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Speaker 1: Welcome to Stuff to Blow Your Mind production of My

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Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is

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Speaker 1: Rob Lamb and this is Joe McCormick, and today we're

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Speaker 1: doing a classic heat hampered in God's Domain movie. It's

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Speaker 1: a nineteen fifty atomic age creature feature called Tarantula. Rob.

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Speaker 1: This movie was your pick, and I'm so glad you

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Speaker 1: picked it. I've never seen it before, but it is

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Speaker 1: both m hilarious and pretty good for what it is. Yeah,

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Speaker 1: I absolutely agree. And it's one that I hadn't seen either,

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Speaker 1: but I've been I've been familiar with it for ages.

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Speaker 1: Because of course, this is one of of many films

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Speaker 1: classic sci fi and horror films that's referenced in the

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Speaker 1: Lyrics to Science Fiction Double feature from the Rocky Art

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Speaker 1: Picture Show. It goes a little like this, It goes

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Speaker 1: Hi knew Leo G. Care was over a barrel wind

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Speaker 1: to Rancholla took to the hills, And that's Leo G.

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Speaker 1: Carroll's will discuss is in this film, and the tarantula

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Speaker 1: does in fact take to the hills. Now, Leo G.

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Speaker 1: Carroll was much more famous for being in Alfred Hitchcock

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Speaker 1: thrillers a funny coincidence. Just last week I watched north

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Speaker 1: By Northwest for the very first time, and he's in

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Speaker 1: that playing a character called the Professor, which is what

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Speaker 1: he's called in this movie. Yeah, he has, he had,

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Speaker 1: He has a great vibe. He has a very scholarly

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Speaker 1: atmosphere too, British actor that moved to Hollywood. But yeah,

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Speaker 1: this it's interesting because he's not one of these names.

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Speaker 1: Even though his name is now synonymous with science fiction

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Speaker 1: double feature, he's not one of these actors that that

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Speaker 1: was really in a ton of B movies. He's really

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Speaker 1: really should be more well known for these Hitchcock films.

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Speaker 1: But Rocky Horror Picture Show has immortalized him in another

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Speaker 1: direction as well. Well. I think that's the point of

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Speaker 1: the lyric, right, he was over a barrel when so

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Speaker 1: I think they're saying, like Leo G. Carroll he was

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Speaker 1: having some rough times when he ended up into ranchula.

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Speaker 1: I don't know if that's true. You know, some of

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Speaker 1: the times you see an actor more associated with prestigious

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Speaker 1: movies ending up in a creature feature, it's like, oh wow,

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Speaker 1: they were really slumming it. But other times you get

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Speaker 1: the feeling that this was just fun. They decided to

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Speaker 1: be fun to do that. I mean, it varies wildly

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Speaker 1: depending on the actor, certainly depending on the production. I

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Speaker 1: didn't run across anything that said Leo JI Carroll didn't

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Speaker 1: like the experience, But if he were inclined to dislike

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Speaker 1: the experience, and he does have to hold a monkey

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Speaker 1: and gets eventually covered up with a bunch of makeup,

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Speaker 1: so there's plenty of room there where I could imagine

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Speaker 1: an actor of his caliber maybe being a little uh

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Speaker 1: uh disillusioned by his his foray into sci fi B pictures.

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Speaker 1: Rob he does not only have to hold a monkey,

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Speaker 1: he has to catch a monkey, because this movie has

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Speaker 1: an exquisite uh monkey jumps care where Leo G. Carroll

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Speaker 1: is in the middle of the desert in the nighttime,

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Speaker 1: secretly burying a body in the sand, and then you

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Speaker 1: see a figure sneak up behind him. It's like a silhouette.

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Speaker 1: What is it going to be? Is it going to

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Speaker 1: be a giant spider? Is it going to be a

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Speaker 1: monster man? And then turn it's just a little monkey

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Speaker 1: and he has to catch it in his arms. It's adorable.

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Speaker 1: Quick poster note on this one. If you look at

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Speaker 1: the original poster that features a giant tarantula, like a

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Speaker 1: puppet tarantula, and I think this is an image of

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Speaker 1: one of the puppets that was used to some extent

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Speaker 1: in the film, though a lot of what you see

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Speaker 1: is just an actual tarantula. It's made to look like

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Speaker 1: it's crawling across the desert hills, but in the poster,

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Speaker 1: or at least most of the versions of the poster,

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Speaker 1: it is made to look like it is holding a

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Speaker 1: woman in its pinchers. This does not actually happen in

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Speaker 1: the movie at all, but it's one of those situations

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Speaker 1: where the classic trope of the time was, of course,

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Speaker 1: show your monster, generally a humanoid monster holding ann conscious woman,

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Speaker 1: and that was the that was supposed to, you know,

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Speaker 1: drawl in the viewers. It was what they came to expect,

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Speaker 1: even though nothing like that actually happens in this film.

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Speaker 1: There are so many movies like this from the fifties.

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Speaker 1: I think of Bride of the Monster, the Edwood movie,

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Speaker 1: which I think the poster for it showed Bella Legosi,

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Speaker 1: who is in the movie carrying an unconscious woman in

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Speaker 1: his arms, which he does not do in the movie.

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Speaker 1: The Attack of the Crab monsters. Poster has the giant crab,

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Speaker 1: the giant psychic crab who eats people and gains their knowledge.

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Speaker 1: It has a woman in a bathing suit in its claw.

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Speaker 1: That never happens in the movie. That puppet never carries anybody.

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Speaker 1: It does eat people, but it never holds anybody in

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Speaker 1: its claws. I used to have these, some of these

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Speaker 1: universal trading cards that I think had been my dad's

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Speaker 1: or something my way back in the day, black and white,

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Speaker 1: and they have all these images of classic monsters on them,

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Speaker 1: and a lot of them are those monsters either scaring

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Speaker 1: a woman or holding an unconscious woman, like we're discussing here. Yeah,

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Speaker 1: the way the posters always depict women sort of in peril,

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Speaker 1: especially in peril, and a kind of reclined posture I

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Speaker 1: think is supposed to be sexually titillating in some ways

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Speaker 1: in a way that would be enough to get people's

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Speaker 1: attention but also not to get censored. Yeah, yeah, and

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Speaker 1: it's you know, at the time, as a child, I

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Speaker 1: would look at these and other things. It was almost like, oh, well,

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Speaker 1: she needs to be carried to bed, and here is

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Speaker 1: an ape man to do it. Um. Fun fact, we've

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Speaker 1: watched a couple of movies that have the German born

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Speaker 1: actress Helga Line you know in them, uh, you know,

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Speaker 1: the redheaded actor from Horror Rises from the Tomb, as

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Speaker 1: well as what was the other film, Aloralized Grasp, Yeah,

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Speaker 1: the Looralized Grasp. There's some vampire film. I forget the

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Speaker 1: name off hand, but on the front of it, she

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Speaker 1: is holding a man in that pose like there's like

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Speaker 1: a skinny dude and she's holding him up like that.

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Speaker 1: So it's got a nice gender reversal on the trope.

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Speaker 1: That's what I want. I want fifties movie posters that

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Speaker 1: are switched like that, where it's the lady carrying a

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Speaker 1: giant crab in her arms. That would be good. Alright,

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Speaker 1: So Tarantula from nineteen five. This is exciting because this

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Speaker 1: is also only our fifth fifties movie on Weird House Cinema.

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Speaker 1: Oh okay, I would have thought more than that. But

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Speaker 1: let's see how many we we did the thing from

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Speaker 1: another World, we did um Fiend without a Face, we

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Speaker 1: did Not of this Earth, and we did the brain Eaters.

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Speaker 1: Is that all of them so far? That's it? You

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Speaker 1: got them all? And this makes five? Okay, when you

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Speaker 1: rank all those together, Where would you say Tarantula fits. Actually,

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Speaker 1: I don't know how you do and compare them. We

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Speaker 1: just when you rank them in terms of an absurd

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Speaker 1: good time? Where does Tarantula go in there? Oh, for

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Speaker 1: sheer fun, I'd say it's top of the pack. For quality,

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Speaker 1: I don't know, things probably top of the pack tarantula

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Speaker 1: thing or duking it out for top billing here I think, Oh,

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Speaker 1: I'd say definitely Thing is the best, if the best

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Speaker 1: for non i onic purposes. And though I think it's

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Speaker 1: clearly the worst of all of them, I really have

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Speaker 1: a soft spot for the brain eaters. That one's never

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Speaker 1: gonna leave my heart. All right, Well, let's get to

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Speaker 1: the elevator pitch. On this one. I'm just gonna go

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Speaker 1: with what's written on the poster, and it is all caps,

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Speaker 1: giant spider strikes crawling terror a hundred feet high? Is

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Speaker 1: it still crawling if it's a hundred feet high? Something

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Speaker 1: about the word crawling to me suggests proximity to the ground.

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Speaker 1: That's a good point. All right, Let's hear the Let's

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Speaker 1: hear the trailer. This is a great nineteen fifties trailer.

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Speaker 1: But what have circumstances were magnifying one of the size

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Speaker 1: and strength took it out of its primitive world and

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Speaker 1: turned it loose in our Then expect something that's fiercer,

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Speaker 1: more cruel, and deadly than anything that ever woked here.

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Speaker 1: Even science was stunned. The new atomic miracles should have

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Speaker 1: been mankind's greatest boon. Instead, when such power to cause

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Speaker 1: phenomenal growth gloop dangerously unstable, man was confused with this

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Speaker 1: most shocking blunder. The figgered out nutrient into a nightmare.

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Speaker 1: I'm wonder that transformed a tiny insect into a hundred

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Speaker 1: books spider that was now ravaging the panic stricken countryside.

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Speaker 1: All right, before we continue here, I'm just gonna advise

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Speaker 1: everyone out there who is interested in watching Tarantula, well,

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Speaker 1: you have a lot of options. I watched Tarantula on

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Speaker 1: a double featured disc from the Classic Sci Fi Ultimate

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Speaker 1: collection More People, The More People is on the same desk.

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Speaker 1: But I've seen that one before. This has been a while.

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Speaker 1: I rented this from Video Drome. That collection has some

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Speaker 1: nice titles in it. It's pretty cheap, but there's also

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Speaker 1: a standalone Universal Vault disc that you can rent or purchase.

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Speaker 1: Uh digitally most places as well. It does seem to

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Speaker 1: be available on Blu Ray in various formats as well,

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Speaker 1: So however you want your Tarantula, it can be provided.

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Speaker 1: I did a digital rental on Amazon and their transfer

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Speaker 1: looks pretty good. Yeah. Yeah, this one, this one on

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Speaker 1: the disc was really solid. In fact, speaking of looking

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Speaker 1: pretty good, uh so, Tarantula has a lot of the

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Speaker 1: same sort of script pathologies as as many other creature

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Speaker 1: features of the time. But the special effects in this movie,

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Speaker 1: I would say are excellent for the time period. I mean,

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Speaker 1: for nineteen fifty five. The superimposition of the giant spider

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Speaker 1: onto the desert backgrounds and everything. I think this is

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Speaker 1: out of the park. Yeah. My son walked in while

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Speaker 1: I was watching the finale and he immediately said he

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Speaker 1: was excited to check it out. He's like, I can

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Speaker 1: tell it's not real. So, yes, you can tell it's

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Speaker 1: not real. And definitely this style of giant monster, of

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Speaker 1: the style of using an actual creature such as a

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Speaker 1: spider or a lizard and filming it in such a

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Speaker 1: way that it looks big, this largely doesn't really work anymore.

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Speaker 1: But I think if you if you take the picture

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Speaker 1: in in its time, it still looks pretty good. Oh yeah, So,

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Speaker 1: I mean compared this to other movies from around the

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Speaker 1: same time that use the same techniques. Birdeye Gordon movies

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Speaker 1: are famous for the superimposing uh something onto a different

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Speaker 1: background to make it look huge. These look better than

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Speaker 1: most of the people who did this. But so, there

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Speaker 1: are two different ways of showing a giant spider in

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Speaker 1: this movie. One is this uh you know, photographic trick

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Speaker 1: where they're taking real footage of a real tarantula and

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Speaker 1: then just super imposing it over a background to make

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Speaker 1: it look huge. The other one is a puppet. And

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Speaker 1: I think the puppet in this movie is killer. It's

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Speaker 1: so good. Yeah, the puppet is really good, and and

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Speaker 1: I look forward to to talking about the man who

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Speaker 1: built the puppet. That's actually a fun story as well. Well.

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Speaker 1: But I guess if we're going to have to start

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Speaker 1: with the director here, one of the things that I

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Speaker 1: didn't realize until after I watched the movie is that

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Speaker 1: this is the creature from the Black Lagoon guy. Right, Yeah, Yeah,

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Speaker 1: this is Jack Arnold, who not only directed it, he

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Speaker 1: also has a story credit. He lived nineteen twelve through

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Speaker 1: uh noted fifties sci fi director for responsible for a

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Speaker 1: slew of films, so Creature from the Black Lagoon in

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Speaker 1: fifty four for sure, as well as Revenge of the

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Speaker 1: Creature in fifty five. He also did nineteen fifty three's

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Speaker 1: It Came from Outer Space. He has an uncredited um

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Speaker 1: directorial credit on IMDb for This Island Earth, but he

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Speaker 1: also directed The Incredible Shrinking Man in fifty seven, The

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Speaker 1: Space Children and fifty eight, and Monster on Campus in

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Speaker 1: fifty eight. Prior to these sci fi pictures, he did

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Speaker 1: a pair of dramas nineteen fifties with These Hands, which

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Speaker 1: sounds like a thriller but was produced by the International

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Speaker 1: Ladies Garment Workers Union. So I don't think it's a

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Speaker 1: I don't think it's like a pro do jal Allow

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Speaker 1: jallow kind of film. It's wait. That's the same the

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Speaker 1: union that has the commercial in the Star Wars Holiday Special,

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Speaker 1: or at least one of the famous tapes of it

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Speaker 1: where they're all singing the union song. It's the International

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Speaker 1: Lady Ladies Garment Workers Union. Do Do Do Do, do

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Speaker 1: the very thing. He also did a nineteen fifty three

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Speaker 1: film before all this, titled Girls Night Out, which indeed

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Speaker 1: seems to be a film noir thing, and during the

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Speaker 1: sixties he ventured into TV. He did a lot of

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Speaker 1: work on a lot of popular TV shows, rounding it

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Speaker 1: all out with a few episodes of The Love Boat,

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Speaker 1: you know. Putting together all of the Jack Arnold movies

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Speaker 1: I've seen now, including Tarantula here, the Black Lagoon movies,

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Speaker 1: it seems like he specializes in films where, if you

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Speaker 1: really stop to think about it, you kind of pity

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Speaker 1: the monster and and the humans are sort of the

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Speaker 1: bad guys. Yeah, yeah, definitely that's the case with Creature. Um,

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Speaker 1: we've i think we've talked about that at least on

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Speaker 1: episodes of Stuff to Blow your Mind in the past.

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Speaker 1: That Yeah, it's going back and watching Creature from the

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Speaker 1: Black Agoon is kind of a weird experience because the

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Speaker 1: monster is fabulous, and he is the thing that you

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Speaker 1: get behind. He is the he is the character that

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Speaker 1: you sympathize with. And I'm not saying Jack Arnold meant

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Speaker 1: it that way. I don't think that's what's really intended,

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Speaker 1: but it does feel that way because in Creature, you know,

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Speaker 1: we've talked about this, I think on the show before,

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Speaker 1: like the humans go into his house, there. It's not

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Speaker 1: like he's attacking towns or something. Creatures just hanging out

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Speaker 1: in a pond somewhere. And then all these uh, these

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Speaker 1: the scientists and people with guns show up and they're like, well,

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Speaker 1: we're gonna catch this thing. And I guess you're supposed

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Speaker 1: to be on their side. I don't know. I will

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Speaker 1: say the difference is that having a creature in the

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Speaker 1: black logoon seems like a sustainable situation. You can just

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Speaker 1: give the creature some room and he will be fine.

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Speaker 1: The giant tarantula in this movie, I clearly this is

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Speaker 1: not sustainable. Like, clearly something needs to be done. We

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Speaker 1: can't just keep having this creature. But to spoil the

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Speaker 1: ending the way they deal with it in the end,

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Speaker 1: as they napalm it and then the spider is just

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Speaker 1: burning in the background. You see it's hairy legs on fire.

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Speaker 1: The hair is kind of singing, and they're like, well

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Speaker 1: the end a universal international picture, yeah, but also edible,

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Speaker 1: potentially edible, right that could they? I mean, ultimately they

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Speaker 1: wanted to solve issues about feeding a growing world. Well

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Speaker 1: now you have it, giant roasted to rachula, three hundred

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Speaker 1: tons of spider meat. Yeah, um on the subject with

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Speaker 1: Jack Arnold, though, I was looking into his filmography a bit,

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Speaker 1: and I was really intrigued by this nineteen seven film

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Speaker 1: that he directed titled The Monolith Monsters, which immediately went

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Speaker 1: to Michael Weldon's books to see if that he had

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Speaker 1: written anything about it, and I don't think he had.

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Speaker 1: But the film sounds curious. A meteorite lands near a

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Speaker 1: sleepy desert town, so you know, entirely unlike Tarantula, but

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Speaker 1: then it starts growing into skyscraper sized mon a liths

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Speaker 1: of stone, so it sounds pretty unique. And that the

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Speaker 1: threat is not alien at all, at least not in

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Speaker 1: an organic sense. It's like a chemical threat. It's just

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Speaker 1: unchecked rock growth. So it kind of sounds ahead of

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Speaker 1: its time, like this sounds like something we would maybe

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Speaker 1: watch in the nineteen seventies as opposed to in the

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Speaker 1: ninety seven. Interesting and one more note Jack Arnold as

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Speaker 1: an actor. He had a cameo in John Landis thriller

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Speaker 1: Into the Night. I believe he is a man walking

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Speaker 1: his dog in that. Oh well, you attached to picture

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Speaker 1: from The Monolith Monsters, And now that I can see it,

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Speaker 1: it's it makes more sense to me. They are these

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Speaker 1: uh giant like sort of shards of obsidian jutting up

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Speaker 1: out of the desert. But yeah, they're as big as buildings. Yeah, strange,

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Speaker 1: Like I can tell that this probably didn't work without

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Speaker 1: even it just this is this isn't maybe what the

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Speaker 1: drive in audience was looking for. They ultimately wanted a monster,

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Speaker 1: Like how do you even shoot this thing so that

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Speaker 1: it's holding a woman's unconscious body? Now, now that is

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Speaker 1: a job for a creative poster maker. What do you

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Speaker 1: I guess you have the crystals kind of forming a

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Speaker 1: hand and the ladies there and I don't know. Yeah,

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Speaker 1: yeah it could work. I'm sure a talented poster artist

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Speaker 1: good could figure it out. All right, let's get onto

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Speaker 1: the screenplay here. A screenplay was written by um two individuals.

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Speaker 1: There's Robert M. Fresco, who lived nine, also a writer

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Speaker 1: on the Monolith Monster in various TV shows, as well

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Speaker 1: as uncredited writing on ninety nine The Alligator People, which

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Speaker 1: should be of note to fans of Rocky Rickson. That's right,

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Speaker 1: if you're one of those hiding behind the trees with

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Speaker 1: moss forever, hearing the swamp birds screaming, or if this

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Speaker 1: One's actually less of her boast than some of his

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Speaker 1: songs on the Evil One. But I do love that

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Speaker 1: line when they see alligator persons in the bog and fog. Yeah,

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Speaker 1: it's it's something's really funny about alligator persons instead of

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Speaker 1: alligator people. Yes, but but I I and I don't

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Speaker 1: know if certain, but I assume he's referring to this film.

