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

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Speaker 1: Lamb and Hey, today we're going to be looking back

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Speaker 1: in an episode that originally published nine, twenty twenty four.

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Speaker 1: It is going to be Roger Corman's nineteen fifty six

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Speaker 1: sci fi horror thriller It Conquered the World, starring Peter Graves,

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Speaker 1: Beverly Garland, and Lee Van Cleif. This one's a lot

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Speaker 1: of fun, some cool ideas in here, and an infamously

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Speaker 1: funny looking monster, so let's check it out.

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

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

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Speaker 3: And this is Joe McCormick. And today on Weird House Cinema,

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Speaker 3: we are finally going to be devoting a full episode

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Speaker 3: to a movie that we have referenced in passing quite

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Speaker 3: a bit over the years. I don't know if it's

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Speaker 3: come up as often as Highlander two, but it's got

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Speaker 3: to be close. This is the subject of a fan

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Speaker 3: favorite episode of Mystery Science Theater three thousand from season

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Speaker 3: three with Joel and Another example of one of our

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Speaker 3: favorite niche subgenres, low budget atomic age sci fi horror

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Speaker 3: thrillers directed by Roger Corman, which played as part of

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Speaker 3: a double bill at your local drive in in the fifties.

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Speaker 3: This one. Most of these movies are great because they're

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Speaker 3: usually less than seventy minutes long. This one's at the

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Speaker 3: longer end of that scale. It's like sixty nine seventy minutes,

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Speaker 3: you know. They get even shorter. Attack of the Crab

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Speaker 3: Monsters is like, what, sixty two minutes or something, But

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Speaker 3: it's still right in the zone. And as I've said before,

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Speaker 3: I want to be on record that I think it's

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Speaker 3: okay for feature films to be that short. You don't

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Speaker 3: need to try to stretch it out, as even this

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Speaker 3: short movie does with all these scenes of driving and parking.

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Speaker 1: Yes, indeed, modern filmmakers, you can make them this short.

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Speaker 3: We approve. Oh wait, but I didn't say the name yet. Sorry,

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Speaker 3: Today we're talking about it Conquered the World from nineteen

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Speaker 3: fifty six, starring Peter Graves, Beverly Garland, and a devious

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Speaker 3: Earth betraying Lee van Cleef, who is redeemed in the end.

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Speaker 3: You know. So this is a movie I've seen primarily

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Speaker 3: in the Mystery Science Theater episode, and I guess because

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Speaker 3: of the MST framing, I'd never really given it a

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Speaker 3: serious chance on its own terms. I actually had seen

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Speaker 3: it on its own before, but still just kind of

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Speaker 3: with the mind of looking for the cheesy bits, and

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Speaker 3: there are plenty of those, we can talk about them.

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Speaker 3: But this movie is not bad. This is a pretty solid,

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Speaker 3: scrappy drive in film.

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Speaker 1: Absolutely. Yeah. This is a film I too had seen

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Speaker 1: numerous times in its MST three K format over the decades,

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Speaker 1: but this was actually not my first time watching it

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Speaker 1: straight up. So yeah, I feel like, as is often

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Speaker 1: the case with the best MST three K episodes, the

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Speaker 1: underlying movie is very watchable on its own. You know,

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Speaker 1: it has some wonky pacing at times, nothing really zings visually,

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Speaker 1: at least as it's intended to zing.

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Speaker 3: I mean, I would say the monster zing's but mostly

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Speaker 3: because of how funny it looks.

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Speaker 1: Yes, yeah, yeah, it does not inspire terror, but it

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Speaker 1: is amazing and it's in a different way. Yeah. It

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Speaker 1: has a couple of spirited performances that we'll discuss, and

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Speaker 1: it at least bats around some deeper sci fi concepts

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Speaker 1: as well as some rather obvious anxieties about communist brainwashing. Now,

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Speaker 1: this is not a film about communists, but as is

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Speaker 1: often the case with some of these sci fi films

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Speaker 1: about alien minutes from this time period, you know, it's

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Speaker 1: very clear that they're getting into some of the popular

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Speaker 1: anxieties about communism in the way that they're described being

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Speaker 1: and dealing with this extraterrestrial.

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Speaker 3: Threat in most of these movies with alien brainwashing, and

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Speaker 3: it's the same case in this one. The alien ideology

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Speaker 3: is less controversial and specific, and this one it's about

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Speaker 3: ridding human beings of emotion, which at first that sounds

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Speaker 3: like kind of a placeholder themes, like oh yeah, okay,

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Speaker 3: but it actually leads to a couple of interesting dialogue scenes,

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Speaker 3: Like they go deeper with that theme than you would

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Speaker 3: expect for a movie of this sort.

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Speaker 1: Yeah yeah, And I feel like I've always enjoyed those scenes,

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Speaker 1: Like this is a film that is sixty percent living

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Speaker 1: room dialogue scenes in which luckily they do get into

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Speaker 1: some of these topics. It's like thirty five percent driveways

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Speaker 1: and then some lab scenes and caves scene sprinkled to

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Speaker 1: fill out the rest of it. But it moves right along.

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Speaker 1: I feel like I always end up loving it when

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Speaker 1: I watch it. Yeah, and it at least bats around

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Speaker 1: some deeper concepts, even even if the same. At the

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Speaker 1: same time, you have to acknowledge that this is a

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Speaker 1: fast film. This is a cheap film. I think they

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Speaker 1: filmed it in five days. Like all of that taken

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Speaker 1: into account, it holds up really well.

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Speaker 3: I agree, and I think the movie literally I think

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Speaker 3: actually the weakest element of it is the padding. I

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Speaker 3: think if you were to edit out about ten to

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Speaker 3: fifteen minutes of this movie, cut it down to like

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Speaker 3: a fifty to fifty five minute film, it would be

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Speaker 3: really solid. Like you just cut out a lot of

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Speaker 3: the driving and the three point turns, the dramatic three

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Speaker 3: point turns. I'm sorry, Roger, They're I'm not buying it.

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Speaker 3: That's not as great as you think it is.

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Speaker 1: Yeah, yeah, yeah, A lots of parking scenes and then

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Speaker 1: you know, anytime we're outdoors, I feel like it feels

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Speaker 1: like it's a thousand degrees like direct sunlight high noon.

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Speaker 1: It is not a technical masterpiece.

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Speaker 3: Another one of the weak points. I would say, no

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Speaker 3: offense to him personally, nothing against Peter Graves, but Peter

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Speaker 3: graves performance in this movie I think is quite wooden.

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Speaker 3: He's like pressure treated pine in this But it's funny

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Speaker 3: because they put him opposite actors who I think for

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Speaker 3: a movie like this, are doing a fantastic job. We've

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Speaker 3: got Beverly Garland and Lea Van Cleef and they are

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Speaker 3: wonderful in this movie.

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Speaker 1: Yeah, with Peter Graves, it's interesting because Peter Graves certainly

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Speaker 1: has a style, you know, and this is very much

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Speaker 1: a sort of teeth gritted square kind of performance. You know.

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Speaker 1: This is Peter Graves and he's here to play it

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Speaker 1: by the books. But at the same time, there I

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Speaker 1: think there are some very weird choices in his character

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Speaker 1: that I mean, I don't know what you would ask

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Speaker 1: God him to do, you know. So we'll get into

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Speaker 1: that when we get into the plot a bit more.

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Speaker 1: Because he ultimately his character is ultimately like the champion

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Speaker 1: of human emotion, and yet his character seems to have

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Speaker 1: only like maybe two emotions and makes some and engages

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Speaker 1: in some very cold blooded murder as the plot progresses.

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Speaker 3: Yeah, he is the advocate for the benefits of emotion

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Speaker 3: as a motivating force for humans, and yet he doesn't

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Speaker 3: really display any. Levan Kleef is arguing against us having

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Speaker 3: emotions and is giving a quite passionate performance.

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Speaker 1: Yeah, and is often in the throes of emotion, and

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Speaker 1: I guess it kind of works that regard like he

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Speaker 1: he understands the throes of emotion and sees how this

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Speaker 1: affects other people and has glimpse a path out of

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Speaker 1: that trap, where Peter Greve's character is more like emotion's

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Speaker 1: good must We've got to keep them. That's what makes

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Speaker 1: it special.

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Speaker 3: Now I want to talk briefly about this movie's meta,

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Speaker 3: because there's an interesting contradiction here. I think, despite the

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Speaker 3: fact that this movie has a famously goofy looking monster,

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Speaker 3: when you actually get to it in the film, it

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Speaker 3: mostly shows up in the last three minutes or so, well, no,

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Speaker 3: a little bit before that, mostly in the last ten

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Speaker 3: minutes or so. When you see the monster, it is

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Speaker 3: not very convincing. It is not very scary, and in

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Speaker 3: fact is quite hilarious. But the exact same monster design

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Speaker 3: when rendered as an illustration gazing into your soul from

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Speaker 3: the movie poster rendering is awesome. I think that this

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Speaker 3: monster looks great on every poster I've seen for It

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Speaker 3: Conquered the World. In fact, I've got a poster for

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Speaker 3: this movie framed in my office because it's one of

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Speaker 3: my favorite fifties movie posters.

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Speaker 1: It is indeed a terrific poster, and it's just a

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Speaker 1: testament to the craft that they can make it look

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Speaker 1: this good when nothing else in the movie really looks

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Speaker 1: this gay.

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Speaker 3: But further regarding the meta, oh man, this has some

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Speaker 3: great taglines. So one of the posters, of course, it

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Speaker 3: has the title. It's got a screaming Beverly Garland. It's

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Speaker 3: got people being attacked by these sort of you know,

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Speaker 3: mind control bats. It's got the creature from Venus staring

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Speaker 3: into our souls with red eyes. But then it's got

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Speaker 3: some text on it. It says it conquered the world.

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Speaker 3: Every man, it's prisoner, every woman, its slave. See world

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Speaker 3: conquered by the horrible beast from beyond the stars. See

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Speaker 3: the hideous flying fingers of the monster. And then below that,

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Speaker 3: I think we see leaving Cleef with like his little

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Speaker 3: blow torch kind of oh monster, like it's looking in

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Speaker 3: the window of a house. But that doesn't ever happen

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Speaker 3: in the movie.

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Speaker 1: Yeah, but certainly the monster the benefactor looks amazing here.

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Speaker 1: And yeah, I mean, I guess they couldn't really even

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Speaker 1: attempt to depict the monster carrying a woman though, because it,

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Speaker 1: as we see, it's so low to the ground. Yes,

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Speaker 1: how would that even work.

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Speaker 3: Its arms are not long enough to carry a human body. Yeah,

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Speaker 3: well t rex arms, but they're mounted on the sides. Yes. No, wait,

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Speaker 3: hold on, I said that, but I take it back

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Speaker 3: because actually the weight it's drawn in the poster here,

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Speaker 3: it has short little arms, but in the movie it

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Speaker 3: does sort of reach out with its arms and really

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Speaker 3: grab around people. That's how Lee van Cleef bites it.

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Speaker 3: In the end. The monster just reaches up and grabs

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Speaker 3: him with the claw.

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Speaker 1: Yeah, they kind of reach up, but not so much out.

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Speaker 1: It would still be hard to imagine this creature carrying

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Speaker 1: a woman. All right, we're not going to feature trailer

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Speaker 1: audio in this one, but instead, Joe, why don't you

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Speaker 1: just go ahead and recite the film's most famous monologue

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Speaker 1: for us here.

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Speaker 3: Oh, you're putting me on the spot, but I guess

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Speaker 3: we should. We should do that near the beginning, because

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Speaker 3: this is another one of the most famous things about

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Speaker 3: the movie. I've already praised the script, so put that aside.

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Speaker 3: It is I think a pretty tight, kind of scrappy script,

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Speaker 3: it's got some interesting ideas. This ending monologue is atrocious.

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Speaker 3: Here's how it goes. He learned almost too late that

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Speaker 3: man is a feeling creature and because of it, the

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Speaker 3: greatest in the universe. He learned too late for himself

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Speaker 3: that men have to find their own way, to make

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Speaker 3: their own mistakes. There can't be any gift of perfection

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Speaker 3: from outside ourselves. And when men seeks perfection they find

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Speaker 3: only death, fire, loss, disillusionment, the end of everything that's

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Speaker 3: gone forward. Men have always sought an end to the

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Speaker 3: toil and misery, but it can't be given. It has

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Speaker 3: to be achieved. There is hope, but it has to

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Speaker 3: come from inside, from men himself. And I like to sometimes,

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Speaker 3: of course, it is Peter Graves who says this at

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Speaker 3: the end of the movie, and it's also a very bloated,

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Speaker 3: wooden kind of delivery. But I like to imagine this

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Speaker 3: monologue being given by David Huddleston as the Big Lebowski

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Speaker 3: and the Big Lebowski and it has to be achieved.

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Speaker 1: Yeah, yeah, it would have taken. It would have had

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Speaker 1: a different energy certainly, But yeah, this is the ending monologue.

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Speaker 1: This is ultimately like the the thesis statement for the picture,

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Speaker 1: I guess, I.

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Speaker 3: Guess so to defend what comes before this monologue, I

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Speaker 3: think the film makes these points without this hilarious speech

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Speaker 3: at the end.

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Speaker 1: Yeah, just sort of like patting it out a little bit, maybe, yeah,

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Speaker 1: and trying to punctuate it.

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Speaker 3: It's the verbal equivalent of another parking scene.

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Speaker 1: All right. Well, if you want to watch it conquered

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Speaker 1: the World, you can certainly go out and do so.

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Speaker 1: As of this recording, this one isn't available as a

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Speaker 1: legit stream anywhere. You can find it if you look around,

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Speaker 1: but couldn't find it on any of the legit streaming platforms.

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Speaker 1: You're also hard pressed to get a DVD of it,

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Speaker 1: though there are some for sale and at reasonable prices

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Speaker 1: in some of the familiar websites, but I don't know

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Speaker 1: who is putting them out, so I don't know what

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Speaker 1: kind of releases these are. But there is not a

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Speaker 1: Blu ray release, And while famously featured in that nineteen

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Speaker 1: ninety one episode of MST three K, I don't think

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Speaker 1: this episode has ever been made available on disc. So

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Speaker 1: the rights for this film and a handful of other

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Speaker 1: AIP films, including the amazing Colossal Man, and I was

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Speaker 1: a teenage werewolf sadly seemed to be held up. It's

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Speaker 1: a shame, because it Conquered the World certainly deserves placement

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Speaker 1: in a proper physical release of Roger Corman's films.

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Speaker 3: Yeah, I got confused because I have a couple of

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Speaker 3: different Corman box sets and this wasn't in either of them,

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Speaker 3: so I had to go elsewhere. But yeah, so this

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Speaker 3: has come up on the show before this. There's a

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Speaker 3: number of films on this list that are apparently being

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Speaker 3: held up by the same rights holder, And this came

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Speaker 3: up because we were wondering, why isn't the amazing Colossal

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Speaker 3: Man viewable at all? Really?

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Speaker 1: Yeah, yeah, and this would seem to be the answer. So,

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Speaker 1: you know, these things tend not to last forever, so

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Speaker 1: you know, at some point in the future these films

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Speaker 1: will be released, they'll get some nice physical additions and

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Speaker 1: become available on streaming. But until that time, we're left

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Speaker 1: with what we can get.

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Speaker 3: But I agree with your statement that It Conquered the

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Speaker 3: World belongs in any proper, you know, fifties Corman box set.

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Speaker 3: It's I would say it is up there with movies

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Speaker 3: like Not of This Earth, except a little bit flabbier.

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Speaker 3: There's a little more, you know, there's a little more

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Speaker 3: stuff you could cut out. Not if this Earth has

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Speaker 3: similar strengths, but I think is a little tighter.

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Speaker 1: Yeah, all right, Let's talk about the folks involved in

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Speaker 1: this production, starting at the top with someone we've talked

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Speaker 1: about in the show before, and that's Roger Corman, the

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Speaker 1: director and producer here who lived nineteen twenty six through

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Speaker 1: twenty twenty four. Corman was, of course, the Wizard of

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Speaker 1: B movies and a prolific creator of late fifties drive

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Speaker 1: in flicks. We've covered numerous Corman produced and or Corman

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Speaker 1: directed films on Weird House Cinema already, including sixty four's

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Speaker 1: Mask of the Red Death, which is probably among his

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Speaker 1: best work, as well as some of his many entertaining

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Speaker 1: low budget films like nineteen fifty seven's Not of This Earth.

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Speaker 1: Seth joined me on Weird House for an episode on

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Speaker 1: the nineteen fifty nine beat Nick horror comedy A Bucket

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Speaker 1: of Blood, and this is our first episode about a

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Speaker 1: Corman directed film since his death earlier this year at

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Speaker 1: the age of ninety eight.

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Speaker 3: Though we may come back to Corman's Vincent Price Poe

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Speaker 3: Movies this October.

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Speaker 1: Yes, so this was one of four Corman directed films

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Speaker 1: released in fifty six, but the only sci fi or

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Speaker 1: horror title. Swamp Woman, which also had Beverly Garland, was

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Speaker 1: a crime picture, and both Gunslinger with Beverly Garland and

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Speaker 1: The Oklahoma Woman with Peggy Castle were westerns. This was

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Speaker 1: the year before Attack of the Crab Monsters, and as

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Speaker 1: Michael Weldon points out in the Psychotronic Film Guide, this

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Speaker 1: was only Corman's second sci fi film, which is it's

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Speaker 1: always interesting to realize this sort of thing when we

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Speaker 1: think about Roger Corman, who's best remembered for so many

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Speaker 1: of these sci fi and or horror pictures, but he

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Speaker 1: also did a lot of westerns and other sorts of

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Speaker 1: flicks as well.

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Speaker 3: It's hard to believe he only did four movies in

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Speaker 3: this year though, I mean, yeah, up the pace, Roger, Well.

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Speaker 1: Those are just the director's credits. I didn't check production,

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Speaker 1: but yeah, he was ratchet it up. I think the

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Speaker 1: late fifties were really his key years of output. Yeah.

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Speaker 3: Was it fifty seven that he I want to say,

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Speaker 3: made either eight or eleven movies that year? Yeah?

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Speaker 1: Yeah, I mean he would pump them out. I mean

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Speaker 1: even this film again shot in apparently five days, shot

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Speaker 1: in California, with key scenes taking place at Bronson Cave

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Speaker 1: in Griffith Park, which has come up time and time

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Speaker 1: again on the show a popular place in California to

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Speaker 1: shoot your otherworldly or just desolate scenes.

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Speaker 3: In this movie, they say that the creature from Venus

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Speaker 3: is living there because the conditions inside mimic those on Venus.

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Speaker 3: I don't know about that.

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Speaker 1: All right, Let's get into the writing here. Lou Roussoff

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Speaker 1: is credited with the screenplay He Lived nineteen eleven through

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Speaker 1: nineteen sixty three, screenwriter and producer, whose other credits include

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Speaker 1: fifty five Today The World Ended, fifty six is the

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Speaker 1: She Creature, sixty threes Beach Party, and sixty seven zon

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Speaker 1: Tar The Thing from Venus. I think that's kind of

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Speaker 1: a reworking of some of the same ideas here, and

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Speaker 1: his production credits include the US version and or US

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Speaker 1: release of nineteen sixties Black Sunday.

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Speaker 3: You know, I was surprised when watching the credits this time,

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Speaker 3: and I noticed that the screenplay credit went to Rusoff

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Speaker 3: and not to who I assumed was the writer of

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Speaker 3: this movie, which is Charles B. Griffith. Charles B. Griffith

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Speaker 3: wrote Not of This Earth, wrote Attack of the Crab Monsters.

