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

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Speaker 2: Hey, welcome to Weird How Cinema.

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Speaker 3: This is Rob Lamb.

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Speaker 4: And I'm Joe McCormack, and today we're going to be

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Speaker 4: talking about the nineteen forty size related thriller Doctor Cyclops.

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Speaker 4: You know that line, that classic Hollywood line about how

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Speaker 4: I stayed big it's the pictures that got small. Well,

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Speaker 4: you can't say that about this movie, because this movie

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Speaker 4: is really truly about actors getting small.

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Speaker 3: That's right.

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Speaker 2: This is our first nineteen forties film. I mean barely

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Speaker 2: since it's a nineteen forty release. But yeah, this is

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Speaker 2: one I was not familiar with. I've never heard of it,

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Speaker 2: despite the fact that it has a pretty famous director

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Speaker 2: who we'll get into more about in a second. But

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Speaker 2: it's Ernest B. Showedsack, who if that name doesn't ring

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Speaker 2: a bell, I think his most famous film will for you.

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Speaker 2: It was, of course King Kong.

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Speaker 4: Yeah, this this movie I thought was a real firecracker. Like,

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Speaker 4: it looks great, it has amazing special effects. The story

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Speaker 4: isn't as complex as you might hope. But then again,

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Speaker 4: I mean, this was a I don't know, a horror

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Speaker 4: thriller of the of the nineteen thirties and forties, of

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Speaker 4: the of the Hayes Code era, so you can only

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Speaker 4: expect so much moral and intellectual complexity. But just as

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Speaker 4: a big special effects thriller, the kind of Transformers or

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Speaker 4: Independence Day of nineteen forty, it's it's fantastic.

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Speaker 2: Yeah, And I think that's also only the way you

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Speaker 2: have to approach it is a it is a nineteen

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Speaker 2: forty special effects fiasco, and the special effects very much

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Speaker 2: come first. And you know, by today's standards they might

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Speaker 2: not look as you know, as amazing. But if you

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Speaker 2: but that's again only if you're looking at it as

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Speaker 2: a modern viewer and not thinking about the history of filmmaking.

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Speaker 2: Because I think if you, if you sit there and

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Speaker 2: watch the film in its entirety and keep reminding yourself

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Speaker 2: like this is nineteen forty, you know, this is what

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Speaker 2: had been done before with similar effects, and it will

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Speaker 2: impress you.

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Speaker 3: Oh.

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Speaker 4: I think the special effects in this movie do look fantastic.

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Speaker 4: I mean, I think they look so much better than

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Speaker 4: the quote realistic CGI that floods the films of today.

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Speaker 2: Well that's true, yeah, I mean, you know, it's very polished,

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Speaker 2: you know, using the tools of the day.

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Speaker 3: It creates I think some high quality visuals.

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Speaker 4: So this is We've talked about a number of mad

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Speaker 4: scientist movies, and I'm sure we will talk about many

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Speaker 4: more mad scientist movies in the future. Mad Scientists are

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Speaker 4: kind of the hub of the wheel of weird house cinema,

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Speaker 4: and this particular mad scientist is a mad scientist who

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Speaker 4: likes to shrink people with radiation.

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Speaker 2: Yes, the villainous doctor Thorkol. And yeah, he's pretty great

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Speaker 2: because he's you know, I guess his real defining characteristic

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Speaker 2: is he's a complete lamaniac. You know, he already feels

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Speaker 2: himself to be a giant among tiny people, and his

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Speaker 2: super science just enables him to make that, you know,

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Speaker 2: an objective reality.

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Speaker 4: Now, I think doctor Thorkel would probably shrink you to

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Speaker 4: death for the way he pronounced his name. Because of

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Speaker 4: the one of the funny things in this movie, So

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Speaker 4: his name is spelled t h o r k e L.

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Speaker 4: So I read that in like any other normal American

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Speaker 4: English speaker, I would think Thorkele.

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Speaker 2: Yeah, if I had to go to an appointment with

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Speaker 2: doctor Thorkele, I would call and be like, yeah, I'm

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Speaker 2: a patient of doctor Thorkele's.

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Speaker 4: But the characters in this movie make a really special

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Speaker 4: effort to always emphasize the second letter. So it's like

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Speaker 4: Sar Dough, no mister, accent on the doe. Here we

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Speaker 4: get thor Kel, No mister, it's doctor accent on the kel.

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Speaker 2: Doctor thor Kel. Yeah, and in this picture you can

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Speaker 2: you can basically, well, here's the elevator Pitch, a mad

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Speaker 2: scientist working in the south of Maria and jungle miniaturizes

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Speaker 2: his colleagues when he feels his megalomania is threatened. So

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Speaker 2: it's basically it's apocalypse now, but with doctor thorp Kel

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Speaker 2: instead of Colonel Kurtz. Science instead of war, and miniaturization

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Speaker 2: instead of the horror.

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Speaker 4: Let's say that's about accurate. Yeah, and well, and instead

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Speaker 4: of Martin Sheen, it's a ragtag team of the world's

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Speaker 4: greatest scientists and a mule guy.

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Speaker 3: Yeah.

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Speaker 2: And instead of spending like a large portion of the

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Speaker 2: film about the journey, that journey is really quick in

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Speaker 2: this they just skiffy right through it.

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Speaker 4: Should we hit that trailer audio, Yeah, let's hear it.

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Speaker 2: Then a crocodile becomes as huge as a prehistoric monster.

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Speaker 4: A rifle as unwieldy as a siege gun, a.

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Speaker 3: Terrifying black cat whose jaws lee den a dog looms

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Speaker 3: larger than an elephant.

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Speaker 4: Then in the hands of a ruthless monster.

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Speaker 2: All right, So let's talk about the people involved here. Really,

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Speaker 2: the one we're going to spend the most time on is,

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Speaker 2: of course, the director Ernest B. Schodsak.

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Speaker 4: I know almost nothing about the life of Shodzak except

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Speaker 4: that he is involved with one of the great early

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Speaker 4: special effects and I don't know what you might call

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Speaker 4: it science fiction horror films of the big studio era,

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Speaker 4: which is King Kong.

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Speaker 2: Yeah, I mean really, King Kong, despite being very much

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Speaker 2: a genre film, it transcends genre like it is that

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Speaker 2: film is an icon of cinematic history itself. You know,

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Speaker 2: it's kind of it's kind of difficult to overstate its

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Speaker 2: importance in the history of film. But he and certainly

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Speaker 2: I think you, mister you science Theater three thousand fans

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Speaker 2: would agree it is a great eight movie. But shod

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Speaker 2: Sack also directed another great eight movie, and that would

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Speaker 2: be Mighty Joe Young. So if you're not familiar with

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Speaker 2: King Kong for reasons unimaginable, then perhaps you've heard of

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Speaker 2: Mighty Joe Young.

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Speaker 4: Did that get some kind of remake in the nineteen nineties.

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Speaker 2: Yes, it did. Goodness, I forget who was in it,

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Speaker 2: but they had. Mighty Joe Young is a is an

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Speaker 2: enlarged ape as well, but not nearly as enlarged as

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Speaker 2: King Kong.

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Speaker 4: It's a medium enlarged ape.

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Speaker 2: Yeah, and I think I've seen some comparisons. Just in

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Speaker 2: the same way that Godzilla keeps getting bigger and bigger

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Speaker 2: in films, King Kong also inevitably just gets bigger and bigger,

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Speaker 2: but Mighty Joe Young was always a smaller giant ape.

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Speaker 4: So some of this guy's big movies seem all focused

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Speaker 4: on changes in size perspective, either really big creatures or

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Speaker 4: really little creatures smaller than they're supposed to be. And

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Speaker 4: this is funny because I think there were This is

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Speaker 4: sort of the A list version of that kind of director,

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Speaker 4: but there were also B list versions of that kind

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Speaker 4: of director, because you get people like Bert Eye Gordon,

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Speaker 4: who made B movies, almost all of which are about

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Speaker 4: creatures of unusual size, either like a person or a

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Speaker 4: creature that gets shrunken down or creatures that get blown up.

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Speaker 2: Real big Yeah, and you know, I think ultimately Bird

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Speaker 2: Eye Gordon was able to make some really interesting films,

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Speaker 2: but they're generally not put on the same pedestal as

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Speaker 2: King Kong.

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Speaker 4: None of them look as beautiful as Doctor Cyclops does.

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Speaker 4: Another thing that Doctor Cyclops really has going for it

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Speaker 4: with the modern release, especially or at least the blu

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Speaker 4: ray of it that we watched, it has three color Technicolor,

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Speaker 4: and the technicolor is gorgeous. The colors are just dripping

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Speaker 4: off the screen.

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Speaker 2: Yeah, in a similar way to Doctor X, though that

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Speaker 2: was not technicolor. That was what two tone technicolor.

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Speaker 4: Two color technicolor. Yeah, this is three colors. So this

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Speaker 4: is like the color you know, color films that would

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Speaker 4: come later.

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Speaker 2: Yeah, So there's a certain unreality to it, but it's

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Speaker 2: beautiful and it's certainly I mean, I find it more

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Speaker 2: engaging than a lot of black and light films of

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Speaker 2: the period. Just you know, Yeah, I guess it depends,

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Speaker 2: like you wouldn't want to see Mad Love and color.

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Speaker 2: Mad Love belongs in black and white, like that is

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Speaker 2: the world of that film, but this one really benefits

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Speaker 2: from the.

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Speaker 4: Color well and taking place in the jungle. I feel

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Speaker 4: like there are a lot of shots in it that

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Speaker 4: I wonder if they were only included to take advantage

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Speaker 4: of that beautiful three color technicolor. Like there are parts

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Speaker 4: where it will just cut away to some kind of

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Speaker 4: tropical bird that is squawking in a tree, and you know,

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Speaker 4: we see all of its beautiful feathers.

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Speaker 2: Yeah, yeah, sort of. You know before three D there

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Speaker 2: was there was technicolor.

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Speaker 4: Yeah.

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Speaker 2: Again, it's quite quite a beautiful looking film. So let's

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Speaker 2: let's talk about the director behind it again.

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Speaker 3: Ernest B.

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Speaker 2: Showed Zach who lived eighteen ninety three through nineteen seventy nine.

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Speaker 2: We're not going to really be able to touch on

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Speaker 2: his entire biography here, but if if you want a

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Speaker 2: good one, you know, you can go to the usual places.

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Speaker 2: I found Britannica had a nice one online. But here's

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Speaker 2: some of the interesting points, sort of the bullet points

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Speaker 2: of his life that I think are with driving home here. So,

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Speaker 2: first of all, he ran away from home as a

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Speaker 2: teenager and worked as a surveyor in San Francisco. He

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Speaker 2: got a job as a cameraman from with help from

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Speaker 2: his brother in nineteen fourteen, and then during the First

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Speaker 2: World War he served as a cameraman in the Signal

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Speaker 2: Corps in France. He stayed in Europe. After that he

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Speaker 2: got involved in adventure filmmaking. So this is interesting because

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Speaker 2: it makes sense given the nature of films like King Kong.

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Speaker 2: But it also, you know, it seems to run against

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Speaker 2: the grain if you think about his success in fiction,

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Speaker 2: because earlier on it's less purely fictional. There's a certain

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Speaker 2: documentary aspect to it, like fictionalized documentary work. So he

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Speaker 2: served with the Red Cross in nineteen nineteen, helped refugees

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Speaker 2: from the Russo Polish War, and he also filmed this

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Speaker 2: conflict as well as the Greco Turkish War of nineteen

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Speaker 2: twenty one through twenty two, And in this he essentially

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Speaker 2: wound up working as a conflict journalist and was then

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Speaker 2: sponsored by the New York Times as a cameraman on

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Speaker 2: an around the world expedition.

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Speaker 4: Wow.

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Speaker 2: So he worked on this. He worked with a pilot

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Speaker 2: by the name of Marion C. Cooper, and they began

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Speaker 2: producing what they called natural dramas, which were a kind

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Speaker 2: of combination of travelog and drama. This is super fascinating

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Speaker 2: given what we've covered stuff to blow your mind before.

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Speaker 2: In nineteen twenty five, he joined William Beebe's expedition to

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Speaker 2: the Galapagos Islands as a cameraman.

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Speaker 3: Ah.

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Speaker 4: Now William Beebe was, if you'll recalled the was he

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Speaker 4: a marine biologist. He was a researcher who got down

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Speaker 4: into a basically a gigantic metal ball that just was

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Speaker 4: dangled down deep into the ocean to see what kind

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Speaker 4: of life could be observed through a tiny window in

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Speaker 4: this ball at depths that had never before been documented firsthand. Yeah,

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Speaker 4: the bathosphere horrifying because this ball had no means of

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Speaker 4: self propulsion. It was not a submersible, It was not

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Speaker 4: a submarine. It was just a hollow metal sphere and

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Speaker 4: dangling by a chain. So if the chain breaks, you

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Speaker 4: just sink to the bottom of the ocean.

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Speaker 2: Yes, but he was as we discussed in past episodes

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Speaker 2: of Stuff to Blow your Mind. He was also notable

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Speaker 2: because he tended to surround himself not only with technicians

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Speaker 2: on these expeditions, but also artists like people who could

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Speaker 2: write about it, people who could illustrate what was going on.

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Speaker 2: And it turns out showed Saq was one of the

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Speaker 2: creatives that he brought a board to document the work.

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Speaker 2: At least on one of the expeditions.

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Speaker 4: Now, I think the bathisphere of observations were not in

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Speaker 4: the Galapago, so that was somewhere in the Atlantic of itself,

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Speaker 4: what Bermuda or somewhere in the Bahamas.

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Speaker 2: Yeah, I believe. So this would have been a Yeah,

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Speaker 2: this would have been a different journey. But still it's

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Speaker 2: wonderful how these two came together. I wasn't expecting him

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Speaker 2: to come up in this. So anyway, from here showed

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Speaker 2: Sack and Cooper. They go on to produce a natural

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Speaker 2: drama titled Chang, a drama of the wilderness from twenty

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Speaker 2: set in nineteen twenty seven. This earned a nomination for

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Speaker 2: Best Picture at the very first Academy Awards. He then

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Speaker 2: directed The Four Feathers in nineteen twenty nine, based on

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Speaker 2: the nineteen oh two novel, shot in California and the Sudan.

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Speaker 2: And then he shot Rango in Sumatra, which is a

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Speaker 2: film about and this just sounds like super ambitious for

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Speaker 2: any filmmaker because it's about a boy and a rangutang

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Speaker 2: and a tiger, filmed in thirty one. Again, then he

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Speaker 2: shot The Most Dangerous Game in thirty two.

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Speaker 4: Oh, okay, wait, didn't we just talk about no We

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Speaker 4: talked about Ernest Dickerson's Survivor is it Surviving the Game?

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Speaker 3: Surviving the Game?

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Speaker 4: Yep, the Iced Tea movie, which is sort of based

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Speaker 4: on the similar concept the novella or novel The Most

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Speaker 4: Dangerous Game, which is about a human who hunts men.

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Speaker 2: Yes, and so it's been popular for a while. It's

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Speaker 2: one of those stories that's going to keep getting adapted

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Speaker 2: in one form or the other. Now, from here, Showtek

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Speaker 2: and Cooper moved on to what would be the most

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Speaker 2: famous motion picture that they worked on, and that was

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Speaker 2: King Kong of nineteen thirty three, and then they followed

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Speaker 2: this up with The Sun of Kong, which also came

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Speaker 2: out in nineteen thirty three, And then they did they

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Speaker 2: also did a movie titled Blind Adventure, which also came

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Speaker 2: out in nineteen thirty three.

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Speaker 3: So it was quite for these.

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Speaker 4: Two regular Roger Corman over here. This is like Roger

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Speaker 4: Corman's in nineteen fifty seven or whatever your year it

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Speaker 4: was that he made like fourteen movies.

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Speaker 2: Yeah, yeah, so yeah, an impressive year. They were really

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Speaker 2: just firing on all cylinders. Now, in nineteen thirty five,

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Speaker 2: they made a film titled The Last Days of POMPEII,

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Speaker 2: and this was ultimately, at least a commercially a failed

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Speaker 2: attempt at an historical epic. So after this, you know,

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Speaker 2: they were kind of I guess in some version of

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Speaker 2: director's jail. He ended up doing smaller pictures. But then

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Speaker 2: he got another shot at a big genre film, a

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Speaker 2: special effects feature, and that is nineteen forty's Doctor Cyclops.