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Speaker 1: A lot of those songs do refer back to It's

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Speaker 1: a classic monster movies and so forth. All Right. The

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Speaker 1: other screenplay credit is Martin Berkeley, who lived nineteen o

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Speaker 1: four through ninety nine. Screenwriter active through the forties, fifties,

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Speaker 1: and sixties. He worked on screenplays for westerns like Green

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Speaker 1: Grass of Wyoming and Red Sundown, but also films like

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Speaker 1: Revenge of the Creature and The Deadly Mantis, which I

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Speaker 1: believe I've seen this one before. This is a giant

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Speaker 1: killer mantis. I'm not well, it is technically a giant

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Speaker 1: killer mantis, but a giant praying mantis film. Now, I wonder,

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Speaker 1: once you had written one Giant Bug screenplay, what was

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Speaker 1: it like writing the second and third Giant Bug screenplay?

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Speaker 1: Do you like? How are you? How are you coming

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Speaker 1: up with new angles on that. What does the giant

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Speaker 1: bug mean this time? Yeah, it's a it's an interesting question,

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Speaker 1: I think, one that's partially answered by Tarantula in that

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Speaker 1: in the way that Tarantula both uh certainly matches the

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Speaker 1: sort of pre existing format of giant animal movies, but

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Speaker 1: also bucks some of the ends as well discussed and

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Speaker 1: not like, most notably being this is not a giant

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Speaker 1: atomic monster creature, even though it's very much a product

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Speaker 1: of the of the atomic age and during a time

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Speaker 1: when so many atomic giant animals were rampaging through cinema.

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Speaker 1: That's true. They don't say it's directly atomic radiation, though

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Speaker 1: I do think there's a little bit of atomic magic implicated,

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Speaker 1: and it's there's a there's a whole sequence in the

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Speaker 1: middle of the movie with some of the most gorgeous

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Speaker 1: technobabble that you have ever encountered. We're gonna have to

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Speaker 1: spend some time on that, but I think they sort

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Speaker 1: of are trying to say that there's radioactive something in

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Speaker 1: the juice they're squirting into these animals, but it's hard

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Speaker 1: to tell. It's hard to decipher alright, Well, speaking of

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Speaker 1: the science, everyone please get out your periodic table of

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Speaker 1: classic Hollywood actors. Because this movie contains um Agar, um,

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Speaker 1: is it Agar or Agar? I'm gonna say Agar, John Agar,

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Speaker 1: John Agar, John Agar. In this film, he plays Dr

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Speaker 1: Matt Hastings. That's right. Today's John Agar role will be

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Speaker 1: played by John Agar, who is just h He's just

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Speaker 1: a country doctor with common sense, probably a strong right hook.

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Speaker 1: I don't think we ever see him throw one, but

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Speaker 1: you can imagine, uh, and apparently a permanent sense of

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Speaker 1: amusement at the concept of equal rights for women. Uh.

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Speaker 1: And he he really polished his jawline for this movie.

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Speaker 1: He is such such a perfect example of the fifties

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Speaker 1: creature feature lug hero. Yeah, if you haven't seen this film,

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Speaker 1: and you haven't seen John Agar in anything, you can,

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Speaker 1: you can still picture him in your mind right now.

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Speaker 1: He's exactly like you think he looks. He acts exactly

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Speaker 1: like you think he acts. Uh. He lived nine one

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Speaker 1: through two thousand and two. Longtime American actor who appeared

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Speaker 1: in films from eight through two thousand and one. Uh

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Speaker 1: and even I think a two thousand and five release

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Speaker 1: via like delayed release. But you can basically divide a

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Speaker 1: Gar's work into two categories. War in westerns and B movies,

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Speaker 1: and in the former category he acted alongside folks like

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Speaker 1: John Wayne and the Sands of theo Jima fort Apachi.

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Speaker 1: She wore a yellow ribbon all in the late nineteen forties.

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Speaker 1: But then in the B movie category he appeared in

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Speaker 1: a lot of quality Monster Mayhem flicks, like The Mole

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Speaker 1: People from the nineteen fifty six that was on the

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Speaker 1: same disc as this one. For me, that's a that's

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Speaker 1: a very fun like Hollow Earth type of film. The

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Speaker 1: Brain from Planet Arows from seven, Revenge of the Creature

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Speaker 1: from fifty five, and Hand of Death from sixty two.

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Speaker 1: I think we discussed doing the Brain from Planet Arouse

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Speaker 1: or Arose. However you say that, Uh, we ended up

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Speaker 1: doing Fiend Without a Face instead because we want to

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Speaker 1: do some kind of brain movie and that there's a

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Speaker 1: handful that looked pretty juicy. Yeah, we may have to

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Speaker 1: come back to that one because that has a really

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Speaker 1: fun looking brain monster in it. It kind of floats around.

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Speaker 1: So Agar did a lot of TV later in his career,

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Speaker 1: but the B movie association stuck. And I was reading

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Speaker 1: on on IMDb that in n two Famous Monsters of Filmland,

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Speaker 1: a fan magazine. They declared him dead. Uh they said,

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Speaker 1: you know, r I P. John Agar. But Agar was

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Speaker 1: not dead, And so he apparently made the rounds at

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Speaker 1: a lot of sci fi fan conventions back in the day,

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Speaker 1: signing these magazines about his death. That's good. He was

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Speaker 1: at one point married to Shirley Temple, and late in

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00:21:27,920 --> 00:21:31,959
Speaker 1: life he had cameos in two films of note nine nineties,

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Speaker 1: Night Breed, the Clive Barker film, and John Carpenter's anthology

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Speaker 1: film Body Bags. This is the one where John Carpenter

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Speaker 1: himself sort of plays the crypt keeper. Uh so I

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Speaker 1: haven't seen Body Bags. I have seen Nightbreed. Nightbreed is

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Speaker 1: Clive Barker, and it's full of interesting various monsters. But

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Speaker 1: actually the thing that most sticks out to me and

394
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Speaker 1: about it is the character played by David Cronenberg. He

395
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Speaker 1: was he was an actor, just an actor in the movie,

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Speaker 1: playing the main character, psychotherapist but who also turns out

397
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Speaker 1: to be a serial killer who wears a creepy sock

398
00:22:08,600 --> 00:22:11,440
Speaker 1: over his head. Yeah. That's a really fun role and

399
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Speaker 1: what is ultimately a really fun film. I haven't watched

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Speaker 1: it in a while, but I remember being quite fond

401
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Speaker 1: of it back in the day. I remember enjoying the

402
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Speaker 1: book as well. But with Clive Barker, obviously, he's a

403
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Speaker 1: he was a big he was a big fan of

404
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Speaker 1: classic Hollywood and and all of that, so it makes

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Speaker 1: sense that he might bring John Agar in to do

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Speaker 1: a little cameo. But so anyway, the character John Agar

407
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Speaker 1: plays in this is sort of set against the scientist

408
00:22:36,119 --> 00:22:40,200
Speaker 1: characters who they're The scientists are off doing uh you know,

409
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Speaker 1: dangerous unholy experiments in their isolated laboratory in the desert.

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Speaker 1: Meanwhile John Agar is just he's he's ready to slap

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Speaker 1: some common sense up against them. So that's our malely

412
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Speaker 1: in the film. But we also have a lead female

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Speaker 1: character in the form of Stephanie Clayton better known as

414
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Speaker 1: Steve to everyone, and she was played by the beautiful

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Speaker 1: Mara corday So born nineteen thirty and as of this

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Speaker 1: recording is still still with us. Um. Yeah, she was

417
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Speaker 1: a model actress fifties cult icon. She later on she

418
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Speaker 1: was in the nineteen fifty eight Playboy magazine Centerfold. She

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Speaker 1: mostly did small acting jobs prior to Tarrantula, but this

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Speaker 1: is the film that kind of gave her a chance

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Speaker 1: to shine and kind of propelled her more into the limelight.

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Speaker 1: So she was more prominently featured in films after this point,

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Speaker 1: including the nineteen fifty seven Monster films, The Black Scorpion

424
00:23:46,040 --> 00:23:50,080
Speaker 1: and The Giant Claw, which is a giant goofy bird movie.

425
00:23:51,400 --> 00:23:53,560
Speaker 1: She met Clint Eastwood on the set of this film,

426
00:23:53,640 --> 00:23:55,920
Speaker 1: and we'll explain how that is possible in a bed.

427
00:23:56,320 --> 00:23:59,560
Speaker 1: But after meeting on the set of this film, they

428
00:23:59,560 --> 00:24:03,120
Speaker 1: reported remained friends for a very long time, and all

429
00:24:03,200 --> 00:24:06,680
Speaker 1: of her final screen credits are roles in Clint Eastwood

430
00:24:06,760 --> 00:24:10,320
Speaker 1: films The Gauntlet in seventy seven, Sudden Impact in eighty three,

431
00:24:10,400 --> 00:24:13,800
Speaker 1: Pink Cadillac in eighty nine, and The Rookie in nineteen nine.

432
00:24:14,280 --> 00:24:17,840
Speaker 1: In fact, in Sudden Impact, she's the waitress in the

433
00:24:17,920 --> 00:24:21,640
Speaker 1: scene where Dirty Harry coins the catchphrase go ahead, make

434
00:24:21,720 --> 00:24:23,840
Speaker 1: my day. I think she's being held at gunpoint or

435
00:24:23,920 --> 00:24:27,200
Speaker 1: something and he saves her. Oh interesting, Well, you know

436
00:24:27,280 --> 00:24:29,639
Speaker 1: what I think. Mark Corday is great in this movie.

437
00:24:29,800 --> 00:24:33,280
Speaker 1: She uh, she really brings a sense of fun and

438
00:24:33,359 --> 00:24:36,200
Speaker 1: amusement to the silliness here. Yeah, it's a it's a

439
00:24:36,240 --> 00:24:40,119
Speaker 1: fun performance. Um. She plays a quote unquote lady scientist

440
00:24:40,760 --> 00:24:43,960
Speaker 1: and It's kind of an interesting role for for the

441
00:24:44,040 --> 00:24:46,600
Speaker 1: time period. I was I was looking around about this

442
00:24:46,640 --> 00:24:48,440
Speaker 1: a little bit because you you look at some of

443
00:24:48,520 --> 00:24:50,760
Speaker 1: these nineteen fifties films and clack. In fact, if you

444
00:24:50,800 --> 00:24:54,000
Speaker 1: look at The Thing from Another World, Uh, it also

445
00:24:54,240 --> 00:24:56,760
Speaker 1: has a I don't know if she's quite a scientist

446
00:24:56,840 --> 00:24:58,440
Speaker 1: in it, but you still have a she's at least

447
00:24:58,480 --> 00:25:00,719
Speaker 1: what a secretary to a scientist. You have a very

448
00:25:00,800 --> 00:25:04,000
Speaker 1: strong female role in that film. I think the character

449
00:25:04,080 --> 00:25:06,879
Speaker 1: in The Thing from Another World is widely considered one

450
00:25:06,920 --> 00:25:09,879
Speaker 1: of the examples of the the the Howard Hawks leading

451
00:25:09,960 --> 00:25:12,920
Speaker 1: lady type character. Yeah. Yeah, And we talked about the

452
00:25:13,280 --> 00:25:17,720
Speaker 1: Hawks and um uh female role in that episode of

453
00:25:17,800 --> 00:25:19,399
Speaker 1: Weird House that we did. But I was reading a

454
00:25:19,480 --> 00:25:21,680
Speaker 1: bit about this from this is a blog post by

455
00:25:22,000 --> 00:25:27,200
Speaker 1: Bob Calhoun at Roger Ebert dot com titled Atomic Age

456
00:25:27,240 --> 00:25:30,200
Speaker 1: Feminists the Women of fifties sci Fi. And this is

457
00:25:30,200 --> 00:25:32,919
Speaker 1: pretty interesting because Calhoun pointed out the first of all

458
00:25:33,000 --> 00:25:36,520
Speaker 1: several great examples of female scientists characters or sort of

459
00:25:36,600 --> 00:25:40,240
Speaker 1: scientists adjacent characters in such films as The Daily Earth

460
00:25:40,320 --> 00:25:43,720
Speaker 1: Stood Still from fifty one, Thing from Another World fifty one,

461
00:25:44,000 --> 00:25:46,760
Speaker 1: Revenge of the Creature from fifty five. And then I

462
00:25:46,880 --> 00:25:49,760
Speaker 1: was looking around at the Classic Horror Film Board, and

463
00:25:49,880 --> 00:25:52,320
Speaker 1: I saw a thread where people were bringing up other examples,

464
00:25:52,400 --> 00:25:56,639
Speaker 1: like them rocket Ship x M, the Giant Claw from Hell,

465
00:25:56,720 --> 00:26:00,840
Speaker 1: it came the Beast from twenty thousand fathoms, uh, Pamela

466
00:26:00,960 --> 00:26:04,520
Speaker 1: Duncan's character and Attack of the Crab Monsters. So there's

467
00:26:04,560 --> 00:26:08,679
Speaker 1: a long list, and so Calhoun. In this he cites

468
00:26:08,880 --> 00:26:12,920
Speaker 1: feminist American art and film critic Carrie Ricky, pointing out

469
00:26:13,080 --> 00:26:16,159
Speaker 1: that much of this seems to come down to the

470
00:26:16,280 --> 00:26:19,919
Speaker 1: studio system, which during the thirties and forties had female

471
00:26:19,960 --> 00:26:24,520
Speaker 1: screenwriters create the female characters, and that this practice, or

472
00:26:24,600 --> 00:26:27,000
Speaker 1: its influence the influence of this practice at any rate,

473
00:26:27,240 --> 00:26:30,280
Speaker 1: may have carried over into the nineteen fifties to some extent.

474
00:26:30,640 --> 00:26:34,520
Speaker 1: Thus we have all these nuanced, professional female characters showing

475
00:26:34,600 --> 00:26:39,159
Speaker 1: up in monster movies and sci fi features. Um However,

476
00:26:39,240 --> 00:26:41,200
Speaker 1: he points out that the reverse seems to be true

477
00:26:41,200 --> 00:26:44,000
Speaker 1: as well. With the full collapse of the studio system,

478
00:26:44,320 --> 00:26:47,080
Speaker 1: you find fewer female scientists roles in films of this

479
00:26:47,200 --> 00:26:50,639
Speaker 1: caliber moving forward, and he specifically, of course points to

480
00:26:51,400 --> 00:26:54,440
Speaker 1: John Carpenter's remake of the Thing from another world, which

481
00:26:54,520 --> 00:26:57,200
Speaker 1: is we discussed in our in our episode about that

482
00:26:57,359 --> 00:27:00,640
Speaker 1: movie about about the original that you know, Carpenter's film

483
00:27:00,680 --> 00:27:03,680
Speaker 1: has no female characters. It's an entirely male film. Um

484
00:27:04,359 --> 00:27:07,479
Speaker 1: So it's um, it is interesting to look back at

485
00:27:07,480 --> 00:27:09,679
Speaker 1: all these pictures and see that, Yeah, this is kind

486
00:27:09,720 --> 00:27:13,240
Speaker 1: of the era of the B movie female scientist character

487
00:27:13,400 --> 00:27:16,560
Speaker 1: that is assertive and strong and and generally holds her

488
00:27:16,600 --> 00:27:20,680
Speaker 1: own with with male characters and counterparts. Yes, there's this

489
00:27:20,840 --> 00:27:24,440
Speaker 1: interesting mixture where these characters do show up. But of course,

490
00:27:25,119 --> 00:27:28,840
Speaker 1: like the funny thing is is how ridiculously sexist the

491
00:27:28,920 --> 00:27:31,520
Speaker 1: context still is so like, do you will have a

492
00:27:31,600 --> 00:27:34,320
Speaker 1: movie where, oh, you know, so the scientist character is

493
00:27:34,359 --> 00:27:36,480
Speaker 1: a woman, that's cool, but then she like has to

494
00:27:36,600 --> 00:27:39,719
Speaker 1: make coffee for everybody. That's all of these movies are

495
00:27:40,080 --> 00:27:42,920
Speaker 1: in this movie. Um, when she meets John Agar and

496
00:27:42,960 --> 00:27:46,040
Speaker 1: they're flirting, and like the first thing he says is like, oh,

497
00:27:46,240 --> 00:27:48,480
Speaker 1: lady scientists. Uh yeah, He's like, oh, you give a

498
00:27:48,520 --> 00:27:50,720
Speaker 1: woman the vote, what do you get, lady scientists? That's

499
00:27:50,840 --> 00:27:53,960
Speaker 1: like it's literally the line from the film. Yeah, there's

500
00:27:53,960 --> 00:27:55,720
Speaker 1: other stuff in here too, Like this is one part

501
00:27:55,760 --> 00:27:58,920
Speaker 1: where he's John Agar's character is a doctor and he's

502
00:27:58,960 --> 00:28:01,280
Speaker 1: delivering medicine to somebody he keeps. It's kind of a

503
00:28:01,320 --> 00:28:04,640
Speaker 1: neat or a clever plot device for this is he's

504
00:28:04,640 --> 00:28:06,920
Speaker 1: always been called away on jobs, so it kind of

505
00:28:06,960 --> 00:28:08,760
Speaker 1: gets him out of scenes when you need him the

506
00:28:09,000 --> 00:28:12,480
Speaker 1: action to move on. But he's dropping off medication for

507
00:28:12,560 --> 00:28:14,480
Speaker 1: somebody and the husband picks it up and he's like, well,

508
00:28:14,560 --> 00:28:16,800
Speaker 1: do you know women, she won't take it, but you

509
00:28:16,880 --> 00:28:19,119
Speaker 1: know she'll feel better. Annoying, it's on the shelf. And

510
00:28:19,200 --> 00:28:22,080
Speaker 1: I didn't even know that was a stereotype. Yeah, I've

511
00:28:22,119 --> 00:28:25,280
Speaker 1: never even heard that. I mean, well, but anyway. Mark

512
00:28:25,320 --> 00:28:27,480
Speaker 1: Horday is great in this, and she seems to like

513
00:28:28,240 --> 00:28:30,760
Speaker 1: John Agar makes a lady scientist joke. It just seems

514
00:28:30,800 --> 00:28:32,920
Speaker 1: to roll off her back. Also, when the first time

515
00:28:33,040 --> 00:28:37,680
Speaker 1: she meets um what's his name, Leo G. Carroll's scientist character,

516
00:28:37,960 --> 00:28:40,240
Speaker 1: he's like, oh, I didn't expect our new assistant to

517
00:28:40,280 --> 00:28:43,840
Speaker 1: look like you. He's just he's not doing a good

518
00:28:43,920 --> 00:28:47,840
Speaker 1: job creating a a friendly and productive workplace. But yeah,

519
00:28:48,120 --> 00:28:50,520
Speaker 1: so it's yeah, when you're talking about feminism in ninet

520
00:28:50,680 --> 00:28:53,720
Speaker 1: fifties monster movies, it's a mixed back, but it's a.

521
00:28:53,800 --> 00:28:56,680
Speaker 1: It makes for an interesting analysis, all right. Well, speaking

522
00:28:56,680 --> 00:29:00,320
Speaker 1: of Leo G. Carroll, Yes, he plays Professor Gerald Seamer.

523
00:29:01,040 --> 00:29:03,080
Speaker 1: So Carol we already talked a little bit about him.

