved Cushing.

0:14:12.800 --> 0:14:14.880
<v Speaker 3>That's something I'm always kind of curious about when you

0:14:14.880 --> 0:14:18.559
<v Speaker 3>hear those little things about which actors memorize their lines

0:14:18.640 --> 0:14:19.600
<v Speaker 3>and which one stone.

0:14:19.960 --> 0:14:22.440
<v Speaker 2>Yeah, Cushion was I think he was one of yea

0:14:22.600 --> 0:14:25.000
<v Speaker 2>with total pro like. He doesn't matter what caliber of

0:14:25.000 --> 0:14:27.560
<v Speaker 2>film it was. He showed up and he did the job.

0:14:28.280 --> 0:14:30.560
<v Speaker 2>All right, did we mention you? We did mention. John

0:14:30.600 --> 0:14:33.520
<v Speaker 2>Carradine is in this. Yeah. He has the distinction of

0:14:33.520 --> 0:14:37.520
<v Speaker 2>playing the only character with a last namely, Yeah, he

0:14:37.560 --> 0:14:38.920
<v Speaker 2>plays Captain Ben Morris.

0:14:39.280 --> 0:14:42.600
<v Speaker 3>I don't say really, because I am surprised nobody else

0:14:42.640 --> 0:14:44.720
<v Speaker 3>had a last name. I'm surprised because I didn't remember

0:14:44.760 --> 0:14:45.800
<v Speaker 3>him having one.

0:14:46.040 --> 0:14:48.120
<v Speaker 2>Now, but maybe that was one of his demands. He's like,

0:14:48.160 --> 0:14:50.280
<v Speaker 2>I'll do it, but you've got to give me a

0:14:50.360 --> 0:14:52.200
<v Speaker 2>last name. I'm not playing a character with just a

0:14:52.240 --> 0:14:54.080
<v Speaker 2>first name or no name. You leave that to Cushing.

0:14:54.360 --> 0:14:56.600
<v Speaker 3>Oh, he's kind of grizzled in this.

0:14:57.840 --> 0:15:01.560
<v Speaker 2>Yeah. So yeah. This is another another film legend, certainly

0:15:01.600 --> 0:15:04.280
<v Speaker 2>a horror screen legend. He was in any and everything

0:15:04.320 --> 0:15:07.800
<v Speaker 2>from nineteen thirty to nineteen ninety five, yes, seven years

0:15:07.800 --> 0:15:10.000
<v Speaker 2>after his death. A little film called Jacko that I

0:15:10.000 --> 0:15:10.720
<v Speaker 2>think you've seen.

0:15:10.920 --> 0:15:12.800
<v Speaker 3>Yeah, I don't even know how to describe that one.

0:15:13.000 --> 0:15:17.640
<v Speaker 3>It's like a it's an omega grade direct to video

0:15:17.880 --> 0:15:22.440
<v Speaker 3>Halloween themed movie that has him in scenes where he

0:15:22.520 --> 0:15:24.800
<v Speaker 3>is not on screen with anybody else because I think

0:15:24.800 --> 0:15:27.640
<v Speaker 3>the footage his footage in the movie appears to have

0:15:27.640 --> 0:15:32.760
<v Speaker 3>been shot approximately seventeen years before the rest of the film. Otherwise,

0:15:32.840 --> 0:15:35.760
<v Speaker 3>it's got like linea Quigley and a bunch of teenagers

0:15:35.840 --> 0:15:38.640
<v Speaker 3>running around getting attacked by this thing with a pumpkinhead.

0:15:38.680 --> 0:15:42.920
<v Speaker 2>I think, okay, sounds like a winning concept. So yeah, Kerodein,

0:15:43.200 --> 0:15:45.080
<v Speaker 2>he was in a lot of Indian horror films, but

0:15:45.720 --> 0:15:48.120
<v Speaker 2>we have to remember he was also in the Grapes

0:15:48.160 --> 0:15:50.880
<v Speaker 2>of Wrath. He was in Stagecoach, he was in The

0:15:50.960 --> 0:15:56.560
<v Speaker 2>Ten Commandments, which also featured Vincent Price. Speaking of horror icons. Yeah,

0:15:56.640 --> 0:15:59.960
<v Speaker 2>and of course John Carrodeine is the was also an

0:16:00.000 --> 0:16:03.280
<v Speaker 2>not as the patriarch of the Carridine family, the father

0:16:03.320 --> 0:16:06.320
<v Speaker 2>of David Keith and Robert Carrodine, who all carried on

0:16:06.400 --> 0:16:10.000
<v Speaker 2>this tradition of being in you know, all different sorts

0:16:10.000 --> 0:16:13.440
<v Speaker 2>of films but also doing a good job. Like Carridine

0:16:13.520 --> 0:16:15.600
<v Speaker 2>is always John Carrodyin's always watchable.

0:16:15.800 --> 0:16:17.840
<v Speaker 3>I was really hoping he would sing a song in

0:16:17.920 --> 0:16:20.080
<v Speaker 3>this one, though, Like he couldn't even do his so

0:16:20.160 --> 0:16:24.560
<v Speaker 3>he's done the night Train to Mundo, fee he could

0:16:24.560 --> 0:16:27.160
<v Speaker 3>he not come up with a you know, the Island

0:16:27.560 --> 0:16:31.000
<v Speaker 3>of the shock Waves. It seems like they should have

0:16:31.000 --> 0:16:31.680
<v Speaker 3>put in the effort.

0:16:33.240 --> 0:16:36.960
<v Speaker 2>I've I've either read or remember from the Digital I'm

0:16:37.000 --> 0:16:40.720
<v Speaker 2>not Digital Underground Blue Underground DVD that that he did

0:16:40.760 --> 0:16:42.680
<v Speaker 2>all of his stunts in this, which don't really amount

0:16:42.760 --> 0:16:45.400
<v Speaker 2>to a lot. But he was seventy one years old

0:16:45.440 --> 0:16:47.960
<v Speaker 2>at the time and like he did like all the

0:16:47.960 --> 0:16:50.400
<v Speaker 2>physicality that was asked of him in this, so oh

0:16:50.520 --> 0:16:51.200
<v Speaker 2>so quite a.

0:16:51.120 --> 0:16:53.400
<v Speaker 3>Trooper at the part when you see his dead body

0:16:53.480 --> 0:16:56.320
<v Speaker 3>under the glass as they have they like ride a

0:16:56.360 --> 0:16:59.960
<v Speaker 3>glass bottom boat over his corpse and he's their shirtless

0:17:00.120 --> 0:17:02.720
<v Speaker 3>his hair swinging around in the water. So that's him.

0:17:02.840 --> 0:17:05.600
<v Speaker 3>That's yeah, yeahs olay, So yeah, all right.

0:17:05.720 --> 0:17:09.080
<v Speaker 2>All right, So these guys get top billing, you know,

0:17:09.080 --> 0:17:10.919
<v Speaker 2>because they're the horror icons, and they're the ones you

0:17:10.960 --> 0:17:13.480
<v Speaker 2>want to put on your horror poster. But the real star,

0:17:13.720 --> 0:17:18.080
<v Speaker 2>like our lead and our main hero, is the character Rose,

0:17:18.560 --> 0:17:21.320
<v Speaker 2>played by Brooke Adams born nineteen forty nine.

0:17:21.680 --> 0:17:24.280
<v Speaker 3>I love brook Adams. Brook Adams is in one of

0:17:24.280 --> 0:17:27.560
<v Speaker 3>my all time favorite horror movies, the nineteen seventy eight

0:17:27.680 --> 0:17:30.960
<v Speaker 3>remake of Invasion to the Body Snatchers, which you've never seen,

0:17:31.200 --> 0:17:34.879
<v Speaker 3>is just excellent, just one of the best ever made.

0:17:35.080 --> 0:17:38.479
<v Speaker 2>This is the Philip Kaufman win. Yes, yes, yeah. So

0:17:38.760 --> 0:17:42.639
<v Speaker 2>at the time of Shockwaves, she was an Indian TV actor,

0:17:42.840 --> 0:17:45.480
<v Speaker 2>though she had appeared uncredited I think a very bit

0:17:45.560 --> 0:17:49.280
<v Speaker 2>role in nineteen seventy four is The Great Gatsby. But her, yeah,

0:17:49.280 --> 0:17:52.520
<v Speaker 2>her career took off after Shockwaves. Maybe because of Shockwaves,

0:17:52.520 --> 0:17:55.840
<v Speaker 2>I don't know. She was in Terrence Malix Days of

0:17:55.880 --> 0:18:00.239
<v Speaker 2>Heaven the following year. You already mentioned Body Snatchers. She

0:18:00.320 --> 0:18:02.760
<v Speaker 2>also went on to star opposite Christopher Walken and David

0:18:02.800 --> 0:18:07.119
<v Speaker 2>Cronenberg's adaptation of Stephen King's The Dead Zone. She was

0:18:07.160 --> 0:18:09.920
<v Speaker 2>in The Stuff The Unborn, and she did a whole

0:18:09.960 --> 0:18:11.920
<v Speaker 2>lot of TV work and it is a bit of trivia.

0:18:12.000 --> 0:18:14.680
<v Speaker 2>She's been married to actor Tony Shaloub since nineteen ninety two.

0:18:14.880 --> 0:18:18.080
<v Speaker 3>Oh, I had no idea. Yeah, Broke Adams is great.

0:18:18.600 --> 0:18:20.520
<v Speaker 3>She's got that great screen presence of the kind of

0:18:20.720 --> 0:18:22.720
<v Speaker 3>just instantly likable always. Yeah.

0:18:22.840 --> 0:18:25.399
<v Speaker 2>Yeah, she checks off all the major boxes for female

0:18:25.520 --> 0:18:28.000
<v Speaker 2>lead in the seventies horror film in this, while also

0:18:28.359 --> 0:18:32.080
<v Speaker 2>like having that extra you know, bit of charisma and

0:18:32.160 --> 0:18:34.480
<v Speaker 2>talent you know, you could, it's not surprising that she

0:18:34.520 --> 0:18:38.120
<v Speaker 2>went on to be in all these other things. You know.

0:18:38.480 --> 0:18:41.560
<v Speaker 2>There's sometimes just the way she delivers certain lines in

0:18:41.560 --> 0:18:44.040
<v Speaker 2>this that might otherwise be throwaway lines. She's able to

0:18:44.080 --> 0:18:46.800
<v Speaker 2>inject a certain amount of nuance or comedy into it.

0:18:47.240 --> 0:18:50.040
<v Speaker 3>Yeah, okay, So who's our mustache for the movie?

0:18:50.280 --> 0:18:54.720
<v Speaker 2>Oh? Well, this is Luke Halpin playing Keith. Halpin was

0:18:54.720 --> 0:18:58.520
<v Speaker 2>born in nineteen forty seven, a handsome fellow with a

0:18:58.560 --> 0:19:03.679
<v Speaker 2>maximum mid seventies stash, and his main claim to fame

0:19:04.400 --> 0:19:07.439
<v Speaker 2>prior to this is that he played the character Sandy Ricks,

0:19:08.600 --> 0:19:11.960
<v Speaker 2>a child, in the nineteen sixty three film Flipper opposite

0:19:12.040 --> 0:19:14.959
<v Speaker 2>Chuck Connors, and then played the same role in the

0:19:15.000 --> 0:19:18.600
<v Speaker 2>TV show to follow, though in this the TV show

0:19:18.640 --> 0:19:21.240
<v Speaker 2>did not have Chuck Connors and a dolphin. It had

0:19:21.240 --> 0:19:25.400
<v Speaker 2>Brian Kelly and a dolphin. Fun fact, Brian Kelly has

0:19:25.440 --> 0:19:28.679
<v Speaker 2>a single executive producer credit on IMDb, and it's for

0:19:28.760 --> 0:19:32.719
<v Speaker 2>Blade Runner. But anyway, it happens good in this. I

0:19:32.760 --> 0:19:34.440
<v Speaker 2>liked him. Yeah, maybe it's his mustache.

0:19:34.440 --> 0:19:34.800
<v Speaker 4>I don't know.

0:19:35.240 --> 0:19:37.480
<v Speaker 3>We can call him the Mustache Runner from here on out.

0:19:37.520 --> 0:19:40.879
<v Speaker 3>I always thinking he's very seventies. To me, he looks

0:19:40.960 --> 0:19:44.159
<v Speaker 3>like one of the members of Stillwater, you know. He

0:19:44.160 --> 0:19:46.800
<v Speaker 3>looks like he just lost four cases of beer playing

0:19:46.840 --> 0:19:48.120
<v Speaker 3>cards with Humble Pie.

0:19:48.520 --> 0:19:50.479
<v Speaker 2>Yeah. Yeah, I mean he's got a certain I mean

0:19:50.520 --> 0:19:54.440
<v Speaker 2>he's he's no Sam Elliott, you know, but but he

0:19:54.520 --> 0:19:57.159
<v Speaker 2>has a certain laid back mid seventies style to him

0:19:57.160 --> 0:19:59.600
<v Speaker 2>that that works well on the film. And and he's

0:19:59.640 --> 0:20:02.400
<v Speaker 2>he's also decent at at bringing across a certain level

0:20:02.400 --> 0:20:05.600
<v Speaker 2>of fear and anxiety that becomes absolutely necessary in a

0:20:05.600 --> 0:20:06.119
<v Speaker 2>film like this.

0:20:06.600 --> 0:20:09.159
<v Speaker 3>Yeah. Now, the rest of the cast just sort of

0:20:09.240 --> 0:20:12.560
<v Speaker 3>is rounded out mostly by these people playing tourists who

0:20:12.600 --> 0:20:13.600
<v Speaker 3>are zombie fodder.

0:20:14.320 --> 0:20:17.160
<v Speaker 2>Yeah, and I'm not sure how many of them are

0:20:17.240 --> 0:20:21.040
<v Speaker 2>necessarily worth spending a lot of time on, but they're

0:20:21.080 --> 0:20:22.840
<v Speaker 2>all pretty good in their role. You have this guy

0:20:23.160 --> 0:20:27.280
<v Speaker 2>Fred Butch I believe it is. I lived thirty five

0:20:27.400 --> 0:20:31.800
<v Speaker 2>through twenty twelve. Yeah, plays the character Chuck. This is

0:20:31.840 --> 0:20:35.119
<v Speaker 2>a guy who had various roles in eighties movies, including

0:20:35.240 --> 0:20:38.440
<v Speaker 2>cocoon and Caddy shack, and he looks like he was

0:20:38.480 --> 0:20:41.400
<v Speaker 2>in another Florida movie, this time of slasher titled Nightmare

0:20:41.440 --> 0:20:44.840
<v Speaker 2>Beach from nineteen eighty nine that Romberto Lindsay was involved

0:20:44.840 --> 0:20:48.920
<v Speaker 2>in and that also featured Michael Parks and John Saxon.

0:20:49.560 --> 0:20:51.760
<v Speaker 3>But yeah, I was thinking of Chuck in this movie

0:20:51.800 --> 0:20:54.159
<v Speaker 3>as Bacardi Man. I didn't know what his name was,

0:20:54.320 --> 0:20:56.600
<v Speaker 3>so I just called him Bacardi Man the whole time.

0:20:56.920 --> 0:20:59.960
<v Speaker 2>Yeah, he has a signature look, often shirtless, sometimes just

0:21:00.080 --> 0:21:03.359
<v Speaker 2>and tidy white. He's running around on the deck of

0:21:03.400 --> 0:21:06.639
<v Speaker 2>a ship. He's great because he's kind of like you.