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Speaker 3: Was a common writer in the Corman scene of this time,

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Speaker 3: and was famous for being able to crank out a

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Speaker 3: script that was pretty witty and tight and quickly made.

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Speaker 3: He could make he could write him fast.

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Speaker 1: Well, you know, he apparently did some work on the

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Speaker 1: script anyway. I see he's listed on IMDb as an

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Speaker 1: uncredited screenwriterskil so you know he got in there and

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Speaker 1: worked on it to some degree anyway. But indeed, you

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Speaker 1: think of Corman pictures from this area, you think of

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Speaker 1: Charles B. Griffith, who lived nineteen thirty through two thousand

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Speaker 1: and seven, you know, films like Not of This Earth,

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Speaker 1: Attack of the Crab Monsters, a Little Shop of hors

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Speaker 1: and Bucket of Blood. All right, let's get into the

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Speaker 1: cast here, and I'm gonna not go in billing order.

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Speaker 1: We'll reference the billing order, but we're gonna take it

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Speaker 1: by couple, because this film centers mostly around two married couples,

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Speaker 1: the Nelsons and the Andersons. Though I'd argue that it's

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Speaker 1: chiefly the story of the Andersons.

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Speaker 3: That's where the real emotional meat is yes.

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Speaker 1: All right, So let's start with the Nelsons here, starting

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Speaker 1: with doctor Paul Nelson, played by the top Build Peter Graves.

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Speaker 1: Graves Live nineteen twenty six through twenty ten, best known

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Speaker 1: to many for his long running hosting gig on A

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Speaker 1: and E's Biography, or at least for some of us.

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Speaker 1: I don't know if they're still rerunning episodes that Graves hosted,

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Speaker 1: but he was a longtime host on Biography, and of

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Speaker 1: course he had a long run on the original TV

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Speaker 1: series Mission Possible from sixty seven through seventy three. I

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Speaker 1: don't think I ever watched any of that, but I

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Speaker 1: do remember watching some of the late nineteen eighties reboot,

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Speaker 1: a reboot that I only recently learned resulted from a

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Speaker 1: Hollywood writers strike. The studio was like, well, we got

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Speaker 1: to make episodes of something, but we can't use writers.

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Speaker 1: And they realized, well, let's just go back and get

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Speaker 1: old Mission Impossible scripts that weren't filmed and just film

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Speaker 1: them in Australia, and that's what they did. That's where

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Speaker 1: this show came from. But I remember watching it and

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Speaker 1: digging it and getting very excited about a Nintendo game

356
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Speaker 1: titled Mission Impossible. That was some sort of tie in.

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Speaker 1: I think it was an official tie in, but also

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Speaker 1: just a legendarily difficult game. It's one of those Nintendo

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Speaker 1: games that I don't know if anyone ever beat this thing.

360
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Speaker 1: It was just so difficult, but also had some interesting

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Speaker 1: like stealth mechanics that seemed ahead of their time.

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Speaker 3: I'm looking it up now. I never played this one.

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Speaker 1: Yeah, and nothing in the game really matches up with

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Speaker 1: what you see in a Mission Impossible TV show, But

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Speaker 1: I don't know. I was excited for it at the time.

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Speaker 3: That was common for video game tie ins to movies

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Speaker 3: and TV shows at the time. There's almost no resemblance

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Speaker 3: to the plot of the original thing.

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Speaker 1: Yeah. So Graves was a US Air Force vet. He

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Speaker 1: was also, of course, the brother of James Arness Graves,

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Speaker 1: his stage name Arness we talked about in the past

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Speaker 1: because he was the Thing from Another World and graves

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Speaker 1: acting credits go back to the early fifties, including an

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Speaker 1: early starring sci fi role in fifty two's Red Planet Mars,

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Speaker 1: but he scored much more success when he appeared in

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Speaker 1: a supporting role in Billy Wilder Stalog seventeen in nineteen

377
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Speaker 1: fifty three. He was not nominated, but the film earned

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Speaker 1: AUSTAR nominations for two of its stars and its director.

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Speaker 1: Graves went on from here to have a long career

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Speaker 1: on TV and screen, appearing in the likes of fifty

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Speaker 1: four's Killers from Space, fifty five's The Night of the Hunter,

382
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Speaker 1: seventy nine. Yeah, yeah, The Night of the Hunter. Not

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Speaker 1: I think there was later a TV version that's different,

384
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Speaker 1: but yeah, he was in the picture. He was in

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Speaker 1: nineteen seventy nine. Is the Clonis Horror? Another MS two

386
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Speaker 1: three K favorite of many.

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Speaker 3: Oh, is that the one about going to America?

388
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Speaker 1: Yes, yeah, it's a you know, it's a dull person

389
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Speaker 1: movie about clones, but it's one that is I think,

390
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Speaker 1: kind of stupid, but also kind of great and has

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Speaker 1: been sort of re explored, we should say, I guess

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Speaker 1: with subsequent clone movies. Yes, he was, of course in

393
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Speaker 1: nineteen eighties Airplane. He was in ninety three's Adams Family

394
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Speaker 1: Values and nineteen ninety nine's House on Haunted Hill. I

395
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Speaker 1: think he kind of played himself in both of those,

396
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Speaker 1: like a TV presenter role. And he also pops up

397
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Speaker 1: in two thousand and two's Men in Black two.

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Speaker 3: Now we've already talked a bit about the irony of

399
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Speaker 3: the casting here, where they have Peter Graves playing the

400
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Speaker 3: sort of the Earthling hero who stands up for human

401
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Speaker 3: emotions and yet is quite stiff and clenched in his performance.

402
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Speaker 3: But so he is, in a I think traditional interpretation,

403
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Speaker 3: the hero of the movie.

404
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Speaker 1: Yes, yeah, yeah, he is, you know, and I guess

405
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Speaker 1: he has the look for it, right he plays. But

406
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Speaker 1: he's a space flight scientist. He runs the satellite command

407
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Speaker 1: center that I think is a government operation, or at

408
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Speaker 1: least it's protected by government forces.

409
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Speaker 3: Yeah. So, I mean this is from the fifties, which remember,

410
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Speaker 3: like you know, we didn't really have our full space

411
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Speaker 3: program yet at the time, you know, the Apollo program

412
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Speaker 3: would until like nineteen sixty one. So they're imagining a

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Speaker 3: space program that is being run by the military. And so, yes,

414
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Speaker 3: Paul Nelson is. He's I think the creator of a

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Speaker 3: satellite that is sort of a first satellite in orbit

416
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Speaker 3: sort of thing. And he is also depicted as great

417
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Speaker 3: friends with Lee Van Cleeve's character, who will get to

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Speaker 3: in a minute.

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Speaker 1: All right, So that's doctor Paul Nelson and doctor Paul

420
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Speaker 1: Nelson's wife is Joan Nelson, played by Sally Fraser, who

421
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Speaker 1: lived nineteen thirty two through twenty nineteen. I mean glamorous

422
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Speaker 1: b movie star of the nineteen fifties, whose credits include

423
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Speaker 1: another couple of notable genre pictures in the late fifties,

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Speaker 1: nineteen fifty eight's War of the Colossal Beast. Oh, actually

425
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Speaker 1: two more, Giant from the Unknown and The Spider.

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Speaker 3: Hmmm, trying to think if I've seen any of those.

427
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Speaker 3: I'm not sure.

428
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Speaker 1: I've seen War of the I think I've seen War

429
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Speaker 1: of Colossal Beasts, but I can never remember if that

430
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Speaker 1: is the film that comes before The Amazing Colossal Man

431
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Speaker 1: or after, because the films before and after The Amazing

432
00:23:42,520 --> 00:23:45,119
Speaker 1: Colossal Man featured the same makeup, this kind of like

433
00:23:45,480 --> 00:23:49,720
Speaker 1: scarred faced cyclops makeup, So I don't remember off the

434
00:23:49,720 --> 00:23:50,480
Speaker 1: top of my head.

435
00:23:50,520 --> 00:23:53,960
Speaker 3: Here, I think The Amazing Colossal Man is the first one,

436
00:23:54,040 --> 00:23:55,840
Speaker 3: so War of the Colossal Beast has got to be

437
00:23:55,880 --> 00:23:58,399
Speaker 3: a sequel or a subsequent film.

438
00:23:58,720 --> 00:24:01,240
Speaker 1: Yeah, but there is. I think there is another Giant

439
00:24:01,280 --> 00:24:04,960
Speaker 1: Man picture in the in the mix there, just.

440
00:24:04,920 --> 00:24:07,440
Speaker 3: Looks it up. Yeah, Colossal Man is fifty seven, War

441
00:24:07,480 --> 00:24:09,360
Speaker 3: of the Colossal Beast is fifty eight.

442
00:24:09,560 --> 00:24:11,000
Speaker 1: And then what year is the Cyclops.

443
00:24:11,560 --> 00:24:14,600
Speaker 3: Oh with Lon Cheney Junior. I think that that's fifty seven.

444
00:24:14,760 --> 00:24:17,639
Speaker 1: Okay, yeah, that is the same makeup as War of

445
00:24:17,640 --> 00:24:18,600
Speaker 1: the Colossal.

446
00:24:18,200 --> 00:24:20,560
Speaker 3: Beast I see. Okay, So Joan.

447
00:24:20,440 --> 00:24:23,400
Speaker 1: Is Paul's loving wife. This is a very much supporting role,

448
00:24:23,920 --> 00:24:25,960
Speaker 1: but she gets to have some fun moments late in

449
00:24:25,960 --> 00:24:26,399
Speaker 1: the picture.

450
00:24:26,680 --> 00:24:29,440
Speaker 3: Yeah, she has a wonderful Paul. I have a present

451
00:24:29,480 --> 00:24:32,240
Speaker 3: for you've seen yes, yeah, so arns out it's an

452
00:24:32,280 --> 00:24:33,680
Speaker 3: alien mind control device.

453
00:24:35,880 --> 00:24:38,480
Speaker 1: All right, Let's move on to the Andersons here, starting

454
00:24:38,480 --> 00:24:43,240
Speaker 1: with doctor Tom Anderson, played by the legendary Lee van Kleef,

455
00:24:43,280 --> 00:24:46,120
Speaker 1: who lived nineteen twenty five through nineteen eighty nine. It's

456
00:24:46,160 --> 00:24:51,080
Speaker 1: old angelized himself. Now, Van Cleef's career would ultimately really

457
00:24:51,119 --> 00:24:54,600
Speaker 1: take off in the mid nineteen sixties. That's when Sergio

458
00:24:54,680 --> 00:24:57,359
Speaker 1: Leoni casts him in the Clint Eastwood Western for a

459
00:24:57,400 --> 00:25:00,600
Speaker 1: few dollars more, followed by a role as the villain

460
00:25:00,720 --> 00:25:03,679
Speaker 1: Angelies and sixty six is The Good, the Bad, and

461
00:25:03,720 --> 00:25:07,000
Speaker 1: the Ugly. And this just cemented him as a spaghetti

462
00:25:07,040 --> 00:25:10,480
Speaker 1: western superstar. And you know, before and after that too,

463
00:25:10,520 --> 00:25:13,120
Speaker 1: he appeared in tons of westerns. Like you look at

464
00:25:13,119 --> 00:25:17,600
Speaker 1: his filmography, it's really like mostly Westerns and some crime

465
00:25:17,640 --> 00:25:22,640
Speaker 1: pictures and that sort of thing. Director John Carpenter, of course,

466
00:25:22,680 --> 00:25:25,439
Speaker 1: grew up as a fan of all these westerns and

467
00:25:25,840 --> 00:25:29,480
Speaker 1: cast him as police Commissioner Bob Hawk in the nineteen

468
00:25:29,520 --> 00:25:33,359
Speaker 1: eighty one classic Escape from New York picture, where I

469
00:25:33,359 --> 00:25:36,199
Speaker 1: think Van Cleeve really shines. This is one of my

470
00:25:36,200 --> 00:25:38,919
Speaker 1: favorite supporting characters, I think, probably of all time, one

471
00:25:38,920 --> 00:25:42,040
Speaker 1: of those supporting characters that leaves you wanting more and

472
00:25:42,119 --> 00:25:45,560
Speaker 1: has some interesting hooks about where this character has been

473
00:25:45,640 --> 00:25:47,919
Speaker 1: and where they might be going, and you want to

474
00:25:47,960 --> 00:25:50,119
Speaker 1: know those stories. But of course the film doesn't take

475
00:25:50,200 --> 00:25:52,480
Speaker 1: us there. It just teases us with these possibilities.

476
00:25:52,800 --> 00:25:54,959
Speaker 3: Yeah, and of course I love him. And The Good,

477
00:25:55,000 --> 00:25:56,399
Speaker 3: the Bad and the Ugly. The Good, the Bad, and

478
00:25:56,440 --> 00:25:59,480
Speaker 3: the Ugly is a movie of many villains. Two main

479
00:25:59,600 --> 00:26:02,200
Speaker 3: villains sort of alluded to in the title there. One

480
00:26:02,320 --> 00:26:06,679
Speaker 3: is played by Eli Wallach, who is the more humorous

481
00:26:06,720 --> 00:26:10,480
Speaker 3: and talkative of the sort of villainish characters with kind

482
00:26:10,480 --> 00:26:14,119
Speaker 3: of shifting loyalties. But Lee van Kleef's character is the

483
00:26:14,359 --> 00:26:19,000
Speaker 3: very straight, hard, bad, mysterious, serious villain.

484
00:26:19,520 --> 00:26:23,600
Speaker 1: Nice. Now, at this point in levan Cleef's career fifty six,

485
00:26:23,920 --> 00:26:26,560
Speaker 1: he'd already had a few years experience in TV and film,

486
00:26:27,119 --> 00:26:29,359
Speaker 1: but with loads of credits as you often see, like

487
00:26:29,920 --> 00:26:32,919
Speaker 1: he was working a lot. Let's see, he'd made his

488
00:26:32,960 --> 00:26:35,720
Speaker 1: film debut in the Oscar winning western High Noon from

489
00:26:35,760 --> 00:26:38,359
Speaker 1: fifty two, and in fifty three he was in The

490
00:26:38,359 --> 00:26:41,760
Speaker 1: Beast from twenty Thousand Fathoms. He acted in again a

491
00:26:41,840 --> 00:26:46,320
Speaker 1: lot of westerns and crime projects throughout his filmography. But

492
00:26:47,200 --> 00:26:50,720
Speaker 1: one of the interesting things is that this film The

493
00:26:50,760 --> 00:26:53,280
Speaker 1: Beast from twenty Thousand Fathoms and Escape from New York

494
00:26:53,359 --> 00:26:56,080
Speaker 1: those are apparently the only three sci fi or horror

495
00:26:56,160 --> 00:26:59,240
Speaker 1: pictures that he ever did, though I believe he did

496
00:26:59,240 --> 00:27:01,680
Speaker 1: act in at least one sci fi TV series in

497
00:27:01,720 --> 00:27:05,320
Speaker 1: the early fifties, and he played a ninja on TV's

498
00:27:05,359 --> 00:27:07,680
Speaker 1: The Master in the mid eighties, but you know that

499
00:27:07,760 --> 00:27:11,160
Speaker 1: wasn't sci fi or horror, and so in this picture, yeah,

500
00:27:11,200 --> 00:27:15,879
Speaker 1: he is Anderson, a disgruntled physicist whose big ideas about

501
00:27:15,880 --> 00:27:19,560
Speaker 1: aliens have pushed him outside of the mainstream. But then,

502
00:27:19,600 --> 00:27:22,239
Speaker 1: of course the picture of centers around the fact that

503
00:27:22,280 --> 00:27:25,560
Speaker 1: he ends up making actual contact with an alien intelligence

504
00:27:25,800 --> 00:27:28,439
Speaker 1: from the planet Venus, and it places him in the

505
00:27:28,560 --> 00:27:31,719
Speaker 1: role of well, it could be Earth's savior or perhaps

506
00:27:31,800 --> 00:27:35,320
Speaker 1: it's destroyer for a lot of the picture, it depends

507
00:27:36,119 --> 00:27:38,239
Speaker 1: which side of the philosophical debate you're on.

508
00:27:38,720 --> 00:27:41,600
Speaker 3: There are a lot of interesting things about the way

509
00:27:41,680 --> 00:27:45,160
Speaker 3: this character is written and the way Van Cleef plays him.

510
00:27:46,160 --> 00:27:50,320
Speaker 3: So the character is in some ways portrayed as a crank,

511
00:27:50,600 --> 00:27:54,160
Speaker 3: like he has these ideas that are not accepted by

512
00:27:54,160 --> 00:27:59,399
Speaker 3: other scientists or by the civil leadership, and they have

513
00:27:59,560 --> 00:28:02,560
Speaker 3: to do with aliens, of course, and nobody pays attention

514
00:28:02,600 --> 00:28:04,359
Speaker 3: to him. They're just like, ah, he's going off on

515
00:28:04,400 --> 00:28:07,720
Speaker 3: his favorite subject again, and this makes him embittered the

516
00:28:07,760 --> 00:28:10,360
Speaker 3: fact that nobody's paying attention to him, which I think

517
00:28:10,440 --> 00:28:13,560
Speaker 3: is pretty interesting because that is, you know, it almost

518
00:28:13,640 --> 00:28:16,080
Speaker 3: makes me think of when when sun Zoo came up

519
00:28:16,160 --> 00:28:20,439
Speaker 3: recently in our episodes about the Ninja, where you know,

520
00:28:20,480 --> 00:28:23,920
Speaker 3: he's talking about who to find within the enemy's ranks

521
00:28:24,000 --> 00:28:26,320
Speaker 3: to recruit to your side, to be it to be

522
00:28:26,359 --> 00:28:29,679
Speaker 3: a secret agent and betray the enemy. And one of

523
00:28:29,680 --> 00:28:31,880
Speaker 3: the things he says is look for someone who has

524
00:28:31,960 --> 00:28:37,000
Speaker 3: who feels they have been mistreated or unappreciated by enemy leadership,

525
00:28:37,280 --> 00:28:40,520
Speaker 3: someone who feels their genius is not being made use

526
00:28:40,600 --> 00:28:41,560
Speaker 3: of by the enemy.

527
00:28:42,080 --> 00:28:43,280
Speaker 1: Yeah, yeah, that matches up.

528
00:28:43,680 --> 00:28:47,160
Speaker 3: So he's portrayed as simultaneously like in some ways an

529
00:28:47,160 --> 00:28:50,720
Speaker 3: appreciated scientific genius, but also at the same time a

530
00:28:50,800 --> 00:28:53,520
Speaker 3: crying who people are, you know, dismissive of at least

531
00:28:53,520 --> 00:28:58,320
Speaker 3: with his ideas about aliens. But then he also, interestingly,

532
00:28:59,240 --> 00:29:03,120
Speaker 3: I would say, he plays this scientist character in a

533
00:29:03,120 --> 00:29:08,280
Speaker 3: way that's very texturally different than most scientist characters in

534
00:29:08,400 --> 00:29:10,880
Speaker 3: horror and sci fi movies of the fifties, who are

535
00:29:10,920 --> 00:29:16,120
Speaker 3: usually portrayed as very straight laced and with high social

536
00:29:16,280 --> 00:29:19,920
Speaker 3: class signifiers in the way they speak. Van Cleef's character

537
00:29:20,000 --> 00:29:21,960
Speaker 3: does not come off that way. He is playing a

538
00:29:22,000 --> 00:29:28,640
Speaker 3: physicist who has a more rough, aggressive and kind of

539
00:29:29,520 --> 00:29:32,560
Speaker 3: sounds like he has probably working class origins and and

540
00:29:32,760 --> 00:29:36,719
Speaker 3: speaks with a speaks with a distinctive voice, rather than

541
00:29:36,720 --> 00:29:41,480
Speaker 3: the kind of formal or character free way that a

542
00:29:41,480 --> 00:29:44,120
Speaker 3: lot of scientist characters in these movies talk.