524
00:29:03,120 --> 00:29:07,360
Speaker 1: Lived eighteen eighty six through nine seventy two British Hollywood actor,

525
00:29:07,520 --> 00:29:10,160
Speaker 1: best known for his roles in Hitchcock films like north

526
00:29:10,240 --> 00:29:13,600
Speaker 1: By Northwest from fifty nine, Strangers on a Train fifty one,

527
00:29:13,640 --> 00:29:17,400
Speaker 1: and Spellbound from forty five. He also played the character

528
00:29:17,520 --> 00:29:20,719
Speaker 1: Alexander Waverley on the series The Man from Uncle as

529
00:29:20,760 --> 00:29:23,480
Speaker 1: well as The Girl from Uncle. I believe he played

530
00:29:23,480 --> 00:29:25,760
Speaker 1: the same character in both of those shows. One I

531
00:29:25,760 --> 00:29:27,800
Speaker 1: guess it's a spin off of the other. He also

532
00:29:27,880 --> 00:29:30,920
Speaker 1: played Marley's ghost in the nineteen thirty eight adaptation of

533
00:29:30,960 --> 00:29:34,000
Speaker 1: A Christmas Carol. He was active from nineteen thirty four

534
00:29:34,080 --> 00:29:36,720
Speaker 1: through nineteen seventy. I don't think he did a lot

535
00:29:36,760 --> 00:29:39,320
Speaker 1: of films like this, uh oh. And he was also

536
00:29:39,440 --> 00:29:43,200
Speaker 1: in the original nineteen sixty one The Parent Trap. You

537
00:29:43,360 --> 00:29:47,240
Speaker 1: don't necessarily get the sense that Carol is unhappy to

538
00:29:47,320 --> 00:29:49,440
Speaker 1: be in this movie, but you do get the feeling

539
00:29:49,520 --> 00:29:51,720
Speaker 1: that you know, he's one of those actors who's clearly

540
00:29:51,840 --> 00:29:55,040
Speaker 1: kind of in a different League, and he's here giving

541
00:29:55,200 --> 00:29:58,640
Speaker 1: a more subtle performance than you would expect as the

542
00:29:58,720 --> 00:30:02,280
Speaker 1: mad scientist whose crea eating giant spiders. Right, Yeah, like

543
00:30:02,400 --> 00:30:04,400
Speaker 1: he doesn't. He certainly doesn't come off as you're you're

544
00:30:04,560 --> 00:30:07,040
Speaker 1: sort of cackling mad scientists. And part that's in the

545
00:30:07,120 --> 00:30:10,160
Speaker 1: writing too, Like he's ultimately you buy him more as

546
00:30:10,200 --> 00:30:13,560
Speaker 1: a guy who's trying to do the right thing. Maybe

547
00:30:13,600 --> 00:30:16,920
Speaker 1: he got a little sloppy may maybe he should have

548
00:30:16,960 --> 00:30:22,120
Speaker 1: had some better uh uh lab safety protocols in place,

549
00:30:22,760 --> 00:30:25,480
Speaker 1: But for the most part, he's not uh, he's not

550
00:30:25,920 --> 00:30:29,080
Speaker 1: you know, Lawn Cheney Jr. He's not uh, you know,

551
00:30:29,200 --> 00:30:33,520
Speaker 1: the the cackling madman. All right. Another interesting actor in

552
00:30:33,600 --> 00:30:37,680
Speaker 1: this we have this actor Nestor Paiva who lived nineteen

553
00:30:37,720 --> 00:30:41,720
Speaker 1: o five through nineteen sixty six, who plays Sheriff Jack Andrews,

554
00:30:42,080 --> 00:30:45,840
Speaker 1: who's not taken any crap off anybody, especially off of

555
00:30:45,960 --> 00:30:50,960
Speaker 1: John Agar. He's our cranky local sheriff. And yeah, Nestor here,

556
00:30:51,000 --> 00:30:53,960
Speaker 1: American actor of Portuguese descent, did a lot of Westerns,

557
00:30:54,000 --> 00:30:57,680
Speaker 1: including the TV Zoro Show from Disney back in the day,

558
00:30:58,240 --> 00:31:01,080
Speaker 1: but is most remembered as cap and Lucas in both

559
00:31:01,160 --> 00:31:03,200
Speaker 1: Creature from the Black Lagoon and Revenge of the Creature.

560
00:31:03,480 --> 00:31:05,840
Speaker 1: He was also in The Mole People and his final

561
00:31:05,920 --> 00:31:10,200
Speaker 1: film was They Saved Hitler's Brain. We will get into

562
00:31:10,240 --> 00:31:11,840
Speaker 1: more detail about this as we go on, but this

563
00:31:12,000 --> 00:31:16,320
Speaker 1: is an unusual type of character, Sheriff Andrews. Here is

564
00:31:16,480 --> 00:31:21,320
Speaker 1: this Haysey Desert sheriff who really thinks that egg heads scientists,

565
00:31:21,440 --> 00:31:23,600
Speaker 1: really they know what they're doing and they're hard one

566
00:31:23,640 --> 00:31:27,480
Speaker 1: expertise should be respected, right right, We shouldn't go investigate

567
00:31:27,520 --> 00:31:30,200
Speaker 1: the mysterious lab. Are you crazy? No, don't mess with

568
00:31:30,280 --> 00:31:32,400
Speaker 1: those people. And you know what, Doc, you don't know

569
00:31:32,440 --> 00:31:36,880
Speaker 1: what you're doing. He's just really into science. Al right.

570
00:31:36,920 --> 00:31:39,920
Speaker 1: Speaking of science, there's another character that shows up that's

571
00:31:39,920 --> 00:31:43,080
Speaker 1: worth noting. This character Townsend. Who is Is he supposed

572
00:31:43,080 --> 00:31:45,320
Speaker 1: to be like Spider Expert? Is he a biologist? I

573
00:31:45,360 --> 00:31:48,640
Speaker 1: don't recall his credentials exactly. Oh yeah, he's the guy

574
00:31:48,680 --> 00:31:52,719
Speaker 1: who John Agar goes to visit at the Arizona Agricultural Institute,

575
00:31:52,760 --> 00:31:55,800
Speaker 1: who shows him a film strip about Tarantula's and shares

576
00:31:55,840 --> 00:31:59,240
Speaker 1: a lot of tarantial effects and in a very funny scene. Yeah,

577
00:31:59,280 --> 00:32:01,240
Speaker 1: it's it's a memory Will seen in this Uh, This

578
00:32:01,400 --> 00:32:04,360
Speaker 1: character Townsend was played by Raymond Bailey, who's of nineteen

579
00:32:04,400 --> 00:32:08,800
Speaker 1: o four. Bailey is best known by classic TV fans

580
00:32:08,880 --> 00:32:12,720
Speaker 1: as Milbourne Drysdale on The Beverly Hillbillies, but he was

581
00:32:12,760 --> 00:32:15,479
Speaker 1: also in Hitchcock's Vertico. But yeah, when you hear you're

582
00:32:15,560 --> 00:32:19,520
Speaker 1: here to Drysdale, Mr Drysdale, this is Mr Drysdale. I

583
00:32:19,640 --> 00:32:21,640
Speaker 1: didn't know that when I watched the movie, but now

584
00:32:21,760 --> 00:32:25,440
Speaker 1: that you say it, I totally see it. Heat he

585
00:32:25,760 --> 00:32:30,560
Speaker 1: he is like a snooty bank manager. Yeah, alright, we

586
00:32:30,640 --> 00:32:34,400
Speaker 1: mentioned Clint Eastwood earlier. Yes, Clint Eastwood is in this movie.

587
00:32:34,880 --> 00:32:38,000
Speaker 1: He plays uncredited. He plays the jet squadron leader who

588
00:32:38,000 --> 00:32:41,120
Speaker 1: shows up to napalm the Spider in the final moments

589
00:32:41,160 --> 00:32:43,480
Speaker 1: of the film. Uh, this is not a proper Clint

590
00:32:43,480 --> 00:32:45,600
Speaker 1: Eastwood movie, so we're not gonna get exhaustive on this.

591
00:32:45,800 --> 00:32:48,720
Speaker 1: But you know, Clint Eastwood legendary actor and director still

592
00:32:48,800 --> 00:32:52,040
Speaker 1: active today, not only alive, but active. This was only

593
00:32:52,120 --> 00:32:56,280
Speaker 1: his fourth screen appearance, along with some other uncredited roles

594
00:32:56,320 --> 00:32:59,000
Speaker 1: in films like Revenge of the Creature, Francis and the

595
00:32:59,120 --> 00:33:02,480
Speaker 1: Navy and Lady could Iva of Coventry, all released the

596
00:33:02,560 --> 00:33:05,560
Speaker 1: same year as tarantula. He was only twenty five years

597
00:33:05,600 --> 00:33:08,200
Speaker 1: old at the time. Can't really comment on his performance.

598
00:33:08,280 --> 00:33:10,040
Speaker 1: He just sort of sits in a cockpit and then

599
00:33:10,080 --> 00:33:13,880
Speaker 1: he's like releasing napalm. Now, yeah, he has a mask on,

600
00:33:13,960 --> 00:33:16,760
Speaker 1: so you really only see his eyes. But man, there's

601
00:33:16,800 --> 00:33:19,920
Speaker 1: no denying whose eyes those are. That's clean Eastwitt. All right.

602
00:33:20,000 --> 00:33:24,440
Speaker 1: Another uncredited actor of note, uh just playing deputized townsmen

603
00:33:24,920 --> 00:33:28,600
Speaker 1: is actor Being Russell, who lived through two thousand and three,

604
00:33:29,640 --> 00:33:33,040
Speaker 1: best known perhaps for playing Deputy Clym Foster on the

605
00:33:33,120 --> 00:33:36,840
Speaker 1: Western series Bonanza and Robert in The Magnificent Seven. But

606
00:33:37,280 --> 00:33:40,480
Speaker 1: he was also Kurt Russell's dad, and he owned the

607
00:33:40,600 --> 00:33:44,080
Speaker 1: Portland Mavericks at one point. Now here's this is another

608
00:33:44,120 --> 00:33:47,680
Speaker 1: interesting connection. I alluded to this earlier. But as we mentioned,

609
00:33:48,240 --> 00:33:50,800
Speaker 1: the tarantula, when we see it is often this actual

610
00:33:50,880 --> 00:33:53,160
Speaker 1: tarantula that's made to look big. But also we have

611
00:33:53,240 --> 00:33:57,040
Speaker 1: this tarantula puppet. And this was built by Wa Chang

612
00:33:57,440 --> 00:34:01,040
Speaker 1: who lived nineteen seventeen through two thousand in three of

613
00:34:01,320 --> 00:34:05,760
Speaker 1: Hawaii born Chinese American designer, sculptor and artist, responsible for

614
00:34:05,840 --> 00:34:09,440
Speaker 1: the triantula puppet on this film and later responsible for

615
00:34:09,680 --> 00:34:13,400
Speaker 1: key prop design on Star Trek the original series, including

616
00:34:13,440 --> 00:34:18,320
Speaker 1: the tricorder and the Communicator. Yeah. He also did some

617
00:34:18,480 --> 00:34:23,040
Speaker 1: costumes on Key Classic Track episodes. He apparently created the

618
00:34:23,120 --> 00:34:26,960
Speaker 1: Triples legendary, Yeah, legendary. He also worked on the original

619
00:34:27,000 --> 00:34:30,000
Speaker 1: Outer Limits, the original Planet of the Apes movie, the

620
00:34:30,040 --> 00:34:33,040
Speaker 1: TV series Land of the Lost. He did visual effects

621
00:34:33,040 --> 00:34:35,480
Speaker 1: in the nineteen six adaptation of H. G. Wells The

622
00:34:35,560 --> 00:34:38,960
Speaker 1: Time Machine, stop motion puppets on the Monster from Green

623
00:34:39,040 --> 00:34:42,520
Speaker 1: Hill from fifty seven and uh he was the adoptive

624
00:34:42,600 --> 00:34:47,520
Speaker 1: son of James Balding sloan on American etcher printmaker, uh,

625
00:34:47,760 --> 00:34:51,920
Speaker 1: theater theatrical designer and also a puppeteer. But yeah, this

626
00:34:52,080 --> 00:34:55,239
Speaker 1: was an interesting uh case here. I've looked up some

627
00:34:55,400 --> 00:34:59,280
Speaker 1: images of him showing him when creating various dragons and creatures.

628
00:34:59,360 --> 00:35:01,960
Speaker 1: I think he was so had some involvement in some

629
00:35:02,120 --> 00:35:06,920
Speaker 1: Disney productions with sort of modeling of creatures to be animated.

630
00:35:07,360 --> 00:35:10,560
Speaker 1: So quite an interesting story. Well, I say once again bravo.

631
00:35:10,719 --> 00:35:13,239
Speaker 1: On The Spider Puppet, I would say broadly, this movie

632
00:35:13,320 --> 00:35:16,359
Speaker 1: does not actually have any scary parts except for one.

633
00:35:16,640 --> 00:35:20,080
Speaker 1: There's one scene where the Spider Puppet kind of peers

634
00:35:20,200 --> 00:35:23,719
Speaker 1: through a window at Mara Corday and that, oh, that

635
00:35:24,040 --> 00:35:26,879
Speaker 1: one is actually creepy. Yeah, that that scene I found

636
00:35:27,000 --> 00:35:30,279
Speaker 1: was legitimately creepy. It too is also kind of a

637
00:35:30,320 --> 00:35:33,680
Speaker 1: classic trope of the time period, right the the female

638
00:35:33,800 --> 00:35:36,880
Speaker 1: character is changing or getting ready for bed and a

639
00:35:36,960 --> 00:35:39,520
Speaker 1: monster peers through the window. Though it's it's kind of

640
00:35:39,560 --> 00:35:42,080
Speaker 1: funny that in this scene she's she's about to take

641
00:35:42,160 --> 00:35:44,680
Speaker 1: her her nightgown off, you know, to get into bed,

642
00:35:45,080 --> 00:35:47,759
Speaker 1: and we only briefly see that she's she's wearing full

643
00:35:47,840 --> 00:35:50,800
Speaker 1: length pajamas underneath there. So I don't know what the

644
00:35:50,840 --> 00:35:53,839
Speaker 1: spider thought he was going to say, but that's right.

645
00:35:54,280 --> 00:35:57,200
Speaker 1: The tarantula is peeping in, though it seems clearly that

646
00:35:57,320 --> 00:35:59,480
Speaker 1: this is not a lusty peeping in. This is just

647
00:35:59,600 --> 00:36:03,799
Speaker 1: like king for fluid filled humans to drain, right, yes,

648
00:36:04,800 --> 00:36:08,440
Speaker 1: But also, you know, coming back to Steve Mars character,

649
00:36:08,560 --> 00:36:10,560
Speaker 1: you know, she's she's a smart lady. She knows there

650
00:36:10,760 --> 00:36:14,200
Speaker 1: is a rampaging spider on the loose, so we're sensible

651
00:36:14,239 --> 00:36:16,600
Speaker 1: garments to bed, you don't want to, don't wear anything

652
00:36:16,640 --> 00:36:19,000
Speaker 1: you don't want to take off across town in that's correct,

653
00:36:19,040 --> 00:36:22,600
Speaker 1: and she does get out of the situation. Yeah, uh, Finally,

654
00:36:22,640 --> 00:36:24,120
Speaker 1: on the music note, I'm gonna spend a lot of

655
00:36:24,200 --> 00:36:26,120
Speaker 1: time on this because it's my understanding that this was

656
00:36:26,239 --> 00:36:29,759
Speaker 1: just studio stock music we used on this. But the

657
00:36:29,840 --> 00:36:33,200
Speaker 1: two individuals that are uncredited are Henry Mancini, who lived

658
00:36:33,239 --> 00:36:36,680
Speaker 1: twenty four through and Hermann Stein, who lived nineteen fifteen

659
00:36:36,719 --> 00:36:41,040
Speaker 1: through two thousand and seven. Mancini notable for such scores

660
00:36:41,120 --> 00:36:44,040
Speaker 1: as The Pink Panther, Breakfast at Tiffany's, and six Romeo

661
00:36:44,080 --> 00:36:46,560
Speaker 1: and Juliet, and Stein he worked on a lot of

662
00:36:46,680 --> 00:36:49,239
Speaker 1: nineteen fifties sci fi films, including It Came from Outer Space,

663
00:36:49,280 --> 00:36:51,680
Speaker 1: Revenge of the Creature, This Island Earth, and many more.

664
00:37:01,320 --> 00:37:03,040
Speaker 1: All Right, is it time to talk about the plot.

665
00:37:03,440 --> 00:37:05,239
Speaker 1: Let's do it. Let's dive right in. Al So, the

666
00:37:05,320 --> 00:37:08,719
Speaker 1: film begins in the desert. Actually, one of the first

667
00:37:08,760 --> 00:37:10,880
Speaker 1: things I noticed about it was one of the opening

668
00:37:10,960 --> 00:37:13,800
Speaker 1: desert shots all the shows. These different plants, kind of

669
00:37:13,840 --> 00:37:16,719
Speaker 1: scrub plants out in the desert, and they're all kind

670
00:37:16,760 --> 00:37:20,520
Speaker 1: of equally spaced apart from each other, almost as if

671
00:37:20,560 --> 00:37:22,319
Speaker 1: they're trying to keep their distance. I don't know if

672
00:37:22,400 --> 00:37:25,320
Speaker 1: that was a detail chosen on purpose, but anyway, you

673
00:37:25,440 --> 00:37:29,040
Speaker 1: got the scrub plants, You've got rocks, sand wind, and

674
00:37:29,200 --> 00:37:32,960
Speaker 1: then a man in pajamas with monster makeup on his

675
00:37:33,080 --> 00:37:37,000
Speaker 1: face stumbles around until he dies. Oh man, this game's

676
00:37:37,040 --> 00:37:40,080
Speaker 1: full length pajama game is strong. Um. It makes me

677
00:37:40,560 --> 00:37:43,960
Speaker 1: think of how I remember hearing that supposedly on HBO's

678
00:37:43,960 --> 00:37:46,560
Speaker 1: Game of Thrones, there was like somebody from the studio

679
00:37:47,080 --> 00:37:50,520
Speaker 1: or from the network there that was there just to

680
00:37:50,600 --> 00:37:52,680
Speaker 1: remind the director. It's like, hey, you can have full

681
00:37:52,800 --> 00:37:54,920
Speaker 1: nudity in this scene if you want. I like to

682
00:37:54,960 --> 00:37:57,040
Speaker 1: think there was somebody on this picture that's like, hey,

683
00:37:58,040 --> 00:38:00,560
Speaker 1: by the way, if you want full length pajamas and

684
00:38:00,600 --> 00:38:02,719
Speaker 1: this shot, you got it. We got them on all sides.

685
00:38:02,760 --> 00:38:04,600
Speaker 1: It is ready to go. Oh they do them up

686
00:38:04,640 --> 00:38:07,480
Speaker 1: and down, so many pajamas. But this monster makeup looks

687
00:38:07,480 --> 00:38:10,759
Speaker 1: pretty good and it's a strong start to the film. Yes,

688
00:38:10,840 --> 00:38:13,120
Speaker 1: I would say the monster makeup looks good, though it

689
00:38:13,320 --> 00:38:17,200
Speaker 1: also it does not match up well with something that

690
00:38:17,360 --> 00:38:20,879
Speaker 1: they they end up attributing the monster makeup too. Yes,

691
00:38:20,920 --> 00:38:24,400
Speaker 1: because this individual is supposed to have acromegaly uh, the

692
00:38:25,520 --> 00:38:29,360
Speaker 1: the rare condition that causes excessive production of growth hormone

693
00:38:30,000 --> 00:38:33,000
Speaker 1: by the peteritary gland that results in large bones in

694
00:38:33,040 --> 00:38:37,040
Speaker 1: the face, feet, and hands. Right today, it's known as acromegaly,

695
00:38:37,160 --> 00:38:39,440
Speaker 1: and that that's the I'm not positive, but that's the

696
00:38:39,440 --> 00:38:42,359
Speaker 1: way I've always heard it pronounced. In this movie, they

697
00:38:42,480 --> 00:38:47,120
Speaker 1: call it acromegalia, And uh, from what I can tell,

698
00:38:47,200 --> 00:38:49,440
Speaker 1: this movie is not at all a good barometer of

699
00:38:49,520 --> 00:38:53,760
Speaker 1: what acromegaly actually looks like. Of course, acromegally does affect

700
00:38:53,800 --> 00:38:57,120
Speaker 1: to different body parts with you know, with abnormal growth,

701
00:38:57,200 --> 00:39:00,319
Speaker 1: you get changes to the facial features and so forth.