0:21:06.800 --> 0:21:09.080
<v Speaker 2>You always have to have your array of characters from

0:21:09.600 --> 0:21:15.560
<v Speaker 2>detestable to likable or lovable, and he's nicely situated in

0:21:15.560 --> 0:21:17.480
<v Speaker 2>the middle. You know, you don't really hate him, but

0:21:18.520 --> 0:21:20.840
<v Speaker 2>you're not going to be that disappointed when a zombie

0:21:20.920 --> 0:21:21.360
<v Speaker 2>kills him.

0:21:21.440 --> 0:21:24.800
<v Speaker 3>He also has a seemingly out of character freak out

0:21:24.840 --> 0:21:27.040
<v Speaker 3>toward the end of the movie that's pretty amusing.

0:21:27.400 --> 0:21:27.680
<v Speaker 2>Yeah.

0:21:27.840 --> 0:21:30.640
<v Speaker 3>Yeah, oh, but then we also have like this angry,

0:21:30.720 --> 0:21:33.200
<v Speaker 3>aggressive nerd character named Norman.

0:21:33.840 --> 0:21:37.439
<v Speaker 2>Yes, Norman is great, played by Jack Davidson born nineteen

0:21:37.480 --> 0:21:40.159
<v Speaker 2>thirty six. This actor did a lot of small parts

0:21:40.160 --> 0:21:43.320
<v Speaker 2>in films, including eighty seven's The Secret of My Success.

0:21:43.320 --> 0:21:46.280
<v Speaker 2>Eighty three is trading places. In this he is a

0:21:46.400 --> 0:21:50.600
<v Speaker 2>used car salesman on vacation with his wife Beverly and

0:21:51.000 --> 0:21:53.480
<v Speaker 2>oh man, he is not satisfied and he will be

0:21:53.520 --> 0:21:54.520
<v Speaker 2>speaking to your manager.

0:21:54.680 --> 0:21:58.679
<v Speaker 3>Yes, he exudes not satisfied with my service. That is

0:21:58.800 --> 0:21:59.840
<v Speaker 3>his personality.

0:22:00.320 --> 0:22:04.680
<v Speaker 2>Yeah. Beverly is great in this too, played by DJ Sydney,

0:22:04.720 --> 0:22:06.320
<v Speaker 2>but she wasn't really in much beyond this.

0:22:07.280 --> 0:22:09.719
<v Speaker 3>Oh, and then there's also Dobbs. He's like Bacardi Man

0:22:09.800 --> 0:22:12.360
<v Speaker 3>number two. This movie has multiple Bacardi men.

0:22:12.920 --> 0:22:15.960
<v Speaker 2>Dobbs is your straight Bacardi man, though he is going

0:22:15.960 --> 0:22:19.160
<v Speaker 2>to drink the Baccardi straight, no no mixers, no ice,

0:22:19.200 --> 0:22:22.240
<v Speaker 2>and he will have it for breakfast. He plays our

0:22:22.880 --> 0:22:25.680
<v Speaker 2>the dive boats alcoholic cook and I guess like sort

0:22:25.720 --> 0:22:30.520
<v Speaker 2>of general like boat guy played by a Cola based

0:22:30.560 --> 0:22:35.520
<v Speaker 2>actor Don Scout who lived nineteen twenty three through two

0:22:35.520 --> 0:22:37.840
<v Speaker 2>thousand and four. And even he's good and this is

0:22:37.920 --> 0:22:40.960
<v Speaker 2>kind of a you know, a throwaway role, I guess.

0:22:40.960 --> 0:22:44.159
<v Speaker 2>But he's he's amusing, he's this, Yeah, just this, this

0:22:44.280 --> 0:22:46.680
<v Speaker 2>alcoholic boat guy who you know is not going to

0:22:46.720 --> 0:22:48.960
<v Speaker 2>make it far into the film. But he is also

0:22:49.040 --> 0:22:50.560
<v Speaker 2>not you know, you're not. He's not hateable.

0:22:50.840 --> 0:22:53.439
<v Speaker 3>He has an interesting death scene we'll get too later on.

0:22:53.680 --> 0:22:57.679
<v Speaker 2>Yeah, just a small role. But there's a fisherman that

0:22:57.680 --> 0:22:59.840
<v Speaker 2>shows up early on, played by the actor Clarence to

0:23:00.000 --> 0:23:02.400
<v Speaker 2>i'ms who live thirty four through two thousand and nine,

0:23:02.920 --> 0:23:06.440
<v Speaker 2>an actor and according to IMDb, which again can sometimes

0:23:06.960 --> 0:23:10.280
<v Speaker 2>be incorrect, but IMDb claims he was the first African

0:23:10.359 --> 0:23:14.160
<v Speaker 2>American Florida Branch President of the Screen Actors Guild from

0:23:14.160 --> 0:23:16.440
<v Speaker 2>two thousand to two thousand and two. So there you go.

0:23:16.920 --> 0:23:20.440
<v Speaker 3>Now, there's one reason I know you must have wanted

0:23:20.480 --> 0:23:23.479
<v Speaker 3>to do this movie, which is it has an electronic score.

0:23:24.160 --> 0:23:26.520
<v Speaker 2>Yes, as far as I'm concerned, one of the and

0:23:26.520 --> 0:23:28.919
<v Speaker 2>I think this is essential for my understanding of the

0:23:28.960 --> 0:23:31.359
<v Speaker 2>Florida movie. But yeah, one of the true stars of

0:23:31.400 --> 0:23:36.119
<v Speaker 2>this film is Richard Einhorn because he is responsible for

0:23:36.720 --> 0:23:41.000
<v Speaker 2>Shockwave's tremendous score. I think it's absolutely top shelf composed

0:23:41.040 --> 0:23:44.760
<v Speaker 2>and performed by contemporary classic musical composer Richard Einhorn.

0:23:45.160 --> 0:23:48.240
<v Speaker 3>So this is not an Italian composed score, but I

0:23:48.240 --> 0:23:50.119
<v Speaker 3>would say it feels Italian to me.

0:23:51.040 --> 0:23:53.840
<v Speaker 2>Yeah, Yeah, it definitely has some of those vibes going on.

0:23:54.040 --> 0:23:58.080
<v Speaker 2>It's it's worth that a lot of electronic music in

0:23:58.119 --> 0:24:02.119
<v Speaker 2>the genre score world, they come from individuals who in

0:24:02.160 --> 0:24:04.640
<v Speaker 2>some cases they were largely self taught, or they came

0:24:04.720 --> 0:24:08.960
<v Speaker 2>up playing for and working with bands. Einhorn, however, was

0:24:09.000 --> 0:24:12.320
<v Speaker 2>a graduate of Columbia University, where he studied electronic music

0:24:12.400 --> 0:24:17.439
<v Speaker 2>and composition under some individuals that are apparently major names

0:24:18.440 --> 0:24:22.239
<v Speaker 2>in that field of not just popular electronic music, but

0:24:22.359 --> 0:24:27.320
<v Speaker 2>like you know, classical composition and electronic music, like Vladimir

0:24:27.560 --> 0:24:31.679
<v Speaker 2>Yusochevsky and Mario David Ofsky. And Einhorn went on to

0:24:31.720 --> 0:24:36.439
<v Speaker 2>compose such works as The Origin and opera that was

0:24:36.480 --> 0:24:39.720
<v Speaker 2>inspired by Charles Darwin's life and work with lyrics by

0:24:39.720 --> 0:24:44.960
<v Speaker 2>poet Catherine Barnett. Interesting another composition, Voices of Light, was

0:24:45.040 --> 0:24:47.679
<v Speaker 2>inspired by the silent Joan of Arc film, and you

0:24:47.680 --> 0:24:51.440
<v Speaker 2>can find this particular piece of music on Spotify and

0:24:51.520 --> 0:24:52.800
<v Speaker 2>various other streaming sites.

0:24:53.080 --> 0:24:55.120
<v Speaker 3>Budd He also did some trash horror.

0:24:54.760 --> 0:25:00.240
<v Speaker 2>Movies YEP, including ultimately several Viderhorn movies. He did Eyes

0:25:00.240 --> 0:25:03.680
<v Speaker 2>of a Stranger as well as he also did the

0:25:04.080 --> 0:25:06.640
<v Speaker 2>influential nineteen eighty one slasher film, The Prowler.

0:25:07.200 --> 0:25:09.600
<v Speaker 3>Oh yeah, that was when we talked about. When I

0:25:09.640 --> 0:25:13.119
<v Speaker 3>was a guest on movie Crush with Chuck Bryant and

0:25:13.440 --> 0:25:16.840
<v Speaker 3>several of our other friends from the office, we talked

0:25:16.840 --> 0:25:20.600
<v Speaker 3>about slasher movies. That one's not I mean, there really

0:25:20.680 --> 0:25:23.520
<v Speaker 3>are no slasher movies that are like really good movies,

0:25:23.560 --> 0:25:27.359
<v Speaker 3>maybe Halloween or something, but that one's just in terms

0:25:27.359 --> 0:25:30.199
<v Speaker 3>of slasher style. It's got a lot going for it.

0:25:30.200 --> 0:25:32.800
<v Speaker 3>It's got a very menacing looking killer in terms of

0:25:32.840 --> 0:25:36.000
<v Speaker 3>the costume, which is similar to what this movie really

0:25:36.000 --> 0:25:36.760
<v Speaker 3>has going for it.

0:25:37.080 --> 0:25:41.280
<v Speaker 2>Yeah, definitely menacing looking adversaries. Now, Einhorn also did Let's

0:25:41.280 --> 0:25:44.080
<v Speaker 2>See Blood, Rage, Dead of Winter, The Dark Tower, but

0:25:44.119 --> 0:25:48.639
<v Speaker 2>he also composed the scores for, in particular the score

0:25:48.680 --> 0:25:52.399
<v Speaker 2>for nineteen ninety one's Closet Land. This starred Madeline Stowe

0:25:52.480 --> 0:25:55.720
<v Speaker 2>and Alan Rickman, and Philip Glass was involved as that

0:25:55.760 --> 0:26:00.439
<v Speaker 2>as well as creative musical supervision, and from there he

0:26:00.440 --> 0:26:05.240
<v Speaker 2>also did various work for documentaries and art films. Now, interestingly,

0:26:05.840 --> 0:26:08.879
<v Speaker 2>Einhorn lost his hearing at the age of fifty seven,

0:26:09.280 --> 0:26:12.280
<v Speaker 2>and there's a twenty eleven New York Times article that

0:26:12.320 --> 0:26:15.200
<v Speaker 2>details how the use of a hearing loop allowed him

0:26:15.200 --> 0:26:18.840
<v Speaker 2>to enjoy live music again. So if you're interested, I

0:26:18.880 --> 0:26:22.040
<v Speaker 2>recommend looking that article up and reading it. It's quite

0:26:22.119 --> 0:26:24.560
<v Speaker 2>it's quite breath tacking because it gets into the technology

0:26:24.600 --> 0:26:27.120
<v Speaker 2>a bit, but also just talking to Einhorn about how,

0:26:27.280 --> 0:26:29.800
<v Speaker 2>you know, he'd lost his hearing. He thought that he'd

0:26:29.800 --> 0:26:34.280
<v Speaker 2>never be able to enjoy live musical performances again, and

0:26:34.320 --> 0:26:37.199
<v Speaker 2>then he's trying on this loop and he went to

0:26:37.240 --> 0:26:40.800
<v Speaker 2>see Wicked, I think, or something like that, and he said,

0:26:40.800 --> 0:26:45.720
<v Speaker 2>I'm not even a fan of musicals, but the experience

0:26:46.040 --> 0:26:49.200
<v Speaker 2>reduced him to tears, you know, because he was able

0:26:49.200 --> 0:26:51.640
<v Speaker 2>to hear this again. So it's a really great read

0:26:52.040 --> 0:26:56.320
<v Speaker 2>that's inspiring. Now the score for Shockwaves again, in my opinion,

0:26:56.320 --> 0:27:01.000
<v Speaker 2>I think it's absolutely great, legitimately jarring deeply disturbed. I

0:27:01.000 --> 0:27:03.800
<v Speaker 2>think Shockwaves would have ultimately been an interesting film with

0:27:03.840 --> 0:27:06.320
<v Speaker 2>a different score, but I'm not sure it would have

0:27:06.520 --> 0:27:09.560
<v Speaker 2>really succeeded to the level that it does because Einhorn

0:27:09.640 --> 0:27:13.080
<v Speaker 2>just fills the picture with sonic dread that makes everything

0:27:13.080 --> 0:27:15.440
<v Speaker 2>else work ten times as well as it would otherwise.

0:27:15.480 --> 0:27:18.040
<v Speaker 2>There are bits where he bleeds in the audio of

0:27:18.600 --> 0:27:22.200
<v Speaker 2>like Chance from the third Reich and there are also

0:27:22.240 --> 0:27:27.200
<v Speaker 2>some really unsettling nature sounds as well, underwater reverberations. There's

0:27:27.240 --> 0:27:30.679
<v Speaker 2>this disturbing shrieking sound at one point. So the music

0:27:30.800 --> 0:27:33.760
<v Speaker 2>really really keeps you on your toes. Let's hear some

0:27:33.840 --> 0:27:34.200
<v Speaker 2>of it.

0:27:44.640 --> 0:27:44.760
<v Speaker 3>Now.

0:27:44.800 --> 0:27:47.480
<v Speaker 2>I don't think the score is officially available anywhere in

0:27:47.600 --> 0:27:50.480
<v Speaker 2>digital form. Sadly you may be able to find some

0:27:50.560 --> 0:27:54.800
<v Speaker 2>unofficial streams, but Waxwork Records has it out on vinyl.

0:27:54.920 --> 0:27:57.639
<v Speaker 2>And again, I'm not a vinyl collector, I don't do

0:27:57.720 --> 0:28:00.520
<v Speaker 2>not have a record player, but this looks absolutely splendid

0:28:00.520 --> 0:28:05.840
<v Speaker 2>because it's remastered and it's available in Seafoam Green. The

0:28:05.880 --> 0:28:08.560
<v Speaker 2>actual record is Seafoam Green, and then it has some

0:28:09.160 --> 0:28:12.119
<v Speaker 2>custom art on the front and on the back and

0:28:12.160 --> 0:28:15.560
<v Speaker 2>some new liner notes. So any vinyl fans out there,

0:28:16.680 --> 0:28:18.800
<v Speaker 2>if you're interested to check this out, and if you

0:28:18.880 --> 0:28:21.080
<v Speaker 2>already own it, tell me what it is like.

0:28:21.480 --> 0:28:23.720
<v Speaker 3>Oh, I may have to order this one. Yeah, it

0:28:23.720 --> 0:28:24.720
<v Speaker 3>has good art.

0:28:24.720 --> 0:28:28.280
<v Speaker 2>All right. I guess a couple of more connections here

0:28:29.000 --> 0:28:32.600
<v Speaker 2>in passing. Alan Ormsby was born nineteen forty three is

0:28:32.600 --> 0:28:34.959
<v Speaker 2>responsible for the special makeup we see in the picture

0:28:34.960 --> 0:28:38.680
<v Speaker 2>of these Nazi zombies, and while he worked special makeup

0:28:38.720 --> 0:28:41.640
<v Speaker 2>and a few films previously, including Children Shouldn't Play With

0:28:41.720 --> 0:28:44.800
<v Speaker 2>Dead Things. He also wrote that film and actually served

0:28:44.800 --> 0:28:47.760
<v Speaker 2>as a screenwriter for many years, with credits that include

0:28:47.800 --> 0:28:51.560
<v Speaker 2>Paul Schrader's Cat People, the nineteen ninety one horror anthology

0:28:51.560 --> 0:28:56.320
<v Speaker 2>film Popcorn The Substitute starring Tom Bearringer, and its various sequels,

0:28:56.360 --> 0:29:00.440
<v Speaker 2>which I think we've talked about and can fused it

0:29:00.480 --> 0:29:03.120
<v Speaker 2>with other films on previous episodes of Weird House.