543
00:29:44,480 --> 00:29:47,000
Speaker 1: Yeah, yeah, you're right. He does stand out in that regard,

544
00:29:47,680 --> 00:29:50,760
Speaker 1: and it's interesting too, like his some of his ideas,

545
00:29:50,920 --> 00:29:53,360
Speaker 1: especially the ones we hear about early on, like you

546
00:29:53,400 --> 00:29:55,800
Speaker 1: know that they are actual ideas that are sometimes batted

547
00:29:55,840 --> 00:29:59,520
Speaker 1: around concerning the possibility of extraterrestrials, like the idea that

548
00:29:59,520 --> 00:30:04,840
Speaker 1: they're waking and that they might interfere if they didn't

549
00:30:05,040 --> 00:30:07,360
Speaker 1: like some development that was happening here. You know, like

550
00:30:07,600 --> 00:30:09,440
Speaker 1: some of these ideas, you know, they're they're not they're

551
00:30:09,480 --> 00:30:13,120
Speaker 1: not out of line with with some of the speculative

552
00:30:13,400 --> 00:30:17,560
Speaker 1: notions that are discussed regarding alien intelligence. Uh. And then

553
00:30:17,600 --> 00:30:21,440
Speaker 1: of course it ends up taking on this this higher

554
00:30:21,480 --> 00:30:24,720
Speaker 1: purpose that he sees, the idea that through contact with

555
00:30:24,800 --> 00:30:27,720
Speaker 1: aliens we can save ourselves. And of course this is

556
00:30:27,760 --> 00:30:32,320
Speaker 1: a common theme in ufology. And and then I guess

557
00:30:32,360 --> 00:30:36,640
Speaker 1: in some like serious contemplations on what first contact would

558
00:30:36,720 --> 00:30:40,680
Speaker 1: mean for humans, uh, you know, the possibility that it

559
00:30:40,760 --> 00:30:44,520
Speaker 1: could greatly improve life on Earth if we had outside

560
00:30:44,560 --> 00:30:47,600
Speaker 1: contacts something some other force that could help us fix

561
00:30:47,640 --> 00:30:48,280
Speaker 1: our problems.

562
00:30:48,640 --> 00:30:51,480
Speaker 3: I don't know if we've talked about this recently, maybe

563
00:30:51,480 --> 00:30:54,640
Speaker 3: it's come up on the show before, but I noticed

564
00:30:54,720 --> 00:30:59,680
Speaker 3: a pretty strong tendency these days for beliefs about UFOs

565
00:30:59,720 --> 00:31:04,480
Speaker 3: and alien life to essentially merge with religious thinking, for

566
00:31:04,560 --> 00:31:08,240
Speaker 3: it to be actually not really separate propositions at all.

567
00:31:08,320 --> 00:31:12,000
Speaker 3: The like a lot of people who believe strongly in

568
00:31:12,200 --> 00:31:16,840
Speaker 3: UFOs and alien presence on earth these days, that belief

569
00:31:16,880 --> 00:31:20,520
Speaker 3: sort of edges into ideas about them being spiritual or

570
00:31:20,520 --> 00:31:24,040
Speaker 3: heavenly beings that are in some way going to save us.

571
00:31:24,480 --> 00:31:27,920
Speaker 1: Yeah, yeah, it is. It is a common theme. I've

572
00:31:27,920 --> 00:31:31,400
Speaker 1: seen it in crystal shops too, and actual and ashual.

573
00:31:31,640 --> 00:31:34,480
Speaker 1: You'll have crystals for your christ consciousness, and then on

574
00:31:34,520 --> 00:31:39,640
Speaker 1: the next table you got crystals for aliens re exterrestrial.

575
00:31:40,400 --> 00:31:41,840
Speaker 1: I guess you can grab one of each, you know,

576
00:31:41,920 --> 00:31:44,560
Speaker 1: put one in each palm, mix them up, mix and match.

577
00:31:53,400 --> 00:31:56,960
Speaker 3: Oh but Lee Van Cleef's character Tom Anderson, doctor Tom

578
00:31:56,960 --> 00:32:01,160
Speaker 3: Anderson here is the husband of Claire and who is

579
00:32:01,240 --> 00:32:04,440
Speaker 3: also a very interesting character in this movie, played by

580
00:32:04,480 --> 00:32:05,320
Speaker 3: Beverly Garland.

581
00:32:05,680 --> 00:32:09,200
Speaker 1: Oh yes, Beverly Garland, who, to be clear, has second

582
00:32:09,200 --> 00:32:12,160
Speaker 1: billing in the picture. Even though we're discussing her fourth,

583
00:32:12,360 --> 00:32:14,120
Speaker 1: I want to stress that she did have second billing.

584
00:32:14,400 --> 00:32:18,760
Speaker 1: Her performance here is great. It's spirited, and she she

585
00:32:18,800 --> 00:32:21,360
Speaker 1: plays she doesn't just play like a damsel or some

586
00:32:21,720 --> 00:32:23,960
Speaker 1: character who's just kind of like, oh honey, I wish

587
00:32:23,960 --> 00:32:26,560
Speaker 1: you wouldn't betray humanity to the aliens.

588
00:32:26,880 --> 00:32:27,000
Speaker 3: Like.

589
00:32:27,360 --> 00:32:31,480
Speaker 1: She is supportive, like fiercely supportive, but she is also

590
00:32:31,920 --> 00:32:34,520
Speaker 1: very skeptical and she voices her skepticism and in the

591
00:32:34,600 --> 00:32:37,160
Speaker 1: end she's at she's more than willing to fight for

592
00:32:37,440 --> 00:32:40,479
Speaker 1: the man she loves and the planet she loves in

593
00:32:40,520 --> 00:32:43,720
Speaker 1: a really inspiring fashion like this is ultimately, especially for

594
00:32:43,760 --> 00:32:46,080
Speaker 1: this era, this is a pretty strong role and she

595
00:32:46,160 --> 00:32:48,680
Speaker 1: does a great job with it, like any she now.

596
00:32:48,720 --> 00:32:52,520
Speaker 1: To be clear, occasionally she has some some some maybe

597
00:32:52,560 --> 00:32:54,840
Speaker 1: not all about thought out lines she has to work with,

598
00:32:55,760 --> 00:32:58,720
Speaker 1: but even then, like Beverly Garland, gives it her all

599
00:32:58,880 --> 00:33:01,640
Speaker 1: and she makes those those lines live on the screen

600
00:33:01,960 --> 00:33:04,280
Speaker 1: when they should have been that they shouldn't have had

601
00:33:04,280 --> 00:33:05,160
Speaker 1: as much life to them.

602
00:33:05,520 --> 00:33:07,560
Speaker 3: Well, that's the part where she's talking to Leaving Kleef.

603
00:33:07,840 --> 00:33:09,840
Speaker 3: They're in the middle of talking about aliens, by the way,

604
00:33:10,080 --> 00:33:12,520
Speaker 3: and she says something like I'll stay with you not

605
00:33:12,680 --> 00:33:15,280
Speaker 3: just because you're my husband, but because I love you.

606
00:33:16,080 --> 00:33:19,200
Speaker 1: Yeah, lines like that. She usually fighting for her life

607
00:33:19,240 --> 00:33:21,840
Speaker 1: with lines like that that. She does a great job.

608
00:33:22,000 --> 00:33:24,720
Speaker 3: Now, but yeah, she has to manage. I think a

609
00:33:25,000 --> 00:33:30,480
Speaker 3: difficult character here, who's like her motivations shift over the

610
00:33:30,520 --> 00:33:33,440
Speaker 3: course of the movies. She's always conflicted, but at the

611
00:33:33,480 --> 00:33:36,960
Speaker 3: beginning of the movie she's conflicted because she loves her husband,

612
00:33:37,080 --> 00:33:40,000
Speaker 3: but she thinks he's losing his mind. She thinks that

613
00:33:40,080 --> 00:33:45,800
Speaker 3: he is having delusions of contact with alien life. But

614
00:33:45,960 --> 00:33:49,000
Speaker 3: then when it becomes clear he is actually talking to

615
00:33:49,040 --> 00:33:51,360
Speaker 3: an alien and he was right all along and she

616
00:33:51,560 --> 00:33:54,360
Speaker 3: was wrong for doubting him. Then it shifts to her

617
00:33:54,680 --> 00:33:58,959
Speaker 3: realizing that his vindication is not a good thing because

618
00:33:59,000 --> 00:34:02,640
Speaker 3: it means that he actually partnering with this alien to

619
00:34:02,680 --> 00:34:06,480
Speaker 3: take over the planet and destroy everything that she holds sacred,

620
00:34:06,680 --> 00:34:09,040
Speaker 3: and so she makes a case to him. This movie

621
00:34:09,080 --> 00:34:12,480
Speaker 3: involves a lot of scenes of people just like laying

622
00:34:12,520 --> 00:34:15,960
Speaker 3: out an argument for why Earth should not be conquered,

623
00:34:16,320 --> 00:34:18,959
Speaker 3: and she does great in those scenes, like she sort

624
00:34:18,960 --> 00:34:23,360
Speaker 3: of brings things up to Lea VanClief about what this

625
00:34:23,440 --> 00:34:26,600
Speaker 3: alien conquest would mean for their family and their marriage,

626
00:34:26,680 --> 00:34:29,160
Speaker 3: and it's like things that he hadn't occurred to him before.

627
00:34:29,680 --> 00:34:34,640
Speaker 1: Yeah, yeah, so again, love this performance. Beverly Garland lived

628
00:34:34,719 --> 00:34:37,160
Speaker 1: nineteen twenty six through two thousand and eight. She'd been

629
00:34:37,280 --> 00:34:40,439
Speaker 1: enacting in TV and films since I think nineteen forty

630
00:34:40,520 --> 00:34:44,640
Speaker 1: nine at this point, and It Conquered the World seems

631
00:34:44,680 --> 00:34:46,760
Speaker 1: to have led to a number of additional low budget

632
00:34:46,800 --> 00:34:50,000
Speaker 1: sci fi films. Though she'd also act in supporting roles

633
00:34:50,040 --> 00:34:53,360
Speaker 1: on bigger pictures and of course on TV. For instance,

634
00:34:53,400 --> 00:34:55,759
Speaker 1: I think at least at one point, most people would

635
00:34:55,800 --> 00:34:58,400
Speaker 1: be familiar with her from her role on TV's My

636
00:34:58,520 --> 00:35:02,399
Speaker 1: Three Sons, But she also appeared in such films as

637
00:35:02,400 --> 00:35:06,759
Speaker 1: fifty six's Caruku, Beast of the Amazon, Not at This

638
00:35:06,840 --> 00:35:08,880
Speaker 1: Earth in fifty seven, so we have discussed her on

639
00:35:08,920 --> 00:35:12,920
Speaker 1: the show before The Alligator People in fifty nine, Twice,

640
00:35:12,960 --> 00:35:15,759
Speaker 1: Told Tales in fifty three, Pretty Poison in sixty eight,

641
00:35:15,800 --> 00:35:18,719
Speaker 1: in Airports seventy five in seventy four?

642
00:35:19,239 --> 00:35:23,960
Speaker 3: Is Alligator People a sci fi horror movie where like

643
00:35:23,960 --> 00:35:27,080
Speaker 3: a mad scientist is turning people into alligators and a swamp?

644
00:35:27,360 --> 00:35:28,920
Speaker 1: Yep, that's the one, okay.

645
00:35:29,360 --> 00:35:32,600
Speaker 3: I wonder if is that the movie that is being

646
00:35:32,719 --> 00:35:35,680
Speaker 3: referenced in the Rocky Ericsson song It's a Cold Night

647
00:35:35,719 --> 00:35:36,640
Speaker 3: for Alligators.

648
00:35:36,680 --> 00:35:40,160
Speaker 1: I believe this is widely accepted, yes, okay, with as

649
00:35:40,239 --> 00:35:44,520
Speaker 1: much clarity as we can have regarding what Rocky's singing

650
00:35:44,560 --> 00:35:46,759
Speaker 1: about exactly in a number of these songs. But I

651
00:35:46,800 --> 00:35:49,520
Speaker 1: think that is often pointed too, is the reference point

652
00:35:49,560 --> 00:35:51,719
Speaker 1: for that awesome song.

653
00:35:52,040 --> 00:35:53,839
Speaker 3: If you don't know what we're talking about, and you're

654
00:35:53,880 --> 00:35:56,520
Speaker 3: in the mood for some B movie themed rock and roll,

655
00:35:56,560 --> 00:35:59,239
Speaker 3: go listen to the Rocky Ericsson album The Evil One,

656
00:35:59,360 --> 00:36:02,560
Speaker 3: produced by Do Cook. Yeah, it has this song on it,

657
00:36:02,560 --> 00:36:04,920
Speaker 3: It's a Cold Night for Alligators, has the great line

658
00:36:05,040 --> 00:36:07,880
Speaker 3: the dogs choke on their barking when they see alligator

659
00:36:07,920 --> 00:36:09,640
Speaker 3: persons in the bog and fog.

660
00:36:10,239 --> 00:36:14,520
Speaker 1: Oh. Yeah, great album, especially for October. Highly recommend putting

661
00:36:14,520 --> 00:36:14,920
Speaker 1: that one on.

662
00:36:15,400 --> 00:36:18,239
Speaker 3: I've listened to this one so many times. It's a

663
00:36:18,280 --> 00:36:19,239
Speaker 3: personal favorite.

664
00:36:19,760 --> 00:36:21,879
Speaker 1: All right. Getting into some of the bit performers here,

665
00:36:21,920 --> 00:36:23,839
Speaker 1: and we have to mention Dick Miller is in this

666
00:36:23,920 --> 00:36:28,200
Speaker 1: of course, legendary character actor and Corman mainstay who in

667
00:36:28,280 --> 00:36:31,640
Speaker 1: nineteen twenty eight through twenty nineteen, he plays Sergeant Neil here,

668
00:36:31,640 --> 00:36:33,360
Speaker 1: who I guess kind of he heads up the x

669
00:36:33,400 --> 00:36:35,880
Speaker 1: comm squad of soldiers who are going to help us

670
00:36:35,880 --> 00:36:38,600
Speaker 1: do battle with the aliens eventually, but mostly they just

671
00:36:38,640 --> 00:36:39,520
Speaker 1: wander through the woods.

672
00:36:39,880 --> 00:36:42,760
Speaker 3: They're primarily comic relief. They wander around in the woods

673
00:36:42,960 --> 00:36:45,680
Speaker 3: that they stand guard at gates. They make wise cracks.

674
00:36:45,719 --> 00:36:48,400
Speaker 3: Dick Miller makes some very nineteen fifties like eh, my

675
00:36:48,520 --> 00:36:49,360
Speaker 3: wife jokes.

676
00:36:49,640 --> 00:36:53,240
Speaker 1: Yeah, Yeah, there's a He has a lot of interaction

677
00:36:53,400 --> 00:36:56,840
Speaker 1: with the private Manuel Ortiz, who has been in this picture,

678
00:36:56,840 --> 00:37:00,880
Speaker 1: played by Jonathan Hayes More nineteen twenty nine American actor,

679
00:37:00,880 --> 00:37:03,879
Speaker 1: best known for his work in Corman films, especially Little

680
00:37:03,880 --> 00:37:07,080
Speaker 1: Shop of Mars, in which he played the main character Seymour.

681
00:37:07,880 --> 00:37:10,000
Speaker 1: He was also in fifty seven's Not of This Earth

682
00:37:10,000 --> 00:37:12,800
Speaker 1: and pops up in the nineteen eighty two wings Howser

683
00:37:12,840 --> 00:37:17,480
Speaker 1: film Vice Squad. This is a bit comedic role, and

684
00:37:17,960 --> 00:37:20,279
Speaker 1: I say not a shining moment in his filmography.

685
00:37:20,680 --> 00:37:21,560
Speaker 3: N don't love it.

686
00:37:22,000 --> 00:37:23,360
Speaker 1: And let's see who else we have. Oh, we have

687
00:37:23,440 --> 00:37:27,200
Speaker 1: Russ Bender here playing Bridgidier. General James Patrick he lived

688
00:37:27,280 --> 00:37:31,920
Speaker 1: nineteen ten through nineteen sixty nine. General, American B movie

689
00:37:31,960 --> 00:37:35,239
Speaker 1: actor often played these kind of like authority figures. He

690
00:37:35,320 --> 00:37:37,680
Speaker 1: was also in fifty seven's The Amazing Colossal Man and

691
00:37:37,800 --> 00:37:40,160
Speaker 1: fifty eight War of the Colossal Beast that plays a

692
00:37:40,160 --> 00:37:41,319
Speaker 1: different character in each.

693
00:37:41,719 --> 00:37:43,840
Speaker 3: Now, Rob, I think we've got to talk about the

694
00:37:43,880 --> 00:37:48,160
Speaker 3: special effects here, especially the creation of the monster suit,

695
00:37:48,360 --> 00:37:52,239
Speaker 3: because I have read some behind the scenes accounts of

696
00:37:52,440 --> 00:37:57,080
Speaker 3: even the crew and cast at the time reacting with

697
00:37:57,320 --> 00:38:01,560
Speaker 3: disbelief at this monster. There's a famous story of Beverly

698
00:38:01,600 --> 00:38:04,680
Speaker 3: Garland being like that conquered the world.

699
00:38:06,440 --> 00:38:11,560
Speaker 1: Yeah, yeah, the benefactor the monster here was designed and

700
00:38:11,840 --> 00:38:15,000
Speaker 1: monster suited by Paul Blasdell, who I've talked about on

701
00:38:15,040 --> 00:38:19,080
Speaker 1: the show before because he is responsible for some very

702
00:38:19,320 --> 00:38:23,319
Speaker 1: iconic monster designs from this time period, including it the

703
00:38:23,400 --> 00:38:25,600
Speaker 1: Terror from Beyond Space that we recently talked about on

704
00:38:25,640 --> 00:38:27,839
Speaker 1: the show that was great. Yeah.

705
00:38:27,880 --> 00:38:28,080
Speaker 3: Yeah.

706
00:38:28,120 --> 00:38:32,160
Speaker 1: He lived nineteen twenty seven through nineteen eighty three, responsible

707
00:38:32,280 --> 00:38:34,800
Speaker 1: for let's see, what are some of the other creatures,

708
00:38:34,800 --> 00:38:37,040
Speaker 1: the Beast with a Million Eyes and the Day the

709
00:38:37,040 --> 00:38:40,879
Speaker 1: World Ended from fifty five Not of this Earth, which

710
00:38:41,040 --> 00:38:43,799
Speaker 1: I thought those were pretty cool little saucer creatures in there,

711
00:38:44,440 --> 00:38:48,080
Speaker 1: Invasion of the Saucer Men Teenagers from Outer Space, which

712
00:38:48,320 --> 00:38:50,719
Speaker 1: has a great dog zapping scene in it where the

713
00:38:51,080 --> 00:38:52,920
Speaker 1: one of the alien zaps a dog and turns it

714
00:38:52,920 --> 00:38:56,279
Speaker 1: to bones. So you know, he's involved in a lot

715
00:38:56,280 --> 00:38:59,360
Speaker 1: of stuff in his designs. Have they have a signature

716
00:38:59,400 --> 00:39:03,719
Speaker 1: look to them, which is great and has and is

717
00:39:03,760 --> 00:39:06,680
Speaker 1: you know, kind of worshiped by people who love nineteen

718
00:39:06,719 --> 00:39:09,840
Speaker 1: fifties B movies, like they're model kits of the monster

719
00:39:09,960 --> 00:39:12,760
Speaker 1: from this picture. But at the end of the day,

720
00:39:13,080 --> 00:39:18,720
Speaker 1: it is also ineffective. Is it is a goofy looking

721
00:39:18,760 --> 00:39:22,880
Speaker 1: monster that does not inspire terror, that is it great

722
00:39:22,920 --> 00:39:28,520
Speaker 1: pains to convincingly interact with human actors. It just ultimately

723
00:39:28,560 --> 00:39:31,080
Speaker 1: falls flat. But you can't help but love it at

724
00:39:31,080 --> 00:39:31,720
Speaker 1: the same time.