702
00:39:00,400 --> 00:39:03,240
Speaker 1: But this movie just straight up puts people in Frankenstein makeup,

703
00:39:03,320 --> 00:39:06,000
Speaker 1: which is not accurate. So don't get your ideas about

704
00:39:06,000 --> 00:39:08,920
Speaker 1: acromegaly from Tarantula. Yeah, I mean, I guess they were

705
00:39:08,960 --> 00:39:13,080
Speaker 1: sort of going for a rondo um hat and look

706
00:39:13,239 --> 00:39:15,400
Speaker 1: on these characters. He was, of course, was a was

707
00:39:15,680 --> 00:39:18,800
Speaker 1: an actor who appeared in a lot of genre pieces.

708
00:39:19,360 --> 00:39:21,000
Speaker 1: He died in forty six, so you know he'd been

709
00:39:21,080 --> 00:39:22,520
Speaker 1: he was dead by the time this came out, but

710
00:39:23,040 --> 00:39:25,319
Speaker 1: he was kind of a signature presence and a lot

711
00:39:25,400 --> 00:39:29,040
Speaker 1: of these old Hollywood horror films. Uh so maybe that

712
00:39:29,160 --> 00:39:33,360
Speaker 1: was sort of the inspiration here. Yeah, possibly the makeup.

713
00:39:33,800 --> 00:39:37,320
Speaker 1: Either way, the makeup takes takes this to fantastical extremes,

714
00:39:37,360 --> 00:39:39,640
Speaker 1: and I guess that makes sense because this is I

715
00:39:39,680 --> 00:39:41,840
Speaker 1: don't know, maybe we're supposed to understand that this is

716
00:39:41,960 --> 00:39:47,560
Speaker 1: not actually acromegaly. It is just some acromegaly resembling science

717
00:39:47,600 --> 00:39:50,960
Speaker 1: fiction condition caused by the the intake of this high

718
00:39:51,239 --> 00:39:55,319
Speaker 1: fictional nutrient. Yeah, but I can see where audiences would

719
00:39:55,320 --> 00:39:57,560
Speaker 1: have been rather shocked and surprised, because you know, you're

720
00:39:57,560 --> 00:40:00,520
Speaker 1: getting a giant spider in this film. That's definitely gonna happen.

721
00:40:00,880 --> 00:40:03,560
Speaker 1: And then suddenly there's this something else is going on.

722
00:40:03,719 --> 00:40:06,400
Speaker 1: You have some sort of you know, strange mutations and

723
00:40:06,480 --> 00:40:10,960
Speaker 1: deformities occurring. Just right off the bat. The first character

724
00:40:11,200 --> 00:40:15,799
Speaker 1: you meet in this film, uh Is, is severely disfigured.

725
00:40:16,120 --> 00:40:18,799
Speaker 1: People may be wondering, did I walk into the wrong movie?

726
00:40:18,880 --> 00:40:21,359
Speaker 1: I thought I was going to see a giant spider. Yeah,

727
00:40:21,760 --> 00:40:24,239
Speaker 1: but no, So you get this character. He collapses in

728
00:40:24,320 --> 00:40:27,040
Speaker 1: the desert, and then credits, and then we begin the

729
00:40:27,120 --> 00:40:29,320
Speaker 1: main plot. So the first thing we see is a

730
00:40:29,400 --> 00:40:32,880
Speaker 1: small aircraft that is landing at an airstrip in Arizona,

731
00:40:33,080 --> 00:40:37,760
Speaker 1: and outsteps John A. Gar apparently the pilot A pilot,

732
00:40:37,960 --> 00:40:40,800
Speaker 1: the pilot of this plane. But no, he's not a

733
00:40:40,960 --> 00:40:44,320
Speaker 1: professional pilot. He is a doctor. He starts talking to

734
00:40:44,480 --> 00:40:46,920
Speaker 1: the guy who works at the air strip and the

735
00:40:46,960 --> 00:40:49,840
Speaker 1: guy says, what's the score, doc, So I guess we

736
00:40:50,000 --> 00:40:54,799
Speaker 1: understand he's a doctor, and he responds, twins cutest things

737
00:40:54,880 --> 00:40:59,200
Speaker 1: you ever saw. And this initially really confused me because I,

738
00:40:59,480 --> 00:41:03,080
Speaker 1: erroneus assumed that he was reporting that he and his

739
00:41:03,239 --> 00:41:06,359
Speaker 1: wife had just had twins, and that does not make

740
00:41:06,440 --> 00:41:09,040
Speaker 1: sense within the rest of the movie. It wouldn't make

741
00:41:09,080 --> 00:41:11,040
Speaker 1: sense with the situation at all, because you know, John

742
00:41:11,080 --> 00:41:13,279
Speaker 1: Agar is going to be your leading man, uh and

743
00:41:13,360 --> 00:41:16,440
Speaker 1: a fifties creature feature hero always needs to be single

744
00:41:16,560 --> 00:41:18,879
Speaker 1: so he can have a romance with the leading lady.

745
00:41:19,320 --> 00:41:23,560
Speaker 1: But upon revisiting, I realized he's talking about delivering twins

746
00:41:24,440 --> 00:41:26,800
Speaker 1: for some people who are living out in the desert.

747
00:41:26,840 --> 00:41:29,760
Speaker 1: There's somebody else's twins, So I guess he does remote

748
00:41:29,800 --> 00:41:32,480
Speaker 1: house calls in his airplane. I guess. So. I mean,

749
00:41:32,600 --> 00:41:35,520
Speaker 1: I know that this has been the case in remote

750
00:41:35,640 --> 00:41:39,120
Speaker 1: places around the world, where you would have doctor's flown

751
00:41:39,160 --> 00:41:43,040
Speaker 1: into remote communities and so forth, But this picture kind

752
00:41:43,080 --> 00:41:45,160
Speaker 1: of makes it seem like he's just flying to somebody's house,

753
00:41:45,680 --> 00:41:48,640
Speaker 1: landing in in their their the desert front yard, and

754
00:41:48,680 --> 00:41:51,280
Speaker 1: then climbing out and going in, delivering some twins, maybe

755
00:41:51,360 --> 00:41:54,560
Speaker 1: just leaving the the engine running, coming back out, getting

756
00:41:54,560 --> 00:41:56,799
Speaker 1: in the plane, flying home. Yeah, it really does seem

757
00:41:56,840 --> 00:41:58,880
Speaker 1: to be suggesting that I don't know exactly how to

758
00:41:58,920 --> 00:42:03,600
Speaker 1: read this. Every little bit of a window we get

759
00:42:03,680 --> 00:42:07,759
Speaker 1: into his actual medical practice does not inspire confidence, right,

760
00:42:08,440 --> 00:42:12,320
Speaker 1: Like isn't his office in a hotel? Yeah? Yeah, so okay,

761
00:42:12,440 --> 00:42:15,279
Speaker 1: So he hops into his convertible and heads into town

762
00:42:16,000 --> 00:42:19,839
Speaker 1: and he lives in this this Arizona desert town. What's

763
00:42:19,880 --> 00:42:23,000
Speaker 1: the town called. It's called like Rock Desert or something. Something.

764
00:42:23,040 --> 00:42:25,239
Speaker 1: Only did that effect and I should know that even

765
00:42:25,280 --> 00:42:28,080
Speaker 1: though it's supposed to take place in Arizona, everything you

766
00:42:28,120 --> 00:42:30,920
Speaker 1: see is California that this film was. This film was

767
00:42:30,960 --> 00:42:34,200
Speaker 1: definitely filmed in California, So we're seeing the California desert

768
00:42:34,360 --> 00:42:36,520
Speaker 1: even though it's supposed to be the Arizona Desert. As

769
00:42:36,560 --> 00:42:39,840
Speaker 1: you already mentioned, Um drives around in a convertible with

770
00:42:39,920 --> 00:42:42,759
Speaker 1: the top down, no hat, no sunglasses, no Yeah, this

771
00:42:42,880 --> 00:42:44,640
Speaker 1: is a guy that lives and works in the desert,

772
00:42:45,200 --> 00:42:48,839
Speaker 1: and yet no no effort at all is put into

773
00:42:48,880 --> 00:42:53,160
Speaker 1: protecting himself from the sun that I just couldn't get

774
00:42:53,160 --> 00:42:55,080
Speaker 1: past that the whole movie. I'm like, put the top

775
00:42:55,200 --> 00:42:57,920
Speaker 1: up on that convertible. Can you grab a hat or

776
00:42:58,000 --> 00:43:01,200
Speaker 1: some shades or something. Yeah, But so you mentioned that

777
00:43:01,280 --> 00:43:03,400
Speaker 1: it's he seems to work out of a hotel. I

778
00:43:03,520 --> 00:43:06,160
Speaker 1: concluded the same thing. So he goes into town and

779
00:43:06,239 --> 00:43:09,960
Speaker 1: we casually meet several characters. Johnny Gargan is a doctor,

780
00:43:10,080 --> 00:43:13,080
Speaker 1: but he seems to use the lobby of a place

781
00:43:13,160 --> 00:43:17,040
Speaker 1: called the Palace Hotel as his office, like literally using

782
00:43:17,120 --> 00:43:20,000
Speaker 1: the desk worker at the hotel. Who's this funny older

783
00:43:20,080 --> 00:43:25,279
Speaker 1: guy named Josh as his secretary? Like like Josh like

784
00:43:25,440 --> 00:43:28,120
Speaker 1: takes phone calls for him, places phone calls for him,

785
00:43:28,200 --> 00:43:30,759
Speaker 1: listens in on the phone calls. Yeah, this this is

786
00:43:30,800 --> 00:43:33,440
Speaker 1: a guy. Josh was played by Hank Patterson, who later

787
00:43:33,520 --> 00:43:35,239
Speaker 1: went on to have a role on Green Acres. So

788
00:43:35,280 --> 00:43:37,320
Speaker 1: I think a lot of people, at least he used to.

789
00:43:37,360 --> 00:43:40,360
Speaker 1: I don't know how well versed modern viewers are in

790
00:43:40,560 --> 00:43:42,239
Speaker 1: Green Anchors, but a lot of people would watch the

791
00:43:42,239 --> 00:43:45,160
Speaker 1: film and be like, Hey, it's the guy from Green Anchors.

792
00:43:45,400 --> 00:43:48,000
Speaker 1: What do you call this type of stock character who's

793
00:43:48,080 --> 00:43:52,440
Speaker 1: like the the kind of funny, older, wrinkly guy with

794
00:43:52,920 --> 00:43:55,880
Speaker 1: kind of a wrinkly hound dog face who is the

795
00:43:55,960 --> 00:43:58,520
Speaker 1: butt of jokes. I don't know what you it seems

796
00:43:58,560 --> 00:44:00,400
Speaker 1: to be a type. Yeah, I don't know, but it

797
00:44:00,800 --> 00:44:03,200
Speaker 1: it's kind of nice that it it shows you in

798
00:44:03,239 --> 00:44:05,279
Speaker 1: a movie like this. They were thinking about, Okay, well,

799
00:44:05,320 --> 00:44:07,360
Speaker 1: well can we make this scene funny? We have to

800
00:44:07,440 --> 00:44:11,279
Speaker 1: have some sort of character interacting here between this character

801
00:44:11,400 --> 00:44:14,440
Speaker 1: and another. Let's let's get somebody handy in there. Do

802
00:44:14,560 --> 00:44:17,359
Speaker 1: a little bit, nothing, nothing too extreme, but just enough

803
00:44:17,440 --> 00:44:18,960
Speaker 1: humor to get us from one scene to the next.

804
00:44:19,280 --> 00:44:21,000
Speaker 1: Little did they know that the movie was going to

805
00:44:21,080 --> 00:44:24,840
Speaker 1: be plenty funny enough with all the science scenes. Okay,

806
00:44:24,880 --> 00:44:27,200
Speaker 1: but anyway, Dr Hastings here John Aygar. He gets a

807
00:44:27,239 --> 00:44:29,319
Speaker 1: call from the sheriff. Uh, it's you know, we need

808
00:44:29,400 --> 00:44:30,960
Speaker 1: you to come down to the police station to help

809
00:44:31,000 --> 00:44:34,240
Speaker 1: with something. There was a man found dead in the desert,

810
00:44:34,600 --> 00:44:38,239
Speaker 1: but he looks unusual and the sheriff this is again

811
00:44:38,320 --> 00:44:41,680
Speaker 1: Sheriff Jack Andrews played by Nestor Piva. He thinks there

812
00:44:41,800 --> 00:44:44,919
Speaker 1: is something about this man's face that, in one sense,

813
00:44:45,040 --> 00:44:47,640
Speaker 1: looks like a guy that they knew named Eric Jacobs,

814
00:44:48,200 --> 00:44:50,279
Speaker 1: but then there's something else about him that says, well,

815
00:44:50,360 --> 00:44:52,880
Speaker 1: maybe it ain't him, And so I think the audience

816
00:44:52,920 --> 00:44:55,279
Speaker 1: here is clearly supposed to conclude this was the guy

817
00:44:55,440 --> 00:44:58,160
Speaker 1: in pajamas that we saw before the credits, and we

818
00:44:58,320 --> 00:45:01,320
Speaker 1: learned that Eric Jacobs was a biologist who worked with

819
00:45:01,480 --> 00:45:04,600
Speaker 1: Professor Deemer, an old scientist who's doing research at a

820
00:45:04,680 --> 00:45:07,719
Speaker 1: secluded house out in the desert. And they want John

821
00:45:07,760 --> 00:45:11,040
Speaker 1: Agar's opinion on the body. But then while John Agar

822
00:45:11,239 --> 00:45:15,560
Speaker 1: is investigating, uh, Deemer himself arrives and he identifies the body.

823
00:45:15,719 --> 00:45:18,080
Speaker 1: He says that the cause of death was again that

824
00:45:18,200 --> 00:45:22,440
Speaker 1: condition acromegalia, and John Agar says, well, yeah, okay, so

825
00:45:22,560 --> 00:45:24,759
Speaker 1: it kind of looks like that. But also some people

826
00:45:24,840 --> 00:45:26,800
Speaker 1: saw him just a month ago and he didn't have

827
00:45:26,840 --> 00:45:31,280
Speaker 1: any signs of it then, and acromegalia cannot progress that fast,

828
00:45:31,719 --> 00:45:35,080
Speaker 1: so they argue about this. Deemer says it is zacromegalia,

829
00:45:35,640 --> 00:45:38,560
Speaker 1: and Agar says, there's never been a case of acromegalia

830
00:45:38,680 --> 00:45:41,880
Speaker 1: working like that, and then Deemer says, but the history

831
00:45:41,920 --> 00:45:45,120
Speaker 1: of medicine is the history of the unusual, which is

832
00:45:45,160 --> 00:45:49,160
Speaker 1: a fantastic rhetorical gambit, right, Like anybody who says, anything

833
00:45:49,360 --> 00:45:52,240
Speaker 1: seems implausible. You could just say, but isn't the world

834
00:45:52,400 --> 00:45:55,440
Speaker 1: very strange? There's no way to argue with it, right,

835
00:45:55,520 --> 00:45:57,560
Speaker 1: Like I can breathe in outer space and I can

836
00:45:57,680 --> 00:46:01,200
Speaker 1: digest lead blocks for nutrition, and you might say that's

837
00:46:01,239 --> 00:46:03,920
Speaker 1: not possible, and I say, is medicine not the history

838
00:46:03,960 --> 00:46:07,960
Speaker 1: of the unusual? Anyway? Deemer says, well, Eric began to

839
00:46:08,000 --> 00:46:11,560
Speaker 1: complain muscle pains four days ago. He says, he says,

840
00:46:11,640 --> 00:46:15,520
Speaker 1: these things happen as you grow older. And eventually Deemer

841
00:46:15,640 --> 00:46:19,560
Speaker 1: leaves and Agar is talking to the sheriff and he's like, well,

842
00:46:19,560 --> 00:46:23,160
Speaker 1: there's no way this is Zachromegalia, and the country sheriff

843
00:46:23,320 --> 00:46:27,640
Speaker 1: just forcefully rebukes him. He says, the quote is yeah,

844
00:46:27,800 --> 00:46:30,560
Speaker 1: young fellow, like you can't stack what he knows against

845
00:46:30,640 --> 00:46:34,399
Speaker 1: the professor. So it's and this is a repeated theme.

846
00:46:34,520 --> 00:46:38,000
Speaker 1: The sheriff in this movie is an egghead professor, super fan.

847
00:46:38,160 --> 00:46:40,640
Speaker 1: He's got all these lines that are along the lines.

848
00:46:40,760 --> 00:46:43,440
Speaker 1: You know. It's like, look, John, Agar, all you have

849
00:46:43,840 --> 00:46:46,839
Speaker 1: is rugged all American common sense, and that don't mean

850
00:46:47,000 --> 00:46:50,720
Speaker 1: nothing compared to the high falutint ivory Tower book Learning

851
00:46:50,800 --> 00:46:54,520
Speaker 1: of a reclusive professor with foreign accent. It's the exact

852
00:46:54,600 --> 00:46:57,759
Speaker 1: opposite of Fiend without a face, in which everyone was

853
00:46:57,880 --> 00:47:02,799
Speaker 1: super suspicious of the science facility and it's possible connections

854
00:47:02,840 --> 00:47:05,160
Speaker 1: to all the strange things that were occurring. But here

855
00:47:05,480 --> 00:47:08,000
Speaker 1: the Sheriff's not having any of that crap. Yeah, totally,

856
00:47:08,280 --> 00:47:11,440
Speaker 1: the sheriff. The sheriff has so much faith in the professor.

857
00:47:12,360 --> 00:47:14,880
Speaker 1: Uh and and John Agar actually like ribs him for it.

858
00:47:15,000 --> 00:47:17,080
Speaker 1: He's like, well, I guess there's no getting over the

859
00:47:17,120 --> 00:47:21,880
Speaker 1: wall of prestige. So anyway, we follow Professor Deemer. Now

860
00:47:21,960 --> 00:47:23,839
Speaker 1: he goes back to his lab. We see him checking

861
00:47:23,880 --> 00:47:26,799
Speaker 1: on his experiments, and he's got all these specimens. He's

862
00:47:26,800 --> 00:47:31,280
Speaker 1: got giant rats and giant rabbits and giant guinea pigs

863
00:47:31,480 --> 00:47:35,640
Speaker 1: and a giant tarantula in a glass tank. It's like

864
00:47:35,680 --> 00:47:38,279
Speaker 1: an aquarium tank, but I guess without water in it.

865
00:47:38,719 --> 00:47:41,000
Speaker 1: And we see him working on his notes, which include

866
00:47:41,200 --> 00:47:45,000
Speaker 1: like numbers of days since an injection of something. The

867
00:47:45,080 --> 00:47:47,920
Speaker 1: farther out from the injection, the bigger the animal gets.

868
00:47:48,480 --> 00:47:51,560
Speaker 1: And the tarantula is already too big, like it's already

869
00:47:51,880 --> 00:47:57,120
Speaker 1: her responsibly big. This is already like giant tortoise sized. Anyway,

870
00:47:57,160 --> 00:48:00,120
Speaker 1: while he's doing his experiments. Oops, there's another guy who

871
00:48:00,200 --> 00:48:02,320
Speaker 1: looks like Eric Jacobs did at the beginning, and he

872
00:48:02,440 --> 00:48:04,960
Speaker 1: comes in. He bashes Deemer on the head with something

873
00:48:05,120 --> 00:48:09,799
Speaker 1: he sets fired everything. He injects Deemer with the mystery serum. Uh.