0:29:03.400 --> 0:29:06.880
<v Speaker 3>I think, on reflection, I have not actually seen that movie.

0:29:06.960 --> 0:29:09.960
<v Speaker 3>I just find it conceptually funny because it's Tom bearn

0:29:10.040 --> 0:29:11.080
<v Speaker 3>Are looking so stern.

0:29:11.520 --> 0:29:13.520
<v Speaker 2>Yeah, yeah, I think that's the only thing he does

0:29:13.520 --> 0:29:16.680
<v Speaker 2>in it. But then also Ormsby has an additional story

0:29:16.760 --> 0:29:21.960
<v Speaker 2>material credit on Disney's animated version of Mulan, So yeah,

0:29:22.080 --> 0:29:25.400
<v Speaker 2>strange connections on this one. But yeah, the death Cord

0:29:25.800 --> 0:29:28.520
<v Speaker 2>Troopers in this do look very creepy with the goggles

0:29:28.560 --> 0:29:33.480
<v Speaker 2>and the model pale flesh and wet seaweed like blonde hair.

0:29:33.840 --> 0:29:36.400
<v Speaker 3>This is one of those movies that knows it has

0:29:36.480 --> 0:29:40.240
<v Speaker 3>a great looking monster and so they just show it.

0:29:40.280 --> 0:29:42.280
<v Speaker 3>You know. It reminds me of the story about the

0:29:42.280 --> 0:29:44.959
<v Speaker 3>production of the first Friday the thirteenth movie when they

0:29:45.000 --> 0:29:48.280
<v Speaker 3>had oh, what's his name, who's doing the blood the

0:29:48.280 --> 0:29:52.000
<v Speaker 3>makeup effects? Tom Savini, Tom Savini doing the makeup effects,

0:29:52.040 --> 0:29:54.880
<v Speaker 3>and they realized the makeup effects looked so good. They

0:29:54.880 --> 0:29:56.120
<v Speaker 3>were like, well, we got to get we got to

0:29:56.160 --> 0:29:59.080
<v Speaker 3>put those more on screens. Let's just plait it up.

0:29:59.400 --> 0:30:01.320
<v Speaker 3>You get the sense that's what was going on here.

0:30:01.800 --> 0:30:05.800
<v Speaker 3>I suspect the zombies in this movie ended up looking

0:30:05.960 --> 0:30:08.840
<v Speaker 3>creepier than the director might have hoped, and so we

0:30:08.920 --> 0:30:15.120
<v Speaker 3>end up just seeing them a lot.

0:30:19.480 --> 0:30:22.520
<v Speaker 2>Well, let's get into the plot breakdown for this film.

0:30:22.560 --> 0:30:24.640
<v Speaker 2>Let's explore shockwaves.

0:30:24.880 --> 0:30:27.920
<v Speaker 3>Okay, Well, this is one of those movies that starts

0:30:27.960 --> 0:30:33.080
<v Speaker 3>with a Texas chainsaw massacre style grim voiceover before you

0:30:33.080 --> 0:30:35.280
<v Speaker 3>get any action or meet any of the characters.

0:30:35.600 --> 0:30:38.680
<v Speaker 2>Yeah, it wants you to know this really happened, or

0:30:38.960 --> 0:30:39.840
<v Speaker 2>to a certain extent.

0:30:40.120 --> 0:30:42.920
<v Speaker 3>The following is a true story about Nazi zombies.

0:30:43.200 --> 0:30:45.320
<v Speaker 2>Yeah, and I'll just go ahead and read it verbatim

0:30:45.320 --> 0:30:48.480
<v Speaker 2>real quick, you know, in a creepy voice. Shortly before

0:30:48.480 --> 0:30:50.640
<v Speaker 2>the start of World War Two, the German High Command

0:30:50.720 --> 0:30:53.800
<v Speaker 2>began a secret investigation into the powers of the supernatural

0:30:54.320 --> 0:30:56.960
<v Speaker 2>ancient legend told of a race of warriors who used

0:30:57.120 --> 0:31:00.520
<v Speaker 2>neither weapons nor shields, and whose superhuman power came from

0:31:00.600 --> 0:31:03.719
<v Speaker 2>within the earth itself. As Germany prepared for war, the

0:31:03.800 --> 0:31:06.360
<v Speaker 2>SS secretly enlisted a group of scientists to create an

0:31:06.360 --> 0:31:09.600
<v Speaker 2>invincible soldier. It is known that the bodies of soldiers

0:31:09.680 --> 0:31:13.040
<v Speaker 2>killed in battle were returned to a secret laboratory near Koblin's,

0:31:13.320 --> 0:31:16.240
<v Speaker 2>where they were used in a variety of scientific experiments.

0:31:16.520 --> 0:31:18.360
<v Speaker 2>It was rumored that toward the end of the war,

0:31:18.480 --> 0:31:22.200
<v Speaker 2>Allied forces met German squads that fought without weapons, killing

0:31:22.200 --> 0:31:24.800
<v Speaker 2>only with their bare hands. No one knows who they

0:31:24.800 --> 0:31:27.200
<v Speaker 2>were or what became of them, but one thing is certain.

0:31:27.560 --> 0:31:29.880
<v Speaker 2>Of all the SS units, there was only one that

0:31:29.920 --> 0:31:32.280
<v Speaker 2>the Allies never captured a single member of.

0:31:33.280 --> 0:31:34.920
<v Speaker 3>This is not a true story.

0:31:34.800 --> 0:31:38.600
<v Speaker 2>No, this is not true at all, but it sets

0:31:38.600 --> 0:31:41.280
<v Speaker 2>the stage, and you know you're going to see all

0:31:41.320 --> 0:31:44.480
<v Speaker 2>the soldiers in the photo again in an altered form.

0:31:44.880 --> 0:31:47.040
<v Speaker 2>And if you weren't paying attention, don't worry. Peter Cushing

0:31:47.040 --> 0:31:49.200
<v Speaker 2>will come around later in the film and he'll basically

0:31:49.240 --> 0:31:50.160
<v Speaker 2>tell you everything again.

0:31:50.240 --> 0:31:51.040
<v Speaker 3>Oh yeah, that's true.

0:31:51.120 --> 0:31:51.320
<v Speaker 4>Yeah.

0:31:51.360 --> 0:31:55.240
<v Speaker 3>You get a second exposition dump, which somewhat varies from

0:31:55.280 --> 0:31:57.680
<v Speaker 3>the narration at the beginning, which makes you wonder if

0:31:57.680 --> 0:32:00.160
<v Speaker 3>Peter Cushing is maybe lying a little bit or I

0:32:00.200 --> 0:32:02.240
<v Speaker 3>don't know, or maybe I don't know, maybe I only

0:32:02.280 --> 0:32:05.480
<v Speaker 3>perceive the differences anyway, So we start off with a

0:32:05.560 --> 0:32:08.320
<v Speaker 3>fishing boat rescue. There are some fishermen who were out

0:32:08.680 --> 0:32:11.280
<v Speaker 3>on the high seas and they spy a small boat

0:32:11.320 --> 0:32:14.640
<v Speaker 3>adrift and they pull alongside to help. And then we

0:32:14.680 --> 0:32:18.360
<v Speaker 3>get some more narration, not by the John Laraquette style

0:32:18.480 --> 0:32:21.840
<v Speaker 3>narration from the beginning, but instead from Brook Adams. And

0:32:22.000 --> 0:32:24.400
<v Speaker 3>she's lying there in the boat and you hear her

0:32:24.440 --> 0:32:27.320
<v Speaker 3>saying in voiceover, I don't know how long that dinghy

0:32:27.360 --> 0:32:29.880
<v Speaker 3>floated around with me lying in it. All I can

0:32:29.960 --> 0:32:33.120
<v Speaker 3>remember was the sound of the water slapping against the side.

0:32:33.440 --> 0:32:36.560
<v Speaker 3>Then I heard the engine sound getting closer. That was

0:32:36.600 --> 0:32:40.160
<v Speaker 3>when I realized I was still alive. And it's Brook

0:32:40.200 --> 0:32:43.520
<v Speaker 3>Adams in the boat, delirious with terror. She is helped

0:32:43.560 --> 0:32:46.200
<v Speaker 3>onto the fishing boat by the captain of the fishing boat,

0:32:46.240 --> 0:32:49.600
<v Speaker 3>and she tries to tell her rescuers what happened, but

0:32:49.680 --> 0:32:52.000
<v Speaker 3>she seems like she can't speak. She's just sitting there

0:32:52.080 --> 0:32:55.400
<v Speaker 3>kind of catatonic, and she says in the voiceover that

0:32:55.440 --> 0:32:59.560
<v Speaker 3>it's only now that she remembers. So we immediately cut

0:32:59.600 --> 0:33:02.280
<v Speaker 3>to the and now we're on a pleasure boat, I guess.

0:33:02.280 --> 0:33:03.800
<v Speaker 3>So we're not on the boat. We see, like you know,

0:33:03.880 --> 0:33:07.160
<v Speaker 3>Brooke Adams is diving around a reef with flippers and

0:33:07.200 --> 0:33:10.080
<v Speaker 3>the diving mask, and she says it was the second

0:33:10.120 --> 0:33:12.960
<v Speaker 3>day on one of those small dive boats that takes

0:33:13.000 --> 0:33:16.080
<v Speaker 3>you around the islands. The engine had broken down for

0:33:16.120 --> 0:33:21.280
<v Speaker 3>the second time. And yeah, immediately you noticed something about

0:33:21.280 --> 0:33:22.600
<v Speaker 3>the boat that I noticed too.

0:33:23.120 --> 0:33:25.680
<v Speaker 2>Yeah, small dive boat is not how I would I

0:33:25.720 --> 0:33:27.800
<v Speaker 2>would describe this. This looks pretty big. I've been on

0:33:27.840 --> 0:33:30.760
<v Speaker 2>some dive boats and they were all smaller than this.

0:33:30.960 --> 0:33:32.960
<v Speaker 3>Yeah, this is a large boat, but it is. It

0:33:33.040 --> 0:33:35.880
<v Speaker 3>is a large boat, and it is a struggling boat.

0:33:36.080 --> 0:33:38.680
<v Speaker 3>We have a struggle boat here, chugging around in the

0:33:38.720 --> 0:33:41.560
<v Speaker 3>water as best it can. But they do communicate that

0:33:41.640 --> 0:33:45.400
<v Speaker 3>this boat has seen better days. And then no fooling around.

0:33:45.600 --> 0:33:50.320
<v Speaker 3>We have Carodine. We immediately get Carrodine, as often happened,

0:33:50.360 --> 0:33:53.160
<v Speaker 3>So Carrodine, there were like two captains of the ship,

0:33:53.240 --> 0:33:57.200
<v Speaker 3>or Carodeine is the captain maybe and still water boy

0:33:57.240 --> 0:34:00.160
<v Speaker 3>with the mustache is the first mate maybe, but he

0:34:00.160 --> 0:34:03.320
<v Speaker 3>he's like steering the ship and John Krodine just choose

0:34:03.440 --> 0:34:06.560
<v Speaker 3>him out a lot. But as often happens, when we

0:34:06.600 --> 0:34:10.040
<v Speaker 3>first meet John Carodine in this movie, he walks on

0:34:10.080 --> 0:34:14.200
<v Speaker 3>set looking and sounding like he just ate three jars

0:34:14.239 --> 0:34:17.560
<v Speaker 3>of capers right before he came onto the camera. He's

0:34:17.680 --> 0:34:22.719
<v Speaker 3>just he's just briny and dyspeptic. From word one, absolutely

0:34:23.560 --> 0:34:25.960
<v Speaker 3>he's saying like keep at half speed, no sense putting

0:34:25.960 --> 0:34:30.680
<v Speaker 3>strain on a crank shaft. And uh, there's immediately conflicts

0:34:30.680 --> 0:34:32.520
<v Speaker 3>between them because I guess you know you got you

0:34:32.560 --> 0:34:34.800
<v Speaker 3>got your old cap'ain and you got your young cap'n.

0:34:34.840 --> 0:34:38.160
<v Speaker 3>And old cap'n is dressed like he's in some kind

0:34:38.160 --> 0:34:41.680
<v Speaker 3>of auxiliary naval unit. This is, of course Carodine, and

0:34:42.040 --> 0:34:45.319
<v Speaker 3>young cap'n looks like seventies rock and roll. You know,

0:34:45.640 --> 0:34:48.359
<v Speaker 3>he's been playing cards with Humble Pie and now he's

0:34:48.400 --> 0:34:53.160
<v Speaker 3>out here not taking his responsibilities seriously. And there's just

0:34:53.200 --> 0:34:55.560
<v Speaker 3>some glorious chewing out that goes on at You know,

0:34:55.640 --> 0:34:59.920
<v Speaker 3>John Carodine's saying, it's north northwest, not northwest, you slaw,

0:35:00.360 --> 0:35:04.879
<v Speaker 3>we must have accurate navigation. The sailor's best friend. And oh,

0:35:04.880 --> 0:35:08.040
<v Speaker 3>and he goes into this speech about how you can't

0:35:08.080 --> 0:35:11.320
<v Speaker 3>be a good captain just by being good looking. It's

0:35:11.400 --> 0:35:16.200
<v Speaker 3>his ability to navigate that makes him a good captain. Also,

0:35:16.239 --> 0:35:19.640
<v Speaker 3>did you notice that? So during the boat piloting scenes,

0:35:19.719 --> 0:35:22.880
<v Speaker 3>there's a problem that I notice in a lot of movies,

0:35:22.960 --> 0:35:27.279
<v Speaker 3>which is an implausible amount of characters who are used

0:35:27.320 --> 0:35:31.160
<v Speaker 3>to doing something talking about what they're doing, you know.

0:35:31.239 --> 0:35:33.799
<v Speaker 3>So they're just saying back and forth to each other

0:35:33.840 --> 0:35:36.400
<v Speaker 3>steer one sixty five and keep her steady and that

0:35:36.480 --> 0:35:38.920
<v Speaker 3>kind of thing. But they're standing right next to each other.

0:35:39.120 --> 0:35:40.600
<v Speaker 3>It just feels like the kind of thing that they

0:35:40.600 --> 0:35:42.040
<v Speaker 3>wouldn't need to say out loud.

0:35:42.719 --> 0:35:44.719
<v Speaker 2>Yeah, like, even if this is the first day they've

0:35:44.760 --> 0:35:47.759
<v Speaker 2>worked together, and yeah, even though you have the you know,

0:35:47.840 --> 0:35:52.600
<v Speaker 2>clearly the elder captain here, you know, trying to instruct

0:35:52.680 --> 0:35:54.040
<v Speaker 2>the younger seventies guy.

0:35:54.360 --> 0:35:57.960
<v Speaker 3>Yeah. Now immediately we get some spooky underwater stuff that

0:35:58.080 --> 0:36:01.759
<v Speaker 3>we start seeing these shots of a son submarine. And

0:36:02.920 --> 0:36:05.520
<v Speaker 3>it's weird because in some ways, I would say this

0:36:05.600 --> 0:36:10.080
<v Speaker 3>movie is for the most part not stylistically anything to

0:36:10.120 --> 0:36:12.560
<v Speaker 3>write home about in terms of photography and all that,

0:36:12.880 --> 0:36:16.920
<v Speaker 3>But there were like a select number of underwater shots

0:36:16.960 --> 0:36:20.680
<v Speaker 3>and shots of the zombies that are actually very stylish

0:36:20.719 --> 0:36:22.959
<v Speaker 3>and cool, and some of the underwater footage here where

0:36:23.040 --> 0:36:27.200
<v Speaker 3>they capture schools of fish sort of darting around back

0:36:27.239 --> 0:36:30.880
<v Speaker 3>and forth in unison, and the synchronized swimming patterns in

0:36:30.920 --> 0:36:33.319
<v Speaker 3>the in the wreckage of this submarine we see at

0:36:33.360 --> 0:36:36.160
<v Speaker 3>the bottom of the water. That's all great stuff.