725
00:39:32,200 --> 00:39:36,880
Speaker 3: It's like, I, how did I actually think it is

726
00:39:36,960 --> 00:39:39,880
Speaker 3: a kind of great design if you were just going

727
00:39:39,920 --> 00:39:43,719
Speaker 3: to say, focus on the face and the shape of

728
00:39:43,760 --> 00:39:46,400
Speaker 3: it and render it as an illustration or something. And

729
00:39:46,640 --> 00:39:48,680
Speaker 3: that's why I think it works quite well on the

730
00:39:48,680 --> 00:39:53,040
Speaker 3: movie poster. It just doesn't work as a physically embodied

731
00:39:53,120 --> 00:39:55,920
Speaker 3: prop moving and interacting with actors.

732
00:39:56,520 --> 00:39:59,359
Speaker 1: Yeah, it looks and I'm not the first to make

733
00:39:59,680 --> 00:40:02,560
Speaker 1: some some of these comparisons to it, but it looks

734
00:40:02,600 --> 00:40:06,560
Speaker 1: like the mascot the demonic mascot for an artichoke Heart company, Like,

735
00:40:06,600 --> 00:40:10,239
Speaker 1: it looks like a big artichoke heart with tentacles or

736
00:40:10,320 --> 00:40:15,680
Speaker 1: tentacle arm clawed arm things. And it apparently at one

737
00:40:15,719 --> 00:40:17,880
Speaker 1: point it didn't have that conical head. It was like

738
00:40:18,000 --> 00:40:21,080
Speaker 1: flat because they were like, well it's Venus and they're

739
00:40:21,160 --> 00:40:23,120
Speaker 1: headed in their minds. Well, it would be crushed flat

740
00:40:23,160 --> 00:40:26,360
Speaker 1: by the gravity. I don't know, we know that's that

741
00:40:26,520 --> 00:40:29,080
Speaker 1: wouldn't exactly be the case it was crushed, it would

742
00:40:29,120 --> 00:40:32,319
Speaker 1: be by the atmosphere. But at any rate, they put

743
00:40:32,320 --> 00:40:34,040
Speaker 1: it on set and they realized, no, this thing's way

744
00:40:34,040 --> 00:40:36,000
Speaker 1: too short. We've got to make it taller. So let's

745
00:40:36,040 --> 00:40:39,719
Speaker 1: just make its head like an inverted ice cream cone.

746
00:40:39,760 --> 00:40:40,520
Speaker 1: And that's what they did.

747
00:40:40,800 --> 00:40:43,600
Speaker 3: I think that I've read that the cast were comparing

748
00:40:43,600 --> 00:40:45,640
Speaker 3: it to an ice cream cone on the set because

749
00:40:45,640 --> 00:40:49,239
Speaker 3: it's got a conical head, no body, and arms coming

750
00:40:49,239 --> 00:40:51,719
Speaker 3: out of the side of its head. There's a great

751
00:40:51,760 --> 00:40:53,719
Speaker 3: part in the movie where it's it's got sort of

752
00:40:53,760 --> 00:40:56,360
Speaker 3: a little like, you know, a round skirt around the

753
00:40:56,440 --> 00:40:58,840
Speaker 3: bottom of it, and it starts just sort of pooping

754
00:40:58,840 --> 00:41:02,520
Speaker 3: out these little bat that fly away the mind control bats.

755
00:41:03,280 --> 00:41:03,400
Speaker 1: Uh.

756
00:41:04,040 --> 00:41:06,640
Speaker 3: But as you said, artichoke, I've always thought of it

757
00:41:06,640 --> 00:41:08,160
Speaker 3: as an art to choke. It is an art to

758
00:41:08,239 --> 00:41:08,960
Speaker 3: choke from hell.

759
00:41:11,320 --> 00:41:14,880
Speaker 1: If you look up images of the original costume, it

760
00:41:15,120 --> 00:41:19,600
Speaker 1: uh it was apparently read. Its name on set was Beulah.

761
00:41:19,640 --> 00:41:25,319
Speaker 1: I believe Paul Blastell called it as such himself. Oftentimes

762
00:41:25,360 --> 00:41:29,320
Speaker 1: these monster effects have like little pet names behind the scenes,

763
00:41:29,320 --> 00:41:32,319
Speaker 1: and this was Beulah. And uh, yeah, I mean it.

764
00:41:32,320 --> 00:41:35,600
Speaker 1: It it's it's a it's a terrible and amazing design

765
00:41:35,600 --> 00:41:37,800
Speaker 1: at the same time, it's like it's it has stood

766
00:41:37,800 --> 00:41:41,760
Speaker 1: the test of time. People love it, and it looks evil,

767
00:41:41,800 --> 00:41:44,720
Speaker 1: it looks like it's up to no good. Yes, yeah,

768
00:41:44,760 --> 00:41:46,640
Speaker 1: And I don't want to be too hard on it.

769
00:41:46,680 --> 00:41:49,440
Speaker 1: There are maybe a couple of scenes with it that

770
00:41:49,440 --> 00:41:53,480
Speaker 1: that do resonate, and it's its interactions to the human

771
00:41:53,520 --> 00:41:57,239
Speaker 1: actors are not entirely unconvincing, but clearly it needed a

772
00:41:57,239 --> 00:41:57,800
Speaker 1: lot of help.

773
00:41:59,400 --> 00:42:01,000
Speaker 3: Well, it's one of those things where you know the

774
00:42:01,120 --> 00:42:04,840
Speaker 3: scene in ed Wood where Bella Legosi is being attacked

775
00:42:04,840 --> 00:42:07,080
Speaker 3: by the octopus, but they don't have the motor to

776
00:42:07,080 --> 00:42:08,920
Speaker 3: make its arms move, so he's got to kind of

777
00:42:08,960 --> 00:42:14,200
Speaker 3: throw the arms around himself. There's a similar thing happening

778
00:42:14,239 --> 00:42:18,600
Speaker 3: in this movie where it can't really be made to

779
00:42:19,000 --> 00:42:24,200
Speaker 3: in a perspective shot, be made to attack people, so

780
00:42:24,360 --> 00:42:27,520
Speaker 3: instead we see people leaping into its claws.

781
00:42:28,080 --> 00:42:31,759
Speaker 1: Yeah, like you run at it, sort of skid into

782
00:42:31,760 --> 00:42:34,920
Speaker 1: its claws and then go flat. And like there's one

783
00:42:34,960 --> 00:42:38,120
Speaker 1: scene in particular where the stunt person or actor doing

784
00:42:38,160 --> 00:42:40,600
Speaker 1: this like really goes for it, really eats it and

785
00:42:40,840 --> 00:42:43,240
Speaker 1: makes it look good. And I was like, yeah, all right,

786
00:42:43,840 --> 00:42:46,799
Speaker 1: it's looking alive now. But like again, it takes a

787
00:42:46,800 --> 00:42:49,600
Speaker 1: lot of help for this thing to look even halfway

788
00:42:49,600 --> 00:42:50,960
Speaker 1: believable on the screen.

789
00:42:51,080 --> 00:42:53,120
Speaker 3: Like for the people who get mulled by it are

790
00:42:53,239 --> 00:42:56,000
Speaker 3: essentially like a puppy running up to somebody for a hug.

791
00:42:56,320 --> 00:43:00,600
Speaker 1: Yeah. At the same time, I will acknowledge that part

792
00:43:00,640 --> 00:43:04,040
Speaker 1: of the plot is that the thing can't move around

793
00:43:04,040 --> 00:43:06,319
Speaker 1: all that well and it's kind of like isolated, so

794
00:43:06,640 --> 00:43:07,080
Speaker 1: I don't know.

795
00:43:07,480 --> 00:43:10,239
Speaker 3: Yeah, that's sort of a revelation, right, Like Lee van

796
00:43:10,320 --> 00:43:13,440
Speaker 3: Kleef is all about, Oh, it's super powerful, it's perfect,

797
00:43:13,480 --> 00:43:16,319
Speaker 3: it can do anything. But Beverly Garland is like, wait

798
00:43:16,360 --> 00:43:18,919
Speaker 3: a minute, but it can't leave this cave and it's

799
00:43:18,960 --> 00:43:21,520
Speaker 3: like stuck theirs and it needs people to do its

800
00:43:21,560 --> 00:43:23,480
Speaker 3: dirty work. That makes it sound like it's not as

801
00:43:23,560 --> 00:43:26,560
Speaker 3: powerful as you think. And she's got a point. Yeah,

802
00:43:26,600 --> 00:43:32,520
Speaker 3: maybe it's supposed to look somewhat awkward and unable to

803
00:43:33,360 --> 00:43:37,080
Speaker 3: act very effectively within Earth's atmosphere because it's not from

804
00:43:37,120 --> 00:43:39,399
Speaker 3: here and it needs people to do its job for it.

805
00:43:39,800 --> 00:43:42,759
Speaker 1: Yeah, but it is highly intelligent and highly manipulative, as

806
00:43:42,800 --> 00:43:45,560
Speaker 1: we'll get into all right. One final note on the

807
00:43:45,640 --> 00:43:49,239
Speaker 1: music for this picture, though the music is nothing really remarkable,

808
00:43:49,280 --> 00:43:51,600
Speaker 1: But the music is credited to Ronald Stein, who lived

809
00:43:51,640 --> 00:43:54,360
Speaker 1: nineteen thirty through nineteen eighty eight, composer who worked on

810
00:43:54,360 --> 00:43:57,760
Speaker 1: a lot of low budget films, particularly for American international pictures,

811
00:43:58,600 --> 00:44:00,400
Speaker 1: the likes of Not of This Earth, The Attack of

812
00:44:00,440 --> 00:44:03,959
Speaker 1: the Crab, Monster's Queen of Blood, Dementia thirteen, and more,

813
00:44:04,640 --> 00:44:08,239
Speaker 1: including The Rain People, Francis Ford Coppola's picture prior to

814
00:44:08,280 --> 00:44:08,920
Speaker 1: the Godfather.

815
00:44:09,440 --> 00:44:13,000
Speaker 3: I didn't really notice much about the music itself one

816
00:44:13,040 --> 00:44:15,800
Speaker 3: of the so the music wasn't bad, it wasn't great.

817
00:44:16,160 --> 00:44:19,320
Speaker 3: But one thing I did notice that was quite funny

818
00:44:19,480 --> 00:44:23,279
Speaker 3: was the pairing of certain pieces of music with what

819
00:44:23,520 --> 00:44:25,799
Speaker 3: was happening on the screen. Rob did you notice that

820
00:44:26,239 --> 00:44:29,319
Speaker 3: some of the most dramatic music in the movie was, like,

821
00:44:29,600 --> 00:44:32,160
Speaker 3: while we were watching Peter Graves do a three point

822
00:44:32,200 --> 00:44:33,080
Speaker 3: turn in a truck.

823
00:44:34,239 --> 00:44:36,400
Speaker 1: I did. I don't think I really made note of that,

824
00:44:36,520 --> 00:44:38,719
Speaker 1: But I always think when I think music in this

825
00:44:38,880 --> 00:44:42,239
Speaker 1: I think about the musical stinger to the monologue where

826
00:44:42,840 --> 00:44:46,040
Speaker 1: he finishes the monologue and then you hear bomb bomb,

827
00:44:46,080 --> 00:44:48,799
Speaker 1: bomb bomb, or something to that effect, you know, just

828
00:44:48,960 --> 00:44:51,920
Speaker 1: really just punctuating the whole message.

829
00:44:52,360 --> 00:44:55,040
Speaker 3: Yeah, I agree, with that up. But it is funny

830
00:44:55,080 --> 00:44:57,680
Speaker 3: getting the like the real like the strings are ascending

831
00:44:57,880 --> 00:45:01,200
Speaker 3: as they're literally somebody coming out of itway.

832
00:45:02,080 --> 00:45:04,120
Speaker 1: Yeah, there are whole scenes in this film boere it's like, well,

833
00:45:04,160 --> 00:45:06,520
Speaker 1: I drove up all the way, now I've got to

834
00:45:06,560 --> 00:45:08,439
Speaker 1: go back, so I'll go back.

835
00:45:08,840 --> 00:45:11,959
Speaker 3: Yeah, let me turn around, go back down this winding road.

836
00:45:12,000 --> 00:45:14,440
Speaker 3: We sell people go up these s curves. I don't know,

837
00:45:14,600 --> 00:45:15,920
Speaker 3: like five or six times.

838
00:45:16,239 --> 00:45:27,520
Speaker 1: Yeah, all right, well let's get into the plot of

839
00:45:27,680 --> 00:45:29,280
Speaker 1: it Conquered the World.

840
00:45:29,680 --> 00:45:33,680
Speaker 3: Okay, Well, the action begins with a bunch of scientists

841
00:45:33,800 --> 00:45:36,200
Speaker 3: in a lab at what I think is an air

842
00:45:36,200 --> 00:45:39,279
Speaker 3: force base. It's a military installation of some kind. You

843
00:45:39,400 --> 00:45:43,000
Speaker 3: got technicians in white coats, electronic equipment beeping all over

844
00:45:43,040 --> 00:45:45,680
Speaker 3: the place, these big view screens on the walls, and

845
00:45:45,960 --> 00:45:49,400
Speaker 3: radar pinging with contacts from the sky. And here in

846
00:45:49,520 --> 00:45:52,600
Speaker 3: command of all this is doctor Paul Nelson. That's again

847
00:45:52,680 --> 00:45:56,160
Speaker 3: Peter Graves. The people in this lab are preparing for

848
00:45:56,239 --> 00:45:59,920
Speaker 3: a satellite launch. And note that this movie was released

849
00:46:00,080 --> 00:46:03,719
Speaker 3: in nineteen fifty six, which was a year before the

850
00:46:03,800 --> 00:46:07,440
Speaker 3: Soviet Union launched Sputnik, the first ever artificial satellite to

851
00:46:07,480 --> 00:46:10,839
Speaker 3: achieve orbit. So what is being depicted here was at

852
00:46:10,840 --> 00:46:14,000
Speaker 3: the time pure science fiction. Humans had not yet at

853
00:46:14,000 --> 00:46:17,040
Speaker 3: the time of this movie put a satellite into orbit.

854
00:46:17,520 --> 00:46:19,160
Speaker 1: Yeah, it's always fun to sort of put these in

855
00:46:19,200 --> 00:46:23,040
Speaker 1: the perspective of where we actually were with the space

856
00:46:23,080 --> 00:46:24,160
Speaker 1: exploration at the time.

857
00:46:24,440 --> 00:46:28,400
Speaker 3: Yeah. Yeah, So some of the chatter between the scientists

858
00:46:28,400 --> 00:46:31,680
Speaker 3: in the room reveals that the satellite program costs nine

859
00:46:31,800 --> 00:46:36,000
Speaker 3: million dollars. Wow, and it is at moderate risk of

860
00:46:36,080 --> 00:46:40,200
Speaker 3: crashing into an unrelated airplane during a liftoff. They're like, oh,

861
00:46:40,280 --> 00:46:44,040
Speaker 3: I better get that plane out of the way. Peter Graves,

862
00:46:44,920 --> 00:46:49,520
Speaker 3: he's got sort of corny, overwrought moments pretty much immediately,

863
00:46:49,640 --> 00:46:53,719
Speaker 3: Like in this very first scene, one of the technicians says,

864
00:46:53,760 --> 00:46:57,000
Speaker 3: you know, all systems are ago, and Graves looks almost

865
00:46:57,000 --> 00:47:01,120
Speaker 3: directly into the camera and says, then man is finally

866
00:47:01,160 --> 00:47:02,760
Speaker 3: ready to move into space.

867
00:47:03,719 --> 00:47:07,000
Speaker 1: But these lines are perfect for Graves. Yeah, they're they're

868
00:47:07,080 --> 00:47:09,920
Speaker 1: over the top, but like man, he delivers them like

869
00:47:10,000 --> 00:47:10,600
Speaker 1: few others.

870
00:47:10,840 --> 00:47:14,319
Speaker 3: Well, I can just imagine, like, you know, Joan, his

871
00:47:14,400 --> 00:47:17,799
Speaker 3: wife bakes him a macaroni and cheese TV dinner and

872
00:47:17,840 --> 00:47:19,560
Speaker 3: sets it down in front of him, and he looks

873
00:47:19,640 --> 00:47:23,239
Speaker 3: up and says, men is finally ready to achieve sustenance.

874
00:47:24,920 --> 00:47:27,880
Speaker 3: So from here we go into a general's office to

875
00:47:28,000 --> 00:47:31,680
Speaker 3: meet our next main character, Tom Anderson. That's leave Enkleef.

876
00:47:32,400 --> 00:47:35,719
Speaker 3: And in this scene we learned that Tom Anderson is

877
00:47:35,760 --> 00:47:40,960
Speaker 3: a highly accomplished and respected physicist with quote every degree imaginable,

878
00:47:41,000 --> 00:47:43,040
Speaker 3: So I guess that means he also has an MBA,

879
00:47:43,160 --> 00:47:46,240
Speaker 3: he's got a you know, an accounting degree, all that stuff.

880
00:47:47,040 --> 00:47:51,680
Speaker 3: He once worked on something called the perpetual missile project.

881
00:47:51,800 --> 00:47:53,839
Speaker 3: I was trying to imagine what could that mean? A

882
00:47:53,880 --> 00:47:56,320
Speaker 3: missile that is a missile that lasts forever.

883
00:47:56,480 --> 00:47:58,640
Speaker 1: What I don't know. My best guess is that it

884
00:47:58,680 --> 00:48:02,040
Speaker 1: is maybe something like the supersonic low altitude missile or

885
00:48:02,080 --> 00:48:05,920
Speaker 1: SLAM concept in the mid fifties, or just pure technobabble

886
00:48:06,040 --> 00:48:07,879
Speaker 1: like it could be. It could be.