874
00:48:09,960 --> 00:48:12,040
Speaker 1: This guy has identified as Paul, so I think this

875
00:48:12,280 --> 00:48:15,759
Speaker 1: was Deemer's other research assistant. That that there were the

876
00:48:15,840 --> 00:48:17,640
Speaker 1: three of them working in the house and two of

877
00:48:17,760 --> 00:48:21,200
Speaker 1: them got this condition. Oh and during the fighting, the

878
00:48:21,280 --> 00:48:24,400
Speaker 1: glass of the aquarium breaks and the tarantula escapes out

879
00:48:24,440 --> 00:48:27,200
Speaker 1: the open door while the humans are fighting. So Deemer

880
00:48:27,320 --> 00:48:31,920
Speaker 1: survives this, I think. I think somehow Paul Paul is

881
00:48:32,080 --> 00:48:35,200
Speaker 1: killed in the fight, and Deemer manages to put out

882
00:48:35,239 --> 00:48:38,360
Speaker 1: the fire, but his laboratory is ruined, and then he

883
00:48:38,480 --> 00:48:40,640
Speaker 1: heads out in the middle of the night to secretly

884
00:48:40,760 --> 00:48:43,320
Speaker 1: bury the other guy. This is the scene with the

885
00:48:43,440 --> 00:48:46,960
Speaker 1: hilarious monkey jump scare that I mentioned earlier, but it

886
00:48:47,080 --> 00:48:49,200
Speaker 1: also ends in a very cute and sweet way. After

887
00:48:49,320 --> 00:48:52,640
Speaker 1: Deemer catches the monkey in his arms, he's like, Coco,

888
00:48:52,880 --> 00:48:56,759
Speaker 1: you startled me, and clearly loves his monkey. He's like, oh,

889
00:48:56,840 --> 00:48:59,719
Speaker 1: your paws are burned. I'll help you. If he gets

890
00:48:59,719 --> 00:49:02,279
Speaker 1: some monk key bomb monkey bomb will go right on there. Uh.

891
00:49:02,360 --> 00:49:04,520
Speaker 1: So then we go back to more action with John

892
00:49:04,600 --> 00:49:06,840
Speaker 1: Agar and the sheriff. John Agar shows up back in

893
00:49:06,960 --> 00:49:09,480
Speaker 1: town to report. He's like, hey, I followed up on this.

894
00:49:09,920 --> 00:49:13,040
Speaker 1: I went to the medical librarian Phoenix, and I confirmed

895
00:49:13,080 --> 00:49:15,560
Speaker 1: there has never been a case in recorded history of

896
00:49:15,640 --> 00:49:19,600
Speaker 1: acromegalia developing in four days. And he says, I may

897
00:49:19,640 --> 00:49:22,360
Speaker 1: be a simple country doctor, but I know what I know.

898
00:49:23,360 --> 00:49:25,800
Speaker 1: And uh And again the sheriff is not having it.

899
00:49:25,920 --> 00:49:28,320
Speaker 1: He's like, are you trying to say the professor was

900
00:49:28,520 --> 00:49:31,279
Speaker 1: lying to us? You want me to charge him with

901
00:49:31,400 --> 00:49:36,120
Speaker 1: confusing a country doctor. He is ruthless and just dressing

902
00:49:36,200 --> 00:49:39,600
Speaker 1: down John Agar in these scenes. Yeah, but John agar

903
00:49:39,719 --> 00:49:42,120
Speaker 1: suspicions are not only not going down, they're mounting. He's

904
00:49:42,160 --> 00:49:45,360
Speaker 1: suspicious now, not just about the death. He's raising in

905
00:49:45,560 --> 00:49:48,839
Speaker 1: a big old eyebrow, at the whole operation. He says,

906
00:49:48,960 --> 00:49:52,680
Speaker 1: Jacobs and Deemer are two of the leading nutrient biologists

907
00:49:52,760 --> 00:49:54,880
Speaker 1: in the world. And he says, when there are two

908
00:49:54,920 --> 00:49:57,480
Speaker 1: guys like that they hold up in a remote desert mansion,

909
00:49:57,640 --> 00:49:59,759
Speaker 1: you know what that means. They're probably trying to do

910
00:50:00,040 --> 00:50:03,960
Speaker 1: secret research. Oh. And then we meet another character here

911
00:50:04,000 --> 00:50:08,080
Speaker 1: comes Joe Birch, the newspaperman who just wanders into the

912
00:50:08,440 --> 00:50:11,080
Speaker 1: into the office, and he's on the case. He wants

913
00:50:11,200 --> 00:50:15,200
Speaker 1: information and he's going to go investigate Deemer himself. We

914
00:50:15,280 --> 00:50:18,480
Speaker 1: get the impression that he is an irritating and tenacious

915
00:50:18,520 --> 00:50:22,279
Speaker 1: attack dog. Yeah. I looked up this actor and he

916
00:50:23,040 --> 00:50:24,600
Speaker 1: he appeared in a lot of things back then. I

917
00:50:24,680 --> 00:50:27,239
Speaker 1: think he was on the Andy Griff Show at some point. Um,

918
00:50:27,360 --> 00:50:30,440
Speaker 1: I couldn't pinpoint exactly what I recognized him from, but

919
00:50:30,640 --> 00:50:37,680
Speaker 1: he has that face that that smug um. This is

920
00:50:37,719 --> 00:50:40,160
Speaker 1: the face that's the smug and a little too assertive.

921
00:50:40,239 --> 00:50:43,840
Speaker 1: You know, he's he's taking too much pleasure in messing

922
00:50:43,880 --> 00:50:45,880
Speaker 1: with your business. And I feel like that's probably the

923
00:50:45,920 --> 00:50:47,719
Speaker 1: sort of character he played a lot. I don't know,

924
00:50:47,800 --> 00:50:50,720
Speaker 1: if you agree to me. His face has has slight

925
00:50:50,840 --> 00:50:55,000
Speaker 1: notes of Christopher Guest. Yeah maybe so yeah. Anyway, Okay,

926
00:50:55,080 --> 00:50:57,080
Speaker 1: so we just met another character. We're gonna meet yet

927
00:50:57,080 --> 00:51:00,360
Speaker 1: another character. And this is when Maracorda shows up, arrives

928
00:51:00,360 --> 00:51:02,280
Speaker 1: in town by bus. You've got a bunch of luggage,

929
00:51:02,360 --> 00:51:05,160
Speaker 1: and she goes into the hotel and meets Josh there,

930
00:51:05,239 --> 00:51:08,719
Speaker 1: oh old Josh, and she says, Hey, I'm looking to

931
00:51:08,800 --> 00:51:10,840
Speaker 1: get to the Deemer house. You know, how can I

932
00:51:10,920 --> 00:51:13,520
Speaker 1: get there? And he gives her this whole speech, basically,

933
00:51:13,600 --> 00:51:16,560
Speaker 1: well you can't get there from here. She She's like,

934
00:51:16,640 --> 00:51:19,279
Speaker 1: wouldn't it, couldn't you call me? Uh? Would you mind

935
00:51:19,360 --> 00:51:21,520
Speaker 1: calling me a cab? And he says, I wouldn't mind

936
00:51:21,600 --> 00:51:25,080
Speaker 1: it a bit, but it won't do no good. But anyway,

937
00:51:25,120 --> 00:51:27,279
Speaker 1: what do you know? John Agar walks in and the

938
00:51:27,480 --> 00:51:30,520
Speaker 1: moment he and Maracorda size each other up, you know,

939
00:51:30,840 --> 00:51:33,520
Speaker 1: there might as well be a saxophone lick on the soundtrack.

940
00:51:33,800 --> 00:51:37,200
Speaker 1: It's just love at first sight. They're immediately flirting and

941
00:51:37,360 --> 00:51:39,160
Speaker 1: John Agar is going to give her a ride to

942
00:51:39,239 --> 00:51:42,360
Speaker 1: the Deemer house. There's a reaction to this whole scene

943
00:51:42,400 --> 00:51:46,440
Speaker 1: where Josh the hotel guys he they leave and he

944
00:51:46,560 --> 00:51:49,520
Speaker 1: just leans back and says directly into the camera, it's

945
00:51:49,560 --> 00:51:53,279
Speaker 1: getting to be a fast world. But so we're with

946
00:51:53,400 --> 00:51:56,480
Speaker 1: John Agar Maro Corda. They introduced themselves to each other

947
00:51:56,520 --> 00:51:59,800
Speaker 1: while riding in the convertible. Uh, she says, oh. She

948
00:52:00,040 --> 00:52:02,239
Speaker 1: makes clear her name is Steve, and he goes, I

949
00:52:02,360 --> 00:52:06,759
Speaker 1: like Steve, and they they flirt and you know, he

950
00:52:06,800 --> 00:52:08,640
Speaker 1: wants to know, Hey, why are you going out to Deemers?

951
00:52:08,719 --> 00:52:10,719
Speaker 1: What's going on there? And she explains she's getting her

952
00:52:10,760 --> 00:52:14,120
Speaker 1: PhD in biology and she's going to study with Deemer

953
00:52:14,160 --> 00:52:17,279
Speaker 1: and Jacobs. Uh. And this is where John Agar says

954
00:52:17,320 --> 00:52:19,239
Speaker 1: the line I wrote it down. He says, I knew

955
00:52:19,320 --> 00:52:21,560
Speaker 1: it would happen. Give women the vote, and what do

956
00:52:21,640 --> 00:52:26,040
Speaker 1: you get lady scientists? And her retort as well students

957
00:52:26,120 --> 00:52:29,279
Speaker 1: so far. But so she explains she's going to live

958
00:52:29,320 --> 00:52:31,840
Speaker 1: at the house and cook for them, but also do

959
00:52:32,000 --> 00:52:34,560
Speaker 1: science in the lab. Yeah, it seems like they're asking

960
00:52:34,560 --> 00:52:36,719
Speaker 1: a lot like this is really should have been like

961
00:52:36,800 --> 00:52:39,400
Speaker 1: two or three different hires here, and they should have

962
00:52:39,480 --> 00:52:42,920
Speaker 1: just kept Steve for for just lab work type stuff.

963
00:52:43,000 --> 00:52:44,560
Speaker 1: And you know what, they maybe should have arranged for

964
00:52:44,600 --> 00:52:50,719
Speaker 1: transportation by join the town and their secluded um laboratory here. Well,

965
00:52:50,800 --> 00:52:53,040
Speaker 1: I think Deemer doesn't even know she's coming. It's she

966
00:52:53,160 --> 00:52:57,120
Speaker 1: only made arrangements with Jacobs, remember, and he died in

967
00:52:57,200 --> 00:53:00,200
Speaker 1: the desert. Oh, and so they also talked abo that.

968
00:53:00,320 --> 00:53:02,080
Speaker 1: John Agar is like, well, by the way, the guy

969
00:53:02,120 --> 00:53:04,400
Speaker 1: you're coming to meet here is dead, and she's like,

970
00:53:04,440 --> 00:53:07,360
Speaker 1: oh no, but anyway, when so they they're about to

971
00:53:07,440 --> 00:53:10,759
Speaker 1: arrive at the Deemer house, and what follows is an

972
00:53:10,800 --> 00:53:16,280
Speaker 1: absolutely extraordinary scene of nonsensical techno babble where Professor Deemer

973
00:53:16,480 --> 00:53:19,719
Speaker 1: is explaining his experiments. Tomorrow Corday and John Agar so

974
00:53:19,800 --> 00:53:23,600
Speaker 1: they arrive Deemer, the Deemer character is already in the

975
00:53:23,719 --> 00:53:27,520
Speaker 1: middle of an interview with Joe Birch, the newspaperman. Uh,

976
00:53:27,680 --> 00:53:29,839
Speaker 1: you know, he's he's explaining what happened to his lab.

977
00:53:29,960 --> 00:53:32,320
Speaker 1: He's got a monkey on his shoulders while he's doing it,

978
00:53:33,000 --> 00:53:35,720
Speaker 1: and Joe Birch wants to know more about what happened

979
00:53:35,760 --> 00:53:38,240
Speaker 1: to Jacobs. But Deemer is done. He's like, this interview

980
00:53:38,400 --> 00:53:41,680
Speaker 1: is over, and Joe Birch has a sidekick with him.

981
00:53:42,040 --> 00:53:45,440
Speaker 1: It's a cowboy photographer named Ridley, and he wants Ridley

982
00:53:45,520 --> 00:53:47,160
Speaker 1: to get a picture of them. He's like Pat the

983
00:53:47,200 --> 00:53:51,880
Speaker 1: monkey professor. Because so anyway, the newspaper guys leave and

984
00:53:51,960 --> 00:53:55,560
Speaker 1: then uh, Matt Hastings and Steve are left there with Deemer,

985
00:53:55,640 --> 00:53:57,520
Speaker 1: and Deemer of course is like, what who are you?

986
00:53:58,360 --> 00:54:01,520
Speaker 1: Before Steve can introduce her, say, Matt jumps in and says,

987
00:54:01,680 --> 00:54:04,600
Speaker 1: this is Stephanie Clayton. She goes by Steve. You know,

988
00:54:04,760 --> 00:54:07,000
Speaker 1: she's the graduate student who is going to come work

989
00:54:07,040 --> 00:54:09,200
Speaker 1: with you in your lab, or maybe not with you.

990
00:54:09,320 --> 00:54:11,040
Speaker 1: I think she's the one who's going to come work

991
00:54:11,080 --> 00:54:13,960
Speaker 1: with Professor Jacobs. You know. Unfortunately he turned into a

992
00:54:14,000 --> 00:54:17,839
Speaker 1: Frankenstein and exploded in the desert. Um, so I guess

993
00:54:17,920 --> 00:54:21,160
Speaker 1: she I guess she has to assist Leo G. Carroll instead. Yeah,

994
00:54:21,239 --> 00:54:23,160
Speaker 1: and then this is the scene where he's like, well,

995
00:54:23,239 --> 00:54:25,480
Speaker 1: you probably don't want to stay, but if you want to,

996
00:54:25,719 --> 00:54:29,480
Speaker 1: then fine we can use you. Yeah exactly, He's like,

997
00:54:30,000 --> 00:54:31,840
Speaker 1: I'm not sure you want to stay on seeing is

998
00:54:31,960 --> 00:54:34,040
Speaker 1: you know how my lab is on fire and everyone

999
00:54:34,160 --> 00:54:36,400
Speaker 1: is dead. And she's like, oh, I would love to

1000
00:54:36,440 --> 00:54:39,480
Speaker 1: be of service. Um, so they begin the lab to oh.

1001
00:54:39,600 --> 00:54:42,359
Speaker 1: This is also the scene where he's like, he says,

1002
00:54:42,400 --> 00:54:44,680
Speaker 1: I didn't expect to see a biologist that looked like you.

1003
00:54:45,000 --> 00:54:48,480
Speaker 1: I mean that as a compliment of course, Deemer Deamer.

1004
00:54:49,960 --> 00:54:52,120
Speaker 1: It makes you wonder like, is this what happened to

1005
00:54:52,160 --> 00:54:55,279
Speaker 1: the other two researchers that Frankenstein themselves? Like did they

1006
00:54:55,360 --> 00:54:58,200
Speaker 1: get sick of Deemer making annoying comments at them? And

1007
00:54:58,239 --> 00:55:10,720
Speaker 1: they're like, it's time to inject the new tree? And yes, anyway,

1008
00:55:10,840 --> 00:55:14,680
Speaker 1: begin the lab tour, so uh Deemer explains, everything that

1009
00:55:14,800 --> 00:55:17,800
Speaker 1: I have and care for is here. Um And so

1010
00:55:17,920 --> 00:55:20,560
Speaker 1: they're looking around and John Agar starts looking down into

1011
00:55:20,640 --> 00:55:23,520
Speaker 1: a containment box, which is one of those boxes like

1012
00:55:23,560 --> 00:55:25,520
Speaker 1: in the credits of The Simpsons. You know, it's got

1013
00:55:25,560 --> 00:55:28,640
Speaker 1: the gloves, the sealed gloves coming in from the outside

1014
00:55:28,680 --> 00:55:30,920
Speaker 1: so you can manipulate stuff on the inside, but it

1015
00:55:31,040 --> 00:55:33,759
Speaker 1: stays contained. This is a great lab scene, by the way,

1016
00:55:33,800 --> 00:55:36,840
Speaker 1: that the whole set is great. There's there's just a

1017
00:55:36,960 --> 00:55:39,719
Speaker 1: lot of fun gear. There are scenes even I think

1018
00:55:39,760 --> 00:55:42,800
Speaker 1: at this point in later where they're like multiple Bunsen

1019
00:55:42,880 --> 00:55:47,640
Speaker 1: burners going in the background, the various glass containers having

1020
00:55:47,680 --> 00:55:50,320
Speaker 1: bubbling liquids. So there's a lot going on here. And

1021
00:55:50,560 --> 00:55:53,200
Speaker 1: it's a it's it's a it's a neat set totally.

1022
00:55:53,280 --> 00:55:56,239
Speaker 1: And they leave the beaker's burning when they're they leave

1023
00:55:56,280 --> 00:55:59,000
Speaker 1: the house and the beakers are still burning. Yeah. I

1024
00:55:59,120 --> 00:56:01,640
Speaker 1: think it's that kind of lappiness that that's what led

1025
00:56:01,680 --> 00:56:04,480
Speaker 1: to a giant spider rampaging across the hills. Here. I

1026
00:56:04,600 --> 00:56:06,360
Speaker 1: have to agree. Here, Okay, now here's where some of

1027
00:56:06,440 --> 00:56:09,560
Speaker 1: the technobabble starts. John Iger, he looks at the beaker

1028
00:56:09,640 --> 00:56:13,680
Speaker 1: he says, what's in the beaker? Deemer says a nutrient.

1029
00:56:14,160 --> 00:56:18,240
Speaker 1: Steve says, you mean a synthetic How does that follow

1030
00:56:18,320 --> 00:56:24,000
Speaker 1: from a nutrient? Deemer says completely. Non organic food concentrate

1031
00:56:24,680 --> 00:56:28,360
Speaker 1: medicine has lengthened the lifespan and people live longer, but

1032
00:56:28,520 --> 00:56:32,960
Speaker 1: the food supply remains fairly static. World population is increasing

1033
00:56:33,040 --> 00:56:37,200
Speaker 1: at the rate of twenty five million a year, an

1034
00:56:37,280 --> 00:56:41,040
Speaker 1: overcrowded world. That means not enough to eat. The disease

1035
00:56:41,120 --> 00:56:44,480
Speaker 1: of hunger, like most diseases, well it spreads. There are

1036
00:56:44,560 --> 00:56:48,040
Speaker 1: two billion people in the world today. In nineteen five,

1037
00:56:48,200 --> 00:56:51,160
Speaker 1: there will be three billion. In the year two thousand,

1038
00:56:51,239 --> 00:56:54,360
Speaker 1: there will be three billion, six hundred and twenty five million.

1039
00:56:55,600 --> 00:56:57,960
Speaker 1: You're off by a few billion there um. And he

1040
00:56:58,000 --> 00:57:00,480
Speaker 1: says the world may not be able to deuce enough

1041
00:57:00,520 --> 00:57:03,640
Speaker 1: food to feed all these people. Now, perhaps you'll understand

1042
00:57:03,760 --> 00:57:08,720
Speaker 1: what an inexpensive nutrient will mean. And John Agar, instead

1043
00:57:08,760 --> 00:57:11,799
Speaker 1: of saying every everything you just said is wrong, he says, well,

1044
00:57:12,280 --> 00:57:14,600
Speaker 1: not many of us look that far into the future, sir,

1045
00:57:15,440 --> 00:57:18,320
Speaker 1: And Deemer says, our business is the future. No man

1046
00:57:18,480 --> 00:57:20,680
Speaker 1: can do it on his own. Of course, you don't

1047
00:57:20,720 --> 00:57:23,280
Speaker 1: pull it out of your hat like a magician's rabbit.

1048
00:57:23,720 --> 00:57:27,440
Speaker 1: You build on what hundreds of others have learned before you. Okay.

1049
00:57:28,160 --> 00:57:32,360
Speaker 1: John Agar then says, I thought synthesis was impossible without

1050
00:57:32,440 --> 00:57:37,320
Speaker 1: a bonding agent to hold everything together. Deemer says, and

1051
00:57:37,480 --> 00:57:41,240
Speaker 1: we use the simplest of all the atom Let me

1052
00:57:41,360 --> 00:57:44,480
Speaker 1: show you. And then they motioned to a room that's

1053
00:57:44,520 --> 00:57:47,000
Speaker 1: like sealed behind glass, but there's a table in there

1054
00:57:47,040 --> 00:57:49,520
Speaker 1: with a bunch of vials on it. And then Matt,

1055
00:57:49,720 --> 00:57:52,880
Speaker 1: looking through the glass at it these vials on the table, says,

1056
00:57:53,440 --> 00:57:59,920
Speaker 1: that's an isotope, isn't it. Deemer says, a radio act

1057
00:58:00,040 --> 00:58:03,960
Speaker 1: to isotope ammoniac. And then Matt says, and that's what

1058
00:58:04,120 --> 00:58:08,240
Speaker 1: binds your solution. Deemer says, binds it and triggers it

1059
00:58:08,880 --> 00:58:12,280
Speaker 1: using it. Eric's dreame in mind, maybe a reality before.