0:36:36.520 --> 0:36:39.360
<v Speaker 2>Yeah, in its best moments, this film feels like a

0:36:39.400 --> 0:36:43.840
<v Speaker 2>traumatic dream in the best way possible for a horror film.

0:36:43.960 --> 0:36:46.680
<v Speaker 3>But okay, so something spooky is under the water. The

0:36:46.760 --> 0:36:49.439
<v Speaker 3>music lets us know, you know, as we're going around

0:36:49.480 --> 0:36:52.880
<v Speaker 3>this wreckage there's something wrong with it, something supernaturally wrong.

0:36:53.640 --> 0:36:57.080
<v Speaker 3>And then something happens with the sun. Everything turns orange.

0:36:57.200 --> 0:36:59.719
<v Speaker 3>This is not really explained, and I didn't really get

0:36:59.719 --> 0:37:01.920
<v Speaker 3>what was going on, but suddenly there's just an orange

0:37:01.920 --> 0:37:03.080
<v Speaker 3>filter on the camera.

0:37:03.520 --> 0:37:05.279
<v Speaker 2>Yeah, I think, and I don't know how much of

0:37:05.280 --> 0:37:07.440
<v Speaker 2>this is me reading into it knowing you know that

0:37:07.480 --> 0:37:09.879
<v Speaker 2>they were high on the morning of the Magicians when

0:37:09.920 --> 0:37:12.160
<v Speaker 2>they put this together. But I think this is like

0:37:12.239 --> 0:37:16.399
<v Speaker 2>some sort of a solar phenomenon or there's some sort

0:37:16.400 --> 0:37:19.120
<v Speaker 2>of like like because later we keep hearing from them

0:37:19.120 --> 0:37:22.200
<v Speaker 2>about how the compass isn't working anymore, you know, and

0:37:22.800 --> 0:37:25.560
<v Speaker 2>clearly it's had some other weird effects on their surroundings.

0:37:25.640 --> 0:37:28.480
<v Speaker 2>So perhaps it's kind of again, maybe kind of Texas

0:37:28.560 --> 0:37:30.800
<v Speaker 2>Chainsaw MASc here in a way like that film opens

0:37:30.880 --> 0:37:35.480
<v Speaker 2>up with this implied astrological disorder, and maybe here we're

0:37:35.480 --> 0:37:38.360
<v Speaker 2>getting a more overt astrological disorder.

0:37:38.719 --> 0:37:41.960
<v Speaker 3>Okay, so you know, Saturn is in retrograde or something,

0:37:42.000 --> 0:37:44.320
<v Speaker 3>and that's when the zombies wake up from the bottom

0:37:44.320 --> 0:37:47.760
<v Speaker 3>of the ocean, I see. So then we start meeting

0:37:47.800 --> 0:37:51.560
<v Speaker 3>the other characters. We get to meet Norman and his

0:37:51.600 --> 0:37:55.640
<v Speaker 3>wife Beverly, and they're arguing about whether the captain knows

0:37:55.680 --> 0:37:59.520
<v Speaker 3>what he's doing, and there's a great like Norman decides

0:37:59.560 --> 0:38:01.960
<v Speaker 3>he's going to go up and help the captain steer

0:38:02.000 --> 0:38:05.000
<v Speaker 3>the boat. Norman, as I said earlier, is a cranky,

0:38:05.120 --> 0:38:06.160
<v Speaker 3>aggressive nerd.

0:38:06.760 --> 0:38:11.839
<v Speaker 2>Yeah, he's a joy to watch, but he is such

0:38:11.880 --> 0:38:15.719
<v Speaker 2>a such a complainer, Like he just can't wait for

0:38:15.840 --> 0:38:18.440
<v Speaker 2>yelp to be invented so he can properly review this

0:38:18.600 --> 0:38:19.280
<v Speaker 2>dive company.

0:38:19.560 --> 0:38:23.480
<v Speaker 3>This guy's he's a terror at restaurants. He gets cashiers

0:38:23.520 --> 0:38:27.440
<v Speaker 3>fired everywhere he goes. Yeah, but on the way up

0:38:27.480 --> 0:38:30.799
<v Speaker 3>to chew out the captain, he meets Bacardi Man, who

0:38:30.800 --> 0:38:33.480
<v Speaker 3>I think his name is Chuck, who is more laid back.

0:38:33.800 --> 0:38:36.319
<v Speaker 3>Bacardi Man is making a house of cards, one might

0:38:36.360 --> 0:38:40.040
<v Speaker 3>say a bunker of cards, and his characteristics when we

0:38:40.120 --> 0:38:43.080
<v Speaker 3>first meet him, or that he's got his shirt unbuttoned

0:38:43.360 --> 0:38:47.319
<v Speaker 3>several more buttons down than Norman does, so you can

0:38:47.360 --> 0:38:51.200
<v Speaker 3>tell he's cooler. And he just drinks rum and chills.

0:38:50.960 --> 0:38:54.880
<v Speaker 2>Out yeap, just having having rum and coke and stacking cards.

0:38:55.760 --> 0:38:58.000
<v Speaker 3>And then of course we meet Dobbs, the cook we

0:38:58.040 --> 0:39:02.120
<v Speaker 3>already talked about, who makes his Baccardi straight, unlike Chuck,

0:39:02.160 --> 0:39:05.160
<v Speaker 3>who likes his with Coca cola. And Dobbs is sort

0:39:05.200 --> 0:39:10.200
<v Speaker 3>of Coleridge's ancient mariner. He's got strong unhand me graybeard

0:39:10.280 --> 0:39:13.560
<v Speaker 3>loon energy. Oh, and then they all meet up for dinner.

0:39:14.160 --> 0:39:16.120
<v Speaker 3>And so during this dinner you're supposed to be paying

0:39:16.160 --> 0:39:19.319
<v Speaker 3>attention to the dialogue because John Carrodine and Norman get

0:39:19.320 --> 0:39:21.960
<v Speaker 3>into this big blow up about I don't know about

0:39:22.000 --> 0:39:25.560
<v Speaker 3>whether the ship is seaworthy or not, I think, But

0:39:25.640 --> 0:39:28.319
<v Speaker 3>the main thing I couldn't stop paying attention to was

0:39:28.400 --> 0:39:32.239
<v Speaker 3>this old school can of craft grated parmesan cheese on

0:39:32.280 --> 0:39:36.320
<v Speaker 3>the table and the can looks blue. Now that product

0:39:36.400 --> 0:39:39.120
<v Speaker 3>is decidedly in a green can. And I was trying

0:39:39.160 --> 0:39:41.440
<v Speaker 3>to figure out, Okay, were these cans blue in the

0:39:41.480 --> 0:39:44.120
<v Speaker 3>eighties or the color is screwed up on the film?

0:39:44.600 --> 0:39:46.399
<v Speaker 2>Yeah, or I get well, this would have been seventy five,

0:39:46.480 --> 0:39:48.440
<v Speaker 2>so maybe they were blue in the mid seventies.

0:39:48.480 --> 0:39:50.160
<v Speaker 3>Yeah, the seventies, okay.

0:39:50.200 --> 0:39:53.279
<v Speaker 2>Or perhaps that astrological disorder. One of the things it

0:39:53.280 --> 0:39:56.880
<v Speaker 2>did is it flipped the colors on the craft grated parmesan.

0:39:57.000 --> 0:40:02.960
<v Speaker 3>Oh ye, can products are blue now, yeah, reverse polarity

0:40:03.520 --> 0:40:06.280
<v Speaker 3>and also change the color of grated parmesan canisters.

0:40:06.440 --> 0:40:09.640
<v Speaker 2>Uh huh. But let's get back to Norman's mutiny here.

0:40:10.200 --> 0:40:12.680
<v Speaker 3>What is Dobbs serving that with? Though he's got the

0:40:12.680 --> 0:40:15.280
<v Speaker 3>graded parmesan on the boat? Did he make Italian food?

0:40:17.480 --> 0:40:19.920
<v Speaker 2>I guess. I mean, we see his kitchen later and

0:40:19.960 --> 0:40:22.560
<v Speaker 2>it is awful looking, like it's just it's got like

0:40:22.680 --> 0:40:25.840
<v Speaker 2>just it's pin ups, like plastered to the wall, like

0:40:25.840 --> 0:40:28.480
<v Speaker 2>like just like a fixed in place with bile or

0:40:28.480 --> 0:40:31.319
<v Speaker 2>something and chewing gum and then just like junk all

0:40:31.320 --> 0:40:33.640
<v Speaker 2>over the floor. It looks like there has been some

0:40:33.880 --> 0:40:35.719
<v Speaker 2>just dosag I mean, maybe the ideas is supposed to

0:40:35.760 --> 0:40:38.120
<v Speaker 2>have been at that point there's been like rough seas,

0:40:38.160 --> 0:40:40.120
<v Speaker 2>but I don't know. It just looks it looks gross.

0:40:40.320 --> 0:40:43.080
<v Speaker 3>He lights the burner on his stove with old playboys.

0:40:43.520 --> 0:40:45.040
<v Speaker 2>Yeah, but as I was.

0:40:45.000 --> 0:40:47.640
<v Speaker 3>Saying earlier, Norman does not like the way Carrodine is

0:40:47.719 --> 0:40:51.320
<v Speaker 3>running things, and he I think he basically literally proposes

0:40:51.360 --> 0:40:54.240
<v Speaker 3>a mutiny, Like he talks to the other he's trying

0:40:54.280 --> 0:40:57.360
<v Speaker 3>to talk to the other tourists into taking over the boat.

0:40:58.200 --> 0:41:00.880
<v Speaker 2>Yeah, they're they're like, what you You're gonna take over.

0:41:00.920 --> 0:41:02.360
<v Speaker 2>He's like, now we'll have one of these other people

0:41:02.360 --> 0:41:03.960
<v Speaker 2>do it. They're idiots, but they can do it, Like

0:41:04.000 --> 0:41:05.400
<v Speaker 2>he's just awful.

0:41:05.160 --> 0:41:07.560
<v Speaker 3>To act, just like we'll have Dobbs drive the boat.

0:41:09.440 --> 0:41:12.120
<v Speaker 3>And this seems to be a reaction to, quote what

0:41:12.360 --> 0:41:17.200
<v Speaker 3>happened earlier and to some unspecified story that Dobbs allegedly

0:41:17.239 --> 0:41:20.920
<v Speaker 3>told about spooky doings out on the ocean. But again,

0:41:21.000 --> 0:41:23.840
<v Speaker 3>what actually happened earlier, like the sky turned orange. But

0:41:23.880 --> 0:41:26.960
<v Speaker 3>I don't get what happened that it is they're reacting to.

0:41:27.440 --> 0:41:32.040
<v Speaker 2>Yeah, I don't know, just sort of general Bermuda triangleness. Occurred.

0:41:32.080 --> 0:41:34.400
<v Speaker 2>You know, this guy went weird, the sun went weird,

0:41:34.719 --> 0:41:37.440
<v Speaker 2>compasses aren't working. Maybe they felt weird as well. I

0:41:37.440 --> 0:41:37.799
<v Speaker 2>don't know.

0:41:38.320 --> 0:41:41.200
<v Speaker 3>You know, there's a great scene where Brooke Adams is

0:41:41.239 --> 0:41:43.359
<v Speaker 3>she supposed to be married to Biccardi man.

0:41:44.400 --> 0:41:44.600
<v Speaker 2>No.

0:41:45.200 --> 0:41:45.560
<v Speaker 3>Oh.

0:41:45.640 --> 0:41:48.000
<v Speaker 2>It may not be completely clear in the early stages

0:41:48.000 --> 0:41:49.960
<v Speaker 2>as we're trying to feel out these characters, but it

0:41:50.040 --> 0:41:51.880
<v Speaker 2>becomes clear that yeah, they're not married.

0:41:52.000 --> 0:41:55.400
<v Speaker 3>Oh, okay, okay, but she After this, it's like the

0:41:55.440 --> 0:41:59.640
<v Speaker 3>middle of the night and Maximum mustaches driving the boat

0:42:00.160 --> 0:42:03.319
<v Speaker 3>and Brooke Adams comes up to talk to him and

0:42:03.360 --> 0:42:05.880
<v Speaker 3>it's great. So it's like nighttime out on the ocean,

0:42:06.160 --> 0:42:09.279
<v Speaker 3>and we find out from this conversation that he likes

0:42:09.320 --> 0:42:12.120
<v Speaker 3>to be alone up here and he doesn't know where

0:42:12.120 --> 0:42:12.480
<v Speaker 3>they are.

0:42:14.560 --> 0:42:14.719
<v Speaker 4>Oh.

0:42:14.760 --> 0:42:17.800
<v Speaker 3>But then their little moment is interrupted because a ghost

0:42:17.840 --> 0:42:22.120
<v Speaker 3>ship comes out of the dark and slams into their boat. Yeah,

0:42:22.160 --> 0:42:24.920
<v Speaker 3>and so they argue about this. John Carodine does not

0:42:24.960 --> 0:42:27.360
<v Speaker 3>believe it. He's like, oh, the ghost ship, huh, I

0:42:27.400 --> 0:42:30.399
<v Speaker 3>bet you believe in fairies too. But then they find

0:42:30.400 --> 0:42:32.400
<v Speaker 3>a bunch of damage on the hull and they shoot

0:42:32.400 --> 0:42:34.600
<v Speaker 3>a flare out into the dark and there it is,

0:42:34.719 --> 0:42:36.480
<v Speaker 3>and this is a good creepy scene.

0:42:36.680 --> 0:42:38.799
<v Speaker 2>Yeah, yeah, because what's going on? Where did this ghost

0:42:38.800 --> 0:42:39.560
<v Speaker 2>ship come from?

0:42:40.320 --> 0:42:43.080
<v Speaker 3>But then in the morning, all kinds of problems. In

0:42:43.080 --> 0:42:45.920
<v Speaker 3>the morning, the boat is beached on a mysterious island.

0:42:46.520 --> 0:42:50.560
<v Speaker 3>Captain Carrodine is just gone, and so everybody has to

0:42:50.600 --> 0:42:53.200
<v Speaker 3>go ashore until they can get the ship free of

0:42:53.280 --> 0:42:56.719
<v Speaker 3>the shoal that it has run aground on. Oh and

0:42:56.719 --> 0:42:59.120
<v Speaker 3>then I mentioned this moment earlier, but while Norman and

0:42:59.120 --> 0:43:02.439
<v Speaker 3>Beverly are being rowed ashore by Keith, they're being rowed

0:43:02.440 --> 0:43:05.719
<v Speaker 3>ashore in a glass bottom dinghy, which I've never heard

0:43:05.760 --> 0:43:07.760
<v Speaker 3>of before. I mean, I've heard of glass bottom boats,

0:43:07.760 --> 0:43:10.560
<v Speaker 3>but those usually tend to be, you know, have more passengers.

0:43:10.560 --> 0:43:11.000
<v Speaker 3>I think.