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Speaker 2: And Cooper was an uncredited producer on this film. Now,

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Speaker 2: of course we'll get back to Selector Cyclops in depth here.

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Speaker 2: But World War II broke out and Shoudzak was, like

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Speaker 2: a lot of people sucked into the war machine anew

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Speaker 2: and while testing photographic equipment at high altitude for the

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Speaker 2: US Army Air Corps, he suffered a severe eye injury.

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Speaker 2: I was trying to get like a firm account of it.

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Speaker 2: If there's a good biography about Shodzak, I wasn't able

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Speaker 2: to find one, like a you know, like a book

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Speaker 2: length biography. I believe what happened is he accidentally dropped

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Speaker 2: his face mask. And I'm a little foggy on the

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Speaker 2: exact nature of what the injury was. If we're talking about, like,

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Speaker 2: you know, some sort of a light blast based injury

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Speaker 2: or of its pressure based, but the end result was

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Speaker 2: severely damaged his eyesight, and he only directed a couple

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Speaker 2: of additional films. Really only one notable film after that,

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Speaker 2: and this was Mighty Joe Young in nineteen forty nine,

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Speaker 2: which featured OSCAR winning special effects by O'Brien and Ray

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Speaker 2: Harry Housen. Oh god, yeah, yeah, so another big name.

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Speaker 2: And then he finally directed a portion of This Is

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Speaker 2: Cinerama in nineteen fifty two, uncredited to promote the Cinerama

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Speaker 2: widescreen projection process. But that was pretty much yet like

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Speaker 2: after this eye injury, you know, he just wasn't able

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Speaker 2: and or you know, or didn't want to direct. I

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Speaker 2: think it was, you know, more about ability. And then

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Speaker 2: he died in nineteen seventy nine. Cooper died in nineteen

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Speaker 2: seventy three. He did a bit more work after Mighty

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Speaker 2: Joe Young came out, including serving as executive producer on

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Speaker 2: nineteen fifty six as The Searchers, directed by John Ford

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Speaker 2: and starring, of course John Wayne.

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Speaker 4: This is a fantastic coincidence how this story about his

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Speaker 4: damaged eyesight connects to the plot of Doctor Cyclops. It

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Speaker 4: almost makes me wonder do you know what exactly the

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Speaker 4: time of his injury was. Could it have been before

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Speaker 4: Doctor Cyclops or was it after?

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Speaker 2: I believe that's the weird thing about this. I've not

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Speaker 2: been able to find like a firm date for this injury,

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Speaker 2: you know, like a statement, you know, in this year

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Speaker 2: or in this month, this is when showed Sack suffered

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Speaker 2: the eye injury. It's it's my understanding that that the

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Speaker 2: the eye injury occurred after Doctor Cyclops.

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Speaker 4: Wow. Because so we'll get into this a little bit

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Speaker 4: more when we discussed the plot, But one of the

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Speaker 4: main uh situation points of Doctor Cyclops is that the

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Speaker 4: the titular doctor uh doctor Thorkel is a is a

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Speaker 4: brilliant scientist, but he's limited by damage to his eyes.

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Speaker 4: He has got poor eyesight already and relies on these

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Speaker 4: really thick glasses.

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Speaker 3: Yeah.

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Speaker 2: So this is this is just mysterious to me, Like

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Speaker 2: it's either an amazing coincidence or I have it wrong

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Speaker 2: and there is more connective tissue here, like you know,

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Speaker 2: maybe he had you know, previously damaged his eyes in

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Speaker 2: some fashion, or his eyesight was already fading. I'm not

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Speaker 2: sure you know what the answer is here, but as

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Speaker 2: it turns out, like his actual biography and the and

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Speaker 2: some of the plot elements in Doctor Cyclops do line up.

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Speaker 4: Now, he did not write Doctor Cyclops though.

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Speaker 3: Correct right.

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Speaker 2: Doctor Cyclops was and by a writer by the name

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Speaker 2: of Tom Kilpatrick who lived eighteen ninety eight through nineteen

329
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Speaker 2: sixty two, and you can look him up on IMDb.

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Speaker 2: But basically he wrote various crime in Western screenplays and

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Speaker 2: tell a plays, but nothing that really jumped out to

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Speaker 2: me personally.

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Speaker 4: I mean, the script here is not really anything to

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Speaker 4: write home about, except in the skillful way that it

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Speaker 4: string that it efficiently strings together excellent special effects set pieces.

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Speaker 4: But you're not going to like run into interesting character

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00:17:29,400 --> 00:17:32,200
Speaker 4: development or like super witty dialogue in this movie. This

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Speaker 4: is a very much a sets and special effects driven film.

339
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Speaker 4: But I will give the script credit for connecting each

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Speaker 4: one of those things to the next in a very

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Speaker 4: fast paced and enjoyable way.

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Speaker 2: Yeah, all right, well, let's talk about Doctor Thorkel. In

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Speaker 2: this film, he is played by an actor by the

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Speaker 2: name of Albert Decker who lived nineteen oh five through

345
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Speaker 2: nineteen sixty eight. He was a Broadway star turn film actor,

346
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Speaker 2: and later in his life he served on the California

347
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Speaker 2: State Legislature and largely transitioned back to stage in his

348
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Speaker 2: later career. He often played aggressive characters, and this is

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Speaker 2: probably due to his great size. So he was he

350
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Speaker 2: was six two, which granted isn't like super tall, but

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Speaker 2: it's that's I mean, it's reasonably tall. I'm six two

352
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Speaker 2: or so, and I bought my head way too often.

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Speaker 4: It's big in this movie.

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Speaker 2: Yeah, And I think part of that too is that

355
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Speaker 2: not only is he six two, but he's he's got

356
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Speaker 2: kind of a thick physique, like not you know, not

357
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Speaker 2: obese or anything, but like he's he looks at he

358
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Speaker 2: has this kind of he looks kind of beefy, especially

359
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Speaker 2: for a mad scientist in a movie.

360
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Speaker 3: Usually they're a bit.

361
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Speaker 2: Scrawnier, and like doctor Thorkel looks like he could really

362
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Speaker 2: throw down.

363
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Speaker 4: You would not want to tangle with Thorkel, right.

364
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Speaker 2: So, yeah, this guy, Albert Decker played him. Notable roles

365
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Speaker 2: for him include roles in Kiss Me Deadly, and East

366
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Speaker 2: of Eden, which was fifty five I believe, as well

367
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Speaker 2: as his his last film role, which was in nineteen

368
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Speaker 2: sixty nine's The Wild Bunch. Ah.

369
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Speaker 4: Yeah, the hyper violent Sam peckinpah movie in which I

370
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Speaker 4: think he plays. He plays some kind of like railroad

371
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Speaker 4: policeman or like a railway detective. He's hunting the outlaws

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Speaker 4: in the movie. If I recall.

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Speaker 2: Ah, it's one that I have. Somehow I managed to

374
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Speaker 2: get through my twenties and thirties without seeing The Wild Bunch.

375
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Speaker 4: It is a dusty, dirty, nasty, violent movie. It makes

376
00:19:27,080 --> 00:19:29,520
Speaker 4: you need a bath. In fact, I would say the

377
00:19:29,920 --> 00:19:33,200
Speaker 4: full vibe of that movie is summed up in one exchange.

378
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Speaker 4: The outlaws arrive at the compound of this powerful guy

379
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Speaker 4: and the guy says to them, like, you're filthy, you

380
00:19:40,800 --> 00:19:43,360
Speaker 4: need baths. And one of the outlaws says, we don't

381
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Speaker 4: want baths, we want women.

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Speaker 3: It sounds delightful.

383
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Speaker 4: One sentence that communicates a lot.

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Speaker 2: All right, well in this film. Yeah, Like we've said,

385
00:19:57,640 --> 00:20:01,440
Speaker 2: he's delightful. He's got this wonderful, imposing physical presence. He's

386
00:20:01,480 --> 00:20:04,440
Speaker 2: got these you know, these scheming eyes that are accentuated

387
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Speaker 2: by his his his glasses, bald head in evil mustache.

388
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Speaker 2: And I have to say he was reminding me of

389
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Speaker 2: somebody as I was watching this, and I figured out

390
00:20:15,480 --> 00:20:19,399
Speaker 2: who it is. It's British actor Julian Barrett, who mighty

391
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Speaker 2: Boosche fans out there. You might recognize him as the

392
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Speaker 2: actor who played Howard Moon, but he also showed up

393
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Speaker 2: on Dark Place with Darth Morangi.

394
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Speaker 4: As a priest, okay, and he also.

395
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Speaker 2: Was in something recently he was. He was the titular

396
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Speaker 2: character in Mindhorn, which I've heard good things about.

397
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Speaker 4: I never caught him in Dark Place, but I should

398
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Speaker 4: go back and watch that whole series again in one sitting.

399
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Speaker 2: It's ironically it is the ape heavy episode I believe.

400
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Speaker 4: Oh interesting.

401
00:20:49,240 --> 00:20:54,160
Speaker 2: So anyway, Howard Moon or Julian Barrett same height as

402
00:20:54,200 --> 00:20:57,920
Speaker 2: as Albert Decker, and I feel like Doctor Thorkel could

403
00:20:57,920 --> 00:21:01,680
Speaker 2: have easily been a Julian Barrett character. I included a

404
00:21:01,840 --> 00:21:04,000
Speaker 2: photos here if you can compare the two like they

405
00:21:04,280 --> 00:21:08,680
Speaker 2: they have very similar physicality, facial features. Both are prone

406
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Speaker 2: to wearing a mustache, so I include that for what

407
00:21:12,119 --> 00:21:12,520
Speaker 2: it's worth.

408
00:21:12,920 --> 00:21:16,480
Speaker 4: Yes, I can see and like Doctor Thorkel, he's gonna

409
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Speaker 4: hurt you real bad.

410
00:21:19,359 --> 00:21:19,800
Speaker 3: All right.

411
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Speaker 2: So there are other humans in this film, and we'll

412
00:21:22,720 --> 00:21:26,720
Speaker 2: touch on them with in less detail because there's not

413
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Speaker 2: much else for non Doctor Thorkel characters to do in

414
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Speaker 2: this film.

415
00:21:32,119 --> 00:21:34,520
Speaker 4: I mean, I would say they execute their functions correctly,

416
00:21:34,560 --> 00:21:38,119
Speaker 4: which is to move the plot from one fantastic set

417
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Speaker 4: and prop sort of extravaganza to another.

418
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Speaker 2: Yes, and do so, you know, with a serious look

419
00:21:45,240 --> 00:21:48,000
Speaker 2: on their face. So the first one to mention here

420
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Speaker 2: is Thomas Coley, who plays Bill Stockton. He lived nineteen

421
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Speaker 2: thirteen through nineteen eighty nine. This was his very first

422
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Speaker 2: film role, followed by mostly a lot of TV work.

423
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Speaker 2: His part partner was actor and writer William Roorick. And

424
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Speaker 2: Roorick was a theater actor on Broadway who is also

425
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Speaker 2: in Not of This Earth.

426
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Speaker 4: Oh wow, So that was the nineteen fifty seven Roger

427
00:22:13,840 --> 00:22:16,560
Speaker 4: Korman movie that we have covered on a previous episode

428
00:22:16,640 --> 00:22:20,080
Speaker 4: of Weird House Cinema. It was, I believe, the b

429
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Speaker 4: side to Attack of the Crab Monsters. So if in

430
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Speaker 4: fifty seven you went out to a drive in theater

431
00:22:26,400 --> 00:22:28,840
Speaker 4: to watch a sci fi double feature, you may well

432
00:22:28,840 --> 00:22:31,280
Speaker 4: have seen Attack of the Crab Monsters and then Not

433
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Speaker 4: of This Earth with this guy what was his name again,

434
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Speaker 4: William Roick?

435
00:22:35,720 --> 00:22:36,679
Speaker 3: Yeah, William Roorick.

436
00:22:36,880 --> 00:22:39,800
Speaker 4: He was the doctor in the movie. I think, not

437
00:22:39,920 --> 00:22:42,240
Speaker 4: to be mean, I think we did not draw a

438
00:22:42,280 --> 00:22:44,240
Speaker 4: lot of attention to his performance in the movie, because

439
00:22:44,240 --> 00:22:46,800
Speaker 4: there's not much to say about it except his character.

440
00:22:47,600 --> 00:22:50,280
Speaker 4: If you recall, he played doctor Rochelle, who was the

441
00:22:50,760 --> 00:22:54,399
Speaker 4: blood clinic doctor who gets hypnotized by the alien so

442
00:22:54,440 --> 00:22:57,400
Speaker 4: that he's unable to talk about the alien's blood condition.

443
00:22:58,400 --> 00:23:01,159
Speaker 4: So other characters, you know, they'd be sitting at a

444
00:23:01,480 --> 00:23:04,159
Speaker 4: table in a restaurant and the other characters would be like,

445
00:23:04,200 --> 00:23:07,040
Speaker 4: don't you think it's strange that that man had alien blood?

446
00:23:07,080 --> 00:23:09,280
Speaker 4: And Doctor Rochelle would be like, you guys, want to

447
00:23:09,280 --> 00:23:10,280
Speaker 4: get some appetizers.

448
00:23:11,840 --> 00:23:12,080
Speaker 3: Yeah.

449
00:23:12,119 --> 00:23:16,959
Speaker 2: Yes, I wasn't the most memorable of roles. But Rorick

450
00:23:17,320 --> 00:23:19,960
Speaker 2: was in a number of interesting films, though several of

451
00:23:20,040 --> 00:23:22,000
Speaker 2: which I've seen. He was in God Told Me To

452
00:23:23,320 --> 00:23:28,000
Speaker 2: This was the with the Larry Cohen film about alien Messiah's.

453
00:23:28,760 --> 00:23:30,480
Speaker 2: He was in Day of the Dolphin. He was in

454
00:23:30,520 --> 00:23:33,240
Speaker 2: The Wasp Woman. And he was a friend. This is

455
00:23:33,240 --> 00:23:36,000
Speaker 2: interesting biographically. He was a friend of author I m

456
00:23:36,119 --> 00:23:40,159
Speaker 2: Forrester and Coley and Rorick, apparently they call it. They

457
00:23:40,200 --> 00:23:42,520
Speaker 2: would like, you know, entertain him when he was in town,

458
00:23:42,520 --> 00:23:44,040
Speaker 2: that sort of thing. They'd go out and see shows

459
00:23:44,040 --> 00:23:48,560
Speaker 2: and stuff. But yeah, that's the connect they're all connected

460
00:23:48,560 --> 00:23:50,600
Speaker 2: here to Cooley. Coley is the one in this film,

461
00:23:50,600 --> 00:23:54,080
Speaker 2: not Rorick, but the two of them apparently collaborated on

462
00:23:54,160 --> 00:23:56,640
Speaker 2: various projects over the course of their careers and lives together.

463
00:23:57,040 --> 00:24:00,640
Speaker 4: Coley plays the the like sort of lead of interest

464
00:24:00,720 --> 00:24:04,040
Speaker 4: in the movie. He's the only character who's hunky enough

465
00:24:04,080 --> 00:24:06,960
Speaker 4: to potentially end up falling in love with the one

466
00:24:07,000 --> 00:24:10,000
Speaker 4: female character, so you kind of know what's going to happen.

467
00:24:10,160 --> 00:24:13,720
Speaker 2: Yeah, it's a very g golly role. And again, this

468
00:24:13,840 --> 00:24:16,439
Speaker 2: was his first screen role to boot, so the results

469
00:24:16,480 --> 00:24:19,440
Speaker 2: are very wooden. There's just not much to this part here,

470
00:24:19,480 --> 00:24:22,000
Speaker 2: but that still seems like you had an interesting life

471
00:24:22,000 --> 00:24:25,760
Speaker 2: and career. All right, let's talk about what the sole

472
00:24:25,840 --> 00:24:29,680
Speaker 2: female character in this film. The character is doctor Mary Robinson.

473
00:24:29,720 --> 00:24:33,000
Speaker 2: The actor is Janie Logan. She was born in nineteen

474
00:24:33,040 --> 00:24:35,760
Speaker 2: fifteen died in nineteen sixty five. She only appeared in

475
00:24:35,880 --> 00:24:39,520
Speaker 2: six films, and this was her third. But here here's

476
00:24:39,520 --> 00:24:42,560
Speaker 2: again a nice connection to the previous episode of Weird

477
00:24:42,560 --> 00:24:46,280
Speaker 2: House Cinema. Her last two film roles were both Mexican

478
00:24:46,320 --> 00:24:49,080
Speaker 2: films directed by Renee Cardona.