887
00:48:07,880 --> 00:48:12,719
Speaker 3: Either perpetual missile, but anyway, we discover that Tom has

888
00:48:12,960 --> 00:48:17,000
Speaker 3: lately developed some fringe ideas that are a cause for

889
00:48:17,120 --> 00:48:20,799
Speaker 3: concern to the military leadership and to his colleagues. This

890
00:48:20,840 --> 00:48:23,719
Speaker 3: has led to a sort of career exile. The way

891
00:48:23,760 --> 00:48:27,399
Speaker 3: he explains it, Van Cleef says, there are a lot

892
00:48:27,440 --> 00:48:30,320
Speaker 3: of fat heads who are not ready to hear the truth,

893
00:48:31,239 --> 00:48:34,360
Speaker 3: and you know, it's classic crank behavior. People don't accept

894
00:48:34,400 --> 00:48:37,520
Speaker 3: my ideas because they are stupid and wicked and want

895
00:48:37,520 --> 00:48:40,759
Speaker 3: to hide the truth. Which, you know, it's funny. I

896
00:48:40,840 --> 00:48:43,000
Speaker 3: understand exactly why this is, because it makes for a

897
00:48:43,000 --> 00:48:46,799
Speaker 3: better storytelling dynamic. But it is kind of unfortunate that

898
00:48:46,960 --> 00:48:49,080
Speaker 3: most of the time in the movies the people who

899
00:48:49,120 --> 00:48:53,920
Speaker 3: act like this are proven right. Yeah, yeah, but anyway,

900
00:48:54,040 --> 00:48:57,080
Speaker 3: so Van Kleef, he's imploring the General to call off

901
00:48:57,120 --> 00:49:01,680
Speaker 3: the satellite project before it launches. Well, it seems that

902
00:49:01,800 --> 00:49:04,920
Speaker 3: a smaller satellite that the space program tried to launch

903
00:49:04,960 --> 00:49:08,920
Speaker 3: some time ago exploded before it reached orbit, and Anderson

904
00:49:09,040 --> 00:49:11,759
Speaker 3: says that this was no mere accident. It was a

905
00:49:11,840 --> 00:49:16,560
Speaker 3: warning from someone out there. Other planets in our Solar

906
00:49:16,600 --> 00:49:19,839
Speaker 3: system are watching us closely every minute of every day

907
00:49:20,200 --> 00:49:22,880
Speaker 3: to make sure that we don't put anything into space,

908
00:49:23,000 --> 00:49:26,239
Speaker 3: because if we do, that means we're a threat to them,

909
00:49:26,480 --> 00:49:28,840
Speaker 3: and if we're a threat to them, they may choose

910
00:49:28,880 --> 00:49:31,960
Speaker 3: to destroy us. So for the sake of all humankind,

911
00:49:31,960 --> 00:49:33,640
Speaker 3: we've got to stop this whole project.

912
00:49:34,239 --> 00:49:36,080
Speaker 1: Yeah, And as I alluded to earlier, this is not

913
00:49:36,200 --> 00:49:39,480
Speaker 1: a crazy concept in and of itself. In the nineteen eighties,

914
00:49:39,480 --> 00:49:43,080
Speaker 1: for example, cosmologist Edward Harrison argued that the first life

915
00:49:43,080 --> 00:49:47,279
Speaker 1: form to achieve a certain level of interstellar technology, at

916
00:49:47,320 --> 00:49:52,160
Speaker 1: least within certain distances, because of course the universe is

917
00:49:52,600 --> 00:49:56,279
Speaker 1: so vast, but the first civilization to achieve a certain

918
00:49:56,360 --> 00:49:59,960
Speaker 1: level of interstellar technology would essentially become a super predator

919
00:50:00,080 --> 00:50:05,399
Speaker 1: intent on preventing other civilizations from advancing sufficiently in their technology,

920
00:50:06,200 --> 00:50:08,359
Speaker 1: you know, because it's like, well, we have achieved it.

921
00:50:08,880 --> 00:50:12,480
Speaker 1: Anybody else achieving it, they could be as bad as

922
00:50:12,560 --> 00:50:14,719
Speaker 1: us or worse. So we've got to prevent them. We've

923
00:50:14,719 --> 00:50:17,040
Speaker 1: got to blow out their satellites, we've got to interfere

924
00:50:17,080 --> 00:50:20,400
Speaker 1: with their launches. This is also a concept that is

925
00:50:20,480 --> 00:50:22,480
Speaker 1: explored in the three body problem.

926
00:50:22,800 --> 00:50:24,640
Speaker 3: Yeah. Yeah, Do you want to make a sound in

927
00:50:24,680 --> 00:50:26,719
Speaker 3: a dark forest if you don't know what else is

928
00:50:26,719 --> 00:50:29,600
Speaker 3: out there? And the idea that there's sort of a

929
00:50:29,640 --> 00:50:32,680
Speaker 3: game theory logic at work within the dark forest, where

930
00:50:32,719 --> 00:50:36,000
Speaker 3: it's in anybody's interest there to destroy anything else that

931
00:50:36,080 --> 00:50:39,360
Speaker 3: makes a sound. Yeah, But in this case, the general

932
00:50:39,480 --> 00:50:43,120
Speaker 3: is not dissuaded. He ignores Anderson's warnings, and the satellite

933
00:50:43,200 --> 00:50:46,239
Speaker 3: launches into space. Now the movie, as we've said, does

934
00:50:46,280 --> 00:50:48,759
Speaker 3: not have a lot of visual excitement. But here there

935
00:50:48,800 --> 00:50:52,120
Speaker 3: is some good use of downward facing blast off footage

936
00:50:52,760 --> 00:50:54,840
Speaker 3: stock footage, I assume, but I don't really know what

937
00:50:54,960 --> 00:50:56,840
Speaker 3: it would be from. I think that's kind of interesting.

938
00:50:57,120 --> 00:50:59,319
Speaker 1: Yeah, this is not one like there are certain bits

939
00:50:59,360 --> 00:51:02,480
Speaker 1: of stock footage you see a lot in movies from

940
00:51:02,480 --> 00:51:05,560
Speaker 1: this period, or you feel like you've seen some repetition,

941
00:51:05,600 --> 00:51:08,200
Speaker 1: and that might just be similarity between different bits of footage.

942
00:51:08,200 --> 00:51:10,160
Speaker 1: But yeah, this one felt new to me.

943
00:51:10,480 --> 00:51:13,480
Speaker 3: Anyway. We cut from here to a dinner party three

944
00:51:13,520 --> 00:51:17,000
Speaker 3: months later, so we're told some time has passed and

945
00:51:17,360 --> 00:51:20,400
Speaker 3: here there are four characters, so we have Tom Anderson.

946
00:51:20,440 --> 00:51:23,880
Speaker 3: This leave Kleef and his wife Claire played by Beverly Garland,

947
00:51:24,239 --> 00:51:26,560
Speaker 3: and they are hosting at their house Paul Nelson as

948
00:51:26,600 --> 00:51:29,720
Speaker 3: Peter Graves and his wife Joan played by Sally Fraser.

949
00:51:30,800 --> 00:51:33,120
Speaker 3: And so this is where we learn that Paul and

950
00:51:33,200 --> 00:51:35,799
Speaker 3: Tom are actually good buddies. I don't know exactly how

951
00:51:35,840 --> 00:51:38,000
Speaker 3: far back they go, but they've been friends for a while.

952
00:51:38,280 --> 00:51:41,600
Speaker 3: Apparently they have a tendency to geek out about rocket

953
00:51:41,640 --> 00:51:44,120
Speaker 3: science at the dinner table, and Joan has to beg

954
00:51:44,160 --> 00:51:48,279
Speaker 3: them to stop talking about conical graduations, and there is

955
00:51:49,160 --> 00:51:52,080
Speaker 3: in the scene something. There's kind of a tension because

956
00:51:52,120 --> 00:51:55,880
Speaker 3: there is clearly something Tom wants to bring up with Paul,

957
00:51:56,440 --> 00:52:00,160
Speaker 3: but Claire is distressed. She is like, please, do not

958
00:52:00,280 --> 00:52:02,480
Speaker 3: start talking about this in front of company. They're going

959
00:52:02,520 --> 00:52:05,600
Speaker 3: to think you're insane. So whatever it is, it's something

960
00:52:05,640 --> 00:52:07,799
Speaker 3: he's been champing at the bit to talk about, and

961
00:52:07,840 --> 00:52:09,360
Speaker 3: she does not want him to bring.

962
00:52:09,280 --> 00:52:11,960
Speaker 1: Up did we see what they were eating? I can't.

963
00:52:12,000 --> 00:52:14,440
Speaker 1: I don't recall how they finished eating or hadn't started

964
00:52:14,440 --> 00:52:15,880
Speaker 1: eating yet, and we're just doing drinks. There are a

965
00:52:15,920 --> 00:52:17,080
Speaker 1: lot of drinks in this movie.

966
00:52:17,120 --> 00:52:20,640
Speaker 3: They're talking about a pie, I think because Beverly Garland

967
00:52:20,680 --> 00:52:23,520
Speaker 3: makes that quip. Somebody's like, ooh, this pie is so good.

968
00:52:23,600 --> 00:52:27,080
Speaker 3: Did you make it? And Beverly Garland says, oh, yeah,

969
00:52:27,120 --> 00:52:29,880
Speaker 3: it's an old family recipe that my grandmother sold to

970
00:52:29,880 --> 00:52:33,680
Speaker 3: the bakery. So anyway, Tom's not going to be able

971
00:52:33,719 --> 00:52:37,239
Speaker 3: to resist sharing whatever it is he's not supposed to

972
00:52:37,280 --> 00:52:39,960
Speaker 3: be talking about. So Tom takes Paul from the dining

973
00:52:40,000 --> 00:52:43,040
Speaker 3: room into the living room and he pulls back a

974
00:52:43,120 --> 00:52:46,600
Speaker 3: curtain to reveal this huge recess in the wall. Which

975
00:52:46,640 --> 00:52:50,320
Speaker 3: is full of radio and stereo equipment, and then Tom

976
00:52:50,480 --> 00:52:53,520
Speaker 3: tunes into some kind of signal on the dial which

977
00:52:53,560 --> 00:52:58,160
Speaker 3: plays through the speakers. It is an eerie, hollow, humming sound,

978
00:52:58,840 --> 00:53:01,239
Speaker 3: and Tom asks, Paul, do you have any idea what

979
00:53:01,320 --> 00:53:04,440
Speaker 3: you're listening to. Paul is flippant, He's like, is it

980
00:53:04,480 --> 00:53:09,879
Speaker 3: the London Philharmonic? But Tom says no, it's Venus. And

981
00:53:09,960 --> 00:53:12,920
Speaker 3: so at first Paul is like, oh, okay, so you're

982
00:53:12,920 --> 00:53:16,200
Speaker 3: saying we're bouncing signals off of Venus or something, or

983
00:53:16,239 --> 00:53:22,680
Speaker 3: maybe it's radiating impulses, geomagnetically or something. And Tom says, no, no, no,

984
00:53:22,840 --> 00:53:25,640
Speaker 3: I don't mean the static. Can't you hear it the

985
00:53:25,719 --> 00:53:29,640
Speaker 3: other thing? Listen to the voice. Listen to the voice, Paul.

986
00:53:30,000 --> 00:53:33,719
Speaker 3: But Paul does not initially hear anything, and we don't

987
00:53:33,760 --> 00:53:35,840
Speaker 3: hear it. To be clear, we don't hear an explicit

988
00:53:35,920 --> 00:53:37,480
Speaker 3: voice either. We just hear the humming.

989
00:53:38,000 --> 00:53:40,680
Speaker 1: Yeah, it's I guess it's to leave a little room

990
00:53:40,719 --> 00:53:43,080
Speaker 1: open for the possibility early in the picture that he

991
00:53:43,280 --> 00:53:47,560
Speaker 1: isn't hearing anybody that this is some unhinged behavior here

992
00:53:47,640 --> 00:53:51,120
Speaker 1: or hallucination or something. Yes, but it also I have

993
00:53:51,160 --> 00:53:55,319
Speaker 1: to it's also kind of similar to say, anytime a

994
00:53:55,400 --> 00:53:58,320
Speaker 1: character has a conversation with a Wookie or a droid

995
00:53:58,320 --> 00:54:00,279
Speaker 1: in the Star Wars universe, you know where it's like,

996
00:54:01,400 --> 00:54:03,640
Speaker 1: we don't understand what's being said, that there's some sort

997
00:54:03,680 --> 00:54:04,960
Speaker 1: of conversation going on here.

998
00:54:05,239 --> 00:54:08,320
Speaker 3: Yeah where. When these conversations happen later in the movie,

999
00:54:08,400 --> 00:54:10,880
Speaker 3: Tom will often have to like repeat back what he

1000
00:54:10,960 --> 00:54:13,080
Speaker 3: has just heard from the other side. So it's those

1001
00:54:13,080 --> 00:54:18,160
Speaker 3: classic Wookie conversations. Yeah, what do you mean the hyperdrives broken? Yeah. Anyway,

1002
00:54:18,200 --> 00:54:20,800
Speaker 3: while they're listening to the humming trying to hear the voice,

1003
00:54:21,040 --> 00:54:24,200
Speaker 3: the phone rings. It's for Paul. It's the Rocket Lab.

1004
00:54:24,520 --> 00:54:27,920
Speaker 3: They inform him that just this very moment, the satellite

1005
00:54:28,000 --> 00:54:30,960
Speaker 3: that they put into orbit three months ago has disappeared.

1006
00:54:31,360 --> 00:54:34,120
Speaker 3: It darted out of its orbit and off into space.

1007
00:54:34,719 --> 00:54:37,080
Speaker 3: So Paul and Joan have to leave Claire and Tom's

1008
00:54:37,120 --> 00:54:39,719
Speaker 3: house in a hurry so Paul can deal with the satellite.

1009
00:54:39,960 --> 00:54:42,200
Speaker 3: And as they're going out and getting into the car

1010
00:54:42,280 --> 00:54:44,680
Speaker 3: to drive away, Joan says, I've always thought Tom was

1011
00:54:44,719 --> 00:54:48,880
Speaker 3: a little off tonight, he went too far. So anyway,

1012
00:54:48,920 --> 00:54:51,600
Speaker 3: they drive to the installation, but by the time they

1013
00:54:51,680 --> 00:54:55,000
Speaker 3: get there, the satellite is already back wherever it went.

1014
00:54:55,080 --> 00:54:57,880
Speaker 3: That was pretty quick, and Paul decides they're going to

1015
00:54:57,920 --> 00:55:00,960
Speaker 3: have to bring the satellite down for an inspection. Is

1016
00:55:01,000 --> 00:55:03,600
Speaker 3: that a thing in reality? It satellites? I don't know

1017
00:55:03,640 --> 00:55:04,000
Speaker 3: about that.

1018
00:55:04,640 --> 00:55:06,600
Speaker 1: Yeah, yeah, this is again it's a moment where we

1019
00:55:06,680 --> 00:55:08,759
Speaker 1: have to remind ourselves that the thing that they are

1020
00:55:08,800 --> 00:55:14,120
Speaker 1: depicting is near future science fiction and reality went a

1021
00:55:14,120 --> 00:55:15,400
Speaker 1: slightly different way with all of this.

1022
00:55:15,760 --> 00:55:19,680
Speaker 3: Yeah. So, meanwhile, back at Tom and Claire's house, Claire

1023
00:55:19,800 --> 00:55:23,000
Speaker 3: is walking around fiddling with things nervously. She's in a

1024
00:55:23,000 --> 00:55:27,600
Speaker 3: state of anxiety. She is obviously unhappy that Tom started

1025
00:55:27,640 --> 00:55:30,520
Speaker 3: talking about the messages from Venus, even though he promised

1026
00:55:30,560 --> 00:55:34,080
Speaker 3: her that he wouldn't. So Tom goes to his covert

1027
00:55:34,200 --> 00:55:38,240
Speaker 3: Venus radio and he tunes in, but then, to our shock,

1028
00:55:38,320 --> 00:55:41,680
Speaker 3: he begins speaking to someone. Now, once again, we don't

1029
00:55:41,680 --> 00:55:43,239
Speaker 3: hear a voice on the other side. We just hear

1030
00:55:43,280 --> 00:55:46,239
Speaker 3: the spooky humming. It kind of oscillates at different frequencies.

1031
00:55:46,480 --> 00:55:49,239
Speaker 3: But Tom hears something because he responds to what the

1032
00:55:49,280 --> 00:55:55,239
Speaker 3: presence says. He says, this is Anderson Acknowledge. Where are you? Yes, yes,

1033
00:55:55,600 --> 00:55:58,600
Speaker 3: it's true. I am your only friend. Nobody else even

1034
00:55:58,680 --> 00:56:01,640
Speaker 3: knows you exist, but they will, and it will be

1035
00:56:01,680 --> 00:56:05,239
Speaker 3: the greatest day in the history of mankind. Now, at

1036
00:56:05,280 --> 00:56:07,840
Speaker 3: some point in this conversation, Beverly Garland comes out of

1037
00:56:07,840 --> 00:56:10,840
Speaker 3: the bedroom in like a big puffy nightgown with a caller.

1038
00:56:10,880 --> 00:56:14,279
Speaker 3: I love these old movie nightgowns. So she asked Tom

1039
00:56:14,320 --> 00:56:16,600
Speaker 3: to come to bed, but he is not ready. He says,

1040
00:56:16,680 --> 00:56:19,880
Speaker 3: he's here, darling. He drew the satellite to his world,

1041
00:56:19,920 --> 00:56:24,120
Speaker 3: to Venus, and now he's back. Within an hour, he's

1042
00:56:24,200 --> 00:56:27,040
Speaker 3: in the circling laboratory, just waiting to come down to

1043
00:56:27,120 --> 00:56:31,680
Speaker 3: us to save us. And Claire is obviously disturbed. She

1044
00:56:31,920 --> 00:56:34,760
Speaker 3: thinks he's going mad. But Tom is just a big

1045
00:56:34,800 --> 00:56:38,040
Speaker 3: ball of excitement. He says he's finally proven right. All

1046
00:56:38,080 --> 00:56:40,719
Speaker 3: of his theories about alien observers from other planets in

1047
00:56:40,760 --> 00:56:42,960
Speaker 3: the Solar System, they were all correct. He was right

1048
00:56:43,000 --> 00:56:46,920
Speaker 3: all along. But while in the past he didn't know

1049
00:56:47,040 --> 00:56:50,319
Speaker 3: if their intentions would be good or evil, he now

1050
00:56:50,360 --> 00:56:53,719
Speaker 3: knows that they're good. That this intelligence from Venus has

1051
00:56:53,760 --> 00:56:57,120
Speaker 3: returned with the goal of helping our planet to ascend

1052
00:56:57,320 --> 00:57:00,600
Speaker 3: and thrive. So later Tom falls asleep on the couch

1053
00:57:00,640 --> 00:57:03,239
Speaker 3: by his radio kit and Claire comes out and lays

1054
00:57:03,239 --> 00:57:06,120
Speaker 3: a blanket over him, and it's a tender moment because

1055
00:57:06,280 --> 00:57:10,000
Speaker 3: she is frightened and bewildered by his behavior, but she

1056
00:57:10,080 --> 00:57:12,120
Speaker 3: still loves him and she wants him to be Well.

1057
00:57:12,640 --> 00:57:13,960
Speaker 1: Yeah, it is a nice little scene.

1058
00:57:14,080 --> 00:57:16,160
Speaker 3: So the next day there's a scene where the scientists

1059
00:57:16,200 --> 00:57:19,480
Speaker 3: are bringing down the satellite and it is not responding

1060
00:57:19,520 --> 00:57:21,760
Speaker 3: to their remote controls the way it's supposed to. It

1061
00:57:21,800 --> 00:57:25,920
Speaker 3: eventually crashes somewhere near the base. In some ways, I

1062
00:57:25,960 --> 00:57:28,160
Speaker 3: think this is supposed to be one of the quote

1063
00:57:28,200 --> 00:57:31,400
Speaker 3: exciting scenes. It's creating a type of suspense what's going

1064
00:57:31,440 --> 00:57:33,920
Speaker 3: to happen to the satellite? I don't think it works

1065
00:57:33,920 --> 00:57:36,680
Speaker 3: super well. I think they could have trimmed stuff.

1066
00:57:36,400 --> 00:57:39,520
Speaker 1: Like this, not that there's a lot of space to trim.

1067
00:57:40,080 --> 00:57:42,440
Speaker 3: Yeah, well this could have gone in the pile with

1068
00:57:42,480 --> 00:57:44,640
Speaker 3: all of the parking scenes and the driving scene, yeah

1069
00:57:44,640 --> 00:57:45,360
Speaker 3: that stuff.

1070
00:57:45,400 --> 00:57:47,560
Speaker 1: Then you risk cutting it down to like a nice,

1071
00:57:47,640 --> 00:57:48,640
Speaker 1: lean forty minutes.