1060
00:58:12,640 --> 00:58:15,600
Speaker 1: But then there's a phone call that interrupts whatever he

1061
00:58:15,680 --> 00:58:18,160
Speaker 1: was going to say, interrupts this beautiful sequence of events.

1062
00:58:18,560 --> 00:58:21,000
Speaker 1: And I was just thinking, by god, this like we

1063
00:58:21,080 --> 00:58:24,720
Speaker 1: could do a whole episode on just trying to sort

1064
00:58:24,800 --> 00:58:28,040
Speaker 1: out the weirdness of all the science babble he just said.

1065
00:58:28,840 --> 00:58:31,320
Speaker 1: Now it is worth noting that it is Leo G.

1066
00:58:31,480 --> 00:58:34,160
Speaker 1: Carroll saying all of the science babble, and so it

1067
00:58:34,400 --> 00:58:37,920
Speaker 1: is at least stated in a very nice British accent,

1068
00:58:38,320 --> 00:58:41,640
Speaker 1: which has makes it a lot more believable for all

1069
00:58:41,680 --> 00:58:44,240
Speaker 1: the wrong reasons. I guess what they're all saying is

1070
00:58:44,440 --> 00:58:48,000
Speaker 1: sort of equally like huh. But the John Agar lines

1071
00:58:48,080 --> 00:58:51,200
Speaker 1: sound much stupider than the Deemer ones, Like when John

1072
00:58:51,240 --> 00:58:55,240
Speaker 1: Agar says, that's an isotope, isn't it? It's just like

1073
00:58:55,320 --> 00:58:59,640
Speaker 1: a table. Yeah. But if I understand the scheme here

1074
00:58:59,720 --> 00:59:03,520
Speaker 1: that this, well, the scientific objective here is the population

1075
00:59:03,640 --> 00:59:05,960
Speaker 1: is growing. There's not going to be enough food for everyone.

1076
00:59:06,360 --> 00:59:09,880
Speaker 1: So what if we could just inject nutrients directly into

1077
00:59:09,920 --> 00:59:12,320
Speaker 1: our body so we don't have to eat. I think

1078
00:59:12,400 --> 00:59:14,520
Speaker 1: that is the idea they're saying. Now. Of course they

1079
00:59:14,560 --> 00:59:17,680
Speaker 1: get all the population statistics wrong, and of course, you know,

1080
00:59:17,840 --> 00:59:20,919
Speaker 1: at the time this movie was being made, I don't

1081
00:59:20,920 --> 00:59:22,760
Speaker 1: have a lot of knowledge about this, but you know,

1082
00:59:22,880 --> 00:59:26,040
Speaker 1: something in the mid century, I think, like the fifties

1083
00:59:26,160 --> 00:59:29,000
Speaker 1: through especially, I think like the late sixties early seventies,

1084
00:59:29,080 --> 00:59:32,800
Speaker 1: there was the the Third Agricultural Revolution going on, you know,

1085
00:59:32,880 --> 00:59:35,640
Speaker 1: the the Green Revolution, which had a bunch of changes

1086
00:59:35,880 --> 00:59:39,240
Speaker 1: in in crops that allowed for increased crop yields and

1087
00:59:39,560 --> 00:59:43,920
Speaker 1: food production. Um. So it's interesting that this is simultaneous

1088
00:59:44,040 --> 00:59:46,040
Speaker 1: with like real advances going on in the world, but

1089
00:59:46,120 --> 00:59:50,360
Speaker 1: by completely different means, by completely different means than using

1090
00:59:50,560 --> 00:59:55,040
Speaker 1: an isotope. Oh but anyway, so the phone call, it's

1091
00:59:55,080 --> 00:59:57,320
Speaker 1: for John Agar. He's got to go do a house call.

1092
00:59:58,360 --> 01:00:00,680
Speaker 1: But before he leaves, he gets deem or permission to

1093
01:00:00,760 --> 01:00:03,000
Speaker 1: do an autopsy on Jacobs to see if it was

1094
01:00:03,160 --> 01:00:07,400
Speaker 1: really quote acromegalia. And then so he's leaving and then

1095
01:00:07,480 --> 01:00:09,960
Speaker 1: deemers talking to Steve and he's like, well, now I'll

1096
01:00:09,960 --> 01:00:13,920
Speaker 1: show you to your quarters, which just made me think basically,

1097
01:00:13,960 --> 01:00:16,280
Speaker 1: it's gonna be like, Steve, let me show you to

1098
01:00:16,400 --> 01:00:19,400
Speaker 1: your glass aquarium tank where the one where you'll be staying.

1099
01:00:19,640 --> 01:00:22,520
Speaker 1: The previous tenant left a few patches of silk webbing

1100
01:00:22,600 --> 01:00:25,000
Speaker 1: and scrat corpses. We'll have to get those cleaned up.

1101
01:00:26,040 --> 01:00:28,680
Speaker 1: But anyway, so we followed John Agar around. He does

1102
01:00:28,760 --> 01:00:30,800
Speaker 1: the autopsy, he comes out to talk with the sheriff

1103
01:00:30,880 --> 01:00:33,760
Speaker 1: and admits that his suspicions were wrong. He says, yep, yep,

1104
01:00:33,880 --> 01:00:37,439
Speaker 1: the death was caused by acromegalia and this is where

1105
01:00:37,480 --> 01:00:40,840
Speaker 1: and the Sheriff's like, you mean, the professor was right.

1106
01:00:41,720 --> 01:00:43,560
Speaker 1: This scene, by the way, it takes place in front

1107
01:00:43,640 --> 01:00:48,320
Speaker 1: of two stained glass windows, which I've read online that

1108
01:00:48,560 --> 01:00:51,360
Speaker 1: at least one of these windows it was later used

1109
01:00:51,520 --> 01:00:54,640
Speaker 1: in Psycho. Oh. Interesting. I have to say, a colorful

1110
01:00:54,640 --> 01:00:57,080
Speaker 1: stained glass window like this in black and white, it

1111
01:00:57,240 --> 01:01:00,360
Speaker 1: has a unique kind of feel to it, uh as

1112
01:01:00,400 --> 01:01:02,800
Speaker 1: it does in Psycho. I agree. I don't recall when

1113
01:01:02,840 --> 01:01:04,840
Speaker 1: it is in Psycho, but I can totally see that

1114
01:01:04,960 --> 01:01:08,520
Speaker 1: it clicks for me. It seems to make sense. But so, yeah,

1115
01:01:08,520 --> 01:01:11,200
Speaker 1: I guess they're in the medical examiner's office or something,

1116
01:01:11,360 --> 01:01:14,760
Speaker 1: and um, yeah, so you know, the Sheriff's like, you mean,

1117
01:01:14,840 --> 01:01:17,040
Speaker 1: the professor was right? And then he does another just

1118
01:01:17,280 --> 01:01:22,400
Speaker 1: absolutely brutal, demoralizing dressing down of John Agar. Oh yeah,

1119
01:01:22,440 --> 01:01:24,240
Speaker 1: this is where he says, next time, I'm going to

1120
01:01:24,320 --> 01:01:27,240
Speaker 1: bring in a doctor from Phoenix. It's just just so brutal,

1121
01:01:27,320 --> 01:01:29,880
Speaker 1: Like I feel like most in real life, how many

1122
01:01:30,120 --> 01:01:33,600
Speaker 1: professionals would take this degree of of of dressing down

1123
01:01:33,800 --> 01:01:37,240
Speaker 1: from uh the old crank. But but Agar just kind

1124
01:01:37,240 --> 01:01:40,080
Speaker 1: of takes it, takes it in stride. Well, nothing bothers him.

1125
01:01:41,200 --> 01:01:43,320
Speaker 1: So in the middle third of the movie. I'm gonna

1126
01:01:43,360 --> 01:01:45,680
Speaker 1: skip more lightly over a few things here, but we

1127
01:01:45,800 --> 01:01:49,240
Speaker 1: see Deemer and Steve working in the laboratory. They're getting

1128
01:01:49,280 --> 01:01:53,439
Speaker 1: more explanations of of how the nutrient works, what's gone

1129
01:01:53,480 --> 01:01:57,480
Speaker 1: wrong with previous experiments, and so forth. Uh, Steve. Oh,

1130
01:01:57,600 --> 01:01:59,800
Speaker 1: there's a part where Steve has to leave for town

1131
01:02:00,000 --> 01:02:02,600
Speaker 1: and she says the line is science is science, but

1132
01:02:02,680 --> 01:02:05,439
Speaker 1: a girl must get her hair done. So she's gonna

1133
01:02:05,480 --> 01:02:08,880
Speaker 1: go get her hair done, and also like thirty things

1134
01:02:09,400 --> 01:02:11,400
Speaker 1: like you later run into her aunt and she has

1135
01:02:11,480 --> 01:02:15,320
Speaker 1: like thirty thirty. She has a bunch of parcels she's

1136
01:02:15,360 --> 01:02:17,200
Speaker 1: picked up, so I don't know, I mean, she did

1137
01:02:17,240 --> 01:02:18,720
Speaker 1: just move to the area. I'm sure these are all

1138
01:02:18,840 --> 01:02:21,320
Speaker 1: important purchases. Well, but also we're supposed to get the

1139
01:02:21,320 --> 01:02:23,800
Speaker 1: impression that this town has like a hundred people in it.

1140
01:02:23,920 --> 01:02:28,320
Speaker 1: What's the shopping district like in Rock Desert, Arizona or whatever?

1141
01:02:28,400 --> 01:02:31,760
Speaker 1: This is? So John Agar and Steve meet up while

1142
01:02:31,800 --> 01:02:33,760
Speaker 1: she's in town, and then they walk around sit on

1143
01:02:33,920 --> 01:02:36,720
Speaker 1: benches and they flirt and they have a romantic afternoon

1144
01:02:36,800 --> 01:02:38,480
Speaker 1: that ends with them going for a ride in the

1145
01:02:38,560 --> 01:02:42,640
Speaker 1: desert and they have a have a nice hike and

1146
01:02:42,840 --> 01:02:46,040
Speaker 1: sit under a rock formation to have a cigarette, when

1147
01:02:46,120 --> 01:02:48,880
Speaker 1: suddenly there is a landslide that nearly crushes them and

1148
01:02:48,920 --> 01:02:50,960
Speaker 1: they have to they have to get out of the way.

1149
01:02:51,240 --> 01:02:52,960
Speaker 1: By the way, the whole time they're out in the desert,

1150
01:02:53,040 --> 01:02:54,800
Speaker 1: here in the middle of the day, John Agar is

1151
01:02:54,840 --> 01:02:59,800
Speaker 1: in full jacket and tie. Yes, with those enormous shoulders

1152
01:03:00,160 --> 01:03:02,720
Speaker 1: on the that that that that jacket. I just was

1153
01:03:02,800 --> 01:03:06,640
Speaker 1: weirded out by the jacket the whole time. I guess jacket. Yeah,

1154
01:03:06,960 --> 01:03:08,840
Speaker 1: I guess it's the style of the day. But nobody

1155
01:03:08,920 --> 01:03:13,760
Speaker 1: else's shoulders are that big by virtue of the garment alone, seemingly.

1156
01:03:13,800 --> 01:03:16,640
Speaker 1: I don't know. Maybe agars shoulders are really that long,

1157
01:03:17,000 --> 01:03:20,600
Speaker 1: but I doubt it. Well, So after there's a landslide,

1158
01:03:21,000 --> 01:03:23,440
Speaker 1: Steve is like, I've had enough of the unknown for

1159
01:03:23,600 --> 01:03:27,400
Speaker 1: one day. And she she's sort of pondering in the car.

1160
01:03:27,520 --> 01:03:30,280
Speaker 1: She's like, that rock slide. Something must have caused it.

1161
01:03:30,400 --> 01:03:32,480
Speaker 1: You can almost tell, like an earlier draft of the

1162
01:03:32,520 --> 01:03:34,760
Speaker 1: script head or say, like it's almost as if there

1163
01:03:34,800 --> 01:03:37,480
Speaker 1: was a giant spider up there or something. And this

1164
01:03:37,600 --> 01:03:40,880
Speaker 1: is when John Agar says, you can't second guess the desert.

1165
01:03:41,960 --> 01:03:44,640
Speaker 1: But we see we start to see Deemer presenting the

1166
01:03:44,720 --> 01:03:48,240
Speaker 1: same symptoms as his colleagues from earlier. Uh you know

1167
01:03:48,400 --> 01:03:51,760
Speaker 1: he oh. Uh. Steve shows John Agar around the lab

1168
01:03:51,920 --> 01:03:54,120
Speaker 1: some more, and deemers like, you shouldn't have done that,

1169
01:03:54,800 --> 01:03:56,680
Speaker 1: You should have you know, you're you're not allowed to

1170
01:03:56,720 --> 01:03:59,960
Speaker 1: bring people in. And then meanwhile John Agar in the

1171
01:04:00,040 --> 01:04:03,880
Speaker 1: sheriff go investigate a rancher's complaints that his horses and

1172
01:04:04,000 --> 01:04:06,320
Speaker 1: cattle are being stripped of all flesh in the night,

1173
01:04:06,960 --> 01:04:09,720
Speaker 1: and uh, it's leaving just piles of clean bones in

1174
01:04:09,760 --> 01:04:14,520
Speaker 1: the grass. Later, I think the rancher himself is eaten mysteriously.

1175
01:04:15,120 --> 01:04:17,800
Speaker 1: And they find that a car was thrown off the

1176
01:04:17,880 --> 01:04:20,080
Speaker 1: highway as if it was picked up from above and

1177
01:04:20,240 --> 01:04:23,640
Speaker 1: tossed thirty feet. But they also keep finding big strange

1178
01:04:23,720 --> 01:04:27,919
Speaker 1: puddles of some sort of whitish substance. And at first

1179
01:04:27,960 --> 01:04:30,920
Speaker 1: they're they're all like a little too unconcerned over this.

1180
01:04:31,080 --> 01:04:33,200
Speaker 1: They're like, like, what are this? Why are there giant

1181
01:04:33,240 --> 01:04:36,720
Speaker 1: puddles of white liquid? And they're like it's probably not related,

1182
01:04:37,280 --> 01:04:39,880
Speaker 1: But then they eventually come back around to it. John

1183
01:04:39,920 --> 01:04:43,000
Speaker 1: Agar tries to assess what is in the puddles of

1184
01:04:43,080 --> 01:04:48,360
Speaker 1: goo by tasting it. He like he dips his fingers

1185
01:04:48,440 --> 01:04:50,120
Speaker 1: and the goo and he like puts it in his

1186
01:04:50,240 --> 01:04:56,080
Speaker 1: mouth and then he goes, it's not milk, not milk,

1187
01:04:56,320 --> 01:04:59,720
Speaker 1: it's not cheese, and I don't know, you have to

1188
01:04:59,760 --> 01:05:02,760
Speaker 1: have it tested. I think he concludes its insect venom.

1189
01:05:03,960 --> 01:05:06,200
Speaker 1: But also in this middle section of the movie, we

1190
01:05:06,280 --> 01:05:09,160
Speaker 1: start getting more and more shots of the actual tarantula,

1191
01:05:09,280 --> 01:05:12,040
Speaker 1: Like we watched the tarantula attack a bunch of horses

1192
01:05:12,120 --> 01:05:14,240
Speaker 1: on a ranch at night and then attack the rancher,

1193
01:05:14,680 --> 01:05:16,560
Speaker 1: throw the car off the road, and so forth, and

1194
01:05:16,960 --> 01:05:19,880
Speaker 1: man again, the special effects look pretty great. Yeah, yeah,

1195
01:05:19,880 --> 01:05:22,880
Speaker 1: they do um and the spider comes off as a

1196
01:05:22,960 --> 01:05:25,840
Speaker 1: real threat. It's it's kind of scary to why you don't,

1197
01:05:25,960 --> 01:05:30,160
Speaker 1: you know, see people visibly digested by the spider and

1198
01:05:30,280 --> 01:05:33,360
Speaker 1: so forth. But it's still pretty horrifying to see the

1199
01:05:33,720 --> 01:05:35,560
Speaker 1: see it to come in and all the cut to

1200
01:05:35,640 --> 01:05:38,800
Speaker 1: the I think the puppet spider pinchers and all as

1201
01:05:38,880 --> 01:05:41,600
Speaker 1: it's actually supposed to be grabbing the individual, and then

1202
01:05:41,600 --> 01:05:44,960
Speaker 1: they cut away and leave the grizzly details to your imagination,

1203
01:05:45,000 --> 01:05:47,880
Speaker 1: as it should be in a film from this era. Yeah. Well,

1204
01:05:47,920 --> 01:05:52,120
Speaker 1: eventually Steve gets concerned about Professor Deemer because of the

1205
01:05:52,160 --> 01:05:56,080
Speaker 1: symptoms he's showing and uh and so John Aygar goes

1206
01:05:56,160 --> 01:05:59,120
Speaker 1: to help. Uh. He he shows up there and Deemer

1207
01:05:59,200 --> 01:06:02,160
Speaker 1: can hardly breathe. Then, so John Agar gives him some

1208
01:06:02,360 --> 01:06:04,840
Speaker 1: kind of injection. I don't think it specified what it is,

1209
01:06:05,480 --> 01:06:08,040
Speaker 1: but here it's finally time for Deemer to spill the beans.

1210
01:06:08,200 --> 01:06:11,080
Speaker 1: He says that, Okay, he and Jacobs had been working

1211
01:06:11,200 --> 01:06:14,280
Speaker 1: on this together quote since our days at oak Ridge.

1212
01:06:14,400 --> 01:06:17,520
Speaker 1: I assume he's referring to oak Ridge, Tennessee, which was

1213
01:06:17,600 --> 01:06:20,960
Speaker 1: the production site for the Manhattan Project during World War Two,

1214
01:06:21,040 --> 01:06:24,760
Speaker 1: developing the atomic bomb. So this, along with the sort

1215
01:06:24,800 --> 01:06:29,520
Speaker 1: of vague talk about quote an isotope or a radioactive isotope,

1216
01:06:29,560 --> 01:06:32,160
Speaker 1: makes me think they're sort of getting some atomic age

1217
01:06:32,200 --> 01:06:35,520
Speaker 1: stuff in here. But but they're they're just not very

1218
01:06:35,560 --> 01:06:39,760
Speaker 1: clear on how it works. Anyway, Deemer says, you know, Jacobs,

1219
01:06:39,800 --> 01:06:42,480
Speaker 1: he was an impatient old man, and even though the

1220
01:06:42,560 --> 01:06:45,560
Speaker 1: nutrients sometimes failed on the animals they were testing it on,

1221
01:06:46,280 --> 01:06:48,760
Speaker 1: he thought it still might work on humans. So one day,

1222
01:06:48,840 --> 01:06:52,120
Speaker 1: while Deemer was out, Jacobs and the other guy, Paul Lundon,

1223
01:06:52,360 --> 01:06:55,000
Speaker 1: they decided, well, you know, let's do it. Let's inject

1224
01:06:55,080 --> 01:06:59,360
Speaker 1: ourselves with it, and like it keeps making the rabbits explode,

1225
01:06:59,480 --> 01:07:02,120
Speaker 1: but you know, it just might work on humans. Let's

1226
01:07:02,160 --> 01:07:06,040
Speaker 1: try it. Let's experiment on ourselves with this dangerous nutrient,

1227
01:07:06,520 --> 01:07:08,280
Speaker 1: and that's apparently how it goes down. But you know,

1228
01:07:08,400 --> 01:07:10,840
Speaker 1: I kept I I would look back on this and

1229
01:07:10,920 --> 01:07:13,040
Speaker 1: I had questions that I'm sure the film, this is

1230
01:07:13,080 --> 01:07:14,760
Speaker 1: not a film that I think was really trying to

1231
01:07:15,120 --> 01:07:19,520
Speaker 1: play with any subtlety like this. But like when one

1232
01:07:19,560 --> 01:07:24,520
Speaker 1: of the Frankenstein researchers injects Deemer, there's this sense of

1233
01:07:24,640 --> 01:07:27,040
Speaker 1: like like now you're gonna die too. Now you're like

1234
01:07:27,560 --> 01:07:31,320
Speaker 1: a vengeance almost. That made me question like, well, well,

1235
01:07:31,360 --> 01:07:33,600
Speaker 1: who injected who did Deem or inject them because they

1236
01:07:33,640 --> 01:07:37,400
Speaker 1: seem very vengeful towards him if they just injected themselves.