479
00:24:49,560 --> 00:24:52,040
Speaker 4: The director of Santo in the Treasure of Dracula.

480
00:24:52,200 --> 00:24:57,760
Speaker 2: Exactly yes, a major name in Mexican cinema, so both

481
00:24:57,760 --> 00:25:01,040
Speaker 2: were of these films were from nineteen forty four. One

482
00:25:01,400 --> 00:25:03,520
Speaker 2: the translated name is The Black Ace and the other

483
00:25:03,600 --> 00:25:07,359
Speaker 2: is Summer Hotel, and I was looking this up. The

484
00:25:07,400 --> 00:25:11,760
Speaker 2: Black Ace also featured a Dutch occultist and magician named

485
00:25:12,040 --> 00:25:16,199
Speaker 2: David Tobias Bamberg who built himself as Fu Manchu and

486
00:25:16,240 --> 00:25:19,760
Speaker 2: Bamberg also co wrote it. But yeah, which I don't know.

487
00:25:19,960 --> 00:25:23,200
Speaker 2: It sounds like he was sort of an occult star

488
00:25:23,520 --> 00:25:26,159
Speaker 2: or would be star of the day, and so he

489
00:25:26,240 --> 00:25:28,320
Speaker 2: just I guess he wound up in Mexico City and

490
00:25:28,400 --> 00:25:29,840
Speaker 2: was like, hey, let's do a movie.

491
00:25:31,080 --> 00:25:31,439
Speaker 3: Anyway.

492
00:25:31,520 --> 00:25:35,160
Speaker 2: Logan is also rather wooden in this role, but it's

493
00:25:35,200 --> 00:25:36,760
Speaker 2: not like the film gives her much to do other

494
00:25:36,800 --> 00:25:39,080
Speaker 2: than scurry around and try not to be grabbed by

495
00:25:39,119 --> 00:25:42,399
Speaker 2: giant hands or eaten by giant cats. Then we have

496
00:25:42,600 --> 00:25:45,400
Speaker 2: the character of doctor Bullfinch played by Charles Halton who

497
00:25:45,400 --> 00:25:47,800
Speaker 2: lived eighteen seventy six through nineteen fifty nine, actor of

498
00:25:47,800 --> 00:25:50,960
Speaker 2: stage in film. I would say he has a little

499
00:25:51,000 --> 00:25:53,680
Speaker 2: more to do in this. He's actually pretty funny because

500
00:25:53,960 --> 00:25:57,080
Speaker 2: he's this stuck up professor through and through even after

501
00:25:57,119 --> 00:26:00,000
Speaker 2: he's been reduced to a tiny human wearing a handkerchief toe.

502
00:26:00,600 --> 00:26:03,240
Speaker 4: Yeah. He refuses a lot of things in the movie,

503
00:26:03,240 --> 00:26:05,960
Speaker 4: Like he's constantly being told to do things and saying like.

504
00:26:05,960 --> 00:26:11,760
Speaker 2: I refuse yes on scientific grounds, Doctor Thalkel. I absolutely, yeah,

505
00:26:11,760 --> 00:26:12,360
Speaker 2: that kind of thing.

506
00:26:12,560 --> 00:26:14,920
Speaker 3: Yeah, let's see.

507
00:26:14,960 --> 00:26:18,800
Speaker 2: Then we have the character of Steve Baker, played by

508
00:26:18,960 --> 00:26:22,200
Speaker 2: Victor Achillian who lived eighteen ninety one through nineteen seventy nine.

509
00:26:22,280 --> 00:26:24,639
Speaker 2: He was in films like Only Angels Have Wings and

510
00:26:24,680 --> 00:26:28,160
Speaker 2: the ox Bow Incident. He wound up blacklisted from Hollywood,

511
00:26:28,200 --> 00:26:31,359
Speaker 2: presumably for political beliefs, but he ended up doing a

512
00:26:31,400 --> 00:26:33,959
Speaker 2: lot of TV and stage work instead after that. And

513
00:26:34,320 --> 00:26:36,600
Speaker 2: I mean he's all right in this He's also it's

514
00:26:36,600 --> 00:26:39,000
Speaker 2: a very typical type of performance and role for this

515
00:26:39,119 --> 00:26:39,760
Speaker 2: time period.

516
00:26:39,920 --> 00:26:43,000
Speaker 4: He's the mule guy. He's all about the mules.

517
00:26:43,280 --> 00:26:47,840
Speaker 2: Yeah, all right. Next, we have an actor by the

518
00:26:47,920 --> 00:26:51,919
Speaker 2: name of Frank Jacanelli who plays the character Pedro.

519
00:26:53,280 --> 00:26:53,399
Speaker 3: So.

520
00:26:54,200 --> 00:26:56,480
Speaker 2: This guy lived eighteen ninety eight through nineteen sixty five.

521
00:26:56,560 --> 00:26:56,920
Speaker 3: He was an.

522
00:26:56,880 --> 00:26:59,760
Speaker 2: Italian born World War One vat who became a natralized

523
00:26:59,800 --> 00:27:03,479
Speaker 2: US citizen, and he was a vaudeville performer later a

524
00:27:03,640 --> 00:27:07,719
Speaker 2: USO tour manager. He played a lot of Italian characters,

525
00:27:07,720 --> 00:27:10,480
Speaker 2: as one might admit, but he also expect rather but

526
00:27:10,560 --> 00:27:13,800
Speaker 2: he also seemed to have a lot of roles in

527
00:27:13,840 --> 00:27:18,320
Speaker 2: films playing stereotypical Mexican characters, And in this film he

528
00:27:18,359 --> 00:27:21,919
Speaker 2: plays Pedro, which is very much a goofy stereotype character.

529
00:27:22,160 --> 00:27:24,719
Speaker 4: Yeah, they don't say what nationality Pedro is supposed to be,

530
00:27:24,720 --> 00:27:27,840
Speaker 4: but he is playing a Latin American character, Pedro, who,

531
00:27:27,920 --> 00:27:30,440
Speaker 4: at least definitely in the first half of the movie

532
00:27:30,560 --> 00:27:33,760
Speaker 4: movie is the butt of some jokes yeah about like

533
00:27:33,920 --> 00:27:36,399
Speaker 4: trying to find his lost horse, which has actually been

534
00:27:36,440 --> 00:27:37,640
Speaker 4: shrunken with a shrink ray.

535
00:27:37,960 --> 00:27:41,959
Speaker 2: Yeah, so you know, this was a you know, a

536
00:27:42,000 --> 00:27:46,280
Speaker 2: casting situation that definitely made me sigh a bit. But

537
00:27:47,040 --> 00:27:49,479
Speaker 2: if you want to know more about Jack and Ellie,

538
00:27:49,600 --> 00:27:53,639
Speaker 2: I did find a page on Bewesterns dot com like

539
00:27:53,840 --> 00:27:57,080
Speaker 2: bee Hyphenwesterns dot com that that has like seems to

540
00:27:57,119 --> 00:27:59,440
Speaker 2: be the only place I could find online. Like you

541
00:27:59,480 --> 00:28:02,159
Speaker 2: can only much of a biography of him on IMDb,

542
00:28:02,200 --> 00:28:04,439
Speaker 2: but this site gets a little more into like his

543
00:28:04,600 --> 00:28:07,000
Speaker 2: what kind of audeville acts he was involved in, and

544
00:28:07,040 --> 00:28:09,239
Speaker 2: he did seem to kind of make a career in

545
00:28:09,280 --> 00:28:13,840
Speaker 2: places out of playing a Mexican stereotype, and certainly that's

546
00:28:13,880 --> 00:28:16,600
Speaker 2: what more or less he's doing in this film. Now,

547
00:28:16,680 --> 00:28:22,320
Speaker 2: another interesting character that is involved in this film ultimately uncredited,

548
00:28:22,560 --> 00:28:25,000
Speaker 2: but there's a guy by the name of Charles Gemora

549
00:28:25,520 --> 00:28:28,320
Speaker 2: who lived nineteen oh three through nineteen sixty one, and

550
00:28:28,359 --> 00:28:32,000
Speaker 2: he's an uncredited makeup artist on this film. Were you

551
00:28:32,000 --> 00:28:34,440
Speaker 2: familiar with this guy before, Joe.

552
00:28:34,600 --> 00:28:37,080
Speaker 4: Well, I guess by his work, but not by name.

553
00:28:37,440 --> 00:28:39,680
Speaker 2: Okay, So he was born in the Philippines. He was

554
00:28:39,680 --> 00:28:42,680
Speaker 2: a Hollywood makeup artist who became known as the King

555
00:28:42,760 --> 00:28:46,400
Speaker 2: of the Gorilla Men. And it's interesting how this came

556
00:28:46,440 --> 00:28:49,040
Speaker 2: to be, Like, apparently he's a guy who would he

557
00:28:49,080 --> 00:28:51,600
Speaker 2: would hang around outside the studio and he would he

558
00:28:51,640 --> 00:28:54,000
Speaker 2: would offer to paint for you or draw for you,

559
00:28:54,080 --> 00:28:56,720
Speaker 2: like he had sort of an innate and I'm guessing

560
00:28:56,800 --> 00:28:59,800
Speaker 2: kind of like self taught artistic ability. And of course

561
00:29:00,000 --> 00:29:01,840
Speaker 2: people eventually notice this and they're like, Oh, bring this

562
00:29:01,880 --> 00:29:03,880
Speaker 2: guy in, we got some stuff to paint. Let's get

563
00:29:03,960 --> 00:29:07,080
Speaker 2: him going. And I guess he was up for anything.

564
00:29:07,680 --> 00:29:10,240
Speaker 2: And at one point in one of these films they

565
00:29:10,480 --> 00:29:13,000
Speaker 2: busted out a gorilla suit and he's like Hey, that

566
00:29:13,080 --> 00:29:15,800
Speaker 2: should be me. I'm the right just the right height.

567
00:29:15,800 --> 00:29:19,120
Speaker 2: I've got the physicality to carry this heavy suit. Let

568
00:29:19,120 --> 00:29:21,960
Speaker 2: me get in there. And so that's what he did.

569
00:29:22,480 --> 00:29:23,960
Speaker 2: And aside to doing a lot of he did a

570
00:29:24,000 --> 00:29:26,440
Speaker 2: lot of monster makeup in other films. But he has

571
00:29:26,560 --> 00:29:29,400
Speaker 2: and he has sixty makeup credits on IMDb, but he

572
00:29:29,440 --> 00:29:33,520
Speaker 2: also has sixty acting credits, most of which are playing

573
00:29:33,520 --> 00:29:37,440
Speaker 2: gorillas wearing gorilla costumes. And so if I do recommend

574
00:29:37,440 --> 00:29:39,360
Speaker 2: looking him up because it's kind of amazing, Like, if

575
00:29:39,360 --> 00:29:42,560
Speaker 2: there was a gorilla costume in a film, this was

576
00:29:42,640 --> 00:29:45,400
Speaker 2: often the guy that was wearing it. In addition to

577
00:29:45,480 --> 00:29:47,920
Speaker 2: some you know, aliens here and there, he definitely did

578
00:29:47,920 --> 00:29:51,560
Speaker 2: some alien costumes and other kind of like humanoid monster costumes,

579
00:29:51,800 --> 00:29:53,800
Speaker 2: but his specialty was the gorilla costume.

580
00:29:53,960 --> 00:29:56,000
Speaker 4: Oh and I see what do you know? He's in

581
00:29:56,040 --> 00:29:59,000
Speaker 4: at least one adaptation of The Murders in the Room Morgue.

582
00:29:59,240 --> 00:30:02,760
Speaker 2: Yeah. In addition to being an actor and an artist,

583
00:30:02,920 --> 00:30:05,320
Speaker 2: he was also an inventor and he held actually held

584
00:30:05,360 --> 00:30:07,760
Speaker 2: a couple of patents, including a I would look these

585
00:30:07,840 --> 00:30:11,280
Speaker 2: up on Google scholar, a sanitary pad holder, and a

586
00:30:11,360 --> 00:30:12,240
Speaker 2: tissue dispenser.

587
00:30:12,440 --> 00:30:12,920
Speaker 3: Wow.

588
00:30:13,320 --> 00:30:17,240
Speaker 2: Yeah, so interesting fella. Now again he was just a

589
00:30:17,280 --> 00:30:19,400
Speaker 2: you know, makeup guy in this The two main special

590
00:30:19,440 --> 00:30:25,160
Speaker 2: effects names were of Farcio Edward and Gordon Jennings. These

591
00:30:25,200 --> 00:30:27,960
Speaker 2: were the two that were nominated for an Oscar for

592
00:30:28,040 --> 00:30:31,720
Speaker 2: the special effects in this film for the thirteenth Academy Awards.

593
00:30:31,800 --> 00:30:35,040
Speaker 2: Now they ultimately lost to the Thief of Baghdad. But

594
00:30:36,080 --> 00:30:39,760
Speaker 2: these are some impressive special effects. Like we said, they're

595
00:30:39,800 --> 00:30:43,080
Speaker 2: impressive for their time. It's not the first time that

596
00:30:43,120 --> 00:30:47,200
Speaker 2: we see miniaturized humans or giant animals in a film.

597
00:30:47,480 --> 00:30:50,760
Speaker 2: Certainly Todd Browning's nineteen thirty six film The Devil Doll

598
00:30:51,760 --> 00:30:54,800
Speaker 2: predates it, but this film makes some impressive use of

599
00:30:54,840 --> 00:30:58,280
Speaker 2: supersized sets, giant hands, creative combinations of footage.

600
00:30:58,440 --> 00:31:01,120
Speaker 4: Yeah, the special effects in this film are really top notch.

601
00:31:01,320 --> 00:31:03,560
Speaker 4: I was trying to think of earlier examples of really

602
00:31:03,560 --> 00:31:07,720
Speaker 4: good looking special effects for miniaturized humans, and I recall

603
00:31:07,880 --> 00:31:09,680
Speaker 4: the main example I could think of. There are the

604
00:31:09,880 --> 00:31:13,840
Speaker 4: excellent shrunken human effects in Bride of Frankenstein. Oh Yes,

605
00:31:14,080 --> 00:31:18,080
Speaker 4: by James Whale, which was released in nineteen thirty five. Now,

606
00:31:18,240 --> 00:31:20,600
Speaker 4: you might remember in that movie when we first meet,

607
00:31:21,120 --> 00:31:23,719
Speaker 4: you could argue the villain of the film. Doctor Septimus

608
00:31:23,720 --> 00:31:28,320
Speaker 4: Pretorius also just one of my favorite mad scientists in movies,

609
00:31:28,840 --> 00:31:32,640
Speaker 4: Doctor Thorkel and doctor Septimus Pretorious. They're really up there

610
00:31:32,680 --> 00:31:34,880
Speaker 4: in the canons of mad science in the first few

611
00:31:34,880 --> 00:31:37,600
Speaker 4: decades of studio motion pictures.

612
00:31:38,000 --> 00:31:42,680
Speaker 2: I love doctor Pretorius because in the Frankenstein film Brida Frankenstein,

613
00:31:43,200 --> 00:31:44,960
Speaker 2: he's such a mad science enabler.

614
00:31:45,040 --> 00:31:45,240
Speaker 3: You know.

615
00:31:45,400 --> 00:31:47,600
Speaker 2: Yes, Frankenstein is like, I can't do it anymore. I'm

616
00:31:47,600 --> 00:31:50,200
Speaker 2: emotionally rotted from that last film, and he's like, no, no,

617
00:31:50,520 --> 00:31:52,080
Speaker 2: we've got to get you back in there. We've got

618
00:31:52,080 --> 00:31:53,600
Speaker 2: to get you back in there. You can do it.

619
00:31:53,880 --> 00:31:54,880
Speaker 3: Let's do some evil.

620
00:31:55,760 --> 00:31:59,160
Speaker 4: There's also a great part in right of Frankenstein where

621
00:31:59,160 --> 00:32:02,600
Speaker 4: we see doctor doctor Pretorious just going down into a

622
00:32:02,680 --> 00:32:05,880
Speaker 4: crypt just to have like a midnight snack. Like he

623
00:32:05,960 --> 00:32:09,080
Speaker 4: goes down into a crypt at night for a picnic.

624
00:32:09,120 --> 00:32:11,840
Speaker 4: He lays out a spread with like food and wine

625
00:32:11,880 --> 00:32:14,480
Speaker 4: and stuff on a big tombstone. It's wonderful.

626
00:32:14,680 --> 00:32:16,680
Speaker 3: Oh man, I forgot about that part.