0:43:11.160 --> 0:43:12.920
<v Speaker 2>I guess it's because since this is supposed to be

0:43:12.920 --> 0:43:15.760
<v Speaker 2>a vacation boat that they just have a glass bottom

0:43:15.760 --> 0:43:21.520
<v Speaker 2>boat on hand. But yeah, it's effective because yeah, they're

0:43:21.560 --> 0:43:25.040
<v Speaker 2>they're they're moving right along. And then there's Carradine's corpse

0:43:25.120 --> 0:43:26.600
<v Speaker 2>just bobbing up against the glass.

0:43:26.719 --> 0:43:30.799
<v Speaker 3>Yeah, he's bubbling in the water, right pray in MUNDOPI.

0:43:32.120 --> 0:43:35.880
<v Speaker 3>And so anyway, on the island, Bacardi Man climbs a

0:43:35.920 --> 0:43:39.080
<v Speaker 3>palm tree. He sees a building and so they're like, Okay,

0:43:39.200 --> 0:43:41.560
<v Speaker 3>that's where we're going. So everybody hikes through the jungle

0:43:41.680 --> 0:43:45.080
<v Speaker 3>to reach this building, which is a sort of classic

0:43:45.600 --> 0:43:49.080
<v Speaker 3>Caribbean or Florida kind of Spanish opulent style.

0:43:50.160 --> 0:43:52.239
<v Speaker 2>Yeah, so I want to mention real quick, this is

0:43:52.280 --> 0:43:55.680
<v Speaker 2>pretty fun because this, uh, this is this is this

0:43:55.800 --> 0:43:59.040
<v Speaker 2>hotel that we visit here is is very much a

0:43:59.040 --> 0:44:02.960
<v Speaker 2>real place in Florida. This ruined hotel. They apparently paid

0:44:03.000 --> 0:44:05.279
<v Speaker 2>something like two hundred and fifty dollars to rent the

0:44:05.440 --> 0:44:10.360
<v Speaker 2>entire thing for the picture, but it was subsequently fixed

0:44:10.360 --> 0:44:13.759
<v Speaker 2>back up a few years later and is known as

0:44:13.800 --> 0:44:17.520
<v Speaker 2>the Builtmore Hotel. It's in Coral Gables, Florida, just outside

0:44:17.520 --> 0:44:20.040
<v Speaker 2>of Miami, and you can look it up online. You

0:44:20.040 --> 0:44:22.439
<v Speaker 2>can go to build More Hotel dot com and see

0:44:22.440 --> 0:44:27.960
<v Speaker 2>it is. It's super fancy. The story here. According to

0:44:28.080 --> 0:44:30.880
<v Speaker 2>Jason Scott Degan at golf Pass, that's where I always

0:44:30.880 --> 0:44:34.360
<v Speaker 2>go to get my shirts, my stories about sets in

0:44:34.480 --> 0:44:38.360
<v Speaker 2>seventies zombie movies. It opened in the twenties and was

0:44:38.800 --> 0:44:41.400
<v Speaker 2>the sort of fancy Florida destination for the likes of

0:44:41.440 --> 0:44:45.120
<v Speaker 2>Al Capone and President Franklin D. Roosevelt, but then it

0:44:45.160 --> 0:44:48.279
<v Speaker 2>was converted into a hospital in nineteen forty two, and

0:44:48.320 --> 0:44:51.200
<v Speaker 2>it remained one all the way through nineteen sixty eight,

0:44:51.920 --> 0:44:54.360
<v Speaker 2>and then it was just empty for more than a decade,

0:44:54.640 --> 0:44:56.840
<v Speaker 2>and that was during that time, that's when they filmed

0:44:56.840 --> 0:44:59.840
<v Speaker 2>Shockwaves there. But then Coral Gables had it renovated and

0:44:59.880 --> 0:45:02.760
<v Speaker 2>it open back up in eighty seven, entered private ownership

0:45:02.800 --> 0:45:06.239
<v Speaker 2>in nineteen ninety two, and I checked earlier. If you

0:45:06.280 --> 0:45:08.400
<v Speaker 2>want to get a room there, it's like two hundred

0:45:08.400 --> 0:45:11.480
<v Speaker 2>and sixty eight dollars a night or something like that.

0:45:11.480 --> 0:45:13.080
<v Speaker 2>That probably changes. Don't quote me on that if you're

0:45:13.080 --> 0:45:16.360
<v Speaker 2>planning to stay there. But the point is they rented

0:45:16.400 --> 0:45:19.440
<v Speaker 2>the whole thing when it was a ruin, for the

0:45:19.560 --> 0:45:22.240
<v Speaker 2>duration of the filming for just two hundred and fifty bucks.

0:45:22.600 --> 0:45:24.040
<v Speaker 2>And so there are going to be some scenes in

0:45:24.080 --> 0:45:27.160
<v Speaker 2>Shockwaves where they're in like some sizable hallways and you

0:45:27.200 --> 0:45:30.360
<v Speaker 2>see some columns and a big fireplace in the background.

0:45:30.560 --> 0:45:32.759
<v Speaker 2>It's fun because you can pause the film and then

0:45:32.760 --> 0:45:34.960
<v Speaker 2>you can go grab your computer and you can look

0:45:35.040 --> 0:45:38.440
<v Speaker 2>up current photos and you can see like those same

0:45:38.520 --> 0:45:41.800
<v Speaker 2>places that are now super fancy and ritzy and colorful

0:45:41.880 --> 0:45:44.640
<v Speaker 2>and just you know, done up like a fancy golf

0:45:44.680 --> 0:45:47.960
<v Speaker 2>course hotel, and I'm looking at that, I'm like, oh man,

0:45:48.000 --> 0:45:49.880
<v Speaker 2>how many people are walking through that and they don't

0:45:49.920 --> 0:45:51.879
<v Speaker 2>realize that Peter Cushing was here.

0:45:52.200 --> 0:45:55.919
<v Speaker 3>You know, this was Shockwaves no idea, They've never been

0:45:56.000 --> 0:45:59.279
<v Speaker 3>on the Shockwaves tour. I was thinking, so, okay, if

0:45:59.320 --> 0:46:01.880
<v Speaker 3>they had wanted to go a true direction, then with

0:46:01.920 --> 0:46:05.760
<v Speaker 3>this hotel instead of the you know, SS zombies direction,

0:46:06.200 --> 0:46:08.640
<v Speaker 3>they could have embraced the fact that this was where

0:46:08.640 --> 0:46:11.600
<v Speaker 3>al Capone and Franklin D. Roosevelt came so they could

0:46:11.600 --> 0:46:17.279
<v Speaker 3>have zombie I guess prohibitions like liquor smugglers, and then

0:46:17.320 --> 0:46:20.000
<v Speaker 3>they could have what I don't know, zombie members of

0:46:20.040 --> 0:46:22.120
<v Speaker 3>the Sphillian Conservation Corps.

0:46:22.160 --> 0:46:25.520
<v Speaker 2>I guess dead and zing as well does it. But

0:46:25.560 --> 0:46:27.440
<v Speaker 2>it could have changed the course, like that's that's of

0:46:27.800 --> 0:46:30.160
<v Speaker 2>of of media. That's where we would we would have

0:46:30.160 --> 0:46:33.560
<v Speaker 2>in video games now it would be uh, you know,

0:46:33.719 --> 0:46:37.960
<v Speaker 2>zombie Bootlegger video games. That would be the big craze.

0:46:37.680 --> 0:46:39.319
<v Speaker 3>That can maybe be interesting. I don't know.

0:46:39.400 --> 0:46:42.040
<v Speaker 2>I don't know anyway in this film though, Yeah, the

0:46:42.080 --> 0:46:44.840
<v Speaker 2>place looks it's just an effective Florida ruin, and I

0:46:44.840 --> 0:46:46.720
<v Speaker 2>think it's one of the things that makes that helps

0:46:46.760 --> 0:46:49.239
<v Speaker 2>make the movie work is that this is this is

0:46:49.400 --> 0:46:55.040
<v Speaker 2>like the ruined splendor of Florida, which you inevitably encounter,

0:46:56.080 --> 0:46:58.480
<v Speaker 2>you know, examples of you know, you can't have, you know,

0:46:58.560 --> 0:47:02.960
<v Speaker 2>coastal tourism exists in a place without things following in,

0:47:03.080 --> 0:47:06.640
<v Speaker 2>falling into disrepair and becoming kind of you know, mysterious

0:47:06.719 --> 0:47:08.120
<v Speaker 2>or half mysterious ruins.

0:47:08.480 --> 0:47:10.439
<v Speaker 3>Yeah, so it's a good setting. And I would say

0:47:10.760 --> 0:47:14.359
<v Speaker 3>this moment is also where the movie shifts gears and

0:47:14.600 --> 0:47:18.320
<v Speaker 3>it goes into what it remains actually for the remainder

0:47:18.360 --> 0:47:22.240
<v Speaker 3>of the movie mostly, which is shots of zombies lumen

0:47:22.480 --> 0:47:26.360
<v Speaker 3>goggle zombies. Again, there's excellent costume and makeup design because

0:47:26.440 --> 0:47:29.680
<v Speaker 3>it's pretty simple. They're just in these old uniforms and

0:47:29.680 --> 0:47:32.200
<v Speaker 3>they've got kind of messed up looking skin, and then

0:47:32.239 --> 0:47:34.960
<v Speaker 3>they have these goggles and the goggles. The goggles are

0:47:35.000 --> 0:47:37.360
<v Speaker 3>just bottomless pits. It's really good.

0:47:37.680 --> 0:47:40.600
<v Speaker 2>Yeah, it all comes together to make a very evocative

0:47:42.640 --> 0:47:44.719
<v Speaker 2>adversary here. And at first they just seem to be

0:47:44.800 --> 0:47:48.000
<v Speaker 2>scouting things out like they've been they've clearly been awakened,

0:47:48.360 --> 0:47:50.200
<v Speaker 2>and now they're scoping out the joint.

0:47:50.560 --> 0:47:55.040
<v Speaker 3>So meanwhile, our tourists wander through the old hotel Bacardi

0:47:55.160 --> 0:47:58.680
<v Speaker 3>man and Dobbs, who is also swinging Baccardy. They they

0:47:58.760 --> 0:48:03.279
<v Speaker 3>find a tankful fish or these frog fish that like

0:48:03.360 --> 0:48:06.520
<v Speaker 3>your your checklist for Florida movies, it has tanks of

0:48:06.560 --> 0:48:07.120
<v Speaker 3>fish in it.

0:48:07.440 --> 0:48:09.400
<v Speaker 2>Yeah, yeah, I'm not sure off hand what this was.

0:48:09.400 --> 0:48:12.000
<v Speaker 2>Maybe scorpion fish, but either way, it's got some big

0:48:12.080 --> 0:48:15.560
<v Speaker 2>zat energy going on and I love it. Yeah, And Dobbs,

0:48:15.640 --> 0:48:18.200
<v Speaker 2>it becomes clear, has this this never ending supply of

0:48:18.239 --> 0:48:20.800
<v Speaker 2>booze on his person. He pulls out the largest flask

0:48:21.239 --> 0:48:23.319
<v Speaker 2>I've ever seen in some of these these scenes. Like,

0:48:23.360 --> 0:48:26.440
<v Speaker 2>it's not a hip flask, it's like a leg flask.

0:48:26.680 --> 0:48:28.120
<v Speaker 3>It's like a backpack flask.

0:48:28.320 --> 0:48:29.280
<v Speaker 2>Yeah.

0:48:29.320 --> 0:48:31.680
<v Speaker 3>But also at this point it's Cushing time, so they're

0:48:31.719 --> 0:48:34.279
<v Speaker 3>they're wandering around. Oh well, I think they somehow come

0:48:34.360 --> 0:48:38.200
<v Speaker 3>across a like a there's like an old phonograph that

0:48:38.280 --> 0:48:42.600
<v Speaker 3>starts playing warped, creepy music, and everybody comes and finds

0:48:42.640 --> 0:48:45.239
<v Speaker 3>that thing. And they're standing in this big hallway and

0:48:45.320 --> 0:48:48.760
<v Speaker 3>then from out of somewhere you get you get cushing voice,

0:48:48.840 --> 0:48:53.000
<v Speaker 3>kind of nasal cushing voice, disembodied eternal saying why have

0:48:53.120 --> 0:48:56.080
<v Speaker 3>you come to this place, and they say where are you?

0:48:56.160 --> 0:49:00.680
<v Speaker 3>And he says, I am near but also far. But yeah,

0:49:00.719 --> 0:49:04.000
<v Speaker 3>and so from this conversation, let's see, they explain how

0:49:04.040 --> 0:49:06.759
<v Speaker 3>they got here. Cushing tells them he can't help them.

0:49:07.200 --> 0:49:10.960
<v Speaker 3>They explain the ghost ship that rammed their boat. Actually

0:49:10.960 --> 0:49:13.720
<v Speaker 3>it is a long wrecked ship that's out on the reef.

0:49:14.480 --> 0:49:16.920
<v Speaker 3>And then this was pretty funny. Cushing just freaks out

0:49:16.960 --> 0:49:20.319
<v Speaker 3>at this news. And then you see him and he

0:49:20.400 --> 0:49:21.960
<v Speaker 3>learns the name of the ship and he just sort

0:49:22.000 --> 0:49:24.200
<v Speaker 3>of busts out, running through the forest to go look

0:49:24.239 --> 0:49:25.560
<v Speaker 3>at it.

0:49:25.560 --> 0:49:28.319
<v Speaker 2>It's kind of an interesting twist on what you might

0:49:28.360 --> 0:49:30.319
<v Speaker 2>expect in a lot of these films, where I mean,

0:49:30.560 --> 0:49:33.160
<v Speaker 2>not too big of a twist. I guess there's always

0:49:33.160 --> 0:49:36.560
<v Speaker 2>this idea that the mastermind or the mad scientist involved

0:49:36.600 --> 0:49:39.120
<v Speaker 2>in a scenario is going to be consumed by his

0:49:39.120 --> 0:49:43.200
<v Speaker 2>own creations. But there's never even any idea, like even

0:49:43.360 --> 0:49:46.440
<v Speaker 2>a pretense that he has control over these things, like

0:49:46.760 --> 0:49:49.400
<v Speaker 2>he's afraid of them as everyone else from the get go.

0:49:49.480 --> 0:49:51.360
<v Speaker 2>He just has a little more information.

0:49:51.360 --> 0:49:53.839
<v Speaker 3>Right exactly, So he goes out there to look at them.

0:49:53.880 --> 0:49:58.760
<v Speaker 3>He clearly is he's shaken. Meanwhile, the tourists establish camp

0:49:58.920 --> 0:50:01.839
<v Speaker 3>within Hotel SA. They just like go into a room

0:50:01.880 --> 0:50:03.879
<v Speaker 3>and they start getting pillows and.

0:50:03.640 --> 0:50:05.040
<v Speaker 2>After as well get comfy.

0:50:05.160 --> 0:50:08.319
<v Speaker 3>Yeah, they get comfy and oh and then there's this

0:50:08.360 --> 0:50:08.920
<v Speaker 3>great shot.

0:50:09.000 --> 0:50:09.280
<v Speaker 2>Again.

0:50:09.560 --> 0:50:11.799
<v Speaker 3>Most of what's the best about this movie is just

0:50:11.920 --> 0:50:16.200
<v Speaker 3>good creepy shots of zombies with in goggles doing creepy stuff.