1072
00:57:49,280 --> 00:57:51,280
Speaker 3: Well yeah, but as we were saying earlier, I mean

1073
00:57:51,600 --> 00:57:54,000
Speaker 3: I think this movie could work as a good, like

1074
00:57:54,080 --> 00:57:57,280
Speaker 3: forty five minute you know, philosophical sci fi story.

1075
00:57:57,440 --> 00:58:00,520
Speaker 1: Yeah, like basically like an Outer Limits episode. Yea, yeah, yeah.

1076
00:58:01,800 --> 00:58:04,760
Speaker 3: So Tom learns from his radio that the presence from

1077
00:58:04,840 --> 00:58:07,640
Speaker 3: Venus survived the crash and is now hiding in the

1078
00:58:07,680 --> 00:58:11,000
Speaker 3: mountains about ten miles south of the installation. And here

1079
00:58:11,040 --> 00:58:13,880
Speaker 3: we get our very first glimpse of the alien, moving

1080
00:58:13,960 --> 00:58:17,120
Speaker 3: slowly through the thick brush of a forest. We do

1081
00:58:17,200 --> 00:58:19,920
Speaker 3: not see its whole body. We see the conical tip

1082
00:58:20,000 --> 00:58:23,480
Speaker 3: of its head with some little antennae poking out, and

1083
00:58:23,520 --> 00:58:26,560
Speaker 3: then it stops and reaches up and waves these clawed

1084
00:58:26,600 --> 00:58:29,080
Speaker 3: hands around. This part is already pretty funny.

1085
00:58:29,360 --> 00:58:32,800
Speaker 1: Yeah, it's probably a bad sign when you're doing the

1086
00:58:32,880 --> 00:58:35,000
Speaker 1: right thing, you're not showing your full monster. And it's

1087
00:58:35,040 --> 00:58:39,280
Speaker 1: already ridiculous because we've talked about other films where at

1088
00:58:39,400 --> 00:58:42,520
Speaker 1: least the first like in Mortal Kombat, the first little

1089
00:58:42,560 --> 00:58:45,160
Speaker 1: glimpse you get a goro, it worked really well. Yes,

1090
00:58:45,240 --> 00:58:48,960
Speaker 1: it's only as you reveal more that the problems become obvious. Here,

1091
00:58:49,200 --> 00:58:51,200
Speaker 1: it's a little hilarious from the get go.

1092
00:58:51,840 --> 00:58:54,800
Speaker 3: Oh you know what, I realized the static design of

1093
00:58:54,840 --> 00:58:57,720
Speaker 3: the monster face and it conquered the world is basically

1094
00:58:57,760 --> 00:59:00,800
Speaker 3: in the same zone as the gore punched in the

1095
00:59:00,840 --> 00:59:07,760
Speaker 3: groin face. Yeah, yeah, okay, anyway, Next we get a

1096
00:59:07,840 --> 00:59:12,600
Speaker 3: montage of all machinery coming to a halt. There's some

1097
00:59:12,800 --> 00:59:15,800
Speaker 3: clever use of stock footage played in reverse here to

1098
00:59:15,880 --> 00:59:20,040
Speaker 3: achieve a stopping effect on things like So, the idea

1099
00:59:20,080 --> 00:59:23,000
Speaker 3: is the alien has managed to shut off every machine

1100
00:59:23,040 --> 00:59:26,760
Speaker 3: in the area. I think I saw some plot summary

1101
00:59:26,800 --> 00:59:28,880
Speaker 3: that said it managed to stop every machine in the

1102
00:59:28,880 --> 00:59:31,520
Speaker 3: whole world. I don't recall if they actually say that

1103
00:59:31,560 --> 00:59:33,120
Speaker 3: in the movie. I don't think they do well.

1104
00:59:33,160 --> 00:59:35,880
Speaker 1: The title of the movie is it conquered the world,

1105
00:59:35,960 --> 00:59:39,240
Speaker 1: And there's maybe like some brief mention of that, but

1106
00:59:39,400 --> 00:59:41,400
Speaker 1: the whole film feels very regional.

1107
00:59:41,680 --> 00:59:45,040
Speaker 3: Yes, the action is quite local. Yeah, so I don't

1108
00:59:45,040 --> 00:59:47,520
Speaker 3: know whatever's going on far away, at least within this

1109
00:59:47,640 --> 00:59:51,600
Speaker 3: town around the military installation, all machines stop, and that's

1110
00:59:51,640 --> 00:59:55,680
Speaker 3: all machines of every kind, electrical gas combustion, All the

1111
00:59:55,720 --> 00:59:58,080
Speaker 3: cars come to a stop in the road. We see

1112
00:59:58,120 --> 01:00:00,640
Speaker 3: airplanes falling out of the sky, a train stops, We

1113
01:00:00,680 --> 01:00:03,720
Speaker 3: see I think a printing press stop printing, and it

1114
01:00:03,760 --> 01:00:07,920
Speaker 3: even stops just purely mechanical machines like Jones wind up

1115
01:00:08,000 --> 01:00:09,200
Speaker 3: watch stops working.

1116
01:00:10,000 --> 01:00:13,400
Speaker 1: This is like the same level of logic that you

1117
01:00:13,520 --> 01:00:17,840
Speaker 1: get in maximum overdrive, where whatever is controlling all the

1118
01:00:17,880 --> 01:00:21,520
Speaker 1: machines controls everything from like a high tech vehicle to

1119
01:00:21,640 --> 01:00:25,920
Speaker 1: a toaster. Yeah. Like, whatever the alien is doing, it

1120
01:00:25,960 --> 01:00:29,320
Speaker 1: can stop a power plant, it can stop a wristwatch,

1121
01:00:29,560 --> 01:00:32,720
Speaker 1: presumably like the drinking birds are no longer working in town.

1122
01:00:33,480 --> 01:00:35,520
Speaker 3: Yeah that's right, it stops dipping.

1123
01:00:35,640 --> 01:00:38,520
Speaker 1: Yeah, wind up toys are totally non functional.

1124
01:00:38,960 --> 01:00:44,080
Speaker 3: Yeah, that monkey is not clapping symbols anymore. So that's

1125
01:00:44,080 --> 01:00:46,200
Speaker 3: phase one of the takeover plan. Turn off all the

1126
01:00:46,240 --> 01:00:50,600
Speaker 3: machines begin phase two. Tom is on the radio with

1127
01:00:50,640 --> 01:00:52,840
Speaker 3: an alien. Now why does this radio still work? Because

1128
01:00:52,880 --> 01:00:57,520
Speaker 3: the alien can specifically target certain machines to still function.

1129
01:00:57,680 --> 01:01:01,240
Speaker 3: They're the machines that belong to the al allies, and

1130
01:01:01,360 --> 01:01:03,920
Speaker 3: right now I think Tom is the only ally and

1131
01:01:04,000 --> 01:01:06,520
Speaker 3: Tom and Claire's household, so their stuff still works.

1132
01:01:06,600 --> 01:01:10,560
Speaker 1: Which again speaks to this being a very local invasion. Yes,

1133
01:01:10,680 --> 01:01:15,520
Speaker 1: maybe like maybe limited to a single California county. Yes,

1134
01:01:15,880 --> 01:01:17,680
Speaker 1: maybe not even municipal regions yet.

1135
01:01:19,560 --> 01:01:21,680
Speaker 3: So Tom's on the radio with the alien and he's

1136
01:01:21,720 --> 01:01:25,560
Speaker 3: reading off a list that he has created of control personnel.

1137
01:01:26,000 --> 01:01:28,640
Speaker 3: This includes the mayor of the town, the chief of police,

1138
01:01:28,720 --> 01:01:31,080
Speaker 3: the commander of the Air Force base, and also his

1139
01:01:31,160 --> 01:01:36,000
Speaker 3: friend Paul Nelson. They say that these four men, along

1140
01:01:36,000 --> 01:01:38,840
Speaker 3: with their wives, will be the targets of the eight

1141
01:01:39,080 --> 01:01:43,720
Speaker 3: control devices that the Presence has brought with them from Venus,

1142
01:01:44,280 --> 01:01:46,720
Speaker 3: and it will take time on the on the scale

1143
01:01:46,720 --> 01:01:49,800
Speaker 3: of weeks to create more control devices. So this is

1144
01:01:49,800 --> 01:01:54,280
Speaker 3: all they've got right now. And then in a hilarious cutaway,

1145
01:01:54,320 --> 01:01:57,800
Speaker 3: we see these little minoc type creatures, nasty little winged

1146
01:01:58,280 --> 01:02:02,400
Speaker 3: beasts scooting out from under the alien's costume and flying away.

1147
01:02:02,760 --> 01:02:05,480
Speaker 3: Now Here we begin a number of scenes that are

1148
01:02:05,640 --> 01:02:09,120
Speaker 3: the mind control attacks. So these flying creatures, they spread

1149
01:02:09,120 --> 01:02:11,880
Speaker 3: out all over the place, They swoop down on their targets,

1150
01:02:12,000 --> 01:02:14,680
Speaker 3: latch briefly onto the back of the neck. And then

1151
01:02:14,800 --> 01:02:17,040
Speaker 3: once they do and it only takes a few seconds,

1152
01:02:17,440 --> 01:02:20,640
Speaker 3: the target is fully obedient to the will of the

1153
01:02:20,640 --> 01:02:25,000
Speaker 3: benefactor from Venus. I think, in a seemingly psychic sense,

1154
01:02:25,080 --> 01:02:28,160
Speaker 3: like they automatically into it their orders. They don't have

1155
01:02:28,200 --> 01:02:30,520
Speaker 3: to check in via radio like Tom does.

1156
01:02:31,360 --> 01:02:34,560
Speaker 1: I guess there are a few moments in the in

1157
01:02:34,600 --> 01:02:36,560
Speaker 1: the plot though, where you're like, well, maybe it's not

1158
01:02:37,080 --> 01:02:40,960
Speaker 1: instant communication. Maybe they get like an update every few hours.

1159
01:02:40,960 --> 01:02:43,040
Speaker 1: I don't know, yeah, but I'm going to try not

1160
01:02:43,120 --> 01:02:48,160
Speaker 1: to be too pedantic about it. Overall, pretty cool little

1161
01:02:48,160 --> 01:02:50,040
Speaker 1: mind control concept, I guess, yes.

1162
01:02:50,200 --> 01:02:52,520
Speaker 3: And then once they bite you and mind control you,

1163
01:02:52,680 --> 01:02:55,760
Speaker 3: they just fall off and die immediately. They say, it's

1164
01:02:55,800 --> 01:02:56,600
Speaker 3: like a bee sting.

1165
01:02:57,440 --> 01:02:59,680
Speaker 1: Yeah, kind of like the face hugger you know.

1166
01:03:00,360 --> 01:03:12,680
Speaker 3: Yes, yeah. Now we learn that in this early phase

1167
01:03:12,720 --> 01:03:15,920
Speaker 3: of the plan, they're targeting these key leadership figures in

1168
01:03:15,960 --> 01:03:19,000
Speaker 3: the immediate vicinity of the crash site set where the

1169
01:03:19,040 --> 01:03:23,720
Speaker 3: satellite came down. But ultimately we learn that the way

1170
01:03:23,840 --> 01:03:27,840
Speaker 3: the being from Venus intends to help or save humanity

1171
01:03:28,480 --> 01:03:31,920
Speaker 3: is by subjecting all of us to a mind altering

1172
01:03:32,000 --> 01:03:37,040
Speaker 3: procedure which will leave us with no emotions, only logic,

1173
01:03:37,600 --> 01:03:41,000
Speaker 3: and Tom explains that the rationale here emotions are the

1174
01:03:41,040 --> 01:03:46,320
Speaker 3: source of everything bad in human society, all war, hate, stupidity,

1175
01:03:46,520 --> 01:03:52,120
Speaker 3: unnecessary strife. This purging of emotions will purge human kind

1176
01:03:52,200 --> 01:03:55,280
Speaker 3: of these evils and elevate us to a state of

1177
01:03:55,400 --> 01:04:00,520
Speaker 3: utopian rationality. Now, ultimately this plan comes under some serious

1178
01:04:00,600 --> 01:04:04,880
Speaker 3: interrogation by various characters in later scenes. But I first

1179
01:04:04,920 --> 01:04:09,160
Speaker 3: wanted to ask, so this is Tom's understanding of the

1180
01:04:09,200 --> 01:04:12,120
Speaker 3: alien's plan. We hear it explained in Tom's words, what

1181
01:04:12,240 --> 01:04:14,800
Speaker 3: the alien is going to do purge us of emotions

1182
01:04:15,160 --> 01:04:17,960
Speaker 3: and elevate us to you know, to a better existence.

1183
01:04:18,440 --> 01:04:21,520
Speaker 3: But I had a serious question do we ever find

1184
01:04:21,560 --> 01:04:25,720
Speaker 3: out if the alien itself actually believes this? Like, from

1185
01:04:25,720 --> 01:04:29,880
Speaker 3: the alien's perspective, is it really trying to help us

1186
01:04:29,920 --> 01:04:33,040
Speaker 3: at least what it would consider help, Or in the

1187
01:04:33,120 --> 01:04:36,280
Speaker 3: alien's own mind, is this just a mission of conquest

1188
01:04:36,400 --> 01:04:40,560
Speaker 3: and exploitation and the emotion purging utopia story is a

1189
01:04:40,560 --> 01:04:42,960
Speaker 3: way of manipulating Tom into helping it.

1190
01:04:43,440 --> 01:04:45,680
Speaker 1: Yeah, I don't know. There are various ways to sort

1191
01:04:45,680 --> 01:04:50,040
Speaker 1: of interpret this because on one level, I was thinking

1192
01:04:50,040 --> 01:04:55,840
Speaker 1: earlier about the earlier satellites that had failed gone missing,

1193
01:04:55,920 --> 01:04:59,680
Speaker 1: and Anderson's theory that this was due to alien interference.

1194
01:05:01,200 --> 01:05:04,280
Speaker 1: Perhaps those were different aliens, you know, the idea that

1195
01:05:04,280 --> 01:05:07,720
Speaker 1: there are different intelligence is in the Solar System that

1196
01:05:07,920 --> 01:05:11,000
Speaker 1: don't want Earth to advance too much. But then you

1197
01:05:11,080 --> 01:05:15,560
Speaker 1: have a few bad players on Venus who realize, actually

1198
01:05:15,600 --> 01:05:19,200
Speaker 1: we can we can make this work for us. We

1199
01:05:19,240 --> 01:05:22,160
Speaker 1: need to get off Venus. We would love to manipulate

1200
01:05:22,240 --> 01:05:26,240
Speaker 1: these people and make them work for us, conquering their world.

1201
01:05:26,120 --> 01:05:29,560
Speaker 3: Because later we do learn that these creatures from Venus,

1202
01:05:30,080 --> 01:05:35,360
Speaker 3: they have severe limitations in their own environment, Like we

1203
01:05:35,720 --> 01:05:38,160
Speaker 3: sort of get the idea that Venus is lacking in

1204
01:05:38,240 --> 01:05:41,280
Speaker 3: the resources they need to achieve their ultimate goals.

1205
01:05:41,920 --> 01:05:46,040
Speaker 1: Yeah, and it's also later discussed that the Venusians themselves

1206
01:05:46,240 --> 01:05:50,439
Speaker 1: lack emotion. Ye, and but but that at the same

1207
01:05:50,480 --> 01:05:53,920
Speaker 1: time we've seen this creature's face. Its face is clearly evil,

1208
01:05:54,760 --> 01:05:58,560
Speaker 1: it's full of emotion. So I don't know, the message

1209
01:05:58,560 --> 01:06:01,040
Speaker 1: is a little skewed here, Like is it evil and

1210
01:06:01,080 --> 01:06:06,000
Speaker 1: I'm looking to manipulate our desire for betterment and Anderson's desire

1211
01:06:06,160 --> 01:06:10,000
Speaker 1: for human advancement? Or is this all just perfectly logical

1212
01:06:10,040 --> 01:06:13,320
Speaker 1: to it? Like of course I'm going to you know,

1213
01:06:13,360 --> 01:06:16,680
Speaker 1: take over key leaders and overthrow the government because these

1214
01:06:16,680 --> 01:06:18,840
Speaker 1: are all necessary logical steps that need to take place

1215
01:06:18,880 --> 01:06:22,800
Speaker 1: in order to ring about this new utopia. We don't

1216
01:06:22,840 --> 01:06:24,600
Speaker 1: really know. It's kind of the movie seems to have

1217
01:06:24,640 --> 01:06:25,240
Speaker 1: it both ways.

1218
01:06:25,560 --> 01:06:27,919
Speaker 3: Yeah. Yeah, So I've got my own thoughts about the

1219
01:06:28,000 --> 01:06:30,960
Speaker 3: sort of emotion logic divide here that we can get

1220
01:06:30,960 --> 01:06:32,680
Speaker 3: into after we talk about some of the scenes where

1221
01:06:32,720 --> 01:06:35,600
Speaker 3: they discuss this, but before before we get to that,

1222
01:06:36,800 --> 01:06:38,600
Speaker 3: in the middle of the movie, there are a lot

1223
01:06:38,600 --> 01:06:41,360
Speaker 3: of scenes of like Paul riding around on a bicycle

1224
01:06:41,520 --> 01:06:44,120
Speaker 3: to different locations trying to figure out what's going on.

1225
01:06:44,600 --> 01:06:47,600
Speaker 3: Paul sort of slowly gets wise to the fact that

1226
01:06:47,720 --> 01:06:51,080
Speaker 3: something is really wrong. But I had a question. If

1227
01:06:51,080 --> 01:06:54,320
Speaker 3: a wind up watch stops working, why would a bicycle work?

1228
01:06:56,840 --> 01:07:01,480
Speaker 1: Yeah, yeah, exactly because it's It's likewise the same question

1229
01:07:01,520 --> 01:07:04,360
Speaker 1: with maximum overdrive. Did the bicycles take off? And if

1230
01:07:04,360 --> 01:07:07,240
Speaker 1: they didn't, why not? Why is the bicycle immune to

1231
01:07:07,360 --> 01:07:08,720
Speaker 1: being maximum overdrived?

1232
01:07:09,560 --> 01:07:10,040
Speaker 3: Yeah?

1233
01:07:10,200 --> 01:07:13,240
Speaker 1: Or maximum overdriven if you will. I'm not sure which

1234
01:07:13,320 --> 01:07:14,120
Speaker 1: term is preferred.

1235
01:07:14,360 --> 01:07:17,120
Speaker 3: Yeah, I don't know the answer to that. But anyway,

1236
01:07:17,200 --> 01:07:19,480
Speaker 3: so in this middle, I'd say a big part of

1237
01:07:19,480 --> 01:07:25,000
Speaker 3: the middle of the movie is characters such as Tom's

1238
01:07:25,000 --> 01:07:29,720
Speaker 3: wife Claire and Paul becoming convinced that Tom is not

1239
01:07:29,920 --> 01:07:33,160
Speaker 3: hallucinating and that the plans of the benefactor from Venus

1240
01:07:33,240 --> 01:07:36,919
Speaker 3: are real. And so this leads to scenes where these

1241
01:07:37,000 --> 01:07:39,800
Speaker 3: characters are trying to talk since into Tom.

1242
01:07:40,080 --> 01:07:43,200
Speaker 1: And these scenes are really the meat of the movie. Yeah,

1243
01:07:43,400 --> 01:07:45,080
Speaker 1: And I say that in a good way because they're

1244
01:07:45,080 --> 01:07:46,480
Speaker 1: generally entertaining scenes.

1245
01:07:46,800 --> 01:07:47,080
Speaker 3: Yeah.

1246
01:07:47,120 --> 01:07:49,640
Speaker 1: If they weren't, the entire film would be a watch.