627
00:32:17,320 --> 00:32:19,760
Speaker 4: Yeah, but I think it's like, right when we first

628
00:32:19,800 --> 00:32:22,320
Speaker 4: meet doctor Pretorius in the movie, I think, what is it,

629
00:32:22,760 --> 00:32:25,240
Speaker 4: who is it who's playing doctor Frankenstein in the movie.

630
00:32:25,280 --> 00:32:26,720
Speaker 4: Is it Colin Clive, Yes.

631
00:32:26,520 --> 00:32:27,440
Speaker 3: That's Cly.

632
00:32:27,680 --> 00:32:30,880
Speaker 4: Yeah. So he's meeting with Colin Clive and he's like

633
00:32:30,960 --> 00:32:34,280
Speaker 4: showing off his latest work, which are these jars of

634
00:32:34,400 --> 00:32:38,480
Speaker 4: homemade homunculi. So he's got like tiny humans in jars,

635
00:32:39,080 --> 00:32:41,440
Speaker 4: and I think he has like a tiny king in

636
00:32:41,520 --> 00:32:45,080
Speaker 4: one glass vial, and a tiny queen and another. I

637
00:32:45,120 --> 00:32:48,480
Speaker 4: don't really recall the special effect relating to the plot much.

638
00:32:48,560 --> 00:32:51,200
Speaker 4: Maybe I'm forgetting how it connects, but it no.

639
00:32:51,280 --> 00:32:53,400
Speaker 2: It doesn't really. It's just like, look at what I

640
00:32:53,440 --> 00:32:56,920
Speaker 2: can do. Yeah, I'm pretty great. You're you're great. Let's

641
00:32:56,960 --> 00:33:00,400
Speaker 2: work together and you will do great mad science things.

642
00:33:00,560 --> 00:33:00,680
Speaker 3: Well.

643
00:33:00,720 --> 00:33:02,360
Speaker 4: Yeah, it seems like one of those things that I

644
00:33:02,720 --> 00:33:07,360
Speaker 4: suspect often happened in early special effects driven movies like this,

645
00:33:07,440 --> 00:33:10,720
Speaker 4: which is that somebody had figured out how to do

646
00:33:10,920 --> 00:33:13,680
Speaker 4: a certain kind of effect in a way that looked good,

647
00:33:13,800 --> 00:33:16,000
Speaker 4: so you just find a way to work it into

648
00:33:16,000 --> 00:33:17,800
Speaker 4: the movie. It's like, well, we can do it, why

649
00:33:17,840 --> 00:33:22,920
Speaker 4: not do it? So let's get a homunculus in this movie. Yeah,

650
00:33:22,960 --> 00:33:25,320
Speaker 4: And I didn't look deep into it. But as a

651
00:33:25,320 --> 00:33:28,080
Speaker 4: side note, I think those homunculous effects in Bride of

652
00:33:28,120 --> 00:33:32,640
Speaker 4: Frankenstein were done by John Fulton and David Horseley, and

653
00:33:32,640 --> 00:33:36,440
Speaker 4: that was it was done by like combining different different shots,

654
00:33:36,440 --> 00:33:38,200
Speaker 4: so you'd have a you know, a shot of people

655
00:33:38,520 --> 00:33:41,640
Speaker 4: inside full sized glass jars with a certain kind of background,

656
00:33:41,720 --> 00:33:45,080
Speaker 4: and then that was matted over the full shot, you know,

657
00:33:45,120 --> 00:33:49,520
Speaker 4: at normal distance, with the actors looking huge in comparison.

658
00:33:58,120 --> 00:34:01,400
Speaker 2: All right, well, let's get into the plot of Doctor Cyclops.

659
00:34:01,720 --> 00:34:04,720
Speaker 4: Okay, here's the full plot breakdown. You know, we always

660
00:34:04,760 --> 00:34:07,760
Speaker 4: have to comment on the opening credits, and this movie

661
00:34:07,840 --> 00:34:11,200
Speaker 4: also has excellent opening credits. Like a lot of the

662
00:34:11,960 --> 00:34:16,000
Speaker 4: weird older movies we have watched, I feel like opening

663
00:34:16,040 --> 00:34:20,040
Speaker 4: credits used to be really cool for weird sci fi movies,

664
00:34:20,120 --> 00:34:23,320
Speaker 4: and then they got kind of whatever, you know, it

665
00:34:23,480 --> 00:34:26,360
Speaker 4: just be some like words on the starfield background for

666
00:34:26,400 --> 00:34:29,080
Speaker 4: a few decades, and then they just started doing away

667
00:34:29,080 --> 00:34:30,400
Speaker 4: with opening credits altogether.

668
00:34:30,960 --> 00:34:33,160
Speaker 2: Yeah, but for a while, certainly in this age, it

669
00:34:33,160 --> 00:34:35,680
Speaker 2: feels like the opening credits were treated like the poster,

670
00:34:36,160 --> 00:34:39,120
Speaker 2: you know, as if you might be walking by the

671
00:34:39,480 --> 00:34:42,480
Speaker 2: projection screen and deciding whether you're going to stop and

672
00:34:42,480 --> 00:34:44,600
Speaker 2: finish watching. I mean, that's the ultimate weird I guess

673
00:34:44,640 --> 00:34:47,360
Speaker 2: you get in the audience revd up. But it's like

674
00:34:47,360 --> 00:34:49,719
Speaker 2: they've already paid their money, they're already in the seat,

675
00:34:50,080 --> 00:34:52,439
Speaker 2: They're they're clearly they're not going to walk out yet,

676
00:34:53,120 --> 00:34:55,799
Speaker 2: but I guess it's about just preparing them for what's

677
00:34:55,840 --> 00:34:56,200
Speaker 2: to come.

678
00:34:56,680 --> 00:34:59,719
Speaker 4: Well, there's actually a kind of visual continuity from the

679
00:34:59,760 --> 00:35:02,480
Speaker 4: open credits to the opening scene in this movie, because

680
00:35:02,600 --> 00:35:05,640
Speaker 4: you've got While the credits are rolling, there is this

681
00:35:05,760 --> 00:35:09,799
Speaker 4: flickering light effect that creates a kind of auroral unease

682
00:35:10,360 --> 00:35:12,719
Speaker 4: that is then replicated again once you get to the

683
00:35:12,719 --> 00:35:16,800
Speaker 4: opening scene. It's like the same shimmering flickering light effect

684
00:35:16,920 --> 00:35:20,640
Speaker 4: carries over into the scene of a bald man in

685
00:35:20,719 --> 00:35:24,440
Speaker 4: welding goggles who is leaning over a table examining a

686
00:35:24,520 --> 00:35:28,040
Speaker 4: fluorescent green tube in a room lit by this shimmering

687
00:35:28,080 --> 00:35:32,239
Speaker 4: green light. And of course this is doctor Thorkel, and

688
00:35:32,320 --> 00:35:35,759
Speaker 4: the movie gets right to it because his colleague Mendoza

689
00:35:35,960 --> 00:35:38,440
Speaker 4: enters the room, and of course, I my brain every

690
00:35:38,520 --> 00:35:41,320
Speaker 4: time somebody said Mendoza, my brain kept going to the Simpsons.

691
00:35:42,440 --> 00:35:46,040
Speaker 4: But his colleague Mendoza enters the room and he says

692
00:35:46,080 --> 00:35:49,000
Speaker 4: to doctor Thorkel, how much longer will you struggle before

693
00:35:49,040 --> 00:35:52,280
Speaker 4: you realize you can't do it, and thor Kel says,

694
00:35:52,440 --> 00:35:55,560
Speaker 4: no longer, my dear Mendoza, because I have done it.

695
00:35:55,800 --> 00:35:59,359
Speaker 4: Look for yourself. So, you know, they examine what it

696
00:35:59,400 --> 00:36:01,920
Speaker 4: is that thor Keeke has been looking at, and Mendoza

697
00:36:02,160 --> 00:36:05,920
Speaker 4: is aghast. He has shaken. Thorkel says, there should be

698
00:36:05,960 --> 00:36:08,799
Speaker 4: sufficient radium to tear it to shreds, and yet it's

699
00:36:08,840 --> 00:36:11,800
Speaker 4: still alive. And we don't know what they're talking about.

700
00:36:11,800 --> 00:36:15,839
Speaker 4: But Mendoza is horrified. He's terrified of the power of

701
00:36:15,880 --> 00:36:18,759
Speaker 4: whatever they've discovered. And he says, he starts saying like,

702
00:36:18,800 --> 00:36:21,680
Speaker 4: you must destroy your slides, you must burn your notes.

703
00:36:22,239 --> 00:36:28,200
Speaker 4: And then we get some classic backstory through utterly implausible dialogue,

704
00:36:28,239 --> 00:36:30,839
Speaker 4: you know, and somebody says something to another character that

705
00:36:30,840 --> 00:36:33,279
Speaker 4: that person would have no occasion to say to them,

706
00:36:33,920 --> 00:36:37,480
Speaker 4: just obviously for the benefit of the audience. So Mendoza says,

707
00:36:37,800 --> 00:36:41,520
Speaker 4: when I discovered this gigantic radium deposit, I first thought

708
00:36:41,560 --> 00:36:45,799
Speaker 4: of you, doctor Thorkel, my teacher of doctor Thorkel, the

709
00:36:45,880 --> 00:36:49,239
Speaker 4: great biologist. I sent for you to counsel me. I

710
00:36:49,320 --> 00:36:52,799
Speaker 4: began to imagine here in the jungle, the Thorkel Institute,

711
00:36:52,960 --> 00:36:56,040
Speaker 4: a palace of healing to which all might come, and

712
00:36:56,120 --> 00:36:58,719
Speaker 4: it was very much like Grandpa Seth has been dead

713
00:36:58,760 --> 00:37:01,359
Speaker 4: for three weeks now. It's been hard on all of us,

714
00:37:01,400 --> 00:37:02,920
Speaker 4: including me his daughter.

715
00:37:03,520 --> 00:37:06,480
Speaker 2: That is correct Joe, my podcast partner who has podcasted

716
00:37:06,480 --> 00:37:07,439
Speaker 2: with me for many years.

717
00:37:07,440 --> 00:37:13,960
Speaker 4: At this point, but Thorkel is immediately dismissive of Mendoza's concerns.

718
00:37:14,000 --> 00:37:16,560
Speaker 4: He's like, you know, bah, we now have the very

719
00:37:16,600 --> 00:37:19,920
Speaker 4: cosmic force of creation itself. We can shape life like clay.

720
00:37:20,719 --> 00:37:24,800
Speaker 4: And then Mendoza again with the classic sci fi movie line.

721
00:37:25,040 --> 00:37:28,320
Speaker 4: He says, you are tampering with powers reserved to God,

722
00:37:28,719 --> 00:37:32,239
Speaker 4: which is almost verbatim the last line of Bride the

723
00:37:32,320 --> 00:37:34,359
Speaker 4: Monster by Ed Wood. You remember that.

724
00:37:34,360 --> 00:37:35,960
Speaker 3: Part, Yeah, yeah, I think so.

725
00:37:36,120 --> 00:37:40,759
Speaker 4: The movie with Bella Legosi and Tor Johnson. And at

726
00:37:40,800 --> 00:37:44,239
Speaker 4: the end of the movie, Bella's mansion explodes. I don't

727
00:37:44,239 --> 00:37:48,200
Speaker 4: remember why. There's a giant octopus attack and the mansion explodes,

728
00:37:48,600 --> 00:37:51,160
Speaker 4: and then a guy just kind of soberly looks at

729
00:37:51,160 --> 00:37:54,040
Speaker 4: the camera and says he tampered in God's domain.

730
00:37:56,120 --> 00:37:58,320
Speaker 2: So Mendoza is like, we shouldn't tamper in God's domain.

731
00:37:58,400 --> 00:38:01,479
Speaker 2: But doctor Thorkel was like, yeah, that's what we're doing

732
00:38:01,640 --> 00:38:02,720
Speaker 2: and we're gonna do it.

733
00:38:02,760 --> 00:38:06,400
Speaker 4: He literally says. He says, like you're tampering with powers

734
00:38:06,400 --> 00:38:08,760
Speaker 4: were served to God. And Thorkel says, that is good,

735
00:38:09,080 --> 00:38:13,000
Speaker 4: that is just what I am doing. And so Mendoza

736
00:38:13,080 --> 00:38:15,919
Speaker 4: tries to forbid it, but Thorkel he's tasted the God

737
00:38:16,000 --> 00:38:18,480
Speaker 4: power now and there's no going back. So it is

738
00:38:18,560 --> 00:38:22,000
Speaker 4: time to murder. And the Mendoza murder is a very

739
00:38:22,080 --> 00:38:26,759
Speaker 4: cool scene. I thought. Thorkel shoves Mendoza's head through this

740
00:38:26,920 --> 00:38:30,319
Speaker 4: radioactive green tube he's been looking at, and then there's

741
00:38:30,320 --> 00:38:35,040
Speaker 4: a photographic effect where Mendoza's face is just gradually layered

742
00:38:35,239 --> 00:38:36,760
Speaker 4: over by skull paint.

743
00:38:37,200 --> 00:38:37,680
Speaker 3: I like that.

744
00:38:38,200 --> 00:38:41,280
Speaker 2: It's a weird scene. Apparently this one was removed from

745
00:38:41,680 --> 00:38:44,520
Speaker 2: some TV airings of the film, so I don't know

746
00:38:44,520 --> 00:38:46,279
Speaker 2: if they found it, like maybe it was for time

747
00:38:46,360 --> 00:38:49,080
Speaker 2: or it was just considered too graphic. There is a

748
00:38:49,400 --> 00:38:52,560
Speaker 2: like a severity to it, like it firmly establishes doctor

749
00:38:52,560 --> 00:38:57,640
Speaker 2: Thorkel as a guy who will murder for you know,

750
00:38:57,680 --> 00:39:00,560
Speaker 2: for for his science. And we'll really not think it's

751
00:39:00,560 --> 00:39:02,680
Speaker 2: not like there was a struggle or some sort of accidents.

752
00:39:02,680 --> 00:39:05,480
Speaker 2: It wasn't one of those situations where oh, I've stumbled

753
00:39:05,520 --> 00:39:07,920
Speaker 2: into murder and now this is who I am. He's like,

754
00:39:08,239 --> 00:39:10,239
Speaker 2: got to kill you now, and he does it right.

755
00:39:11,000 --> 00:39:13,200
Speaker 4: So next we cut to some guys in a fancy

756
00:39:13,280 --> 00:39:15,880
Speaker 4: study and it's a room that sort of reminds me

757
00:39:15,920 --> 00:39:19,160
Speaker 4: of M's office in the Sean Connery James Bond movies.

758
00:39:19,360 --> 00:39:22,399
Speaker 4: But weirdly, despite what you might assume about the sort

759
00:39:22,440 --> 00:39:26,239
Speaker 4: of pipe tobacco drabness of such an environment, the first

760
00:39:26,320 --> 00:39:29,680
Speaker 4: thing I couldn't ignore was how much the colors drip

761
00:39:30,480 --> 00:39:32,800
Speaker 4: just in this scene in a study. Because the opening

762
00:39:32,840 --> 00:39:36,600
Speaker 4: scene is very much shimmering green and black. It's actually

763
00:39:36,680 --> 00:39:39,360
Speaker 4: sort of closer to the look of the two color

764
00:39:39,400 --> 00:39:42,400
Speaker 4: Technicolor range in Doctor X, which we watched for a

765
00:39:42,440 --> 00:39:45,359
Speaker 4: previous episode. Remember how that whole movie was very had

766
00:39:45,360 --> 00:39:48,840
Speaker 4: a kind of diseased green and orange palette without the

767
00:39:49,160 --> 00:39:52,239
Speaker 4: full range of a full color Technicolor. This has all

768
00:39:52,320 --> 00:39:54,839
Speaker 4: the colors. Now now that we're in the office, and

769
00:39:55,120 --> 00:39:57,960
Speaker 4: the greens, the reds, blue, and orange, the color is

770
00:39:58,040 --> 00:40:02,920
Speaker 4: almost violent and it is really beautiful, Pops. But anyway,

771
00:40:03,000 --> 00:40:05,880
Speaker 4: so we're in the study now and these two stuffy

772
00:40:05,920 --> 00:40:10,319
Speaker 4: old guys are discussing attempts by Thorkel to recruit them

773
00:40:10,360 --> 00:40:14,080
Speaker 4: by mail for research at his remote institute in the Amazon.