0:50:16.600 --> 0:50:18.839
<v Speaker 3>One of my favorites is this moment that's coming right

0:50:18.920 --> 0:50:23.000
<v Speaker 3>up where the zombies have like these little cubicles of

0:50:23.200 --> 0:50:25.600
<v Speaker 3>coral that they appear to be sleeping in. They're like

0:50:25.719 --> 0:50:29.600
<v Speaker 3>laying down horizontally in these little boxes around the reef,

0:50:30.120 --> 0:50:32.400
<v Speaker 3>and there's one scene where one of them reaches up

0:50:32.440 --> 0:50:34.719
<v Speaker 3>from below the water and grips the part of the

0:50:34.760 --> 0:50:37.040
<v Speaker 3>reef that protrudes. It's very cool.

0:50:37.360 --> 0:50:38.960
<v Speaker 2>Yeah, and again this is one of the things like

0:50:39.000 --> 0:50:40.280
<v Speaker 2>imagery from a dark dream.

0:50:40.640 --> 0:50:51.359
<v Speaker 3>Yeah. But anyway, we're forty minutes in and I think

0:50:51.360 --> 0:50:54.560
<v Speaker 3>we've just officially reached the zombie attack part of the movie,

0:50:54.560 --> 0:50:56.879
<v Speaker 3>and that defines the rest of what goes on. There's

0:50:56.920 --> 0:50:59.000
<v Speaker 3>two main things that happen from here on out. It's

0:50:59.360 --> 0:51:03.360
<v Speaker 3>zombies being creepy looming looking at you with the goggles

0:51:03.400 --> 0:51:06.200
<v Speaker 3>and zombies grabbing people and killing them.

0:51:06.400 --> 0:51:10.080
<v Speaker 2>Yeah, and uh, and it's it's pretty effective because you

0:51:10.120 --> 0:51:12.480
<v Speaker 2>have you have basically two locations go well three, I

0:51:12.480 --> 0:51:15.240
<v Speaker 2>guess there's the surf and out in the water there's

0:51:15.320 --> 0:51:18.920
<v Speaker 2>the sort of Florida coastal jungle, and then they are

0:51:18.960 --> 0:51:21.600
<v Speaker 2>the ruins of the hotel. And and in all of

0:51:21.600 --> 0:51:26.520
<v Speaker 2>those the the the death Core troopers here. They man,

0:51:26.560 --> 0:51:28.960
<v Speaker 2>they just they move around in very interesting ways. They're

0:51:29.000 --> 0:51:33.840
<v Speaker 2>not like shambling zombies. They're very deliberate and and and

0:51:34.000 --> 0:51:38.239
<v Speaker 2>slow and stealthy like when they stalk and hunt their

0:51:38.280 --> 0:51:40.960
<v Speaker 2>prey in this and it's it's it's very unsettling.

0:51:41.280 --> 0:51:44.719
<v Speaker 3>There is a moment where the cook daubs he goes

0:51:44.760 --> 0:51:47.200
<v Speaker 3>out to get supplies to cook food for everybody. I

0:51:47.200 --> 0:51:48.799
<v Speaker 3>don't know what he plans to cook it on, but

0:51:49.480 --> 0:51:51.400
<v Speaker 3>he does that. And I guess he's coming back with

0:51:51.520 --> 0:51:54.640
<v Speaker 3>food supplies from the boat and he gets attacked by

0:51:54.680 --> 0:51:59.280
<v Speaker 3>a goggle beast. But the attack is interesting. The goggle

0:51:59.320 --> 0:52:03.320
<v Speaker 3>beast does not grab him. Instead, it menaces him until

0:52:03.360 --> 0:52:07.040
<v Speaker 3>he falls to his death in a pool of sea urchins.

0:52:07.080 --> 0:52:09.440
<v Speaker 3>And I think that is a first and only for me.

0:52:09.800 --> 0:52:12.560
<v Speaker 3>I don't think I've ever seen pit of sea urchins

0:52:12.680 --> 0:52:15.040
<v Speaker 3>otherwise used as a murder weapon in a movie.

0:52:15.760 --> 0:52:18.000
<v Speaker 2>I winced when I saw this, and it's been a

0:52:18.000 --> 0:52:20.560
<v Speaker 2>while since I've seen it, so I'd forgotten about this scene.

0:52:20.600 --> 0:52:23.480
<v Speaker 2>But I certainly have been around sea urchins, and you

0:52:23.480 --> 0:52:26.000
<v Speaker 2>know sometimes when I'm in the water with them, and yeah,

0:52:26.040 --> 0:52:27.600
<v Speaker 2>you have that in the back of your head. I

0:52:27.600 --> 0:52:29.160
<v Speaker 2>don't want to touch that. I certainly don't want to

0:52:29.200 --> 0:52:32.879
<v Speaker 2>fall on it with my face like Dobbs does. So

0:52:32.960 --> 0:52:34.240
<v Speaker 2>this one gave me the all overs.

0:52:34.560 --> 0:52:38.000
<v Speaker 3>Yeah. Oh, and then it's funny with everybody discovers that

0:52:38.080 --> 0:52:40.680
<v Speaker 3>Dobbs has died. When Brooke Adams puts on the bathing

0:52:40.719 --> 0:52:43.400
<v Speaker 3>suit and decides to go swimming in this fetid pond

0:52:43.480 --> 0:52:44.560
<v Speaker 3>full of sea urchins.

0:52:44.960 --> 0:52:46.440
<v Speaker 2>Yeah, well it's hot, it's hot out there.

0:52:46.560 --> 0:52:50.960
<v Speaker 3>Yeah, but she just she literally bumps right into him.

0:52:51.000 --> 0:52:53.480
<v Speaker 3>So he's all mangled laying there in the reeds and

0:52:53.520 --> 0:52:57.120
<v Speaker 3>she back strokes into him, and then yeah, freaks out. Whoops.

0:52:57.400 --> 0:53:01.520
<v Speaker 2>This movie has more finding of drowned characters than any

0:53:01.520 --> 0:53:04.319
<v Speaker 2>other film I've seen, but that it's very well done,

0:53:04.320 --> 0:53:08.279
<v Speaker 2>like each discovery is horrific, and even though like all

0:53:08.280 --> 0:53:09.879
<v Speaker 2>the kill I think all the kills in the film

0:53:09.880 --> 0:53:13.360
<v Speaker 2>are bloodless, but they're still they tend to be disturbing.

0:53:13.520 --> 0:53:17.680
<v Speaker 3>Oh yeah, yeah, they're disturbing because of the atmosphere, the music,

0:53:17.840 --> 0:53:20.640
<v Speaker 3>the you know, the goggles and all that. It's yeah,

0:53:21.320 --> 0:53:24.400
<v Speaker 3>you don't need blood to be disturbing. In fact, I

0:53:24.440 --> 0:53:26.960
<v Speaker 3>was actually just talking about this with with Rachel not

0:53:27.040 --> 0:53:30.279
<v Speaker 3>too long ago, about how when you go back and

0:53:30.360 --> 0:53:34.799
<v Speaker 3>watch Texas Chainsaw massacre, it's surprising how little blood there

0:53:34.920 --> 0:53:35.319
<v Speaker 3>is in it.

0:53:35.440 --> 0:53:39.040
<v Speaker 2>M yeah, yes, it's definitely similar energy in this.

0:53:39.280 --> 0:53:41.359
<v Speaker 3>But there's even less in this than there is in that.

0:53:42.239 --> 0:53:44.759
<v Speaker 3>But anyway, so everybody goes back to the hotel and

0:53:44.800 --> 0:53:47.160
<v Speaker 3>in the meantime, I don't know what to make of this.

0:53:47.200 --> 0:53:49.560
<v Speaker 3>Suddenly they go back to the hotel and there's stuff

0:53:49.600 --> 0:53:52.160
<v Speaker 3>there that I don't remember seeing the previous time, which

0:53:52.200 --> 0:53:55.600
<v Speaker 3>is that like Cushing has like swastika crap hanging up.

0:53:55.640 --> 0:53:59.520
<v Speaker 3>He's like he's like put up Nazi decorations since they

0:54:00.400 --> 0:54:02.960
<v Speaker 3>were last in his area. Is that? Is that what

0:54:03.000 --> 0:54:04.160
<v Speaker 3>we're supposed to understand.

0:54:04.760 --> 0:54:06.719
<v Speaker 2>I thought it was maybe just a section of this

0:54:06.800 --> 0:54:09.680
<v Speaker 2>big hotel that we hadn't seen yet, But yeah, he

0:54:09.760 --> 0:54:13.000
<v Speaker 2>has it decorated with a billion mirrors, which I don't know,

0:54:13.080 --> 0:54:15.960
<v Speaker 2>maybe that's some sort of anxiety about things creeping up

0:54:16.000 --> 0:54:19.799
<v Speaker 2>on him, like his own creations here or and then

0:54:19.800 --> 0:54:23.719
<v Speaker 2>he has the Nazi flags up. But this is all

0:54:23.760 --> 0:54:25.840
<v Speaker 2>we see of his life here. There's no mad science

0:54:25.880 --> 0:54:28.440
<v Speaker 2>lab or anything. There's no even inclination that he's been

0:54:28.520 --> 0:54:33.000
<v Speaker 2>up to anything the past, you know what. Ever, since

0:54:33.040 --> 0:54:35.399
<v Speaker 2>the end of the Second World War, he's just been

0:54:35.440 --> 0:54:38.880
<v Speaker 2>hanging out here in this ruined hotel, just doing nothing.

0:54:38.960 --> 0:54:41.080
<v Speaker 3>What's he eating, what's he surviving on it?

0:54:41.360 --> 0:54:44.160
<v Speaker 2>I don't know. He's He's not doing great though, I

0:54:44.160 --> 0:54:45.839
<v Speaker 2>mean he looks really.

0:54:45.560 --> 0:54:47.080
<v Speaker 3>Shabby, Yes he does.

0:54:47.360 --> 0:54:49.440
<v Speaker 2>I don't think I've ever seen Peter Cushing and short

0:54:49.480 --> 0:54:51.960
<v Speaker 2>sleeves before, but he's got these raggedy short sleeves and

0:54:52.000 --> 0:54:54.279
<v Speaker 2>a kerchief tied around his neck. I mean he looks

0:54:54.400 --> 0:54:55.919
<v Speaker 2>he looks shipwrecked the whole time.

0:54:56.120 --> 0:54:58.360
<v Speaker 3>That's a good point. I did not notice the Cushing

0:54:58.440 --> 0:55:00.640
<v Speaker 3>short sleeves. But you're right in that that is a

0:55:00.719 --> 0:55:03.719
<v Speaker 3>defined I mean Cushing Cushing is somebody who needs a

0:55:03.800 --> 0:55:07.480
<v Speaker 3>jacket and tie. That's part of who he is. But

0:55:07.640 --> 0:55:12.360
<v Speaker 3>here here we get our exposition dump. Should we have

0:55:12.440 --> 0:55:15.400
<v Speaker 3>exposition dump music that plays every time we get to

0:55:15.440 --> 0:55:17.520
<v Speaker 3>that part of the plot. I don't know, Seth. I'll

0:55:17.560 --> 0:55:22.840
<v Speaker 3>let you decide that anyway. But exposition dump Cushing is

0:55:22.880 --> 0:55:25.880
<v Speaker 3>now explains everything to them. He's hanging out with Norman

0:55:26.000 --> 0:55:28.680
<v Speaker 3>and Chuck and these goobers.

0:55:28.160 --> 0:55:31.040
<v Speaker 2>And he's very succinct though, like he doesn't mess around.

0:55:31.040 --> 0:55:33.280
<v Speaker 2>There's no gloating. He just tells it like it seems

0:55:33.320 --> 0:55:33.560
<v Speaker 2>to be.

0:55:33.760 --> 0:55:36.640
<v Speaker 3>No Here are the facts from his exposition dump it is.

0:55:36.800 --> 0:55:40.239
<v Speaker 3>You are dumb. You should have left. Now you will die.

0:55:40.640 --> 0:55:43.640
<v Speaker 3>Allow me to explain. I was an SS commander in

0:55:43.680 --> 0:55:46.640
<v Speaker 3>World War Two. I commanded a group of aquatic zombie

0:55:46.760 --> 0:55:50.040
<v Speaker 3>SS troops that could live underwater without ever having to surface.

0:55:50.920 --> 0:55:52.960
<v Speaker 3>And then there was one part I wanted to quote

0:55:53.200 --> 0:55:56.160
<v Speaker 3>because it was so weird. He says, we created the

0:55:56.160 --> 0:56:00.399
<v Speaker 3>perfect soldier from street hoodlums and thugs and a good

0:56:00.480 --> 0:56:04.600
<v Speaker 3>number of pathological murderers and sadists. We called them the

0:56:04.600 --> 0:56:08.919
<v Speaker 3>Totin Core, the death Core. Creatures more horrible than any

0:56:09.000 --> 0:56:12.800
<v Speaker 3>you can imagine, not dead, not alive, but somewhere in between.

0:56:13.440 --> 0:56:16.040
<v Speaker 3>And then he starts complaining about how they wouldn't obey

0:56:16.120 --> 0:56:19.439
<v Speaker 3>orders and couldn't be controlled, but he says they made them.

0:56:19.560 --> 0:56:22.960
<v Speaker 3>They just like tried to get pathological murderers and sadists.

0:56:23.400 --> 0:56:25.920
<v Speaker 3>And then he starts complaining about how they would not

0:56:26.000 --> 0:56:28.920
<v Speaker 3>obey orders and could not be controlled. And at the

0:56:29.000 --> 0:56:31.520
<v Speaker 3>end of the war, Cushing came to this island, I guess,

0:56:31.520 --> 0:56:35.080
<v Speaker 3>to escape justice, and he sank the ship containing the

0:56:35.120 --> 0:56:39.080
<v Speaker 3>Death Core, and somehow in the past couple days the

0:56:39.120 --> 0:56:42.280
<v Speaker 3>ship unsank and the Death Corps are now on the loose.

0:56:42.800 --> 0:56:45.480
<v Speaker 3>Oh Andy pulls out his luger and he says, now,

0:56:45.520 --> 0:56:47.319
<v Speaker 3>I want you to leave. If I see any of

0:56:47.360 --> 0:56:49.000
<v Speaker 3>you at all, I will shoot on site.

0:56:49.320 --> 0:56:54.400
<v Speaker 2>Yep. And they're like, okay, fair enough, gotcha.

0:56:55.120 --> 0:56:57.839
<v Speaker 3>So then Cushing he starts running around. I couldn't quite

0:56:57.880 --> 0:56:59.799
<v Speaker 3>understand what it was he was trying to do with

0:56:59.840 --> 0:57:02.200
<v Speaker 3>this point, but he goes out waiting in the water,

0:57:02.560 --> 0:57:06.080
<v Speaker 3>and then did you understand what he was trying to

0:57:06.120 --> 0:57:06.880
<v Speaker 3>do at this point?

0:57:07.120 --> 0:57:09.719
<v Speaker 2>Yeah. So my read on this, and it could be incorrect,

0:57:09.880 --> 0:57:13.120
<v Speaker 2>is that is that I think ultimately that he was

0:57:13.239 --> 0:57:16.400
<v Speaker 2>trying to distract them, trying to distract the Death Core

0:57:16.840 --> 0:57:18.840
<v Speaker 2>because even though he's like, you guys are dumb. I

0:57:18.880 --> 0:57:20.400
<v Speaker 2>told you how to get away and you didn't, and

0:57:20.440 --> 0:57:21.880
<v Speaker 2>now you're just going to die, like all of us

0:57:21.920 --> 0:57:24.520
<v Speaker 2>are going to die. There are a couple of lines

0:57:24.560 --> 0:57:29.160
<v Speaker 2>where he admits some level of responsibility for all the

0:57:29.160 --> 0:57:32.040
<v Speaker 2>deaths that have occurred because of these things, and so

0:57:32.120 --> 0:57:34.400
<v Speaker 2>there's kind of a sense, but not like a super

0:57:34.840 --> 0:57:37.360
<v Speaker 2>like Hammy sense, but there's this I kind of got

0:57:37.360 --> 0:57:39.800
<v Speaker 2>a sense that he was trying to distract them, because

0:57:39.800 --> 0:57:42.160
<v Speaker 2>he's like calling to the death Corps and he always

0:57:42.160 --> 0:57:46.000
<v Speaker 2>he can't control them. So the only alternative seems to

0:57:46.000 --> 0:57:49.680
<v Speaker 2>be that he wants to distract them away from the

0:57:49.720 --> 0:57:53.240
<v Speaker 2>others so that they can possibly escape and live.