1237
01:07:37,520 --> 01:07:42,040
Speaker 1: But um, the film doesn't actually push uh an audience

1238
01:07:42,200 --> 01:07:45,840
Speaker 1: um interpretation in that direction at any point, So it's

1239
01:07:45,840 --> 01:07:48,160
Speaker 1: probably just me overthinking it. Yeah, I know what you're

1240
01:07:48,200 --> 01:07:50,720
Speaker 1: talking about with that scene that is weird when Lund

1241
01:07:50,960 --> 01:07:53,960
Speaker 1: injects Deemer. I don't know exactly what to make of that.

1242
01:07:54,600 --> 01:07:57,240
Speaker 1: It could be a product of like an earlier draft

1243
01:07:57,280 --> 01:07:59,960
Speaker 1: of the script or something where maybe at one point,

1244
01:08:00,080 --> 01:08:02,320
Speaker 1: Deemer's character was supposed to be more malicious, and then

1245
01:08:02,400 --> 01:08:05,400
Speaker 1: they realized and worked a little better. If he was not,

1246
01:08:05,720 --> 01:08:08,640
Speaker 1: I don't know, but at any rate, he's a Deemer

1247
01:08:08,720 --> 01:08:12,600
Speaker 1: Certainly Frankenstein ngu pretty hard. At this point, Deemer says,

1248
01:08:12,840 --> 01:08:17,160
Speaker 1: the isotope triggered our nutrient into a nightmare. That's a

1249
01:08:17,240 --> 01:08:20,360
Speaker 1: quote Deemer. He also in the scene he gets very

1250
01:08:20,400 --> 01:08:23,400
Speaker 1: emotional about his specimens. He's like walking through the lab

1251
01:08:24,000 --> 01:08:26,000
Speaker 1: kind of saying, you should have seen them all before

1252
01:08:26,080 --> 01:08:28,960
Speaker 1: the fire. They lived on nothing but our nutrient. A

1253
01:08:29,120 --> 01:08:32,840
Speaker 1: rat eight times normal size, the guinea pig big as

1254
01:08:32,840 --> 01:08:38,439
Speaker 1: a police dog, a tarantula lost all lost. Oh, and

1255
01:08:38,560 --> 01:08:41,840
Speaker 1: John agar Is is interested in the tarantula. He's like,

1256
01:08:41,920 --> 01:08:44,120
Speaker 1: what happened to it? And Deemer says it got burned,

1257
01:08:44,280 --> 01:08:48,240
Speaker 1: but we know otherwise. And he passes out due to

1258
01:08:48,360 --> 01:08:52,720
Speaker 1: grief about his precious tarantula. So they put him to bed. Uh.

1259
01:08:53,040 --> 01:08:55,679
Speaker 1: John agar tell Steve that there is no hope whatsoever

1260
01:08:55,840 --> 01:08:58,680
Speaker 1: for him, but gives her some pills and says to

1261
01:08:58,680 --> 01:09:00,840
Speaker 1: give him to Deemer for pain, and then he says

1262
01:09:00,880 --> 01:09:03,400
Speaker 1: he's got to go check on something because we know

1263
01:09:03,560 --> 01:09:06,719
Speaker 1: what's going on. John John Agar spidy senses are tingling,

1264
01:09:06,840 --> 01:09:09,880
Speaker 1: especially since he's seen that goo out in the ranch.

1265
01:09:11,240 --> 01:09:14,120
Speaker 1: So this is where he goes to the Agricultural Institute

1266
01:09:14,160 --> 01:09:17,280
Speaker 1: to get the goose samples tested. He wonders if it's

1267
01:09:17,320 --> 01:09:20,519
Speaker 1: insect venom while he meets Mr Drysdale here at the lab,

1268
01:09:20,640 --> 01:09:23,800
Speaker 1: and Drysdale tells him it's not insect venom. He says, quote,

1269
01:09:24,080 --> 01:09:27,439
Speaker 1: it's from a species called a rack nidda. You mean

1270
01:09:27,479 --> 01:09:31,559
Speaker 1: a spider a tarantula to be exact. But the scientist says,

1271
01:09:31,640 --> 01:09:33,639
Speaker 1: I've never seen so much of it. He says, there's

1272
01:09:33,680 --> 01:09:36,160
Speaker 1: more venom in this test tube than you'd find in

1273
01:09:36,240 --> 01:09:41,720
Speaker 1: a hundred tarantulas. And then by simple math, John Agar concludes, well,

1274
01:09:41,960 --> 01:09:44,560
Speaker 1: a tarantula that could secrete that much venom must be

1275
01:09:44,600 --> 01:09:48,720
Speaker 1: a hundred times larger than a regular tarantula. But this

1276
01:09:48,920 --> 01:09:51,200
Speaker 1: is just a sample, Like, this is just what he

1277
01:09:51,320 --> 01:09:54,639
Speaker 1: fit into the tube, not the amount that was produced. Yeah,

1278
01:09:54,680 --> 01:09:56,360
Speaker 1: this is just, you know, what he was able to

1279
01:09:56,400 --> 01:09:58,799
Speaker 1: put in the tube, not not counting the other puddles

1280
01:09:58,840 --> 01:10:01,200
Speaker 1: that were litter all over the place of the scene

1281
01:10:01,240 --> 01:10:04,680
Speaker 1: of the murder. By the way, I hope that the

1282
01:10:04,760 --> 01:10:09,080
Speaker 1: tarantula the giant tarantula. Also ate that plus sized rat

1283
01:10:09,720 --> 01:10:12,760
Speaker 1: and that guinea pig the size of a police dog

1284
01:10:12,880 --> 01:10:16,400
Speaker 1: if they escaped, because you know, otherwise, if it's skipping

1285
01:10:16,439 --> 01:10:19,479
Speaker 1: those and going straight to humans, like, shame on, new tarantula,

1286
01:10:19,520 --> 01:10:22,439
Speaker 1: at least eat the other plus sized animals first. They

1287
01:10:22,520 --> 01:10:25,160
Speaker 1: never address what happened to the other animals that I

1288
01:10:25,280 --> 01:10:27,000
Speaker 1: was thinking that after the movie was over. It's like

1289
01:10:27,040 --> 01:10:29,880
Speaker 1: they burned the tarantula, but there could be a rampaging

1290
01:10:29,960 --> 01:10:32,840
Speaker 1: guinea pig the size of a blue whale. Yeah, they

1291
01:10:32,880 --> 01:10:45,400
Speaker 1: could be in a sequel, just rolling across the hills. Well, anyway,

1292
01:10:45,520 --> 01:10:48,040
Speaker 1: Johnny Gar tells the scientist about all the puddles, and

1293
01:10:48,120 --> 01:10:51,200
Speaker 1: the scientist is incredulous, but he and then he's like, anyway,

1294
01:10:51,360 --> 01:10:54,880
Speaker 1: let's watch an educational film strip about tarantula's Uh so

1295
01:10:55,000 --> 01:10:57,559
Speaker 1: we learned all kinds of things in the scene. First.

1296
01:10:57,640 --> 01:11:00,519
Speaker 1: The really funny thing here is that apparently the scientists

1297
01:11:00,560 --> 01:11:04,960
Speaker 1: begins by using the film strip to demonstrate that there

1298
01:11:05,040 --> 01:11:08,400
Speaker 1: are no such things in nature as tarantulas that are

1299
01:11:08,439 --> 01:11:11,680
Speaker 1: a hundred feet tall. So like he's like, you know,

1300
01:11:11,760 --> 01:11:14,600
Speaker 1: see the largest tarantulas in South America, it's only a

1301
01:11:14,640 --> 01:11:17,200
Speaker 1: foot in diameter with the legs stretched out the ones

1302
01:11:17,280 --> 01:11:21,400
Speaker 1: in Arizona, or even smaller. So so you see, you know,

1303
01:11:21,600 --> 01:11:23,920
Speaker 1: a tarantula the size of a blue whale is just

1304
01:11:24,080 --> 01:11:26,680
Speaker 1: not to be found in nature. I found it interesting

1305
01:11:26,720 --> 01:11:31,599
Speaker 1: that the video they watch does acknowledge the tarantula hawk wasp,

1306
01:11:31,800 --> 01:11:35,400
Speaker 1: you know, the the wasp that that that that lay

1307
01:11:35,439 --> 01:11:39,200
Speaker 1: their eggs inside of the tarantula. Uh, Because I was

1308
01:11:39,240 --> 01:11:41,120
Speaker 1: thinking to myself, it's like, well, you know, kudos that

1309
01:11:41,240 --> 01:11:44,840
Speaker 1: they acknowledge that that these wasps are really at the

1310
01:11:44,880 --> 01:11:46,680
Speaker 1: top of the heap and not the tarantula, because I

1311
01:11:46,720 --> 01:11:49,599
Speaker 1: felt like they might have been tempted to edit things

1312
01:11:49,840 --> 01:11:52,559
Speaker 1: so that they just position the tarantula as more fierce

1313
01:11:52,640 --> 01:11:55,200
Speaker 1: than it actually is. Well, let's see what they do say,

1314
01:11:55,240 --> 01:11:57,360
Speaker 1: because we learn a lot of things from this film strip.

1315
01:11:58,120 --> 01:12:00,400
Speaker 1: So we learned the following. Okay, are you ready, let's

1316
01:12:00,439 --> 01:12:04,880
Speaker 1: do it. Tarantula's have eight legs. Correct, they can move

1317
01:12:05,080 --> 01:12:09,040
Speaker 1: faster than you think. Depends on what you think. Yeah. Yeah.

1318
01:12:09,120 --> 01:12:12,200
Speaker 1: They say this assures him of a long life, the

1319
01:12:12,240 --> 01:12:15,439
Speaker 1: scientists disgustingly saying him of the tarantula. I don't know

1320
01:12:15,479 --> 01:12:18,920
Speaker 1: why this assures him of a long life. Sometimes twenty

1321
01:12:19,000 --> 01:12:22,200
Speaker 1: five years. Okay, don't I don't know that. Maybe I

1322
01:12:22,680 --> 01:12:25,920
Speaker 1: don't have the facts the keyed up on that. Uh.

1323
01:12:26,080 --> 01:12:29,400
Speaker 1: They say the spider wasp is the tarantula's deadliest enemy.

1324
01:12:30,200 --> 01:12:32,519
Speaker 1: Strong case to be made for it. Okay. From here

1325
01:12:32,600 --> 01:12:36,680
Speaker 1: we go to tarantula does not know the meaning of fear. Well, yes,

1326
01:12:36,920 --> 01:12:41,920
Speaker 1: that's probably true. Uh, he'll back down a rattlesnake if

1327
01:12:42,000 --> 01:12:45,280
Speaker 1: he has to. Well, we are given the cinematic evidence

1328
01:12:45,320 --> 01:12:49,800
Speaker 1: of this. Uh. Quote their flesh eaters, these are John

1329
01:12:49,840 --> 01:12:54,479
Speaker 1: Agar's words, and desert beetles are their usual diet. Okay,

1330
01:12:54,560 --> 01:12:57,679
Speaker 1: we have more footages provided, so we buy this. Okay.

1331
01:12:58,200 --> 01:13:00,679
Speaker 1: Their jaws are powerful enough to pierce a man's finger,

1332
01:13:01,120 --> 01:13:04,160
Speaker 1: so they say it could be the case. They pre

1333
01:13:04,280 --> 01:13:06,759
Speaker 1: digest their food by flooding the wound with a powerful

1334
01:13:06,880 --> 01:13:09,400
Speaker 1: solvent so that the flesh can be sucked into the body.

1335
01:13:10,360 --> 01:13:12,760
Speaker 1: And then John A. Car says that would account for

1336
01:13:12,880 --> 01:13:19,440
Speaker 1: the bones um. But then finally the scientist says, fortunately,

1337
01:13:20,160 --> 01:13:22,560
Speaker 1: the venom of a tarantula is no more dangerous to

1338
01:13:22,640 --> 01:13:25,439
Speaker 1: a human than a hornet sting. And he tells John

1339
01:13:25,520 --> 01:13:28,920
Speaker 1: Agar He's solemnly looks at him and says, we must

1340
01:13:28,960 --> 01:13:31,839
Speaker 1: accept them as we do the rest of God's creatures.

1341
01:13:32,760 --> 01:13:37,000
Speaker 1: What a strange thing to say. It's just like, I

1342
01:13:37,080 --> 01:13:39,280
Speaker 1: know you don't like it, but you have to accept it.

1343
01:13:39,360 --> 01:13:42,040
Speaker 1: They are part of nature. By the way, if anyone

1344
01:13:42,200 --> 01:13:43,960
Speaker 1: out there is wondering what it might be like to

1345
01:13:44,040 --> 01:13:46,040
Speaker 1: be eaten by a giant spider, we we have an

1346
01:13:46,040 --> 01:13:48,720
Speaker 1: episode in the vault somewhere that we devoted to the

1347
01:13:48,840 --> 01:13:53,280
Speaker 1: very question that one was fun Um. Yeah, So the

1348
01:13:53,360 --> 01:13:56,559
Speaker 1: scientists like, look, you know, they're just part of God's plan. Uh,

1349
01:13:56,840 --> 01:13:59,639
Speaker 1: you got to accept them. And he says each animal

1350
01:13:59,720 --> 01:14:01,960
Speaker 1: as a function within its own world. And then John

1351
01:14:02,000 --> 01:14:04,800
Speaker 1: Agar is like, yeah, but what if one got really big?

1352
01:14:05,680 --> 01:14:08,400
Speaker 1: And then the scientist says, then, and this is a quote,

1353
01:14:08,720 --> 01:14:12,559
Speaker 1: then expect something that's fiercer, more cruel, and deadly than

1354
01:14:12,680 --> 01:14:17,320
Speaker 1: anything that ever walked the earth. Cut straight to giant

1355
01:14:17,400 --> 01:14:20,720
Speaker 1: tarantula walking through the desert, knocking down telephone lines and

1356
01:14:20,800 --> 01:14:24,320
Speaker 1: power cables. Yeah, and it is just upsettingly big at

1357
01:14:24,360 --> 01:14:27,120
Speaker 1: this point. It's it's like it's big enough at this

1358
01:14:27,240 --> 01:14:30,000
Speaker 1: point that you're it's how many people would it take

1359
01:14:30,040 --> 01:14:32,880
Speaker 1: to feed this thing? It's how many horses, how many cattle?

1360
01:14:33,160 --> 01:14:35,320
Speaker 1: It's just way too big. Somebody needs to do something

1361
01:14:35,360 --> 01:14:38,080
Speaker 1: about the spider. So we see the spider out in

1362
01:14:38,240 --> 01:14:40,439
Speaker 1: the in the desert in the middle of the night.

1363
01:14:40,520 --> 01:14:42,760
Speaker 1: It eats a couple of cowboys who are sleeping out

1364
01:14:42,880 --> 01:14:45,920
Speaker 1: under the stars. This is that classic trip that we've

1365
01:14:46,240 --> 01:14:49,680
Speaker 1: talked about before when you have new characters suddenly introduced.

1366
01:14:49,760 --> 01:14:52,840
Speaker 1: This late in the Monster movie. Oh it's not looking good.

1367
01:14:53,160 --> 01:14:56,200
Speaker 1: They are food. Yeah, But John Agar gets in touch

1368
01:14:56,280 --> 01:14:58,479
Speaker 1: with the sheriff and he's like, okay, time to arm

1369
01:14:58,680 --> 01:15:01,880
Speaker 1: everyone called the state police meet me at the Deemer place,

1370
01:15:02,000 --> 01:15:06,519
Speaker 1: and the sheriff reluctantly believes him. But but here's where

1371
01:15:06,560 --> 01:15:09,519
Speaker 1: we get the attack on Maracorda in the Deemer house,

1372
01:15:09,600 --> 01:15:12,680
Speaker 1: so that the tarantula creeps up on the house. Uh,

1373
01:15:12,880 --> 01:15:15,280
Speaker 1: this is the scene where we see the tarantula peeking

1374
01:15:15,360 --> 01:15:19,560
Speaker 1: in through the window. Yeah, and um it's it's a

1375
01:15:19,600 --> 01:15:22,479
Speaker 1: creepy scene. That big tarantula pumpet with his big eyes.

1376
01:15:23,200 --> 01:15:26,280
Speaker 1: Very effective, I thought. And this is just the beginning

1377
01:15:26,320 --> 01:15:29,760
Speaker 1: of a full on attack on the house, which is

1378
01:15:29,800 --> 01:15:32,519
Speaker 1: an exciting sequence with lots of cool effects and uh

1379
01:15:32,800 --> 01:15:37,240
Speaker 1: special effects, big spider parts ramming in through the walls

1380
01:15:37,320 --> 01:15:39,960
Speaker 1: and so forth. Yeah, it attacks the house. It bites

1381
01:15:40,040 --> 01:15:43,000
Speaker 1: through the roof. It's fangs are coming into Deemer's room.

1382
01:15:43,040 --> 01:15:46,160
Speaker 1: I think it. I think it eats Deemer owen Deemer

1383
01:15:46,280 --> 01:15:49,960
Speaker 1: full pajamas by the way, glorious. Yeah, full pajamas with

1384
01:15:50,040 --> 01:15:54,439
Speaker 1: the stripes and that. Yeah, he's going. Um. Steve escapes

1385
01:15:54,479 --> 01:15:57,080
Speaker 1: instead of running into the basement, though she runs outside.

1386
01:15:57,280 --> 01:16:00,120
Speaker 1: Luckily for her, John Agar is just then arrived being

1387
01:16:00,160 --> 01:16:02,720
Speaker 1: to pick her up in his convertible, and the tarantula

1388
01:16:02,840 --> 01:16:05,519
Speaker 1: chases the cars. It speeds down the highway, and I

1389
01:16:05,640 --> 01:16:07,519
Speaker 1: love how they don't even talk about it. You know

1390
01:16:07,560 --> 01:16:09,679
Speaker 1: that she gets in the car they drive away. She's

1391
01:16:09,720 --> 01:16:14,599
Speaker 1: not like giant spider. That was weird, huh yeah. Um.

1392
01:16:15,280 --> 01:16:18,200
Speaker 1: But the rendezvous with the police and then every the police,

1393
01:16:18,280 --> 01:16:21,559
Speaker 1: everybody now sees the spider. So there's no more debate

1394
01:16:21,600 --> 01:16:23,479
Speaker 1: about whether there's a giant spider. We're all on the

1395
01:16:23,560 --> 01:16:26,400
Speaker 1: same page now, all of humankind must span together to

1396
01:16:26,479 --> 01:16:29,559
Speaker 1: annihilate it. Uh. And so this part they get like more.