1247
01:07:50,120 --> 01:07:54,120
Speaker 3: Yeah. So there's one scene between Tom and Claire that's

1248
01:07:54,440 --> 01:07:58,120
Speaker 3: Leevancleeve from Beverly Garland, and he's trying to sell her

1249
01:07:58,200 --> 01:08:00,760
Speaker 3: on the benefits of being part of the aliens plan

1250
01:08:00,880 --> 01:08:03,960
Speaker 3: and purging all emotion. But she's like, if we have

1251
01:08:04,080 --> 01:08:07,360
Speaker 3: no emotion, will we won't we have no love for

1252
01:08:07,400 --> 01:08:11,680
Speaker 3: one another? And Tom is he's not dissuaded, but it

1253
01:08:11,720 --> 01:08:13,800
Speaker 3: seems like he doesn't really have a very good answer

1254
01:08:13,840 --> 01:08:16,519
Speaker 3: for this. He says something like, well, even if there

1255
01:08:16,520 --> 01:08:20,400
Speaker 3: are no emotions, I'll still need you. But Claire presses

1256
01:08:20,479 --> 01:08:22,800
Speaker 3: him on this. She's like, okay, but if you need

1257
01:08:22,920 --> 01:08:25,760
Speaker 3: me but you don't love me, what does that mean? Like,

1258
01:08:26,400 --> 01:08:29,640
Speaker 3: so would I just basically work for you? And it

1259
01:08:29,680 --> 01:08:32,080
Speaker 3: seems that this kind of gets through. Tom doesn't really

1260
01:08:32,120 --> 01:08:34,160
Speaker 3: have a good answer, but he just kind of like

1261
01:08:34,320 --> 01:08:36,400
Speaker 3: is like, well, I can't think about that right now.

1262
01:08:36,800 --> 01:08:37,320
Speaker 1: Yeah.

1263
01:08:37,360 --> 01:08:40,000
Speaker 3: Somewhere also in here, we've got the I've Got a

1264
01:08:40,040 --> 01:08:43,400
Speaker 3: Present for you scene, which is great but also a

1265
01:08:43,560 --> 01:08:45,920
Speaker 3: huge WTF scene.

1266
01:08:45,840 --> 01:08:49,479
Speaker 1: Yeah, because earlier we get a scene where Paul leaves

1267
01:08:49,560 --> 01:08:51,519
Speaker 1: Joan to go off on one of his bike rides

1268
01:08:51,520 --> 01:08:54,439
Speaker 1: to try and figure out the mystery, and he's like,

1269
01:08:54,479 --> 01:08:56,479
Speaker 1: don't you know, don't leave the window open, make sure

1270
01:08:56,520 --> 01:08:59,040
Speaker 1: you're inside, and like the door's open for a second,

1271
01:08:59,080 --> 01:09:01,639
Speaker 1: and we get and like one of the flying bat

1272
01:09:01,680 --> 01:09:05,040
Speaker 1: creatures swoops in and we presume that it gets her.

1273
01:09:05,360 --> 01:09:10,360
Speaker 3: Yes, So Paul comes home and Joan is in. She's

1274
01:09:10,479 --> 01:09:13,840
Speaker 3: very much in Stepford wife mode. She's like, honey, welcome home.

1275
01:09:13,920 --> 01:09:16,639
Speaker 3: I love you. I have a present for you. Why

1276
01:09:16,680 --> 01:09:18,720
Speaker 3: don't you sit down right there and I'll show you,

1277
01:09:18,720 --> 01:09:20,639
Speaker 3: you know, show you what I'm holding behind my back.

1278
01:09:21,520 --> 01:09:23,200
Speaker 3: And of course, what do you know. It's a mind

1279
01:09:23,240 --> 01:09:27,880
Speaker 3: control bat. Beautiful, thank you, thank you, Happy birthday. She

1280
01:09:28,080 --> 01:09:31,560
Speaker 3: releases it and she's while it's attacking Paul. She's like,

1281
01:09:31,600 --> 01:09:33,320
Speaker 3: I'm gonna go out for a walk. I'll be back

1282
01:09:33,360 --> 01:09:36,400
Speaker 3: when you're feeling better. And so she goes out for

1283
01:09:36,439 --> 01:09:39,240
Speaker 3: a walk, but Paul bests the mind control bat. He

1284
01:09:39,360 --> 01:09:40,839
Speaker 3: kills it with a fire poker.

1285
01:09:41,680 --> 01:09:44,600
Speaker 1: And I rather like the scene where he kills it

1286
01:09:44,600 --> 01:09:46,760
Speaker 1: with the fire poker. It had some some oomph to it.

1287
01:09:47,080 --> 01:09:50,599
Speaker 3: Yeah, yeah, it's good. And then when she comes back,

1288
01:09:50,680 --> 01:09:54,160
Speaker 3: she thinks he has been turned. So these the people

1289
01:09:54,160 --> 01:09:56,519
Speaker 3: who have been turned by the mind control devices are

1290
01:09:56,520 --> 01:10:00,719
Speaker 3: not like omnipotent, like they don't fully understand and everything.

1291
01:10:01,560 --> 01:10:03,960
Speaker 3: So I guess that comes back somewhat of my guess

1292
01:10:04,000 --> 01:10:07,280
Speaker 3: about them being sort of psychic. She doesn't know he

1293
01:10:07,360 --> 01:10:10,439
Speaker 3: hasn't been turned. He's faking it, and he's like, will

1294
01:10:10,439 --> 01:10:12,439
Speaker 3: we ever go back to how we were? And she

1295
01:10:12,560 --> 01:10:17,400
Speaker 3: says no, the change is irreversible, and then Paul shoots

1296
01:10:17,400 --> 01:10:22,080
Speaker 3: her yes, what yes, Like what if she was wrong

1297
01:10:22,120 --> 01:10:23,760
Speaker 3: about the fact that they couldn't go back?

1298
01:10:24,200 --> 01:10:27,479
Speaker 1: Yeah? Yeah, what if there was some sort of cure?

1299
01:10:27,760 --> 01:10:31,000
Speaker 1: So many questions here, So yeah, this is like really shocking.

1300
01:10:31,960 --> 01:10:33,760
Speaker 1: I mean, I think part of it is most of

1301
01:10:33,840 --> 01:10:36,120
Speaker 1: us at this point we've seen enough vampire and zombie

1302
01:10:36,160 --> 01:10:39,960
Speaker 1: films to be very well acquainted with the My beloved

1303
01:10:40,040 --> 01:10:41,800
Speaker 1: is no longer my beloved. They're a monster now I'm

1304
01:10:41,840 --> 01:10:43,360
Speaker 1: going to have to kill them, seeing you know, yeah,

1305
01:10:43,800 --> 01:10:47,520
Speaker 1: he usually comes with a great deal of emotional anguish,

1306
01:10:47,560 --> 01:10:52,200
Speaker 1: and sometimes, you know, it's it's the individual facing this

1307
01:10:52,320 --> 01:10:55,639
Speaker 1: choice can't do it, you know, like their emotions are

1308
01:10:55,640 --> 01:10:58,320
Speaker 1: too strong. They're like, I know you're a zombie now,

1309
01:10:58,400 --> 01:11:00,400
Speaker 1: but I can't kill you. I'm gonna have to lock

1310
01:11:00,439 --> 01:11:01,519
Speaker 1: you in the basement instead.

1311
01:11:01,560 --> 01:11:03,600
Speaker 3: That sort of thing, And most of the time in

1312
01:11:03,640 --> 01:11:07,240
Speaker 3: those scenes there's like a lot of also just esthetic

1313
01:11:07,320 --> 01:11:09,760
Speaker 3: work being done to fully convince you like it's not

1314
01:11:09,960 --> 01:11:12,479
Speaker 3: the person anymore. They are not in there. It's a

1315
01:11:12,520 --> 01:11:15,439
Speaker 3: different it's just their body being controlled by a demonic

1316
01:11:15,600 --> 01:11:16,080
Speaker 3: entity or.

1317
01:11:16,120 --> 01:11:17,960
Speaker 1: So, yeah, they wanted. They have to drive home a

1318
01:11:18,040 --> 01:11:20,960
Speaker 1: very black and white scenario, while also driving home that

1319
01:11:21,000 --> 01:11:23,840
Speaker 1: this is a terrible choice it is having to be made. Yes,

1320
01:11:24,080 --> 01:11:26,679
Speaker 1: But Paul does not hesitate. He just shoots her down

1321
01:11:26,720 --> 01:11:29,839
Speaker 1: in cold blood, then presumably has a smoke and finishes

1322
01:11:29,840 --> 01:11:32,519
Speaker 1: reading the newspaper. I don't know the Yeah, there's no

1323
01:11:32,720 --> 01:11:36,120
Speaker 1: exploration of the parameters here, no consideration of how much

1324
01:11:36,120 --> 01:11:39,400
Speaker 1: of her is truly in there anymore. And it's even

1325
01:11:39,439 --> 01:11:41,920
Speaker 1: weirder when you drag in the whole sort of like

1326
01:11:42,000 --> 01:11:45,640
Speaker 1: cold War anxiety aspects of this film, because it's kind

1327
01:11:45,680 --> 01:11:47,360
Speaker 1: of like, no, sir, I found out my wife was

1328
01:11:47,400 --> 01:11:49,559
Speaker 1: a secret Communist, and I did what any red blooded

1329
01:11:49,560 --> 01:11:54,320
Speaker 1: American would do, and it just comes off like darn.

1330
01:11:54,439 --> 01:11:58,720
Speaker 1: But Paul is a cold guy. Again. This is our

1331
01:11:58,800 --> 01:12:03,040
Speaker 1: champion of emotion in the film, and he shows very

1332
01:12:03,080 --> 01:12:05,679
Speaker 1: little emotion in making this fatal choice.

1333
01:12:06,120 --> 01:12:08,200
Speaker 3: Yeah, that's right. So that is a real tension and

1334
01:12:08,280 --> 01:12:12,360
Speaker 3: how these themes are realized within the movie because of

1335
01:12:12,400 --> 01:12:16,040
Speaker 3: how cold Paul is. But so later we get these

1336
01:12:16,040 --> 01:12:20,640
Speaker 3: scenes where Tom and Paul are themselves arguing about the

1337
01:12:21,360 --> 01:12:25,879
Speaker 3: plans of the benefactor from Venus. Paul is convinced basically

1338
01:12:25,960 --> 01:12:27,920
Speaker 3: of what's going on. He goes to talk to Tom

1339
01:12:28,000 --> 01:12:30,080
Speaker 3: about the merits of the plan. I think there are various.

1340
01:12:30,479 --> 01:12:32,679
Speaker 3: They're planning to kill each other also in these scenes,

1341
01:12:32,720 --> 01:12:36,680
Speaker 3: because Tom has received orders from the alien that he

1342
01:12:36,720 --> 01:12:39,720
Speaker 3: has to kill Paul. I think Paul has plans of

1343
01:12:39,760 --> 01:12:42,600
Speaker 3: his own. But they're arguing it out, and so we

1344
01:12:42,640 --> 01:12:46,240
Speaker 3: get some speeches. One thing is that Tom says, you know,

1345
01:12:46,360 --> 01:12:48,680
Speaker 3: first of all, he tries to convince Paul to join him.

1346
01:12:48,760 --> 01:12:51,160
Speaker 3: He's like, he wants you on his side, next to me.

1347
01:12:51,320 --> 01:12:54,240
Speaker 3: He wants you so like, you know, come be, Come

1348
01:12:54,240 --> 01:12:58,639
Speaker 3: be the lieutenant of the Venus invasion plan. And Paul says,

1349
01:12:58,720 --> 01:13:01,240
Speaker 3: you want me to condone this reign of terror, to

1350
01:13:01,280 --> 01:13:04,559
Speaker 3: swear allegiance to this monstrous king of yours, to kill

1351
01:13:04,560 --> 01:13:07,839
Speaker 3: my own soul and all within reach. Well I won't, Anderson,

1352
01:13:08,160 --> 01:13:10,479
Speaker 3: I'll fight it till the last of breath in my body,

1353
01:13:10,680 --> 01:13:12,840
Speaker 3: and I'll fight you too, because you're part of it,

1354
01:13:13,040 --> 01:13:15,920
Speaker 3: the worst part, because you belong to a living race,

1355
01:13:16,040 --> 01:13:19,320
Speaker 3: not a dying one. This is your land, your world.

1356
01:13:19,680 --> 01:13:22,920
Speaker 3: Your hands are human, but your mind is enemy. You're

1357
01:13:22,960 --> 01:13:26,240
Speaker 3: a trader, Anderson, the greatest trader of all time. And

1358
01:13:26,280 --> 01:13:29,600
Speaker 3: you know why, because you're not betraying part of mankind,

1359
01:13:29,840 --> 01:13:33,479
Speaker 3: you're betraying all of it. That's a Peter Grave speech.

1360
01:13:33,800 --> 01:13:35,800
Speaker 1: That's pretty great. I mean, and you know, I have

1361
01:13:35,840 --> 01:13:37,880
Speaker 1: to say, I'm glad they're doing this in person, because

1362
01:13:37,880 --> 01:13:40,400
Speaker 1: if this film we're set today, this whole conversation would

1363
01:13:40,439 --> 01:13:43,120
Speaker 1: take place on Facebook and it would just be super awful,

1364
01:13:44,720 --> 01:13:46,519
Speaker 1: and half of it would be in names. Half of

1365
01:13:46,560 --> 01:13:47,880
Speaker 1: it would be memes. You know.

1366
01:13:48,640 --> 01:13:50,320
Speaker 3: Yeah, it's a comment. It's got a lot of little

1367
01:13:50,520 --> 01:13:54,519
Speaker 3: the mad Face emoji reactions. Yeah. So he makes the

1368
01:13:54,560 --> 01:13:56,640
Speaker 3: case that he's being a trader. But they also have

1369
01:13:56,680 --> 01:14:02,559
Speaker 3: a conversation where Paul explains why the why he thinks

1370
01:14:02,640 --> 01:14:06,040
Speaker 3: that the emotion purging plan won't work. He's like, I

1371
01:14:06,040 --> 01:14:09,760
Speaker 3: think Earth is actually going to defeat these, you know,

1372
01:14:09,880 --> 01:14:15,559
Speaker 3: these supposedly purely logical mind controlled beings from Venus, because

1373
01:14:15,600 --> 01:14:20,680
Speaker 3: he says, for example, humans will feel emotional solidarity for

1374
01:14:20,800 --> 01:14:25,000
Speaker 3: one another, and their emotions will cause them to cooperate

1375
01:14:25,080 --> 01:14:30,840
Speaker 3: together and to sacrifice their own personal interests in you know,

1376
01:14:30,920 --> 01:14:33,880
Speaker 3: in the interest of better protecting humanity as a whole.

1377
01:14:34,120 --> 01:14:38,720
Speaker 3: So they can coordinate and cooperate and make sacrifices in

1378
01:14:38,760 --> 01:14:44,120
Speaker 3: a way that these purely logical, rational, individualistic beings controlled

1379
01:14:44,160 --> 01:14:47,599
Speaker 3: by the aliens will not. Now I sort of get

1380
01:14:47,600 --> 01:14:49,320
Speaker 3: what they're going for there. I don't know if that's

1381
01:14:49,360 --> 01:14:51,679
Speaker 3: exactly the way I would frame it, but I think

1382
01:14:51,720 --> 01:14:55,200
Speaker 3: it raises a lot of interesting questions. I think the

1383
01:14:55,240 --> 01:14:58,840
Speaker 3: way I would think about it more is that the

1384
01:14:58,840 --> 01:15:02,479
Speaker 3: way Tom is thinking about logic versus emotion is just

1385
01:15:02,960 --> 01:15:06,160
Speaker 3: a little bit miscalibrated as to the roles these things

1386
01:15:06,200 --> 01:15:10,559
Speaker 3: actually play in how we act. Like, logic is a

1387
01:15:10,600 --> 01:15:14,160
Speaker 3: good way of formulating plans of action, right, It's better

1388
01:15:14,200 --> 01:15:17,559
Speaker 3: to think logically about what to do than to just

1389
01:15:17,640 --> 01:15:19,880
Speaker 3: act emotionally to try to figure out what you should do.

1390
01:15:20,320 --> 01:15:24,280
Speaker 3: But emotions generate all of the motivation states for action.

1391
01:15:24,840 --> 01:15:27,680
Speaker 3: So if you have a very logical plan about how

1392
01:15:27,680 --> 01:15:30,840
Speaker 3: to achieve a goal, the way you decide what your

1393
01:15:31,040 --> 01:15:35,640
Speaker 3: goal is is usually emotion like you have emotional motivations

1394
01:15:36,160 --> 01:15:38,599
Speaker 3: that tell you what you want and what you think

1395
01:15:38,680 --> 01:15:41,080
Speaker 3: is good, and then you have logic to help you

1396
01:15:41,160 --> 01:15:43,120
Speaker 3: decide best how to achieve that thing.

1397
01:15:43,720 --> 01:15:47,400
Speaker 1: Yeah, and of course logic can be flawed. Logic can

1398
01:15:47,760 --> 01:15:52,000
Speaker 1: lead to incorrect answers, Like, it's interesting to think about

1399
01:15:52,640 --> 01:15:55,680
Speaker 1: Anderson here, like he has been he has followed a

1400
01:15:55,720 --> 01:15:59,400
Speaker 1: path that is both logical and emotional to reach this

1401
01:15:59,520 --> 01:16:01,920
Speaker 1: point where he risks dooming the planet. You know, yes,

1402
01:16:02,720 --> 01:16:04,639
Speaker 1: so yeah, it is hard to sort of tease tease

1403
01:16:04,680 --> 01:16:06,599
Speaker 1: these apart. You know, you get into the whole vulcan

1404
01:16:06,680 --> 01:16:10,439
Speaker 1: territory right of trying to figure out what what a

1405
01:16:10,560 --> 01:16:12,839
Speaker 1: what a people would be like if they purge themselves

1406
01:16:12,880 --> 01:16:17,080
Speaker 1: of emotion and and followed pure logic. You know, what

1407
01:16:17,080 --> 01:16:19,400
Speaker 1: what would that look like and what would be what

1408
01:16:19,479 --> 01:16:21,120
Speaker 1: kind of pitfalls would still be possible.

1409
01:16:21,520 --> 01:16:24,120
Speaker 3: But there's a great twist here because in one of

1410
01:16:24,120 --> 01:16:26,559
Speaker 3: these scenes where Paul comes over and he's arguing with

1411
01:16:26,640 --> 01:16:31,960
Speaker 3: Tom about what they should do, Claire actually sneaks out,

1412
01:16:32,040 --> 01:16:36,240
Speaker 3: like she she comes to hate this alien presence and

1413
01:16:36,320 --> 01:16:38,120
Speaker 3: she's like, you know what, I'm going to deal with

1414
01:16:38,160 --> 01:16:42,120
Speaker 3: this issue myself. So Beverly Garland steals Tom's rifle that

1415
01:16:42,200 --> 01:16:44,680
Speaker 3: he was going to use to kill Paul and then

1416
01:16:44,800 --> 01:16:47,160
Speaker 3: goes and gets in the car and drives away to

1417
01:16:47,360 --> 01:16:50,960
Speaker 3: find the alien and she at one point she I think,

1418
01:16:51,000 --> 01:16:53,400
Speaker 3: gets on the radio and says like I'm coming for you.

1419
01:16:53,760 --> 01:16:54,160
Speaker 1: Yeah.

1420
01:16:54,439 --> 01:16:57,200
Speaker 3: Yeah, And I love this. Like Claire, she she gets

1421
01:16:57,200 --> 01:16:59,479
Speaker 3: in the car, arms herself, gets in the car and

1422
01:16:59,520 --> 01:17:02,920
Speaker 3: goes to find the cave where the alien lives, and

1423
01:17:02,920 --> 01:17:05,360
Speaker 3: she's like, I'm gonna destroy it. Yeah.