774
00:40:14,080 --> 00:40:16,040
Speaker 4: I think it's supposed to be in Peru. And this

775
00:40:16,160 --> 00:40:18,680
Speaker 4: is doctor Bullfinch we're meeting. He's one of these two

776
00:40:18,760 --> 00:40:21,759
Speaker 4: guys here and they're discussing the pros and cons of

777
00:40:21,840 --> 00:40:25,920
Speaker 4: joining doctor Thorkel's jungle institute. Pros are that he is

778
00:40:26,000 --> 00:40:28,960
Speaker 4: the greatest living biologist, so be good to work with him.

779
00:40:29,360 --> 00:40:33,480
Speaker 4: Cons are at he's a strange man, secretive about his experiments.

780
00:40:34,280 --> 00:40:37,000
Speaker 4: You already get the impression that these guys suspect he

781
00:40:37,040 --> 00:40:41,640
Speaker 4: may kill them. And I love the strong vibe from

782
00:40:41,680 --> 00:40:43,600
Speaker 4: the very beginning that this is going to be like

783
00:40:43,640 --> 00:40:46,920
Speaker 4: the fire Festival of scientific research. It's just like lure

784
00:40:47,000 --> 00:40:50,160
Speaker 4: everybody to a remote location and then just watch it

785
00:40:50,200 --> 00:40:51,000
Speaker 4: all go to hell.

786
00:40:51,360 --> 00:40:51,720
Speaker 3: Yeah.

787
00:40:51,800 --> 00:40:54,760
Speaker 2: Yeah, it's pretty obvious where this is, at least in general,

788
00:40:54,800 --> 00:40:57,440
Speaker 2: where this is going, like mad scientist is up to

789
00:40:57,480 --> 00:40:59,960
Speaker 2: bad stuff in the middle of nowhere, where where they're

790
00:41:00,000 --> 00:41:02,839
Speaker 2: there is no law but his own. Let's go, let's

791
00:41:02,840 --> 00:41:04,440
Speaker 2: go hang out with him and see what happens.

792
00:41:04,719 --> 00:41:07,279
Speaker 4: Yeah, and then there's a sort of recruiting montage.

793
00:41:07,520 --> 00:41:10,480
Speaker 2: These scenes are they're brief there's not much to them. Yeah,

794
00:41:10,560 --> 00:41:14,200
Speaker 2: it's kind of like, hey, if you paid your hotel bill, no, well,

795
00:41:14,480 --> 00:41:16,399
Speaker 2: better join up with us then, right.

796
00:41:16,440 --> 00:41:18,560
Speaker 4: So we get doctor Bullfinch, and then we get doctor

797
00:41:18,600 --> 00:41:21,839
Speaker 4: Mary Robinson, who's writing a letter saying she's joining the team.

798
00:41:22,400 --> 00:41:26,520
Speaker 4: I think letter, yeah, I think the letter says something

799
00:41:26,680 --> 00:41:32,239
Speaker 4: like should should be no problem or something. And then

800
00:41:32,280 --> 00:41:35,279
Speaker 4: we see the recruitment of a good for nothing, deadbeat

801
00:41:35,360 --> 00:41:39,520
Speaker 4: geologist named doctor Bill Stockton. This is the guy played

802
00:41:39,520 --> 00:41:42,200
Speaker 4: by Thomas Coley, and he has pulled in on the

803
00:41:42,239 --> 00:41:46,239
Speaker 4: promise of having his mini IOUs remitted. So when we

804
00:41:46,320 --> 00:41:50,040
Speaker 4: meet him, he's lounging in a patio recliner. And I

805
00:41:50,080 --> 00:41:52,480
Speaker 4: don't know if you noticed this. Did you notice that

806
00:41:52,520 --> 00:41:54,720
Speaker 4: there are just in at least one of these shots,

807
00:41:54,760 --> 00:41:58,080
Speaker 4: there are bugs crawling all over his lap.

808
00:41:58,600 --> 00:41:59,799
Speaker 3: No? I did not notice that.

809
00:42:00,280 --> 00:42:02,839
Speaker 4: I mean, it's easy to miss. It goes by pretty quick,

810
00:42:02,840 --> 00:42:04,520
Speaker 4: and I don't think it's supposed to be like that.

811
00:42:04,600 --> 00:42:06,399
Speaker 4: I think it's just something that happened to get caught

812
00:42:06,440 --> 00:42:08,480
Speaker 4: by the camera. But in one of the shots there

813
00:42:08,480 --> 00:42:12,480
Speaker 4: are at least three flies simultaneously, a couple around his

814
00:42:12,560 --> 00:42:15,320
Speaker 4: belt buckle. Ones kind of to the side of his crotch,

815
00:42:16,000 --> 00:42:17,920
Speaker 4: and it makes me wonder, like, what did he spill

816
00:42:18,000 --> 00:42:21,000
Speaker 4: sugar water and his lap or something in an earlier take.

817
00:42:21,920 --> 00:42:23,960
Speaker 3: I don't know. I mean, is he shirtless in the scene?

818
00:42:24,360 --> 00:42:25,840
Speaker 4: No? No, no, no, he's got a shirt on.

819
00:42:25,920 --> 00:42:27,759
Speaker 2: Yeah, okay, I was thinking maybe they oiled him up

820
00:42:27,760 --> 00:42:30,719
Speaker 2: a bit, you know. Okay, but who knows.

821
00:42:31,400 --> 00:42:34,399
Speaker 4: But yeah, So they're recruiting him because I think there

822
00:42:34,400 --> 00:42:37,799
Speaker 4: was supposed to be another mineralogist or geologist and that

823
00:42:37,840 --> 00:42:40,200
Speaker 4: person fell through. So now they're trying to get the

824
00:42:40,239 --> 00:42:42,920
Speaker 4: deadbeat guy. But he's a handsome dead beat. And then

825
00:42:42,960 --> 00:42:46,000
Speaker 4: finally they're out in the field in Peru and Bullfinch,

826
00:42:46,120 --> 00:42:51,440
Speaker 4: Robinson and Stockton recruit a minor slash mule wrangler named

827
00:42:51,440 --> 00:42:54,000
Speaker 4: Steve who has a lot of mule thoughts and he

828
00:42:54,080 --> 00:42:57,200
Speaker 4: wants to get rich. And there's a mule hagling scene

829
00:42:57,239 --> 00:42:59,880
Speaker 4: between Bullfinch and Steve, which is pretty funny. Steve's like,

830
00:43:00,080 --> 00:43:02,320
Speaker 4: you can't have the mules. I need him for something,

831
00:43:02,360 --> 00:43:05,440
Speaker 4: and then all these eggheads are like, but doctor Thorkel

832
00:43:05,600 --> 00:43:09,600
Speaker 4: is the greatest living authority on organic molecular structure, and

833
00:43:09,680 --> 00:43:12,279
Speaker 4: the muleman is not very impressed, but eventually they get

834
00:43:12,320 --> 00:43:15,880
Speaker 4: him to go along by promising him riches and saying

835
00:43:15,920 --> 00:43:18,600
Speaker 4: that he can come with them to I guess make

836
00:43:18,640 --> 00:43:19,840
Speaker 4: sure the mules are okay.

837
00:43:20,280 --> 00:43:24,440
Speaker 2: Yeah, it's it doesn't make tremendous amount of sense, but okay,

838
00:43:24,440 --> 00:43:25,120
Speaker 2: he's coming.

839
00:43:24,880 --> 00:43:27,839
Speaker 4: Along, right, So they journey through the jungle. They arrive

840
00:43:27,880 --> 00:43:32,720
Speaker 4: at doctor Thorkell's compound. Thorkell's assistant Pedro, comes to inform

841
00:43:32,800 --> 00:43:37,279
Speaker 4: him that they've arrived, and when Thorkell is interrupted, I

842
00:43:37,320 --> 00:43:40,520
Speaker 4: just want to say he's wearing an awesome helmet slash suit.

843
00:43:41,200 --> 00:43:43,440
Speaker 4: Rabbi attached to a picture I found of the helmet

844
00:43:43,440 --> 00:43:46,440
Speaker 4: for you to look at. Here is it's just like

845
00:43:46,760 --> 00:43:49,080
Speaker 4: it's just like a can, just like a straight up

846
00:43:49,239 --> 00:43:53,640
Speaker 4: thick can with two eye holes surrounded by glass and

847
00:43:53,680 --> 00:43:56,719
Speaker 4: then the kind of rounded top. It's not very elaborate,

848
00:43:56,760 --> 00:43:57,720
Speaker 4: but it looks great.

849
00:43:58,480 --> 00:44:00,400
Speaker 2: Yeah, it looks kind of I mean, finds me a

850
00:44:00,440 --> 00:44:03,880
Speaker 2: lot of some of the stock rocketmen and robot costumes

851
00:44:03,920 --> 00:44:06,239
Speaker 2: of the of the day. You know, it looks a

852
00:44:06,280 --> 00:44:08,000
Speaker 2: little bit like a medieval night as well.

853
00:44:08,320 --> 00:44:10,520
Speaker 4: Oh, it's kind of the night guarding the bridge and

854
00:44:10,640 --> 00:44:14,200
Speaker 4: Monty Python and the Holy Grail and so they get

855
00:44:14,200 --> 00:44:17,120
Speaker 4: there and they all meet doctor Thorkel, and doctor Thorkel

856
00:44:17,320 --> 00:44:20,160
Speaker 4: is a creep from the first minute. They do not

857
00:44:20,440 --> 00:44:23,319
Speaker 4: like ease into it. He's got the unholy combo of

858
00:44:23,360 --> 00:44:27,240
Speaker 4: a huge head with tiny glasses, and he's he's huge

859
00:44:27,280 --> 00:44:30,880
Speaker 4: in general. But it's just this like large bulky bald

860
00:44:30,960 --> 00:44:33,880
Speaker 4: man grabbing people by the arm and moving them around

861
00:44:34,600 --> 00:44:36,560
Speaker 4: and saying like, I'm so glad you've come. He might

862
00:44:36,600 --> 00:44:39,120
Speaker 4: as well be saying, you know what lovely cells you're

863
00:44:39,160 --> 00:44:42,320
Speaker 4: made out of. And so we find out the doctor

864
00:44:42,360 --> 00:44:46,080
Speaker 4: Thorkel sent for the assistance of the other scientists because

865
00:44:46,280 --> 00:44:49,120
Speaker 4: of damage to his eyes. The damage to his eyes

866
00:44:49,600 --> 00:44:52,880
Speaker 4: no longer allows him to use the microscope. But I

867
00:44:52,960 --> 00:44:55,880
Speaker 4: was wondering, wait a minute, then, if that's the only problem,

868
00:44:55,960 --> 00:44:58,960
Speaker 4: why did he send for three different scientists. Then it

869
00:44:59,000 --> 00:45:02,560
Speaker 4: almost seems like the imply is that doctor Thorkell thinks

870
00:45:02,600 --> 00:45:05,040
Speaker 4: that if he had fully functioning eyes, he would be

871
00:45:05,080 --> 00:45:06,880
Speaker 4: worth four scientists put together.

872
00:45:08,239 --> 00:45:11,239
Speaker 2: Yeah, that makes sense, or you know, or maybe it's

873
00:45:11,239 --> 00:45:15,160
Speaker 2: it's he doesn't expect all of them to live that long.

874
00:45:15,239 --> 00:45:17,880
Speaker 2: You know, he needs multiple sets of spare eyes.

875
00:45:18,440 --> 00:45:20,880
Speaker 4: Well, this is weird because so here's a question I

876
00:45:20,920 --> 00:45:24,040
Speaker 4: have he is a creep from the beginning, but the

877
00:45:24,120 --> 00:45:26,719
Speaker 4: movie does not suggest that he planned to kill them

878
00:45:26,719 --> 00:45:29,640
Speaker 4: all along. Like the fact that he kills them does

879
00:45:29,760 --> 00:45:33,480
Speaker 4: genuinely seem to be an unexpected development for him. He

880
00:45:33,560 --> 00:45:36,520
Speaker 4: kills them because they discover his secrets.

881
00:45:36,600 --> 00:45:40,360
Speaker 2: Basically, Yeah, yeah, I mean, I guess he what he

882
00:45:40,520 --> 00:45:42,400
Speaker 2: I think has revealed that he he sort of needed

883
00:45:42,600 --> 00:45:47,640
Speaker 2: a mineralist, a mineral specialist to weigh in on some

884
00:45:47,680 --> 00:45:51,040
Speaker 2: of his work. He needed somebody with a biology background.

885
00:45:51,560 --> 00:45:54,200
Speaker 2: But I don't know about the professor, did he. I

886
00:45:54,200 --> 00:45:56,960
Speaker 2: mean just sort of brought him into the boast to

887
00:45:57,080 --> 00:46:00,239
Speaker 2: him about like maybe part of it is like ultimately

888
00:46:00,560 --> 00:46:03,560
Speaker 2: he needs an audience, like he's he's doing amazing thing.

889
00:46:03,719 --> 00:46:07,040
Speaker 2: So yes, I need I need a basically a team

890
00:46:07,160 --> 00:46:09,160
Speaker 2: of judges to come here and tell me how great

891
00:46:09,160 --> 00:46:09,480
Speaker 2: I am.

892
00:46:09,680 --> 00:46:11,920
Speaker 4: I think we're sort of rewriting the script as we go,

893
00:46:12,000 --> 00:46:14,360
Speaker 4: But that's I think you're onto something there that that

894
00:46:14,520 --> 00:46:17,400
Speaker 4: is part of it. Like he as a megalomaniac, he

895
00:46:17,480 --> 00:46:19,640
Speaker 4: needs people to witness his greatness.

896
00:46:20,000 --> 00:46:23,040
Speaker 2: Yeah, So that's one of the downsides to working out

897
00:46:23,080 --> 00:46:25,640
Speaker 2: in the jungle, is that in the jungie, is you

898
00:46:25,680 --> 00:46:29,319
Speaker 2: occasionally have to bring people in to recognize your greatness.

899
00:46:29,000 --> 00:46:31,840
Speaker 4: Right, And so they're there and they recognize his greatness,

900
00:46:31,840 --> 00:46:34,200
Speaker 4: but he wants them to get right to work. So

901
00:46:34,280 --> 00:46:36,319
Speaker 4: he has them look at some stuff in a microscope

902
00:46:36,719 --> 00:46:40,520
Speaker 4: and Stockton, the deadbeat hunk, he sees some iron crystals

903
00:46:40,600 --> 00:46:43,400
Speaker 4: under the microscope. This is like minutes after they've arrived,

904
00:46:43,920 --> 00:46:47,080
Speaker 4: and he says, yes, it's iron crystals in the microscope.

905
00:46:47,320 --> 00:46:50,600
Speaker 4: And doctor Thorkel is like, ah, eureka, okay, that's it. Well,

906
00:46:50,640 --> 00:46:55,240
Speaker 4: I'm done with you guys now. But Bullfinch, which is funny,

907
00:46:55,239 --> 00:46:58,839
Speaker 4: I mean very funny, Bullfinch is mad. He immediately gets

908
00:46:58,880 --> 00:47:01,719
Speaker 4: super indignant, starts yelling and he's like, you can't do

909
00:47:01,880 --> 00:47:06,359
Speaker 4: this to us. At one point, Bullfinch is like are

910
00:47:06,400 --> 00:47:08,960
Speaker 4: you Are you intimating that you brought us here just

911
00:47:09,000 --> 00:47:12,000
Speaker 4: for five minutes of work, and Thorkel is like, I

912
00:47:12,040 --> 00:47:16,640
Speaker 4: am not intimating. I am merely stating a fact. Which

913
00:47:16,800 --> 00:47:19,520
Speaker 4: that's man. That's one of my favorite types of statements

914
00:47:19,520 --> 00:47:22,520
Speaker 4: in English, the like I'm merely stating a fact, like

915
00:47:22,600 --> 00:47:25,759
Speaker 4: that wasn't a threat, it was a promise. I'm not

916
00:47:25,800 --> 00:47:29,719
Speaker 4: suggesting anything. I'm merely stating a fact. I wonder when

917
00:47:29,840 --> 00:47:31,080
Speaker 4: was the first instance of that.

918
00:47:32,080 --> 00:47:32,600
Speaker 3: I don't know.

919
00:47:33,480 --> 00:47:36,719
Speaker 2: Yeah, this seems like at least an early variation on

920
00:47:36,760 --> 00:47:37,120
Speaker 2: the theme.