1397
01:16:29,720 --> 01:16:32,240
Speaker 1: Corda and John Agar get into the police car and

1398
01:16:32,400 --> 01:16:35,240
Speaker 1: ride off, and then we see two cops approaching the

1399
01:16:35,320 --> 01:16:38,960
Speaker 1: spider with guns drawn. I was like, what okay, And

1400
01:16:39,080 --> 01:16:41,479
Speaker 1: I guess they just needed to be doomed. But then

1401
01:16:41,560 --> 01:16:43,840
Speaker 1: it gets even weirder when I see okay, no, they're

1402
01:16:43,840 --> 01:16:46,600
Speaker 1: not just randomly walking at the spider pointing guns at it.

1403
01:16:47,040 --> 01:16:50,200
Speaker 1: They were going to get John Agar's car. So the

1404
01:16:50,320 --> 01:16:53,200
Speaker 1: premise of this scene is that this classic convertible is

1405
01:16:53,240 --> 01:16:58,280
Speaker 1: worth at least two human lives. Well, I remember correctly,

1406
01:16:58,400 --> 01:17:00,920
Speaker 1: it was a sports car. Like, this is a new car.

1407
01:17:01,160 --> 01:17:04,240
Speaker 1: This is a nice car. They're like, it's our duty

1408
01:17:04,439 --> 01:17:07,360
Speaker 1: as law enforcement officers to make sure the spider doesn't

1409
01:17:07,400 --> 01:17:11,920
Speaker 1: eat this fine automobile. Yeah, but unfortunately the spider eats

1410
01:17:12,000 --> 01:17:16,360
Speaker 1: them instead. Uh So, John Agar and Mark Corday ride

1411
01:17:16,400 --> 01:17:18,720
Speaker 1: back with the cops and they're all on the radio like,

1412
01:17:18,800 --> 01:17:20,760
Speaker 1: get us all the dynamite you can find, and get

1413
01:17:20,880 --> 01:17:23,880
Speaker 1: napalm too. And we've seen the sheriff saying dog gone

1414
01:17:23,880 --> 01:17:27,400
Speaker 1: and I wish I had some nitro. And they set

1415
01:17:27,439 --> 01:17:29,720
Speaker 1: a big trap for the spider on the highway. They

1416
01:17:29,840 --> 01:17:32,320
Speaker 1: lay out all this dynamite. They really use a lot

1417
01:17:32,400 --> 01:17:36,800
Speaker 1: of dynamite, but it doesn't work. No, no, no. Also, okay,

1418
01:17:37,120 --> 01:17:40,320
Speaker 1: here's a question that's come up in recent episodes. Why

1419
01:17:40,520 --> 01:17:46,240
Speaker 1: is John Agar in charge here? Biggest shoulders. Once again,

1420
01:17:46,320 --> 01:17:48,280
Speaker 1: this is what was the movie where we were talking

1421
01:17:48,320 --> 01:17:52,120
Speaker 1: about this problem of movies where suddenly a random civilian

1422
01:17:52,320 --> 01:17:55,240
Speaker 1: is allowed to be involved in police business, or even

1423
01:17:55,360 --> 01:17:58,400
Speaker 1: in charge of police business. I guess just because they're

1424
01:17:58,439 --> 01:18:00,880
Speaker 1: the hero. Oh, it shows up all the time. Yeah,

1425
01:18:01,120 --> 01:18:04,120
Speaker 1: where it's someone's a photographer, but somehow they're in every

1426
01:18:04,200 --> 01:18:08,320
Speaker 1: scene of the investigation, like they're suddenly co lead detective

1427
01:18:08,439 --> 01:18:12,639
Speaker 1: or something. Yeah. So like basically John Agar's character gets

1428
01:18:12,680 --> 01:18:16,080
Speaker 1: to call in an airstrike. Yes, I get why he's

1429
01:18:16,120 --> 01:18:18,920
Speaker 1: John Agar. I guess, yeah, Oh it was an atragon.

1430
01:18:19,080 --> 01:18:23,679
Speaker 1: Remember it was those those photographers, Yes, I do now, Yeah,

1431
01:18:23,880 --> 01:18:26,120
Speaker 1: like all of the military leaders are listening to what

1432
01:18:26,280 --> 01:18:29,040
Speaker 1: these sleazy photographers are telling them to do. You know.

1433
01:18:29,120 --> 01:18:31,400
Speaker 1: I guess it comes down in an emergency situation, like

1434
01:18:31,520 --> 01:18:34,439
Speaker 1: somebody needs to to take the lead and tell people

1435
01:18:34,520 --> 01:18:37,840
Speaker 1: what to do and uh. And so it holds true

1436
01:18:37,920 --> 01:18:42,519
Speaker 1: in any emergency situation, including giant spiders. Okay, but so

1437
01:18:42,600 --> 01:18:45,280
Speaker 1: the dynamite trap doesn't work spiders coming toward town. I

1438
01:18:45,280 --> 01:18:47,400
Speaker 1: guess they're only hope at this point is the air force.

1439
01:18:47,479 --> 01:18:50,679
Speaker 1: And again, this is such a nineteen fifties movie because

1440
01:18:50,720 --> 01:18:54,240
Speaker 1: it literally just ends with the military coming in and

1441
01:18:54,360 --> 01:18:57,559
Speaker 1: destroying the monster and it works and that's it. Yeah,

1442
01:18:59,160 --> 01:19:01,360
Speaker 1: So like the Clinting Eastwood flies in in a jet

1443
01:19:01,439 --> 01:19:04,000
Speaker 1: with a few other jets. They dropped napalm on the

1444
01:19:04,080 --> 01:19:07,160
Speaker 1: spider and then the spider catches on fire and it

1445
01:19:07,240 --> 01:19:09,439
Speaker 1: actually looks very brutal. Like you said, they had some

1446
01:19:09,560 --> 01:19:12,120
Speaker 1: kind of puppet that they set fire too. I felt

1447
01:19:12,160 --> 01:19:15,000
Speaker 1: bad for the tarantula. And then that's just the end.

1448
01:19:15,240 --> 01:19:19,840
Speaker 1: Just that's straight to the end title card Monsters on Fire.

1449
01:19:19,960 --> 01:19:22,160
Speaker 1: Nobody has anything to say about it. The end a

1450
01:19:22,280 --> 01:19:27,080
Speaker 1: universal international picture. Why did so many movies of this

1451
01:19:27,320 --> 01:19:29,720
Speaker 1: period end exactly like this? I'm sure you know what

1452
01:19:29,800 --> 01:19:34,160
Speaker 1: I'm talking about, Like, no additional character resolution, no day Newmont,

1453
01:19:34,520 --> 01:19:37,360
Speaker 1: the monster is dead, there's no comment on it. Film

1454
01:19:37,560 --> 01:19:41,040
Speaker 1: ends immediately. Yeah, they wrap it up in a nice

1455
01:19:41,200 --> 01:19:44,320
Speaker 1: tight bow. They get the movie, uh, you know, in

1456
01:19:44,720 --> 01:19:47,080
Speaker 1: under time. And I have to say, sometimes I kind

1457
01:19:47,080 --> 01:19:49,840
Speaker 1: of missed this. I feel like modern films, especially, they're

1458
01:19:49,840 --> 01:19:52,599
Speaker 1: always trying to play like for d chest with their endings,

1459
01:19:53,040 --> 01:19:55,160
Speaker 1: and sometimes I just want to say, look, it's okay

1460
01:19:55,320 --> 01:19:57,599
Speaker 1: if you just blow up the monster and in the movie,

1461
01:19:58,040 --> 01:20:01,439
Speaker 1: you know, we literally like you see the monster splatter,

1462
01:20:01,680 --> 01:20:04,760
Speaker 1: it's clearly dead. And then just the end, Yeah, it's

1463
01:20:04,840 --> 01:20:07,320
Speaker 1: it's it's okay if like the military just shows up

1464
01:20:07,320 --> 01:20:10,360
Speaker 1: and blows up the monster and we can just imagine

1465
01:20:10,400 --> 01:20:14,400
Speaker 1: how these characters interacted thereafter. We don't need thirty more

1466
01:20:14,439 --> 01:20:17,320
Speaker 1: minutes of the movie, okay. But to counter this, what

1467
01:20:17,520 --> 01:20:21,519
Speaker 1: if it ended with a stinger, which is okay, you know, uh,

1468
01:20:21,840 --> 01:20:24,479
Speaker 1: John Agar and Marcorda, They're like, well, we're in love now,

1469
01:20:24,600 --> 01:20:26,600
Speaker 1: we're gonna have a happy life together. But then in

1470
01:20:26,680 --> 01:20:30,080
Speaker 1: the background you see a giant guinea pigs stampedeing over

1471
01:20:30,120 --> 01:20:34,120
Speaker 1: the mountains. Well, obviously I would love that, uh setting

1472
01:20:34,240 --> 01:20:38,160
Speaker 1: up the sequel that never was um any of the

1473
01:20:38,200 --> 01:20:40,800
Speaker 1: giant animals coming back, that would have been good or

1474
01:20:40,880 --> 01:20:44,040
Speaker 1: the same. By the naming convention, though it would have

1475
01:20:44,160 --> 01:20:47,920
Speaker 1: to be tarantula to col and guinea pig. Yeah yeah,

1476
01:20:48,439 --> 01:20:50,080
Speaker 1: the guinea pig is it's still the size of a

1477
01:20:50,120 --> 01:20:51,920
Speaker 1: police thought. And then because that's a that's the one

1478
01:20:52,000 --> 01:20:55,599
Speaker 1: question you have to ask. So different animals grow different

1479
01:20:55,640 --> 01:20:59,960
Speaker 1: in different ways. So and clearly we've already established the

1480
01:21:00,200 --> 01:21:03,240
Speaker 1: nutrient affects people in different ways as well, Like it

1481
01:21:03,360 --> 01:21:06,679
Speaker 1: doesn't seem to be making fifty foot tall humans. It's

1482
01:21:06,760 --> 01:21:09,840
Speaker 1: just um, you know, killing humans over the course of

1483
01:21:09,920 --> 01:21:13,439
Speaker 1: like four days. Meanwhile, the spider keeps growing and growing.

1484
01:21:13,479 --> 01:21:15,679
Speaker 1: What happens to the guinea pig? Does I think they's

1485
01:21:15,720 --> 01:21:18,240
Speaker 1: blowde Does it just stay the size of a police dog?

1486
01:21:18,400 --> 01:21:21,000
Speaker 1: Or does it become enormous as well? Well? To side

1487
01:21:21,000 --> 01:21:23,920
Speaker 1: a little bit of biology, I am pretty sure that

1488
01:21:24,040 --> 01:21:28,519
Speaker 1: there are stricter size limits on arthropods than there are

1489
01:21:28,680 --> 01:21:33,080
Speaker 1: on mammals. I think presumably you could actually get a

1490
01:21:33,200 --> 01:21:35,320
Speaker 1: bigger guinea pig than you could get a big spider.

1491
01:21:35,439 --> 01:21:38,479
Speaker 1: Because spider, what are the reasons? I know we've talked

1492
01:21:38,520 --> 01:21:40,880
Speaker 1: about this before. I have something to do with respiration

1493
01:21:41,120 --> 01:21:43,560
Speaker 1: that like arthur pods, like insects and spiders, they have

1494
01:21:43,680 --> 01:21:46,640
Speaker 1: to uh like do gas exchange through their skin And

1495
01:21:46,720 --> 01:21:48,840
Speaker 1: if you just get a certain amount of volume, you

1496
01:21:48,960 --> 01:21:52,639
Speaker 1: can't do enough of that with the outside surface. Yeah.

1497
01:21:52,680 --> 01:21:56,160
Speaker 1: And plus he goes without saying for for many for

1498
01:21:56,280 --> 01:21:58,840
Speaker 1: most animals, you would be can asking this question about

1499
01:21:59,120 --> 01:22:02,559
Speaker 1: you can't just scale it up because the things are

1500
01:22:02,600 --> 01:22:05,360
Speaker 1: gonna happen, like the legs are going to just snap

1501
01:22:05,560 --> 01:22:09,280
Speaker 1: underneath its weight. It's it's like that body size is

1502
01:22:09,360 --> 01:22:12,040
Speaker 1: not meant to be scaled up to the size of

1503
01:22:12,080 --> 01:22:14,839
Speaker 1: a skyscraper. It's just not going to support that creature anymore,

1504
01:22:14,880 --> 01:22:17,160
Speaker 1: so it could potentially just fall apart. I think it

1505
01:22:17,240 --> 01:22:20,720
Speaker 1: also affects stuff about body heat and cooling and all that.

1506
01:22:20,920 --> 01:22:23,920
Speaker 1: So yeah, anyway, yeah, yeah, the square cube law comes

1507
01:22:23,920 --> 01:22:25,800
Speaker 1: into play and so forth. But I guess what we're

1508
01:22:25,800 --> 01:22:27,800
Speaker 1: trying to say is that this can't happen. This didn't

1509
01:22:27,840 --> 01:22:31,599
Speaker 1: really happen Tarantula fictional film. We we are like Mr

1510
01:22:31,800 --> 01:22:35,920
Speaker 1: Drysdale in the thing, saying, see, let me educate you

1511
01:22:36,000 --> 01:22:38,479
Speaker 1: about how they're not there are not in fact whale

1512
01:22:38,560 --> 01:22:44,120
Speaker 1: size spiders. Um. Fun kind of tie in for this movie.

1513
01:22:44,240 --> 01:22:46,519
Speaker 1: So I watched this film the other day. In a

1514
01:22:46,560 --> 01:22:49,360
Speaker 1: few days prior, I saw the new Jordan Peel movie

1515
01:22:49,479 --> 01:22:53,200
Speaker 1: Nope Um over the weekend. And I'm not gonna share

1516
01:22:53,240 --> 01:22:56,800
Speaker 1: any spoilers on Nope other than to say it's it's fun,

1517
01:22:57,080 --> 01:22:59,519
Speaker 1: fun flick with a lot of surprises in it. But

1518
01:23:00,320 --> 01:23:05,080
Speaker 1: uh Nope. Takes place in the California desert, with scenes

1519
01:23:05,160 --> 01:23:07,640
Speaker 1: of some sort of a lurking threat being present and

1520
01:23:07,720 --> 01:23:12,080
Speaker 1: also scenes of horses. Uh So, while again, while this

1521
01:23:12,200 --> 01:23:16,080
Speaker 1: movie Tarantula was set in Arizona. It was filmed in California,

1522
01:23:16,280 --> 01:23:18,160
Speaker 1: and it features what feel like some of the same

1523
01:23:18,280 --> 01:23:21,439
Speaker 1: sorts of rolling hills and places as well as cattles

1524
01:23:21,439 --> 01:23:24,800
Speaker 1: and cattle and horses. Um, so I was looking this up,

1525
01:23:24,840 --> 01:23:27,400
Speaker 1: I was just like, I wonder how close the settings were. Well,

1526
01:23:27,560 --> 01:23:32,000
Speaker 1: Tarantula was filmed in Lucerne Valley and Pivotal Nope, scenes

1527
01:23:32,200 --> 01:23:34,680
Speaker 1: were filmed in Santa Clarita, and those are about a

1528
01:23:34,760 --> 01:23:39,000
Speaker 1: hundred miles apart. So, um, you know, still same neck

1529
01:23:39,400 --> 01:23:43,040
Speaker 1: of the state to at least a limited extent. Maybe

1530
01:23:43,080 --> 01:23:46,320
Speaker 1: our local Californian listeners can chime in on the differences,

1531
01:23:46,720 --> 01:23:50,479
Speaker 1: please do. All right, Well, that's that's Tarantula again. Nine

1532
01:23:51,120 --> 01:23:54,800
Speaker 1: film and probably one of the probably one of the

1533
01:23:54,840 --> 01:23:57,840
Speaker 1: more entertaining giant animal films of the era that you

1534
01:23:57,880 --> 01:23:59,920
Speaker 1: could seek out. I agree this one is a lot

1535
01:23:59,960 --> 01:24:02,280
Speaker 1: of fun. I think it's just the right combination of

1536
01:24:02,560 --> 01:24:08,719
Speaker 1: um brisk pace, great absurdity, and uh genuinely good special

1537
01:24:08,760 --> 01:24:10,720
Speaker 1: effects for the time. It's it's a lot of fun.

1538
01:24:11,200 --> 01:24:14,040
Speaker 1: All right. Well, we'll hope you'll join us next time

1539
01:24:14,360 --> 01:24:16,920
Speaker 1: with this this uh, these episodes Weird House Cinema they

1540
01:24:16,960 --> 01:24:19,200
Speaker 1: published every Friday, and the Stuff to Blow Your Mind

1541
01:24:19,240 --> 01:24:24,000
Speaker 1: podcast feed and normally where a science podcast with core

1542
01:24:24,040 --> 01:24:26,639
Speaker 1: episodes on Tuesdays and Thursdays, but on Fridays we set

1543
01:24:26,720 --> 01:24:29,599
Speaker 1: most of that aside and just talk about a weird film. Uh.

1544
01:24:29,920 --> 01:24:33,479
Speaker 1: Two websites of note for Weird House Cinema. There's some

1545
01:24:33,560 --> 01:24:35,360
Speaker 1: mut music dot com, which is just a blog where

1546
01:24:35,360 --> 01:24:37,879
Speaker 1: I'll do some blog posts about these episodes and include

1547
01:24:37,920 --> 01:24:41,200
Speaker 1: things like the trailer and related video or audio if

1548
01:24:41,240 --> 01:24:45,200
Speaker 1: it's applicable to the film that we're featuring. But also

1549
01:24:45,400 --> 01:24:48,560
Speaker 1: weird House has a Letterboxed account that's U l e

1550
01:24:48,640 --> 01:24:51,000
Speaker 1: T T E r b o x d. Our user

1551
01:24:51,120 --> 01:24:53,639
Speaker 1: name there is weird House. It's a fun website. It's

1552
01:24:53,640 --> 01:24:56,120
Speaker 1: really really I have more and more I'm using Letterboxed

1553
01:24:56,640 --> 01:25:00,760
Speaker 1: to help research films. Uh. They have some wonderful interface options, like,

1554
01:25:00,840 --> 01:25:04,120
Speaker 1: for instance, you can go to our list under weird House.

1555
01:25:04,680 --> 01:25:06,360
Speaker 1: We have a list of all the episodes we've done,

1556
01:25:06,400 --> 01:25:08,280
Speaker 1: and you can do things with like quick drop down.

1557
01:25:08,640 --> 01:25:10,600
Speaker 1: You can see like which movies we've done from the

1558
01:25:10,680 --> 01:25:14,000
Speaker 1: nineteen fifties, which movies we've done from the nineteen sixties, etcetera,

1559
01:25:14,600 --> 01:25:17,240
Speaker 1: which we can separate them by genre and so forth.

1560
01:25:17,320 --> 01:25:20,080
Speaker 1: So it's a really fun website that that I'm I'm

1561
01:25:20,120 --> 01:25:23,080
Speaker 1: having I'm having a great time using and we're on there,

1562
01:25:23,160 --> 01:25:25,439
Speaker 1: so if you're on there, follow us. We'll all have

1563
01:25:25,520 --> 01:25:28,920
Speaker 1: a good time watching movies together. Huge thanks as always

1564
01:25:28,960 --> 01:25:32,000
Speaker 1: to our excellent audio producer Seth Nicholas Johnson. If you

1565
01:25:32,040 --> 01:25:34,000
Speaker 1: would like to get in touch with us with feedback

1566
01:25:34,080 --> 01:25:36,280
Speaker 1: on this episode or any other, to suggest a topic

1567
01:25:36,360 --> 01:25:38,840
Speaker 1: for the future, just to say hello, you can email

1568
01:25:38,960 --> 01:25:41,800
Speaker 1: us at contact at stuff to Blow your Mind dot com.

1569
01:25:49,160 --> 01:25:51,639
Speaker 1: Stuff to Blow Your Mind is production of I Heart Radio.

1570
01:25:52,040 --> 01:25:54,120
Speaker 1: For more podcasts from my Heart Radio, visit the I

1571
01:25:54,200 --> 01:25:56,960
Speaker 1: Heart Radio app, Apple Podcasts, or wherever you listen to

1572
01:25:57,040 --> 01:25:57,840
Speaker 1: your favorite shows.