0:57:54.480 --> 0:57:57.840
<v Speaker 3>It's harder to buy him as remorseful given that he's

0:57:57.880 --> 0:58:00.920
<v Speaker 3>still hanging up swastika flags where he lives.

0:58:01.120 --> 0:58:03.760
<v Speaker 2>Yeah, he's not like, I'm not saying he's a he's

0:58:03.760 --> 0:58:07.240
<v Speaker 2>not a character you feel for, but that that's the

0:58:07.280 --> 0:58:09.360
<v Speaker 2>only thing that makes any sense within the context of

0:58:09.360 --> 0:58:12.520
<v Speaker 2>the plot, you know, because I otherwise, Yeah, I just

0:58:12.600 --> 0:58:14.640
<v Speaker 2>I can't think of anything else. The listeners, If you've

0:58:14.640 --> 0:58:16.080
<v Speaker 2>seen the film and you have an answer to this,

0:58:16.520 --> 0:58:18.600
<v Speaker 2>let us know. But I think that's what they were

0:58:18.600 --> 0:58:19.080
<v Speaker 2>going for.

0:58:19.520 --> 0:58:22.280
<v Speaker 3>Yeah. Well, eventually, so he's running around all over the place,

0:58:22.320 --> 0:58:24.959
<v Speaker 3>and at some point he stops and lays down next

0:58:25.000 --> 0:58:28.720
<v Speaker 3>to a pond to drink some stagnant giardia water, and

0:58:28.800 --> 0:58:31.200
<v Speaker 3>a zombie just reaches up out of the water, pulls

0:58:31.240 --> 0:58:32.200
<v Speaker 3>him in, drowns him.

0:58:32.480 --> 0:58:34.000
<v Speaker 2>Yeah, good scene, good.

0:58:34.240 --> 0:58:38.040
<v Speaker 3>End of Cushing. Meanwhile, the tourists are trying to escape

0:58:38.040 --> 0:58:40.560
<v Speaker 3>on a boat that Peter Cushing has told them about.

0:58:40.600 --> 0:58:43.120
<v Speaker 3>It's just like a little rowboat. And there was a

0:58:43.160 --> 0:58:46.640
<v Speaker 3>really funny scene of Norman the aggressive, angry nerd, carrying

0:58:46.720 --> 0:58:49.120
<v Speaker 3>around his suitcases while he's trying to get in the boat.

0:58:49.160 --> 0:58:52.200
<v Speaker 2>Yeah, he still has all of his baggage. He's ready

0:58:52.240 --> 0:58:54.760
<v Speaker 2>to climb on this tiny boat with several other people,

0:58:54.840 --> 0:58:56.200
<v Speaker 2>and of course they call him on it. They're like,

0:58:56.240 --> 0:58:56.680
<v Speaker 2>what do you do?

0:58:57.000 --> 0:58:59.560
<v Speaker 3>I know several of us have died, but I still

0:58:59.560 --> 0:59:01.760
<v Speaker 3>have five suitcases I need to bring with us.

0:59:01.840 --> 0:59:03.400
<v Speaker 2>Yeah, and then when they tell me can't bring them,

0:59:03.400 --> 0:59:06.080
<v Speaker 2>he like throws them any tantrum. He's kind of like, fine,

0:59:06.200 --> 0:59:10.000
<v Speaker 2>like I'm mad, I'm mad, don't get to keep my suitcase.

0:59:11.040 --> 0:59:12.960
<v Speaker 3>One of the bags he's bringing with him looks like

0:59:13.000 --> 0:59:16.200
<v Speaker 3>it's a folding one of those bags you transport suits in.

0:59:16.800 --> 0:59:19.919
<v Speaker 3>So he's got like formal wear with him. Yeah, he's

0:59:19.920 --> 0:59:24.080
<v Speaker 3>going to need that tuxedo after they escape. So anyway,

0:59:24.000 --> 0:59:27.160
<v Speaker 3>they're trying to escape on a tiny row boat. This

0:59:27.200 --> 0:59:29.440
<v Speaker 3>part I thought had some pretty cool shots of them,

0:59:29.480 --> 0:59:33.000
<v Speaker 3>like paddling around through these mazes of mangrove roots while

0:59:33.040 --> 0:59:36.360
<v Speaker 3>the Goggle boys are lurking beneath and all around spying

0:59:36.400 --> 0:59:40.000
<v Speaker 3>on them. This part I thought was creepy. Yeah yeah, oh,

0:59:40.040 --> 0:59:43.440
<v Speaker 3>but then it just turns into a parade of errors.

0:59:43.440 --> 0:59:47.040
<v Speaker 3>Mishap after mishap. They run into a mud bank. They

0:59:47.040 --> 0:59:48.840
<v Speaker 3>have to try to run the boat out of it.

0:59:49.160 --> 0:59:52.600
<v Speaker 3>Beverly falls out, people go after her. Rose gets knocked

0:59:52.600 --> 0:59:55.800
<v Speaker 3>out of the boat. That roses Broke Adams, and then eventually,

0:59:55.880 --> 0:59:58.480
<v Speaker 3>after a bunch of screwing around, the boat floats away

0:59:58.640 --> 1:00:00.760
<v Speaker 3>under sail with no passing. Whoops.

1:00:01.040 --> 1:00:04.080
<v Speaker 2>Yeah, so now they've they've really failed. Well they failed

1:00:04.080 --> 1:00:06.560
<v Speaker 2>for the second time here because now there's nothing they

1:00:06.560 --> 1:00:08.600
<v Speaker 2>can do but run back to the hotel.

1:00:09.040 --> 1:00:12.320
<v Speaker 3>Right, So there are various chases now, everybody's running around

1:00:12.320 --> 1:00:15.280
<v Speaker 3>in different places. Norman gets attacked in the water and

1:00:15.360 --> 1:00:19.360
<v Speaker 3>killed by by Norman. Brooke Adams gets chased, but there's

1:00:19.400 --> 1:00:22.280
<v Speaker 3>a there's a cool moment where she manages to kill

1:00:22.360 --> 1:00:28.200
<v Speaker 3>one of the zombies by knocking its goggles off. Here again,

1:00:28.320 --> 1:00:30.400
<v Speaker 3>do you understand what was going on here? So the

1:00:30.400 --> 1:00:34.120
<v Speaker 3>goggles come off and then somehow it's face like rapidly rots.

1:00:34.400 --> 1:00:36.440
<v Speaker 2>I think it's like they're susceptible to the light, Like

1:00:36.440 --> 1:00:38.120
<v Speaker 2>if the light gets in there and the sunlight gets

1:00:38.120 --> 1:00:41.800
<v Speaker 2>in their eyes, it destroys them. And you know, we

1:00:41.840 --> 1:00:43.920
<v Speaker 2>were also told that they draw their energy from the

1:00:44.000 --> 1:00:46.400
<v Speaker 2>earth itself, so I think that's one of the reasons.

1:00:46.440 --> 1:00:48.320
<v Speaker 2>I guess that we have all those scenes of them

1:00:48.360 --> 1:00:51.440
<v Speaker 2>like in the water, walking along on the bottom of

1:00:51.480 --> 1:00:53.840
<v Speaker 2>the seafloor. Like it's nothing like they have some sort

1:00:53.880 --> 1:00:56.840
<v Speaker 2>of supernatural connection to the earth. M m, some sort

1:00:56.840 --> 1:01:00.960
<v Speaker 2>of warped pagan magic that was co opted by the baddies.

1:01:01.160 --> 1:01:04.520
<v Speaker 3>Okay, that would make sense anyway. Meanwhile, back at the hotel,

1:01:05.040 --> 1:01:08.960
<v Speaker 3>so the remaining tourists, Chuck, Keith, Beverly, and Rose. They

1:01:08.960 --> 1:01:13.040
<v Speaker 3>decide to hole up in a refrigerator overnight. By locking

1:01:13.080 --> 1:01:14.800
<v Speaker 3>the door hiding in there, we get to watch the

1:01:14.920 --> 1:01:15.880
<v Speaker 3>zombies walk in.

1:01:16.600 --> 1:01:16.800
<v Speaker 4>Yeah.

1:01:16.880 --> 1:01:20.480
<v Speaker 2>Yes, not like your refrigerator in your house, right, but

1:01:20.600 --> 1:01:22.560
<v Speaker 2>a big one, a big walk in freezer thing.

1:01:22.520 --> 1:01:24.760
<v Speaker 3>And it doesn't have power, so it's not like cold.

1:01:26.000 --> 1:01:28.960
<v Speaker 3>But there we get to watch the zombies wrecking the hotel.

1:01:29.040 --> 1:01:33.440
<v Speaker 3>They're just like smashing mirrors and everything. And then inside

1:01:33.480 --> 1:01:37.000
<v Speaker 3>the fridge, this is the moment I mentioned where Chuck

1:01:37.080 --> 1:01:39.400
<v Speaker 3>has this kind of out of character freak out. He

1:01:39.520 --> 1:01:44.320
<v Speaker 3>just starts ranting and screaming and hyperventilatings hyperventilating. He's saying,

1:01:44.400 --> 1:01:47.560
<v Speaker 3>let me out. I'll take my chances. Maybe he's clusterphobic

1:01:47.680 --> 1:01:50.520
<v Speaker 3>or something. I guess, so, yeah, but it's revealed he's

1:01:50.520 --> 1:01:53.160
<v Speaker 3>got a flare gun. He starts pointing the flare gun

1:01:53.200 --> 1:01:55.520
<v Speaker 3>at people and he accidentally shoots it. I think this

1:01:55.840 --> 1:01:59.640
<v Speaker 3>blinds Beverly. And it's during the scene where they like

1:01:59.680 --> 1:02:02.320
<v Speaker 3>all have to run out of the refrigerator because Chuck

1:02:02.400 --> 1:02:05.520
<v Speaker 3>has shot this flare gun inside it that I noticed

1:02:05.560 --> 1:02:08.480
<v Speaker 3>finally that Keith is wearing bell bottoms, and I knows

1:02:08.520 --> 1:02:10.000
<v Speaker 3>he has been the entire movie.

1:02:10.200 --> 1:02:12.840
<v Speaker 2>Oh but of course, of course he has makes perfect sense.

1:02:13.080 --> 1:02:17.320
<v Speaker 3>So then we're into endgame basically, like Chuck is running around,

1:02:17.480 --> 1:02:20.240
<v Speaker 3>he's showing off his muscles and he's trying to fight

1:02:20.320 --> 1:02:22.760
<v Speaker 3>back against the zombies. But he falls into a pool

1:02:22.880 --> 1:02:24.520
<v Speaker 3>and he gets killed by zombies.

1:02:24.880 --> 1:02:27.920
<v Speaker 2>Yeah, he effectively close lines one of them. Yeah, then

1:02:27.920 --> 1:02:32.000
<v Speaker 2>they get him and that pool death scene is pretty horrifying. Again,

1:02:32.280 --> 1:02:35.760
<v Speaker 2>the sort of vacation world ruins of this place.

1:02:36.160 --> 1:02:40.080
<v Speaker 3>Yeah, Keith and Roe is actually successfully hide till morning,

1:02:40.240 --> 1:02:43.720
<v Speaker 3>I think inside a furnace they like, open this metal

1:02:43.720 --> 1:02:46.160
<v Speaker 3>grade and hide in there. And then in the morning

1:02:46.200 --> 1:02:48.440
<v Speaker 3>when they come out, they find Beverly dead in a

1:02:48.480 --> 1:02:51.560
<v Speaker 3>fish tank, and they find Chuck dead in a pool.

1:02:51.600 --> 1:02:53.640
<v Speaker 3>So then it's just to escape mode. It's you know,

1:02:53.720 --> 1:02:56.600
<v Speaker 3>they're trying to escape in a boat. Keith doesn't do

1:02:56.680 --> 1:02:58.640
<v Speaker 3>so well either. He gets dragged out of the boat

1:02:58.720 --> 1:03:02.440
<v Speaker 3>multiple times, and eventually we get yet another sighting of

1:03:02.440 --> 1:03:05.280
<v Speaker 3>a corpse through the glass bottom and it is only

1:03:05.320 --> 1:03:08.560
<v Speaker 3>Brooke Adams who makes it out, but even does she Really.

1:03:08.760 --> 1:03:11.160
<v Speaker 3>Like the other Florida movies we've watched, this one has

1:03:11.160 --> 1:03:13.240
<v Speaker 3>a downer ending where really nobody wins.

1:03:13.960 --> 1:03:16.280
<v Speaker 2>Yeah, a real gut touch of an ending, because first

1:03:16.320 --> 1:03:18.960
<v Speaker 2>of all, everyone except Rose has been murdered by the

1:03:19.000 --> 1:03:23.360
<v Speaker 2>Death Corps, like everybody except well the fisherman and his son.

1:03:23.400 --> 1:03:25.280
<v Speaker 2>At the beginning, they're going, yeah, they're doing okay, Yeah,

1:03:25.280 --> 1:03:28.360
<v Speaker 2>they're doing right, but everybody else dead and even though

1:03:28.360 --> 1:03:31.200
<v Speaker 2>she survives being adrift at sea for days without water,

1:03:31.480 --> 1:03:35.120
<v Speaker 2>she's obviously left terribly traumatized. And the account that she's

1:03:35.160 --> 1:03:39.440
<v Speaker 2>been writing down in her journal. There's this really awesome

1:03:39.480 --> 1:03:42.000
<v Speaker 2>scene there at the end where the camera pans around

1:03:42.240 --> 1:03:45.120
<v Speaker 2>and we see she's been writing. We assume she's writing

1:03:45.840 --> 1:03:48.640
<v Speaker 2>the narration, she's writing her story, but then we see

1:03:48.680 --> 1:03:52.240
<v Speaker 2>that her journal is filled with nothing but nonsensical scribbles.

1:03:52.480 --> 1:03:55.600
<v Speaker 2>So you have this very classic weird horror ending as

1:03:55.640 --> 1:03:59.240
<v Speaker 2>our protagonist has survived physically but not mentally, from a

1:03:59.240 --> 1:04:00.880
<v Speaker 2>brush with super natural horror.

1:04:01.160 --> 1:04:03.800
<v Speaker 3>This is actually extremely close to the ending of Zat,

1:04:04.000 --> 1:04:08.200
<v Speaker 3>where it seems like all of the human characters who

1:04:08.280 --> 1:04:12.560
<v Speaker 3>are not catfishified are either dead or there's one who

1:04:12.800 --> 1:04:15.840
<v Speaker 3>was apparently saved but now just wants to march into

1:04:15.840 --> 1:04:16.360
<v Speaker 3>the ocean.