921
00:47:37,400 --> 00:47:40,279
Speaker 4: But anyway, Bullfinch and Robinson they are mad and they

922
00:47:40,280 --> 00:47:42,840
Speaker 4: want to know what it is that Thork is working

923
00:47:42,880 --> 00:47:46,680
Speaker 4: on before they leave. Steve the mule guy, he thinks

924
00:47:46,680 --> 00:47:48,840
Speaker 4: he knows. He thinks the answer is that there is

925
00:47:48,920 --> 00:47:52,920
Speaker 4: a mind full of precious ore somewhere around here. Stockton

926
00:47:52,960 --> 00:47:55,080
Speaker 4: doesn't seem to care much. It seems like he's fine

927
00:47:55,120 --> 00:47:57,240
Speaker 4: to just like get his bill settled and then leave.

928
00:47:57,760 --> 00:47:59,400
Speaker 4: You know, all he wants to do is lay around

929
00:47:59,400 --> 00:48:00,560
Speaker 4: in a chair basically.

930
00:48:01,040 --> 00:48:02,719
Speaker 2: Yeah, But the other two it is kind of like

931
00:48:02,800 --> 00:48:05,160
Speaker 2: they thought they thought this was going to be Thorkel

932
00:48:05,280 --> 00:48:05,640
Speaker 2: at all.

933
00:48:06,280 --> 00:48:07,600
Speaker 3: Yes, you know, they thought.

934
00:48:07,480 --> 00:48:10,360
Speaker 4: They were going to go author credit, yes exactly.

935
00:48:10,040 --> 00:48:13,200
Speaker 2: But no, there's only one author on Thorkel research, and

936
00:48:13,239 --> 00:48:14,320
Speaker 2: that's doctor Thorkel.

937
00:48:14,960 --> 00:48:17,040
Speaker 4: Now you might know more about this than me. I

938
00:48:17,120 --> 00:48:21,560
Speaker 4: was kind of curious about this movie's abundance of unflattering pants.

939
00:48:21,960 --> 00:48:25,480
Speaker 4: There are multiple characters wearing pants that have like big,

940
00:48:25,600 --> 00:48:29,120
Speaker 4: saggy butt and thigh areas that sometimes make it look

941
00:48:29,160 --> 00:48:31,920
Speaker 4: like they're wearing like a weird sort of diaper or

942
00:48:32,000 --> 00:48:34,600
Speaker 4: just sort of just have a saggy butt in the pants?

943
00:48:34,800 --> 00:48:38,120
Speaker 4: Are these some specific kind of rugged outdoor pants of

944
00:48:38,160 --> 00:48:42,279
Speaker 4: the era, like the go into the jungle pants. I

945
00:48:42,280 --> 00:48:43,600
Speaker 4: didn't know what the deal with this was.

946
00:48:44,200 --> 00:48:46,520
Speaker 2: I don't know. I just I just thought maybe that

947
00:48:46,600 --> 00:48:48,000
Speaker 2: was the style of the day. You know, he just

948
00:48:48,000 --> 00:48:51,000
Speaker 2: wore big balloony pants. But I could be wrong. Maybe

949
00:48:51,480 --> 00:48:53,920
Speaker 2: maybe the pants experts out there can weigh in.

950
00:48:54,280 --> 00:48:54,400
Speaker 3: Well.

951
00:48:54,400 --> 00:48:57,359
Speaker 4: Anyway, Steve the mule guy goes out snooping at night

952
00:48:57,760 --> 00:49:00,399
Speaker 4: the day before Thorkel has told them they're supposed to leave.

953
00:49:00,560 --> 00:49:02,960
Speaker 4: Thorkell says, you need to leave tomorrow, and so it's

954
00:49:03,000 --> 00:49:05,359
Speaker 4: that night and Steve goes out snooping around. I think

955
00:49:05,400 --> 00:49:09,240
Speaker 4: he wants to track down the mine. So while Thorkel

956
00:49:09,320 --> 00:49:12,600
Speaker 4: is inside wearing his crazy helmet and doing science work,

957
00:49:13,960 --> 00:49:16,520
Speaker 4: Steve is snooping around this big hole in the ground

958
00:49:16,600 --> 00:49:19,279
Speaker 4: that has a giant like rigging over it and with

959
00:49:19,320 --> 00:49:21,720
Speaker 4: some kind of rope dangling something down in the hole.

960
00:49:22,280 --> 00:49:25,120
Speaker 4: And then he's almost caught by Thorkell. Thorkel comes out

961
00:49:25,160 --> 00:49:28,880
Speaker 4: and Baker hides and it is revealed that Thorkell is

962
00:49:28,920 --> 00:49:33,040
Speaker 4: operating some kind of awesome giant copper drill in the

963
00:49:33,120 --> 00:49:36,239
Speaker 4: Thorkel super deep borehole. He's like drilling down into the

964
00:49:36,280 --> 00:49:39,120
Speaker 4: earth and getting something out of the earth. I don't know.

965
00:49:39,640 --> 00:49:41,600
Speaker 4: I think maybe it's the radium samples.

966
00:49:42,400 --> 00:49:43,040
Speaker 3: Yeah, there's this.

967
00:49:43,960 --> 00:49:46,759
Speaker 2: They don't talk about it that much, but there's this

968
00:49:47,120 --> 00:49:53,080
Speaker 2: sense that he's somehow absorbing radiation out of the ground itself,

969
00:49:54,239 --> 00:49:59,200
Speaker 2: you know, by lowering this probe down into it. That's

970
00:49:59,280 --> 00:50:00,799
Speaker 2: kind of the sense I was getting from it.

971
00:50:01,200 --> 00:50:04,080
Speaker 4: Yeah, And then we see at some point Thorkel is

972
00:50:04,120 --> 00:50:06,920
Speaker 4: alone in his lab later and it reveals that he

973
00:50:07,000 --> 00:50:10,239
Speaker 4: has created a tiny pony. This is very much like

974
00:50:10,280 --> 00:50:15,720
Speaker 4: the Septimus Pretorious images. So there is somehow they've superimposed

975
00:50:15,760 --> 00:50:19,520
Speaker 4: footage of a full sized pony kind of neighing and

976
00:50:19,880 --> 00:50:23,480
Speaker 4: clumping around, but they have matted that onto the shot

977
00:50:23,560 --> 00:50:26,120
Speaker 4: of Thorkel sitting at a table, and so it looks

978
00:50:26,160 --> 00:50:28,359
Speaker 4: like the pony is on the table and it looks great.

979
00:50:28,920 --> 00:50:29,600
Speaker 3: Yeah.

980
00:50:29,640 --> 00:50:31,239
Speaker 4: But then later we check in. I guess this is

981
00:50:31,280 --> 00:50:35,160
Speaker 4: the next morning. Bullfinch is examining some pig remains that

982
00:50:35,239 --> 00:50:38,319
Speaker 4: he came across, and it claim he claims that he's

983
00:50:38,360 --> 00:50:40,879
Speaker 4: discovered a new species of pig that is only four

984
00:50:40,920 --> 00:50:44,239
Speaker 4: inches long at maturity, and Bullfinch tries to name the

985
00:50:44,280 --> 00:50:50,080
Speaker 4: species after himself, like you do, and then Thorkel rolls

986
00:50:50,160 --> 00:50:53,279
Speaker 4: up on them, and he's immediately like, haha, you weak

987
00:50:53,320 --> 00:50:57,080
Speaker 4: minded fool, you think you've discovered a new pig. And

988
00:50:57,120 --> 00:50:59,919
Speaker 4: he said, I wrote down this quote. Strange how as

989
00:51:00,000 --> 00:51:03,640
Speaker 4: absorbed man has always been in the size of things.

990
00:51:05,719 --> 00:51:07,839
Speaker 2: Yes, because of course he knows what this is. This

991
00:51:07,920 --> 00:51:10,000
Speaker 2: is not a new species of pig. This is just

992
00:51:10,040 --> 00:51:12,000
Speaker 2: a normal pig that he shrank down.

993
00:51:12,480 --> 00:51:15,920
Speaker 4: He's been shrinking pigs for months, and they're all here amazed,

994
00:51:15,960 --> 00:51:19,040
Speaker 4: thinking they've discovered new species of pigs. And he's like, ah,

995
00:51:19,200 --> 00:51:22,360
Speaker 4: you idiots, you don't understand pig shrinking. I'll tell you

996
00:51:22,480 --> 00:51:27,800
Speaker 4: about pig shrinking. But Bullfinch retorts, he says that size

997
00:51:27,840 --> 00:51:30,840
Speaker 4: is the chief difference between mammals. I wrote down this

998
00:51:30,920 --> 00:51:33,880
Speaker 4: quote as well. He says, in all essentials, a mouse

999
00:51:33,960 --> 00:51:40,359
Speaker 4: and a whale are identical. Yeah, so Bullfinch, I guess

1000
00:51:40,360 --> 00:51:42,520
Speaker 4: he's supposed to be like the second best biologist in

1001
00:51:42,560 --> 00:51:45,080
Speaker 4: the world, but I'm not sure about that one.

1002
00:51:45,120 --> 00:51:47,520
Speaker 2: There was a big gap between first and second greatest

1003
00:51:47,560 --> 00:51:50,160
Speaker 2: biologists of the time, I guess, yeah, no, I don't

1004
00:51:50,200 --> 00:51:53,000
Speaker 2: think there were. I think gray Bao just in real life.

1005
00:51:53,040 --> 00:51:56,719
Speaker 2: Before these guys would have argued, no, a mouse isn't

1006
00:51:56,719 --> 00:51:59,840
Speaker 2: in a whale or not essentially the same creature there is,

1007
00:52:00,040 --> 00:52:01,880
Speaker 2: there are some major differences.

1008
00:52:02,760 --> 00:52:05,600
Speaker 4: But after this, I like this Thorkel, like we said,

1009
00:52:05,640 --> 00:52:08,200
Speaker 4: even though he is very much a creep from the beginning,

1010
00:52:08,719 --> 00:52:10,959
Speaker 4: he does seem to give them another chance. He tries

1011
00:52:11,000 --> 00:52:12,960
Speaker 4: to send them away again. He's like, be on your way,

1012
00:52:13,040 --> 00:52:16,359
Speaker 4: but Bullfinch is just so mad he refuses to leave

1013
00:52:16,520 --> 00:52:19,440
Speaker 4: until he finds out what's going on, and then Thorkell

1014
00:52:19,640 --> 00:52:22,040
Speaker 4: begins to threaten them. He's like, if you do not

1015
00:52:22,200 --> 00:52:24,920
Speaker 4: leave within the hour, you will remain at your own peril.

1016
00:52:27,280 --> 00:52:30,439
Speaker 4: So there's some snooping around. After this, Thorkel goes back.

1017
00:52:30,520 --> 00:52:32,799
Speaker 4: I guess, assuming that they're supposed they're going to leave,

1018
00:52:33,080 --> 00:52:35,680
Speaker 4: but they end up investigating. They're too curious for their

1019
00:52:35,680 --> 00:52:38,920
Speaker 4: own good. They hear some horse sounds and they end

1020
00:52:39,000 --> 00:52:42,360
Speaker 4: up spying on Thorkel appearing to like search around for

1021
00:52:42,400 --> 00:52:45,880
Speaker 4: a horse in tall grass. So they all start to think, okay,

1022
00:52:45,920 --> 00:52:50,480
Speaker 4: Thorkell has gone mad, but Pedro explains that actually he

1023
00:52:50,600 --> 00:52:53,360
Speaker 4: has delivered a bunch of animals to Thorkell, and he

1024
00:52:53,400 --> 00:52:55,840
Speaker 4: doesn't know where they are now. He's delivered rats and

1025
00:52:55,960 --> 00:52:59,279
Speaker 4: chickens and dogs and cats, and he doesn't know where

1026
00:52:59,280 --> 00:53:04,080
Speaker 4: they are now except for uh, there's this cat, Satanas,

1027
00:53:04,800 --> 00:53:08,399
Speaker 4: and oh my god, Satanas is a good cat.

1028
00:53:09,040 --> 00:53:09,560
Speaker 3: Yeah.

1029
00:53:09,640 --> 00:53:14,040
Speaker 2: Upon just mere introduction of Satanas by doctor Thorkel, I

1030
00:53:14,200 --> 00:53:16,839
Speaker 2: I instantly laugh, in part because just seeing a cat

1031
00:53:16,960 --> 00:53:19,520
Speaker 2: just sitting there looking slightly bored in a film is

1032
00:53:19,760 --> 00:53:23,640
Speaker 2: always a light but also because it does it doesn't

1033
00:53:23,680 --> 00:53:26,520
Speaker 2: take take much to realize where this is going. You

1034
00:53:26,560 --> 00:53:29,480
Speaker 2: know that cat is going to try and eat a

1035
00:53:29,480 --> 00:53:31,320
Speaker 2: tiny person at some point in this film.

1036
00:53:31,560 --> 00:53:34,279
Speaker 4: Oh yeah, which is a brilliant idea for for a

1037
00:53:34,320 --> 00:53:36,640
Speaker 4: horror movie. By the way, I mean, a cat of

1038
00:53:36,640 --> 00:53:40,400
Speaker 4: sufficient size to attack you is a terrifying proposition.

1039
00:53:41,000 --> 00:53:41,479
Speaker 3: Oh yeah.

1040
00:53:41,520 --> 00:53:44,560
Speaker 2: Like anybody who owns a cat can can attest to this,

1041
00:53:44,800 --> 00:53:47,360
Speaker 2: because you know, sometimes they will They will hunt the

1042
00:53:47,360 --> 00:53:51,080
Speaker 2: feet of full sized adults like me. Uh, and their

1043
00:53:51,160 --> 00:53:55,719
Speaker 2: their speed. The reflexes are terrifying. Despite how much time

1044
00:53:55,719 --> 00:53:58,640
Speaker 2: they spend, you know, laying around doing nothing and sleeping.

1045
00:53:59,160 --> 00:54:02,000
Speaker 2: When they want to move, they can do so with

1046
00:54:02,239 --> 00:54:06,040
Speaker 2: just incredible speed. So it's easy to imagine yourself as

1047
00:54:06,320 --> 00:54:09,040
Speaker 2: a small creature and having to face, you know, the

1048
00:54:09,480 --> 00:54:13,360
Speaker 2: ferocity of a domestic cat. You know, you wouldn't you

1049
00:54:13,360 --> 00:54:16,160
Speaker 2: wouldn't stand a chance your your only chance really would

1050
00:54:16,160 --> 00:54:18,319
Speaker 2: be that it would grow bored and torturing you to death.

1051
00:54:18,719 --> 00:54:21,720
Speaker 4: Yeah, I mean, I would say seek out water because

1052
00:54:21,760 --> 00:54:23,439
Speaker 4: you know, a lot of a lot of domestic cats

1053
00:54:23,520 --> 00:54:26,839
Speaker 4: don't don't really like getting too wet. I guess there's

1054
00:54:26,880 --> 00:54:28,919
Speaker 4: some exceptions, but you know, they can be scared about

1055
00:54:28,960 --> 00:54:31,160
Speaker 4: getting too close to water. But then again, if you're

1056
00:54:31,320 --> 00:54:34,560
Speaker 4: very small, I guess water would probably like a shrunken

1057
00:54:34,680 --> 00:54:37,760
Speaker 4: human might very well be in extreme danger from water.

1058
00:54:38,160 --> 00:54:39,680
Speaker 4: We can talk about this more as we go on,

1059
00:54:39,840 --> 00:54:42,480
Speaker 4: but I recall again the JBS Hall day and Essay,

1060
00:54:42,640 --> 00:54:44,719
Speaker 4: you know, on on being the Right size, where he

1061
00:54:44,760 --> 00:54:48,960
Speaker 4: talks about how getting wet is an entirely different proposition

1062
00:54:49,040 --> 00:54:51,160
Speaker 4: for a small animal than it is for a larger

1063
00:54:51,200 --> 00:54:53,960
Speaker 4: animal because like, if if a rat gets wet, like

1064
00:54:54,040 --> 00:54:57,320
Speaker 4: a huge percent of its body weight is now clinging

1065
00:54:57,360 --> 00:54:58,399
Speaker 4: to the outside of it.

1066
00:54:58,760 --> 00:54:59,640
Speaker 3: Yeah.

1067
00:54:59,640 --> 00:55:02,319
Speaker 4: But anyway, so there's this question, like where did all

1068
00:55:02,320 --> 00:55:04,920
Speaker 4: the animals go? You know, all the animals that Pedro

1069
00:55:05,040 --> 00:55:08,120
Speaker 4: delivered and where are they now? Pedro says, I don't know.