1424
01:17:05,400 --> 01:17:08,759
Speaker 1: She's a woman of action, and Beverly Garland really brings

1425
01:17:08,760 --> 01:17:10,439
Speaker 1: a lot of energy to this role. Is great in

1426
01:17:10,520 --> 01:17:13,840
Speaker 1: this role, so like this alone is a is a

1427
01:17:13,880 --> 01:17:16,599
Speaker 1: breath of fresh air for movies of this time period.

1428
01:17:16,960 --> 01:17:18,960
Speaker 3: Yeah, and she has some great lines too. I think

1429
01:17:19,000 --> 01:17:21,960
Speaker 3: when she's going to kill it in the cave, she says,

1430
01:17:22,000 --> 01:17:23,880
Speaker 3: you think you're gonna make a slave of the world,

1431
01:17:24,160 --> 01:17:25,960
Speaker 3: I'll see you in hell first.

1432
01:17:27,240 --> 01:17:28,360
Speaker 1: Yeah, and she sells it.

1433
01:17:28,560 --> 01:17:30,160
Speaker 3: She also tells it that it's ugly.

1434
01:17:30,760 --> 01:17:32,719
Speaker 1: Yeah, it is true.

1435
01:17:32,720 --> 01:17:33,360
Speaker 3: It is ugly.

1436
01:17:33,800 --> 01:17:35,360
Speaker 1: Yeah, And I think that's one thing they were trying

1437
01:17:35,400 --> 01:17:37,679
Speaker 1: to sort of drive like they're trying to like hold off.

1438
01:17:38,640 --> 01:17:40,760
Speaker 1: This is one of the tricky things of having seen

1439
01:17:40,760 --> 01:17:43,320
Speaker 1: this picture so many times and or having seen that

1440
01:17:43,360 --> 01:17:46,839
Speaker 1: face on the poster. You know, the menace, the alien

1441
01:17:46,880 --> 01:17:49,559
Speaker 1: menace is ugly, and I think the film is crafted

1442
01:17:49,840 --> 01:17:52,000
Speaker 1: in a sense where they wanted that to be a

1443
01:17:52,000 --> 01:17:55,760
Speaker 1: big reveal and it you know that this should be

1444
01:17:55,800 --> 01:17:58,519
Speaker 1: a realization. Oh, the thing that we thought was a

1445
01:17:58,560 --> 01:18:01,639
Speaker 1: benefactor really as a hidiot monster. And there's something about

1446
01:18:01,680 --> 01:18:04,920
Speaker 1: its appearance that cluses into this even more. But you know,

1447
01:18:05,640 --> 01:18:07,000
Speaker 1: what can you do. You got to put a monster

1448
01:18:07,040 --> 01:18:07,800
Speaker 1: on the poster.

1449
01:18:08,040 --> 01:18:12,599
Speaker 3: That's right. So eventually Tom is convinced. He's sort of

1450
01:18:12,680 --> 01:18:15,599
Speaker 3: he's talked down out of cooperating with the alien, which

1451
01:18:15,640 --> 01:18:20,120
Speaker 3: is pretty interesting. I don't know if I would normally

1452
01:18:20,680 --> 01:18:22,920
Speaker 3: expect the plot to work that way in a movie

1453
01:18:22,960 --> 01:18:27,240
Speaker 3: like this. I would normally expect some kind of I

1454
01:18:27,280 --> 01:18:32,439
Speaker 3: don't know, like sight or plot twist to change Tom's allegiance.

1455
01:18:32,479 --> 01:18:35,240
Speaker 3: But instead he's just sort of convinced through argumentation.

1456
01:18:35,960 --> 01:18:38,280
Speaker 1: Yeah, and well, and I think the fact too that

1457
01:18:39,040 --> 01:18:41,840
Speaker 1: his wife is in peril now, like he realizes that

1458
01:18:43,720 --> 01:18:45,960
Speaker 1: she is in danger, right, and he has to go

1459
01:18:46,040 --> 01:18:49,360
Speaker 1: attempt to save her, but also rectify this problem that

1460
01:18:49,400 --> 01:18:51,959
Speaker 1: he is doomed that he's potentially brought to the planet

1461
01:18:52,120 --> 01:18:52,519
Speaker 1: that's right.

1462
01:18:52,560 --> 01:18:54,919
Speaker 3: So Claire has run off to fight the alien herself.

1463
01:18:55,240 --> 01:18:57,880
Speaker 3: Tom is on Paul's side. Now he's like, okay, we

1464
01:18:57,920 --> 01:19:01,120
Speaker 3: got to stop it. So paulin Tom both run off

1465
01:19:01,120 --> 01:19:04,799
Speaker 3: to enact various parts of the plan. Tom arms himself

1466
01:19:04,840 --> 01:19:07,800
Speaker 3: with like a little flamethrower of some kind, like a

1467
01:19:07,920 --> 01:19:10,080
Speaker 3: it's not a huge flamethrower. What do you call this thing.

1468
01:19:10,120 --> 01:19:13,640
Speaker 3: It's like a little tiny, sort of kettle sized flamethrower.

1469
01:19:13,960 --> 01:19:18,280
Speaker 1: Yeah, like some sort of like little blowtorch sized flamer device. Yeah.

1470
01:19:18,320 --> 01:19:21,879
Speaker 1: But I really like this division in weapons because obviously

1471
01:19:21,920 --> 01:19:24,240
Speaker 1: Paul will shoot anything that moves, so he needs a

1472
01:19:24,240 --> 01:19:28,640
Speaker 1: handgun that fits his character. But Anderson. Anderson's more of

1473
01:19:28,680 --> 01:19:30,280
Speaker 1: a you know, a thinker. You know. It's like he

1474
01:19:30,280 --> 01:19:33,439
Speaker 1: had that rifle earlier and the rifle's gone now. I

1475
01:19:33,439 --> 01:19:36,120
Speaker 1: don't know, it feels appropriate that he's using something a

1476
01:19:36,120 --> 01:19:39,680
Speaker 1: little more sciency, a little more sci fi, you know,

1477
01:19:39,720 --> 01:19:41,200
Speaker 1: this little flamethrower device.

1478
01:19:41,760 --> 01:19:45,360
Speaker 3: There is some more brutal violence in this movie, shocking violence,

1479
01:19:45,360 --> 01:19:47,679
Speaker 3: I would say, for a movie from fifty six, where

1480
01:19:48,680 --> 01:19:52,840
Speaker 3: he the mind controlled police chief that is working for

1481
01:19:52,880 --> 01:19:55,400
Speaker 3: the alien. He tries to stop Tom from getting to

1482
01:19:55,439 --> 01:19:57,679
Speaker 3: the cave and he's like shooting at Tom and Tom

1483
01:19:57,840 --> 01:19:59,000
Speaker 3: just burns him.

1484
01:19:59,160 --> 01:20:02,160
Speaker 1: Yeah yeah, yeah, flames him up. Yeah, and he runs

1485
01:20:02,160 --> 01:20:05,360
Speaker 1: a little bit and falls over on fire. Yeah. So yeah,

1486
01:20:05,520 --> 01:20:06,439
Speaker 1: but pretty harsh.

1487
01:20:06,479 --> 01:20:08,360
Speaker 3: But eventually they get to the cave. Oh and this

1488
01:20:08,439 --> 01:20:13,000
Speaker 3: intersects with a fairly consistently grown inducing subplot where some

1489
01:20:13,280 --> 01:20:16,200
Speaker 3: soldiers are wandering around in the woods and they're like, oh,

1490
01:20:16,479 --> 01:20:18,280
Speaker 3: we're hungry, where can we get food? They are not

1491
01:20:18,479 --> 01:20:22,639
Speaker 3: mine controlled and they're wandering around. But they eventually hear

1492
01:20:22,840 --> 01:20:26,000
Speaker 3: the violence and the commotion at the cave, so they

1493
01:20:26,040 --> 01:20:28,320
Speaker 3: go there with all their weapons, and so we end

1494
01:20:28,360 --> 01:20:30,519
Speaker 3: up with a bunch of soldiers going into the cave

1495
01:20:30,720 --> 01:20:34,240
Speaker 3: confronting the monster, and the monster attacks them. I think

1496
01:20:34,280 --> 01:20:38,120
Speaker 3: it kills some of them, and ultimately, in the final showdown,

1497
01:20:38,240 --> 01:20:41,200
Speaker 3: Tom himself has to go up against the creature that

1498
01:20:41,280 --> 01:20:42,719
Speaker 3: he invited from Venus.

1499
01:20:43,360 --> 01:20:46,200
Speaker 1: Yeah, and this is this is a pretty satisfying showdown.

1500
01:20:46,240 --> 01:20:49,600
Speaker 1: I mean, again, the blocking of it, what is possible

1501
01:20:49,640 --> 01:20:54,200
Speaker 1: with interactions between the monster and human actors aside, it

1502
01:20:54,280 --> 01:20:56,080
Speaker 1: plays out rather well, I think.

1503
01:20:56,560 --> 01:20:59,599
Speaker 3: Yeah, the broad payoff in terms of what the characters do,

1504
01:21:00,400 --> 01:21:03,320
Speaker 3: at least maybe as described on paper works pretty well.

1505
01:21:03,360 --> 01:21:07,479
Speaker 3: So Paul, sorry, Tom does run up and he like

1506
01:21:07,600 --> 01:21:10,800
Speaker 3: burns one of the alien's eyes with the blowtorch.

1507
01:21:11,000 --> 01:21:13,280
Speaker 1: Oh, he like just like sticks that sucker into the

1508
01:21:13,320 --> 01:21:15,720
Speaker 1: eye socket. Yeah, I mean it's it's great and and

1509
01:21:16,040 --> 01:21:20,640
Speaker 1: it's made even better because Lee van Kleef delivers like

1510
01:21:20,680 --> 01:21:23,559
Speaker 1: just this awesome line line that has a lot of

1511
01:21:23,600 --> 01:21:25,800
Speaker 1: like venom in it, you know, like he's finally seen

1512
01:21:25,880 --> 01:21:29,200
Speaker 1: through the to the menace here and he's like, I'm

1513
01:21:29,200 --> 01:21:31,400
Speaker 1: gonna like this is what you get for messing with Earth.

1514
01:21:31,760 --> 01:21:34,720
Speaker 3: Yeah. Yeah. But then of course he is killed in

1515
01:21:34,800 --> 01:21:37,720
Speaker 3: the scuffle as well, so he's laying there next to

1516
01:21:37,760 --> 01:21:41,360
Speaker 3: the dead overturned ice cream cone or artichoke, however you

1517
01:21:41,360 --> 01:21:44,160
Speaker 3: think of it. And then finally, so all of the

1518
01:21:44,240 --> 01:21:47,519
Speaker 3: characters except Paul are dead. Basically he's the only one

1519
01:21:47,560 --> 01:21:50,240
Speaker 3: left standing. And then he gives the monologue the one

1520
01:21:50,280 --> 01:21:52,920
Speaker 3: I delivered earlier. I'm not going to say it again,

1521
01:21:53,360 --> 01:21:56,400
Speaker 3: but he does explain that, referring to Tom, he learned

1522
01:21:56,400 --> 01:21:59,400
Speaker 3: almost too late, that man is a feeling creature. Well

1523
01:21:59,400 --> 01:22:02,680
Speaker 3: wait no, actually, hold on a second. I always assumed

1524
01:22:02,880 --> 01:22:05,920
Speaker 3: in this monologue he's talking about Tom. Do you think

1525
01:22:05,920 --> 01:22:08,280
Speaker 3: he could be talking about the alien from Venus or

1526
01:22:08,320 --> 01:22:10,000
Speaker 3: is he definitely talking about Tom.

1527
01:22:10,200 --> 01:22:14,160
Speaker 1: Who let's see, let's let's think about it and for himself.

1528
01:22:14,200 --> 01:22:16,639
Speaker 1: That men have to find their own, their own way,

1529
01:22:16,720 --> 01:22:19,960
Speaker 1: to make their own mistakes. There can't be any gift

1530
01:22:20,040 --> 01:22:24,519
Speaker 1: of perfection from outside ourselves. I think he's probably talking

1531
01:22:25,920 --> 01:22:29,000
Speaker 1: about Tom. Yeah, yeah, yeah, because you know, Tom is

1532
01:22:29,560 --> 01:22:33,440
Speaker 1: looking for that outside fix that's going to help humanity,

1533
01:22:33,600 --> 01:22:36,479
Speaker 1: something that will help us advance. Like we are. We're

1534
01:22:36,520 --> 01:22:41,120
Speaker 1: struggling to advance on our own. We need salvation to

1535
01:22:41,160 --> 01:22:41,840
Speaker 1: come from above.

1536
01:22:42,200 --> 01:22:46,559
Speaker 3: Yeah, this monologue assumes a it was a good faith

1537
01:22:46,720 --> 01:22:49,840
Speaker 3: desire to get perfection from the outside, and I don't

1538
01:22:49,880 --> 01:22:52,679
Speaker 3: know if Paul would assume that about the alien from Venus,

1539
01:22:52,720 --> 01:22:55,640
Speaker 3: that it was actually trying to help us. Yeah, so

1540
01:22:55,720 --> 01:22:57,879
Speaker 3: there is hope, but it has to come from inside,

1541
01:22:58,000 --> 01:22:59,440
Speaker 3: from men himself.

1542
01:23:00,160 --> 01:23:02,200
Speaker 1: Of course, they don't get into this. Of course, there

1543
01:23:02,240 --> 01:23:04,559
Speaker 1: was never a sequel or anything to this film. But

1544
01:23:04,960 --> 01:23:07,960
Speaker 1: you know, there are still other members of the Benefactor

1545
01:23:08,040 --> 01:23:10,080
Speaker 1: race on Venus. I forget what the headcount was. They

1546
01:23:10,120 --> 01:23:11,080
Speaker 1: said they're like nine of them.

1547
01:23:11,080 --> 01:23:13,920
Speaker 3: I think, yeah, it's only eight or nine or something,

1548
01:23:13,960 --> 01:23:15,120
Speaker 3: and this is just one of them.

1549
01:23:15,240 --> 01:23:19,439
Speaker 1: Yeah, there's still eight super intelligent Venusians out there who

1550
01:23:19,479 --> 01:23:22,479
Speaker 1: may or may not be reaching out to humans via

1551
01:23:22,560 --> 01:23:27,280
Speaker 1: their radar. There may be other alien players in the

1552
01:23:27,320 --> 01:23:31,720
Speaker 1: Solar System who have a vested interest in keeping humanity

1553
01:23:31,800 --> 01:23:36,360
Speaker 1: from advancing beyond a certain technological level. So I don't know.

1554
01:23:36,360 --> 01:23:38,160
Speaker 1: It's kind of commendable that a film like this this

1555
01:23:38,280 --> 01:23:42,280
Speaker 1: does ultimately introduce those kinds of concepts, you know, where

1556
01:23:42,479 --> 01:23:45,680
Speaker 1: you can leave the theater thinking about all of these

1557
01:23:45,680 --> 01:23:48,600
Speaker 1: things and wondering, well, how would this how would the

1558
01:23:48,680 --> 01:23:50,519
Speaker 1: characters from this film? How would the world from this

1559
01:23:50,600 --> 01:23:52,080
Speaker 1: film progress? Yeah?

1560
01:23:52,320 --> 01:23:54,800
Speaker 3: What if the benefactors from Mars come to purchase of

1561
01:23:54,840 --> 01:23:56,880
Speaker 3: all logic and leave us with only emotion?

1562
01:23:57,360 --> 01:24:01,240
Speaker 1: Oh wow, there you go. Now there's an interesting sequel

1563
01:24:01,280 --> 01:24:04,439
Speaker 1: idea for it Conquered the World, Like this time they

1564
01:24:04,600 --> 01:24:09,040
Speaker 1: promise pure emotion, pure ecstasy, they come in peace.

1565
01:24:10,840 --> 01:24:13,519
Speaker 3: Yeah, okay, well I think that's all I've got on

1566
01:24:13,760 --> 01:24:15,080
Speaker 3: it Conquered the World.

1567
01:24:15,320 --> 01:24:18,440
Speaker 1: All right. Well, yeah, it's a fun one. Highly recommend

1568
01:24:18,439 --> 01:24:20,200
Speaker 1: it to anyone who's never seen it, and if you've

1569
01:24:20,200 --> 01:24:23,880
Speaker 1: seen it before, watch it again. It's yeah, it's a hoot.

1570
01:24:23,400 --> 01:24:26,640
Speaker 1: That three K episode is of course rightfully considered one

1571
01:24:26,680 --> 01:24:27,839
Speaker 1: of the best as well.

1572
01:24:27,880 --> 01:24:31,040
Speaker 3: If I recall correctly, by the time that episode is over,

1573
01:24:31,160 --> 01:24:34,519
Speaker 3: they've played the ending monologue by Peter Graves at least

1574
01:24:34,520 --> 01:24:39,599
Speaker 3: three times, maybe four. Ye good choice.

1575
01:24:40,200 --> 01:24:42,320
Speaker 1: All right, we're going to go ahead and close out here,

1576
01:24:42,560 --> 01:24:45,240
Speaker 1: but we'd love to hear from everyone out there. Misty's

1577
01:24:45,280 --> 01:24:47,639
Speaker 1: if you want to write in about this one. Old

1578
01:24:47,680 --> 01:24:52,000
Speaker 1: school science fiction fans, Roger Corman fans write in as well,

1579
01:24:52,720 --> 01:24:54,960
Speaker 1: Western fans. You may have some thoughts here as well,

1580
01:24:55,000 --> 01:24:58,479
Speaker 1: especially if it relates to Lee van Cleef. But yeah,

1581
01:24:58,520 --> 01:25:01,080
Speaker 1: this was film number one hundred and seventy five for

1582
01:25:01,160 --> 01:25:03,160
Speaker 1: Weird House Cinema. If you want to see the full

1583
01:25:03,160 --> 01:25:05,280
Speaker 1: list of films we've covered over the years and sometimes

1584
01:25:05,280 --> 01:25:07,360
Speaker 1: get a peek ahead at what's coming up next, go

1585
01:25:07,400 --> 01:25:09,400
Speaker 1: to letterbox dot com. That's l E T T E

1586
01:25:09,560 --> 01:25:12,160
Speaker 1: R b o x D dot com. Our user name

1587
01:25:12,240 --> 01:25:14,639
Speaker 1: there is weird House and you can find that list.

1588
01:25:15,080 --> 01:25:17,920
Speaker 1: Let's see. If you're on Instagram, follow us we are

1589
01:25:18,040 --> 01:25:20,360
Speaker 1: st b ym podcast and that way you can keep

1590
01:25:20,400 --> 01:25:22,200
Speaker 1: up with everything we're doing in the Stuff to Blow

1591
01:25:22,200 --> 01:25:23,360
Speaker 1: Your Mind podcast space.

1592
01:25:23,720 --> 01:25:27,400
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1593
01:25:27,640 --> 01:25:29,360
Speaker 3: If you would like to get in touch with us

1594
01:25:29,360 --> 01:25:31,879
Speaker 3: with feedback on this episode or any other, to suggest

1595
01:25:31,920 --> 01:25:34,000
Speaker 3: a topic for the future, or just to say hello,

1596
01:25:34,320 --> 01:25:36,960
Speaker 3: you can email us at contact at stuff to Blow

1597
01:25:36,960 --> 01:25:44,640
Speaker 3: your Mind dot com.

1598
01:25:44,760 --> 01:25:47,720
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1599
01:25:47,800 --> 01:25:50,599
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1600
01:25:50,760 --> 01:25:53,960
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