1:04:16.880 --> 1:04:19.400
<v Speaker 2>Yeah. I guess the thing is that at least you

1:04:19.400 --> 1:04:21.919
<v Speaker 2>feel good for doctor Leopold, because it's like, well, doctor

1:04:21.960 --> 1:04:24.000
<v Speaker 2>Leopold won, he got what he wanted, and I guess

1:04:24.000 --> 1:04:27.000
<v Speaker 2>it's good for the fish. But in this like, nobody

1:04:27.160 --> 1:04:30.520
<v Speaker 2>really wins, like the I mean, I guess the Death

1:04:30.600 --> 1:04:33.280
<v Speaker 2>Corps wins, but they don't really want things. They just

1:04:33.560 --> 1:04:35.800
<v Speaker 2>murder you know. So it's just it's kind of a

1:04:35.880 --> 1:04:43.320
<v Speaker 2>nihilistic ending but feels feels you know, honestly nineteen seventies,

1:04:43.360 --> 1:04:45.440
<v Speaker 2>you know, it's kind of It also reminds us a

1:04:45.440 --> 1:04:48.600
<v Speaker 2>little bit of Texas Chainsaw Massacre, where in that our

1:04:48.640 --> 1:04:53.040
<v Speaker 2>final girl gets away, but she's like laughing maniacally. There's

1:04:53.040 --> 1:04:56.320
<v Speaker 2>a sense that, yeah, that perhaps she has not survived

1:04:56.440 --> 1:05:02.080
<v Speaker 2>completely survived physically, but not you know, uh, mentally or emotionally.

1:05:02.440 --> 1:05:04.000
<v Speaker 3>Oh well, I guess you could read it that way.

1:05:04.000 --> 1:05:06.640
<v Speaker 3>But then then again, I don't know. I I can

1:05:06.760 --> 1:05:12.640
<v Speaker 3>scarcely think of a movie ending where the protagonist escaping

1:05:12.800 --> 1:05:16.760
<v Speaker 3>danger is as cathartic and feels as rewarding as the

1:05:16.880 --> 1:05:19.880
<v Speaker 3>end of Texas Chainsaw Massacre. True, like when she gets

1:05:19.880 --> 1:05:22.320
<v Speaker 3>into the truck and gets away at the end of TCM,

1:05:22.440 --> 1:05:26.720
<v Speaker 3>Like that is probably like the biggest, like just absolutely

1:05:27.120 --> 1:05:30.280
<v Speaker 3>visceral in the body sense of relief I can think

1:05:30.320 --> 1:05:32.000
<v Speaker 3>of in any movie I've ever seen.

1:05:32.240 --> 1:05:34.320
<v Speaker 2>You're right, it really it does feel like a victory

1:05:34.440 --> 1:05:36.400
<v Speaker 2>at the end of TCM, like she has gotten away.

1:05:36.680 --> 1:05:41.600
<v Speaker 2>Leather Face is defeated and gets it. In this though, Yeah,

1:05:41.600 --> 1:05:45.040
<v Speaker 2>the baddies for the most part didn't get it, and

1:05:45.080 --> 1:05:47.560
<v Speaker 2>she's in kind of a sad state. So yeah, it's

1:05:48.040 --> 1:05:49.680
<v Speaker 2>like I say, I got punch of an ending, but

1:05:49.760 --> 1:05:54.120
<v Speaker 2>one that feels, you know, on message for this film.

1:05:54.480 --> 1:05:56.680
<v Speaker 3>We don't get to see the Death Corps doing chainsaw

1:05:56.760 --> 1:05:59.480
<v Speaker 3>ballet on the beach like we do with the Leathers.

1:06:00.320 --> 1:06:03.320
<v Speaker 2>All right, So let's say Florida movie checklist. We had

1:06:03.320 --> 1:06:07.240
<v Speaker 2>Florida ruins, we had oppressive Florida wilderness, we had marine

1:06:07.320 --> 1:06:11.200
<v Speaker 2>life and tanks, we had electronic music, and we had

1:06:11.200 --> 1:06:14.200
<v Speaker 2>a dark ending. So really the only things we're lacking

1:06:14.400 --> 1:06:17.680
<v Speaker 2>that were present in previous movies are well, I was

1:06:17.720 --> 1:06:19.320
<v Speaker 2>gonna say shots of animals in the wild, but we

1:06:19.360 --> 1:06:23.360
<v Speaker 2>do have some fish scenes early on, so see urchins. Yeah,

1:06:23.520 --> 1:06:25.440
<v Speaker 2>just yes, the urchins are in there, just maybe not

1:06:25.520 --> 1:06:29.600
<v Speaker 2>as much wildlife as we saw in Frogs certainly or

1:06:29.600 --> 1:06:32.840
<v Speaker 2>in that. And also we don't have an ecological message.

1:06:33.000 --> 1:06:36.000
<v Speaker 3>That's true this one. Uh, those two movies both, even

1:06:36.040 --> 1:06:39.919
<v Speaker 3>if it was maybe not super well articulated, they yeah

1:06:39.920 --> 1:06:42.440
<v Speaker 3>they've got an ecological message. I don't think this movie

1:06:42.480 --> 1:06:46.200
<v Speaker 3>really has any message at all. Yeah, none that is intended.

1:06:46.640 --> 1:06:49.360
<v Speaker 3>If it is, it's just like, don't create a death core.

1:06:50.080 --> 1:06:53.760
<v Speaker 3>You not screw around with making undead superhuman Nazi soldiers.

1:06:54.120 --> 1:06:59.760
<v Speaker 2>Yeah, or properly research your your scuba outlets before you

1:06:59.800 --> 1:07:04.480
<v Speaker 2>can gone a vacation. But yeah, this one I think

1:07:04.560 --> 1:07:08.320
<v Speaker 2>is pretty effective. I remember seeing I think I saw

1:07:08.360 --> 1:07:13.000
<v Speaker 2>the last maybe thirty percent of it on TBS or

1:07:13.040 --> 1:07:15.200
<v Speaker 2>TNT back in the day, Like, saw it during the

1:07:15.320 --> 1:07:18.840
<v Speaker 2>day at my grandparents' house and was really creeped out

1:07:18.920 --> 1:07:21.439
<v Speaker 2>by it. And it's actually it's a great horror movie

1:07:21.440 --> 1:07:23.160
<v Speaker 2>to have seen during the day because most of the

1:07:23.200 --> 1:07:27.320
<v Speaker 2>action takes place in the day. Like it makes daytime

1:07:27.360 --> 1:07:32.720
<v Speaker 2>in Florida horrifying, you know, effectively horrifying. It doesn't have

1:07:32.800 --> 1:07:35.400
<v Speaker 2>to be dark in Florida for you to be afraid.

1:07:35.600 --> 1:07:41.640
<v Speaker 3>Actually, this violates a lot of rules about movie monsters. Usually,

1:07:41.800 --> 1:07:45.520
<v Speaker 3>I think movie monsters are better when seen, less when

1:07:45.600 --> 1:07:49.400
<v Speaker 3>kept in the dark more, you know, following the Jaws rule,

1:07:49.440 --> 1:07:51.360
<v Speaker 3>like if you're going to finally see the monster, you

1:07:51.360 --> 1:07:53.400
<v Speaker 3>want to wait towards the end of the movie to

1:07:53.440 --> 1:07:56.120
<v Speaker 3>do it. This movie, no is just putting its monsters

1:07:56.120 --> 1:07:58.760
<v Speaker 3>front and center, tons of screen time, showing you all

1:07:58.840 --> 1:08:02.400
<v Speaker 3>the time. Much like that actually, but very different from

1:08:02.440 --> 1:08:05.440
<v Speaker 3>Za the Monsters look very menacing in this and that

1:08:05.520 --> 1:08:07.840
<v Speaker 3>actually works better when you see a ton of them.

1:08:08.280 --> 1:08:10.720
<v Speaker 2>Yeah. Yeah, And in fact, there there's one scene in

1:08:10.760 --> 1:08:14.040
<v Speaker 2>particular where I think we've effectively killed one of them

1:08:14.080 --> 1:08:16.000
<v Speaker 2>at this point you pull the goggles off, and then

1:08:16.040 --> 1:08:20.320
<v Speaker 2>we still see there're so many and I mean, chalk

1:08:20.360 --> 1:08:22.240
<v Speaker 2>it up to a good film. I was. I was

1:08:22.520 --> 1:08:24.640
<v Speaker 2>when that happened. In my recent reviewing of it. I

1:08:24.640 --> 1:08:26.519
<v Speaker 2>was like, oh my goodness, Like I felt my heart sink.

1:08:26.560 --> 1:08:28.479
<v Speaker 2>There were so many of them. Even though I knew

1:08:28.479 --> 1:08:29.320
<v Speaker 2>what was going to happen.

1:08:29.520 --> 1:08:31.640
<v Speaker 3>I wonder what those goggles actually were were they were

1:08:31.680 --> 1:08:33.600
<v Speaker 3>like welding goggles. What do you think that was they

1:08:33.640 --> 1:08:34.080
<v Speaker 3>were wearing.

1:08:34.360 --> 1:08:36.840
<v Speaker 2>I don't know. They looked familiar, but I don't know

1:08:36.840 --> 1:08:40.799
<v Speaker 2>where I've seen them before. But good find costuming department

1:08:40.840 --> 1:08:41.080
<v Speaker 2>on that.

1:08:41.439 --> 1:08:42.400
<v Speaker 3>Yeah, good job.

1:08:43.439 --> 1:08:46.599
<v Speaker 2>All right. So you're probably wondering where can I see Shockwaves? Well,

1:08:47.160 --> 1:08:49.120
<v Speaker 2>I mentioned that I used to own it on Blue

1:08:49.200 --> 1:08:51.599
<v Speaker 2>Underground on DVD from Blue Underground, and I think it's

1:08:51.600 --> 1:08:55.160
<v Speaker 2>on Blu Ray from Blue Underground as well. I misplaced

1:08:55.160 --> 1:08:57.920
<v Speaker 2>it over the years, but it's it's really good. It's

1:08:57.920 --> 1:09:00.679
<v Speaker 2>got a lot of good extras, it's a great restoration

1:09:00.720 --> 1:09:03.559
<v Speaker 2>of the film. I think to a certain degree, there's

1:09:03.600 --> 1:09:07.519
<v Speaker 2>a certain seventies graininess to this film that I think

1:09:07.640 --> 1:09:09.920
<v Speaker 2>is essential, Like I wouldn't want to see it in

1:09:09.920 --> 1:09:12.679
<v Speaker 2>too fine a quality, you know, it needs that, that's

1:09:12.720 --> 1:09:16.040
<v Speaker 2>seventies ness to it. But yeah, the Blue Underground Edition

1:09:16.160 --> 1:09:19.519
<v Speaker 2>is nice, has some fun extras. You can also rent

1:09:19.520 --> 1:09:22.280
<v Speaker 2>it digitally, buy it digitally most places, and if you want,

1:09:23.080 --> 1:09:25.040
<v Speaker 2>if you if you want to find like a a

1:09:25.320 --> 1:09:28.839
<v Speaker 2>sort of a loophole to get it. I have noticed

1:09:28.840 --> 1:09:32.240
<v Speaker 2>that if you do a free trial of the Full

1:09:32.320 --> 1:09:35.559
<v Speaker 2>Moon Entertainment channel, like you can get through like Amazon Prime,

1:09:36.080 --> 1:09:38.519
<v Speaker 2>you know, like a seven day trial, you can you

1:09:38.560 --> 1:09:41.040
<v Speaker 2>can watch shock Waves through that channel.

1:09:41.160 --> 1:09:43.760
<v Speaker 3>There's a Charles Band app now.

1:09:44.560 --> 1:09:46.320
<v Speaker 2>I guess it's an app. Yeah, it's at least it's

1:09:46.320 --> 1:09:48.160
<v Speaker 2>an Amazon Prime channel, and I think you can get

1:09:48.200 --> 1:09:50.160
<v Speaker 2>it on It's probably on like Roku and stuff like that.

1:09:50.240 --> 1:09:53.000
<v Speaker 2>I don't I'm not superversed in all that, okay, but

1:09:53.400 --> 1:09:55.040
<v Speaker 2>but yeah, there's there are some ways to see this

1:09:55.120 --> 1:09:56.640
<v Speaker 2>if you don't if you don't want to, you know,

1:09:56.680 --> 1:09:59.560
<v Speaker 2>straight up rent or buy it or pick up that DVD.

1:09:59.360 --> 1:10:01.760
<v Speaker 3>But subscribe to band Tube.

1:10:02.880 --> 1:10:04.400
<v Speaker 2>I didn't check too B to see if it was

1:10:04.439 --> 1:10:04.800
<v Speaker 2>on two B.

1:10:05.360 --> 1:10:07.800
<v Speaker 3>Oh, yeah I didn't either. Yeah, you know you were

1:10:07.800 --> 1:10:09.880
<v Speaker 3>talking about the look of this movie. One thing, last

1:10:09.920 --> 1:10:12.160
<v Speaker 3>thing I have to say I realized is the look

1:10:12.200 --> 1:10:15.639
<v Speaker 3>of this movie is a blue can of craft grated

1:10:15.680 --> 1:10:19.840
<v Speaker 3>parmesan cheese from the seventies. That's what the aesthetic is.

1:10:20.479 --> 1:10:23.559
<v Speaker 2>Yes, all right, Well, on that note, we would love

1:10:23.560 --> 1:10:27.280
<v Speaker 2>to hear from everyone out there about your memories, especially

1:10:27.320 --> 1:10:29.679
<v Speaker 2>you know, from older listeners, your memories of craft cheese

1:10:29.720 --> 1:10:33.360
<v Speaker 2>canisters of the mid nineteen seventies. When did it change?

1:10:33.360 --> 1:10:35.439
<v Speaker 2>Why did it change? Did it change? I don't know.

1:10:36.640 --> 1:10:38.800
<v Speaker 2>Have you seen this movie? Did you see it on

1:10:38.880 --> 1:10:40.639
<v Speaker 2>TBS back in the day when you were a child

1:10:40.720 --> 1:10:44.320
<v Speaker 2>and when we're partially traumatized by it like me, or

1:10:44.600 --> 1:10:46.640
<v Speaker 2>you know, did you check it out later? Let us know,

1:10:46.680 --> 1:10:49.640
<v Speaker 2>we'd love to hear from you and you just in

1:10:49.680 --> 1:10:52.040
<v Speaker 2>general about other films we've done on Weird House Cinema,

1:10:52.439 --> 1:10:54.920
<v Speaker 2>films you think we should cover in the future, or

1:10:55.160 --> 1:10:57.840
<v Speaker 2>like a lot of our listeners, just continue to write

1:10:57.840 --> 1:11:01.599
<v Speaker 2>in about Sean Connery's accent Islander and to what degree

1:11:01.640 --> 1:11:04.800
<v Speaker 2>it makes sense and what kind of backflips we have

1:11:04.880 --> 1:11:06.960
<v Speaker 2>to do mentally to have it make sense.

1:11:07.800 --> 1:11:10.760
<v Speaker 3>Huge thanks as always to our excellent audio producer Seth

1:11:10.840 --> 1:11:13.200
<v Speaker 3>Nicholas Johnson. If you would like to get in touch

1:11:13.240 --> 1:11:15.400
<v Speaker 3>with us with feedback on this episode or any other,

1:11:15.560 --> 1:11:17.640
<v Speaker 3>to suggest a topic for the future, or just to

1:11:17.680 --> 1:11:20.880
<v Speaker 3>say hello, you can email us at contact at stuff

1:11:20.920 --> 1:11:29.479
<v Speaker 3>to Blow your Mind dot com.

1:11:29.640 --> 1:11:32.600
<v Speaker 1>Stuff to Blow Your Mind is production of iHeartRadio. For

1:11:32.680 --> 1:11:35.439
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1:11:35.600 --> 1:11:38.360
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