1070
00:55:08,239 --> 00:55:10,760
Speaker 4: But Satanas every day she gets more fat.

1071
00:55:11,280 --> 00:55:13,920
Speaker 2: She is really living her best life here. She's getting

1072
00:55:13,920 --> 00:55:18,239
Speaker 2: to kill, to hunt, and kill so many animals that

1073
00:55:18,280 --> 00:55:19,480
Speaker 2: she wouldn't get to otherwise.

1074
00:55:19,600 --> 00:55:24,160
Speaker 4: Shrunken pigs, shrunken horses. It's all gravy for Satanas.

1075
00:55:24,520 --> 00:55:25,360
Speaker 3: Yeah.

1076
00:55:25,360 --> 00:55:28,439
Speaker 4: But anyway, so they're packing up to actually leave this time,

1077
00:55:28,480 --> 00:55:31,760
Speaker 4: I think, But then they discovered that they keep finding

1078
00:55:31,840 --> 00:55:35,719
Speaker 4: reasons to stay. They discovered that the ore that they've

1079
00:55:35,760 --> 00:55:38,719
Speaker 4: been finding around this place contains radium, which at this

1080
00:55:38,840 --> 00:55:41,160
Speaker 4: time they're like, whoa, that's worth a lot of money

1081
00:55:41,200 --> 00:55:44,440
Speaker 4: and it's very important for scientific research. I guess this

1082
00:55:44,440 --> 00:55:46,680
Speaker 4: would have been on the cusp of the era of

1083
00:55:46,719 --> 00:55:48,920
Speaker 4: the discovery of nuclear power.

1084
00:55:49,320 --> 00:55:52,279
Speaker 2: Yeah, so certainly you know that the scientists are like,

1085
00:55:52,360 --> 00:55:55,799
Speaker 2: this is great for science. And then mule guy is like, like,

1086
00:55:55,880 --> 00:55:58,320
Speaker 2: there's there's that's some expensive radium.

1087
00:55:58,400 --> 00:55:59,239
Speaker 3: I want a piece of it.

1088
00:55:59,480 --> 00:56:02,080
Speaker 4: Yes, get me the money, And so they start snooping

1089
00:56:02,120 --> 00:56:05,080
Speaker 4: around in Thorkell's stuff and then there's a big confrontation.

1090
00:56:06,000 --> 00:56:09,280
Speaker 4: They find records of him saying that he has shrunk

1091
00:56:09,360 --> 00:56:11,840
Speaker 4: things and they're like, well, he's obviously lost his mind,

1092
00:56:12,520 --> 00:56:15,759
Speaker 4: and they and then he comes in and discovers them

1093
00:56:15,840 --> 00:56:19,160
Speaker 4: going through his stuff that they have a confrontation and

1094
00:56:19,200 --> 00:56:21,400
Speaker 4: he's like, here, well let me explain everything to you.

1095
00:56:21,760 --> 00:56:24,160
Speaker 4: Come into this room and look at my condenser. And

1096
00:56:24,200 --> 00:56:29,680
Speaker 4: so they all go in there, Robinson, Bullfinch, Steve Stockton

1097
00:56:29,800 --> 00:56:30,400
Speaker 4: and Pedro.

1098
00:56:30,719 --> 00:56:30,919
Speaker 3: Yeah.

1099
00:56:31,160 --> 00:56:33,280
Speaker 2: At last, he's like, Pedro, get in here this room.

1100
00:56:33,200 --> 00:56:36,319
Speaker 4: Yeah, tru Yeah, everybody cray him into this, into this room.

1101
00:56:36,320 --> 00:56:39,040
Speaker 4: Don't be suspicious. Just look at the condenser. And then

1102
00:56:39,080 --> 00:56:41,640
Speaker 4: he slams the door on them and shrinks them, and

1103
00:56:41,680 --> 00:56:45,440
Speaker 4: now we've reached the situation of the film. Everybody except

1104
00:56:45,480 --> 00:56:57,759
Speaker 4: Thorkel has been shrunk to about thirteen inches tall. And

1105
00:56:57,880 --> 00:57:00,839
Speaker 4: so after this, you know, they're in a room having

1106
00:57:00,920 --> 00:57:04,560
Speaker 4: been shrunk, and Thorkel is like doing some playful diagnostics,

1107
00:57:04,560 --> 00:57:08,120
Speaker 4: saying like wow, you know, oh your vocal cords still work,

1108
00:57:08,200 --> 00:57:11,399
Speaker 4: and oh you're of this size, and he's crowing over

1109
00:57:11,440 --> 00:57:14,200
Speaker 4: his victory over them while the rest of the main

1110
00:57:14,280 --> 00:57:17,600
Speaker 4: characters scamper around on the floor trying to hide and escape.

1111
00:57:17,600 --> 00:57:20,680
Speaker 4: And here's where the special effects just get wonderful, because

1112
00:57:21,080 --> 00:57:24,320
Speaker 4: a lot of what you have here are fully built

1113
00:57:24,520 --> 00:57:29,000
Speaker 4: sets to make actors that normal size appear to be like,

1114
00:57:29,120 --> 00:57:32,200
Speaker 4: you know, somewhere between like six and thirteen inches tall

1115
00:57:32,880 --> 00:57:35,600
Speaker 4: according to perspectives. So they were like giant chairs and

1116
00:57:35,640 --> 00:57:37,080
Speaker 4: they'll go up to one of the legs of the

1117
00:57:37,200 --> 00:57:40,400
Speaker 4: chair and crouch behind it, and giant books and things

1118
00:57:40,440 --> 00:57:40,800
Speaker 4: like that.

1119
00:57:41,640 --> 00:57:44,560
Speaker 2: Yeah, I love it when films would do this, and

1120
00:57:44,560 --> 00:57:47,760
Speaker 2: I guess they still do variations on this. But I

1121
00:57:47,840 --> 00:57:52,040
Speaker 2: talked to a guy once in real life who had

1122
00:57:52,080 --> 00:57:56,160
Speaker 2: previously worked in special effects, and he had worked on

1123
00:57:56,280 --> 00:57:59,400
Speaker 2: the film Stephen King's Cat's Eye, which you might remember

1124
00:57:59,640 --> 00:58:02,600
Speaker 2: doesn't have any miniaturization occurring, but it does have a

1125
00:58:02,680 --> 00:58:05,480
Speaker 2: troll creature, which was of course played by like an

1126
00:58:05,520 --> 00:58:08,000
Speaker 2: adult in a full size costume. In order to make

1127
00:58:08,080 --> 00:58:10,520
Speaker 2: him seem like a tiny creature, they had to build

1128
00:58:10,560 --> 00:58:15,600
Speaker 2: like an enormous child's bed for this actor to prance

1129
00:58:15,640 --> 00:58:18,280
Speaker 2: around on. So I got to see some behind the

1130
00:58:18,280 --> 00:58:20,160
Speaker 2: scenes photos of that he had in an album and

1131
00:58:20,160 --> 00:58:20,919
Speaker 2: it was super cool.

1132
00:58:21,200 --> 00:58:24,160
Speaker 4: I love it. I love it. I really really missed

1133
00:58:24,160 --> 00:58:28,880
Speaker 4: the era of special effects through built sets and built environments.

1134
00:58:29,680 --> 00:58:32,080
Speaker 4: I do feel like something really is lost, no matter

1135
00:58:32,080 --> 00:58:35,480
Speaker 4: how good an animated environment can look. I mean, the

1136
00:58:35,520 --> 00:58:38,840
Speaker 4: green screen world I do feel like has lost something beautiful.

1137
00:58:39,800 --> 00:58:41,640
Speaker 2: Yeah, there's a craftsmanship to it. I mean not to

1138
00:58:41,640 --> 00:58:44,400
Speaker 2: say there's not a craftsmanship in creating virtual environments, but

1139
00:58:45,960 --> 00:58:50,560
Speaker 2: there's a physical craft to it that perhaps is kind

1140
00:58:50,560 --> 00:58:51,000
Speaker 2: of lost.

1141
00:58:51,320 --> 00:58:51,480
Speaker 3: You know.

1142
00:58:51,520 --> 00:58:53,760
Speaker 4: One thing I noticed at the very beginning is that

1143
00:58:54,000 --> 00:58:55,680
Speaker 4: as soon as we come on the new characters, I

1144
00:58:55,680 --> 00:58:57,960
Speaker 4: guess they are too small for their original clothes now.

1145
00:58:58,000 --> 00:59:01,080
Speaker 4: So instead the characters have all replaced their original clothes

1146
00:59:01,120 --> 00:59:04,720
Speaker 4: with like togas. They're like little torn pieces of cloth

1147
00:59:04,800 --> 00:59:08,120
Speaker 4: that they're wearing like like togas and stuff. And this

1148
00:59:08,200 --> 00:59:10,760
Speaker 4: really I think heightens the connection to the Odyssey.

1149
00:59:11,440 --> 00:59:11,840
Speaker 3: That's right.

1150
00:59:11,960 --> 00:59:14,640
Speaker 2: And of course the film will continue to it will

1151
00:59:14,720 --> 00:59:17,960
Speaker 2: let you know that it is referencing the Odyssey. It's

1152
00:59:17,960 --> 00:59:20,280
Speaker 2: going to be very direct about it. But yeah, this

1153
00:59:20,320 --> 00:59:22,600
Speaker 2: may be the first sign that they're going in that direction.

1154
00:59:23,200 --> 00:59:26,160
Speaker 2: So I love this because they their clothes were not shrunk.

1155
00:59:26,720 --> 00:59:29,000
Speaker 2: Doctor Thorkel is picking up their clothes and putting them

1156
00:59:29,000 --> 00:59:32,000
Speaker 2: in a bag later, but I guess he left either

1157
00:59:32,280 --> 00:59:37,000
Speaker 2: pristine handkerchiefs in there and some sewing equipment at scale

1158
00:59:37,000 --> 00:59:40,480
Speaker 2: for them, or he had pre arranged clothing made from

1159
00:59:40,560 --> 00:59:43,520
Speaker 2: handkerchiefs for them one or the other because they seem

1160
00:59:43,520 --> 00:59:44,320
Speaker 2: to fit rather well.

1161
00:59:44,640 --> 00:59:47,360
Speaker 4: Yeah, and so Thorkel says that, you know, he's like, well,

1162
00:59:47,400 --> 00:59:49,680
Speaker 4: I've been working for days without rest, and now I'm

1163
00:59:49,720 --> 00:59:52,439
Speaker 4: going to fall asleep. So he falls asleep, and while

1164
00:59:52,440 --> 00:59:56,280
Speaker 4: he's asleep, they escaped the room by building a tower

1165
00:59:56,360 --> 00:59:58,680
Speaker 4: out of books and using a match stick to draw

1166
00:59:58,760 --> 01:00:01,120
Speaker 4: back the bolt on the door. And then there's a

1167
01:00:01,200 --> 01:00:03,160
Speaker 4: there's a great moment I loved where they're trying to

1168
01:00:03,200 --> 01:00:06,520
Speaker 4: sneak around outside once they've gotten out, and there are

1169
01:00:06,520 --> 01:00:10,560
Speaker 4: some chickens just like ye, giant chickens and giant chickens. Eh,

1170
01:00:10,640 --> 01:00:12,840
Speaker 4: that would be really scary. I mean that's like a dinosaur.

1171
01:00:13,480 --> 01:00:16,640
Speaker 2: Yeah, I would be terrified, Yes, like a like a

1172
01:00:16,760 --> 01:00:19,400
Speaker 2: big feathered t rex. And you know, I guess with

1173
01:00:19,480 --> 01:00:21,240
Speaker 2: any of these animals, you have to ask yourself, what

1174
01:00:21,320 --> 01:00:25,600
Speaker 2: is the threshold of miniaturization at which I am identified

1175
01:00:25,640 --> 01:00:27,680
Speaker 2: as potential prey by this animal?

1176
01:00:27,920 --> 01:00:30,800
Speaker 4: Right? And the chickens never try to eat them, but

1177
01:00:30,840 --> 01:00:32,760
Speaker 4: the implication is there, I mean I really do.

1178
01:00:32,880 --> 01:00:33,080
Speaker 3: Yeah.

1179
01:00:33,120 --> 01:00:35,120
Speaker 4: So if you were thirteen inches tall and you were

1180
01:00:35,160 --> 01:00:37,640
Speaker 4: walking past a chicken, I mean that'd probably be like

1181
01:00:37,720 --> 01:00:42,840
Speaker 4: a human walking past a dynonicus or something like therapod dinosaur,

1182
01:00:43,000 --> 01:00:43,960
Speaker 4: the predatory one.

1183
01:00:44,280 --> 01:00:46,080
Speaker 2: Yeah, if it decided you were worth a pack, I

1184
01:00:46,120 --> 01:00:47,600
Speaker 2: mean that could that would be death.

1185
01:00:47,880 --> 01:00:49,680
Speaker 4: But they do a thing that really did make me laugh.

1186
01:00:49,760 --> 01:00:52,040
Speaker 4: They do the just tack natural walk while they walk

1187
01:00:52,120 --> 01:00:56,040
Speaker 4: past the chickens like pretend like we're supposed to be here,

1188
01:00:57,240 --> 01:01:00,640
Speaker 4: and then they get attacked by Satanas the cat, and

1189
01:01:00,680 --> 01:01:03,240
Speaker 4: they have to hide among a bunch of cactus, which

1190
01:01:03,400 --> 01:01:07,040
Speaker 4: I thought was a cool idea. Yeah, and Pedro's dog

1191
01:01:07,120 --> 01:01:10,720
Speaker 4: Tipo eventually comes to the rescue, chases off Satanas, and

1192
01:01:10,840 --> 01:01:13,280
Speaker 4: here we get we here we get the movie, I

1193
01:01:13,280 --> 01:01:17,040
Speaker 4: guess offering thoughts about how you would be treated differently

1194
01:01:17,080 --> 01:01:20,480
Speaker 4: if you were miniaturized by a cat versus by a dog.

1195
01:01:21,120 --> 01:01:23,840
Speaker 2: Yeah, this was fun because I've heard this this many

1196
01:01:23,840 --> 01:01:26,560
Speaker 2: times before, people commenting that, Okay, if you were to

1197
01:01:26,600 --> 01:01:30,800
Speaker 2: suddenly be you know, an inch tall or whatever, your

1198
01:01:31,200 --> 01:01:33,680
Speaker 2: your dog would still be your friend, but your cat

1199
01:01:33,720 --> 01:01:37,960
Speaker 2: would just eat you immediately. And and I don't disagree

1200
01:01:38,000 --> 01:01:40,880
Speaker 2: with that principle, though I do. If I'm going to

1201
01:01:41,000 --> 01:01:43,440
Speaker 2: seriously consider the question, I'm going to wonder if a

1202
01:01:43,480 --> 01:01:46,640
Speaker 2: dog would be able to recognize you by side or

1203
01:01:46,640 --> 01:01:50,439
Speaker 2: by smell in a miniaturized form, Like if you start

1204
01:01:50,480 --> 01:01:52,360
Speaker 2: asking hard scientific questions about all.

1205
01:01:52,280 --> 01:01:55,080
Speaker 4: Of this, I don't know. I am a dog lover,

1206
01:01:55,200 --> 01:01:56,760
Speaker 4: but I kind of think the dog would eat you.

1207
01:01:57,120 --> 01:01:57,440
Speaker 3: Yeah.

1208
01:01:57,800 --> 01:02:00,600
Speaker 2: Yeah, I guess it. Were more inclined to believe and

1209
01:02:00,640 --> 01:02:03,320
Speaker 2: want to believe, the dog would be like, oh, master,

1210
01:02:03,400 --> 01:02:05,480
Speaker 2: why are you so small? Let me help you, whereas

1211
01:02:05,800 --> 01:02:07,880
Speaker 2: there's no doubt with the cat, Like the cat would

1212
01:02:07,880 --> 01:02:11,640
Speaker 2: be like, sorry, the table has turned, and you know

1213
01:02:11,720 --> 01:02:12,480
Speaker 2: what I have to do.

1214
01:02:12,800 --> 01:02:15,080
Speaker 4: The cat would one hundred percent each you. I feel

1215
01:02:15,080 --> 01:02:17,320
Speaker 4: like I'm at about eighty percent, and the dog would

1216
01:02:17,320 --> 01:02:17,680
Speaker 4: eat you.

1217
01:02:18,000 --> 01:02:18,320
Speaker 3: Yeah.

1218
01:02:18,360 --> 01:02:21,360
Speaker 2: In a way, it's like that slight level of uncertainty

1219
01:02:21,360 --> 01:02:23,480
Speaker 2: that makes it more terrifying, Like if you were suddenly

1220
01:02:23,520 --> 01:02:25,560
Speaker 2: miniatized in your home, you'd be like, oh crap, I

1221
01:02:25,560 --> 01:02:27,480
Speaker 2: got to avoid the cat at all costs because that

1222
01:02:27,600 --> 01:02:29,280
Speaker 2: is death. But then you're like, I don't know about

1223
01:02:29,280 --> 01:02:31,440
Speaker 2: the dog. The dog could be my savior, but the

1224
01:02:31,480 --> 01:02:33,440
Speaker 2: dog might just eat me anyway, or at least put

1225
01:02:33,440 --> 01:02:34,680
Speaker 2: me in his mouth for a while.

1226
01:02:35,160 --> 01:02:35,480
Speaker 4: Yeah.

1227
01:02:35,560 --> 01:02:36,120
Speaker 3: Yeah.

1228
01:02:36,280 --> 01:02:38,840
Speaker 4: So after this we get a little interlude where we

1229
01:02:38,880 --> 01:02:41,760
Speaker 4: see the humans sort of adapting to their new scale,

1230
01:02:41,960 --> 01:02:45,440
Speaker 4: and it sort of turns into one of those recapitulation

1231
01:02:45,680 --> 01:02:48,840
Speaker 4: of the discovery of technology narratives like you get in

1232
01:02:49,320 --> 01:02:52,160
Speaker 4: stories like the Swiss Family Robinson. I think that's really

1233
01:02:52,640 --> 01:02:55,000
Speaker 4: part of the pleasure people get in a lot of

1234
01:02:55,120 --> 01:02:58,680
Speaker 4: castaway stories. Is they really like that, like watching people

1235
01:02:59,440 --> 01:03:03,880
Speaker 4: rebuild technological capability out of the materials available to them.

1236
01:03:04,160 --> 01:03:08,160
Speaker 2: Yeah, like a Robinson Crusoe or to a certain extent,

1237
01:03:08,160 --> 01:03:10,440
Speaker 2: Flight of the Phoenix was like that. I think they

1238
01:03:10,520 --> 01:03:12,680
Speaker 2: remade it at some point, but the original was like

1239
01:03:12,720 --> 01:03:15,480
Speaker 2: a god was it a not to be twenty four?

1240
01:03:16,040 --> 01:03:18,480
Speaker 2: It was a B oh, it was a B twenty nine.

1241
01:03:18,480 --> 01:03:21,600
Speaker 2: Of course B twenty nine crashes in the desert and

1242
01:03:21,640 --> 01:03:25,440
Speaker 2: then they have to take it apart and try and

1243
01:03:25,480 --> 01:03:28,840
Speaker 2: build a new airplane out of this four prop engine

1244
01:03:28,880 --> 01:03:31,000
Speaker 2: airplane and then fly out of the desert in it.

1245
01:03:31,360 --> 01:03:34,120
Speaker 4: Yeah. So obviously, the fact that this type of narrative

1246
01:03:34,400 --> 01:03:37,200
Speaker 4: recurs so much, I mean, I do think it's clear that,

1247
01:03:37,320 --> 01:03:40,080
Speaker 4: like some people really enjoy watching this sort of thing happen.

1248
01:03:41,000 --> 01:03:44,080
Speaker 4: It's some kind of fantasy fulfillment, and this movie has

1249
01:03:44,120 --> 01:03:46,200
Speaker 4: stuff kind of like this, except instead of a desert

1250
01:03:46,240 --> 01:03:50,280
Speaker 4: island where you're trying to recreate known technology and solutions

1251
01:03:50,320 --> 01:03:53,440
Speaker 4: and stuff out of I don't know, coconuts or whatever. Instead,

1252
01:03:53,440 --> 01:03:55,960
Speaker 4: it's on a tiny scale, so you see them figuring

1253
01:03:55,960 --> 01:03:58,440
Speaker 4: out how to use a needle as a giant drill

1254
01:03:58,960 --> 01:04:01,600
Speaker 4: or a scissor handle, was a sword and stuff like that.

1255
01:04:02,160 --> 01:04:03,880
Speaker 2: Oh, man, you know, I have to jump back in

1256
01:04:03,920 --> 01:04:06,320
Speaker 2: and say, I'm mistaken. It was not a B twenty

1257
01:04:06,400 --> 01:04:08,040
Speaker 2: nine and Flight of the Phoenix. It was a C

1258
01:04:08,120 --> 01:04:11,920
Speaker 2: eighty two. But I think I'm confusing it with some

1259
01:04:12,080 --> 01:04:14,600
Speaker 2: Disney film that came out where they the characters did

1260
01:04:14,600 --> 01:04:17,280
Speaker 2: a similar thing and turned a B twenty nine into

1261
01:04:17,560 --> 01:04:20,240
Speaker 2: a sailing vessel of some sort. But at any rate,

1262
01:04:20,320 --> 01:04:22,680
Speaker 2: it's a it's a trope. It's a fun thing that

1263
01:04:22,720 --> 01:04:23,760
Speaker 2: you see in a lot of films.

1264
01:04:23,960 --> 01:04:24,800
Speaker 4: Is that water World.

1265
01:04:25,520 --> 01:04:27,040
Speaker 2: They might have had one of these in water World,

1266
01:04:27,040 --> 01:04:28,960
Speaker 2: but it was a different film that I don't think

1267
01:04:29,000 --> 01:04:32,600
Speaker 2: I ever saw, but I vaguely remember the VHS box

1268
01:04:32,640 --> 01:04:32,920
Speaker 2: for it.

1269
01:04:33,080 --> 01:04:36,800
Speaker 4: Wait, it's the version of Noah's arc made made with

1270
01:04:36,880 --> 01:04:39,960
Speaker 4: John Voight. I'm pretty sure that had some aircraft in it.

1271
01:04:40,360 --> 01:04:44,160
Speaker 2: Actually, I've looked it up, Joe, and it is the

1272
01:04:44,280 --> 01:04:48,080
Speaker 2: Last Flight of Noah's Arc from nineteen eighty. It starred

1273
01:04:48,120 --> 01:04:51,240
Speaker 2: Elliott Gould and A B twenty nine.

1274
01:04:51,480 --> 01:04:53,560
Speaker 4: The Last Flight of Noah's Ark. You're not kidding.

1275
01:04:53,880 --> 01:04:55,160
Speaker 2: I'm not kidding. That was the name of it was

1276
01:04:55,200 --> 01:04:56,920
Speaker 2: a Disney film. I don't think this one has been

1277
01:04:56,920 --> 01:04:58,280
Speaker 2: added to Disney Plus yet.

1278
01:04:58,600 --> 01:05:01,280
Speaker 4: I was joking the job Void. Noahs Arc does have

1279
01:05:01,360 --> 01:05:03,440
Speaker 4: pirates in it, but I don't recall aircraft.

1280
01:05:03,800 --> 01:05:09,040
Speaker 2: Yeah, all right, anyway back to miniaturize people. They're making tools,

1281
01:05:09,040 --> 01:05:11,600
Speaker 2: they're rediscovering what they can use for a weapon, et cetera.

1282
01:05:11,680 --> 01:05:15,640
Speaker 2: They're making new clothes, all while doctor thorkel Is is

1283
01:05:15,880 --> 01:05:17,880
Speaker 2: snoozing off his latest science bender.

1284
01:05:18,120 --> 01:05:20,920
Speaker 4: Yeah, and when he does wake up from the Science Bender,

1285
01:05:21,000 --> 01:05:23,240
Speaker 4: he has got a bit of a science hangover. He's

1286
01:05:23,320 --> 01:05:26,120
Speaker 4: he's kinda he's kind of frisky, but he's also kind

1287
01:05:26,120 --> 01:05:27,640
Speaker 4: of mad, and he's like, what is he going to

1288
01:05:27,720 --> 01:05:31,520
Speaker 4: do with these these with these shrunken people, And doctor

1289
01:05:31,520 --> 01:05:36,400
Speaker 4: Bullfinch starts he's still just like mouthing off to Thornell.

1290
01:05:36,560 --> 01:05:40,120
Speaker 4: He's like, he's like, we are prisoners in cyclops cave again,

1291
01:05:40,400 --> 01:05:44,240
Speaker 4: recalling the story from the Odyssey where where ulysses or

1292
01:05:44,600 --> 01:05:46,880
Speaker 4: he calls him Ulysses. In the movie Ulysses may be

1293
01:05:46,880 --> 01:05:51,160
Speaker 4: better known today as Odysseus and his crew are are

1294
01:05:51,240 --> 01:05:55,320
Speaker 4: captured within the cave of Polyphemus the Cyclops I don't

1295
01:05:55,320 --> 01:05:58,439
Speaker 4: remember on some island and and they have to find

1296
01:05:58,480 --> 01:06:00,720
Speaker 4: a way to escape, and they end up blinding the

1297
01:06:00,760 --> 01:06:04,240
Speaker 4: Cyclops by stabbing him in the eye. But Odysseus has

1298
01:06:04,280 --> 01:06:07,720
Speaker 4: said that his name is no One. So when somebody

1299
01:06:07,720 --> 01:06:11,840
Speaker 4: comes to ask if the Cyclops needs help, the Cyclops says,

1300
01:06:11,840 --> 01:06:17,080
Speaker 4: no one is hurting me. Very clever, yes. But doctor

1301
01:06:17,080 --> 01:06:20,360
Speaker 4: Thorkel ends up catching Bullfinch in a net oh after

1302
01:06:20,400 --> 01:06:23,200
Speaker 4: a part where Bullfinch tells off a chicken. He's like,

1303
01:06:23,240 --> 01:06:27,480
Speaker 4: go away, you ridiculous vowl. And Bullfinch, as always, is

1304
01:06:27,560 --> 01:06:31,000
Speaker 4: extremely uncooperative. Thorkel is like he brings him inside to

1305
01:06:31,120 --> 01:06:35,160
Speaker 4: measure him in various ways, and then Thorkel expresses disappointment.

1306
01:06:35,200 --> 01:06:37,600
Speaker 4: This is privately just between him and Bullfinch all the

1307
01:06:37,600 --> 01:06:40,480
Speaker 4: other people are still outside. He says, you know what,

1308
01:06:40,640 --> 01:06:44,200
Speaker 4: your bodies are growing. Your bodies are reacting as if

1309
01:06:44,240 --> 01:06:47,360
Speaker 4: you have reverted to childhood, and you will eventually grow

1310
01:06:47,440 --> 01:06:51,360
Speaker 4: back to regular size. And Thorkel of course can't allow

1311
01:06:51,440 --> 01:06:54,360
Speaker 4: this because then they would interfere with his work again.

1312
01:06:54,920 --> 01:06:59,160
Speaker 4: So Thorkel turns to murder once again. We've seen him.

1313
01:06:59,320 --> 01:07:01,320
Speaker 4: We've seen him murder to solve a problem at the

1314
01:07:01,360 --> 01:07:04,600
Speaker 4: beginning of the movie. And his eyes, his eyes become cold,

1315
01:07:04,640 --> 01:07:06,440
Speaker 4: and he's like, I'm going to do it again. And

1316
01:07:06,480 --> 01:07:08,720
Speaker 4: he gets a cotton swab and puts it in some

1317
01:07:08,800 --> 01:07:11,480
Speaker 4: kind of chemical and smothers Doctor Bullfinch with it and

1318
01:07:11,560 --> 01:07:14,880
Speaker 4: kills him. And there's like a giant fake hand for

1319
01:07:14,960 --> 01:07:17,000
Speaker 4: Bullfinch to be held in. It's pretty good.

1320
01:07:17,240 --> 01:07:21,760
Speaker 2: It's a great scene and again very brutal, you know,

1321
01:07:22,080 --> 01:07:24,960
Speaker 2: just despite the sanitized nature of this film as a whole,

1322
01:07:25,200 --> 01:07:28,800
Speaker 2: it's just a cold murder of the of this professor.

1323
01:07:29,640 --> 01:07:29,840
Speaker 4: You know.

1324
01:07:30,040 --> 01:07:32,280
Speaker 2: But also during this scene, I was thinking about what

1325
01:07:32,680 --> 01:07:35,760
Speaker 2: doctor Thorkel said about how you're going to grow as

1326
01:07:35,800 --> 01:07:38,760
Speaker 2: if you were children into adult form again, which in

1327
01:07:38,800 --> 01:07:40,680
Speaker 2: this movie all it means is you're going to get

1328
01:07:40,680 --> 01:07:42,320
Speaker 2: big again. By the end of the film and the

1329
01:07:42,960 --> 01:07:44,760
Speaker 2: end it's saying like if you had hidden, you would

1330
01:07:44,760 --> 01:07:47,160
Speaker 2: have just returned to normal anyway, but instead you came

1331
01:07:47,200 --> 01:07:49,160
Speaker 2: back to me, and now it will kill you. But

1332
01:07:49,600 --> 01:07:52,000
Speaker 2: I had a moment there where I was imagining, like

1333
01:07:52,040 --> 01:07:55,560
Speaker 2: what does this mean? Because a baby is not like

1334
01:07:55,560 --> 01:07:58,600
Speaker 2: a miniature adult. You know, it changes a lot as

1335
01:07:58,640 --> 01:08:01,160
Speaker 2: it becomes a grown person. So I was trying to

1336
01:08:01,240 --> 01:08:03,360
Speaker 2: just contemplate, like what would that mean if you were

1337
01:08:03,560 --> 01:08:06,920
Speaker 2: a miniaturized person and then you grew Like what monstrous

1338
01:08:07,240 --> 01:08:09,480
Speaker 2: full sized forms would they grow into?

1339
01:08:09,800 --> 01:08:12,680
Speaker 4: You're gonna have skull plates fusing together? Again, like what's

1340
01:08:12,720 --> 01:08:13,040
Speaker 4: going on?

1341
01:08:13,600 --> 01:08:16,040
Speaker 2: Like, so I that was kind of a nightmare scenario

1342
01:08:16,120 --> 01:08:18,360
Speaker 2: that this film does not explore, but I had a

1343
01:08:18,360 --> 01:08:20,000
Speaker 2: moment there I was like, oh my god.

1344
01:08:20,320 --> 01:08:23,519
Speaker 4: Doctor Bullfinch say hello to a second round of baby teeth.

1345
01:08:28,040 --> 01:08:30,559
Speaker 4: And then so we mentioned that scene is kind of brutal,

1346
01:08:30,600 --> 01:08:33,800
Speaker 4: there's another there's a lot of imployed Like this is

1347
01:08:33,840 --> 01:08:36,720
Speaker 4: not a bloody film, but there's a lot of implied

1348
01:08:36,880 --> 01:08:40,520
Speaker 4: violence in it that is very brutal in its suggestions.

1349
01:08:40,560 --> 01:08:43,479
Speaker 4: So you see that the other humans after Bullfinch is murdered,

1350
01:08:43,760 --> 01:08:46,559
Speaker 4: they're hiding in this big thicket of cactus and then

1351
01:08:46,640 --> 01:08:48,800
Speaker 4: Thorkel comes out and I guess he's trying to kill

1352
01:08:48,840 --> 01:08:51,599
Speaker 4: them and he starts chopping up the cactus with a shovel.

1353
01:08:52,000 --> 01:08:54,840
Speaker 4: It's messed up. But uh, we find when he chops

1354
01:08:54,880 --> 01:08:56,920
Speaker 4: it all up and then finds they've escaped through a

1355
01:08:56,960 --> 01:09:00,439
Speaker 4: hole in the wall out into the jungle, and Thorkell

1356
01:09:00,560 --> 01:09:02,880
Speaker 4: taunts them over the wall, saying that they will never

1357
01:09:02,960 --> 01:09:05,479
Speaker 4: live half an hour out in the jungle, and sure

1358
01:09:05,560 --> 01:09:08,280
Speaker 4: enough there comes along a storm, which again to think

1359
01:09:08,280 --> 01:09:11,960
Speaker 4: about how terrifying of a threat a storm would be

1360
01:09:12,080 --> 01:09:14,519
Speaker 4: if you were tiny, if you were like, you know,

1361
01:09:14,600 --> 01:09:16,719
Speaker 4: six inches tall or a foot tall or whatever.

1362
01:09:16,760 --> 01:09:18,640
Speaker 2: This is yeah, I mean just on top of the

1363
01:09:18,920 --> 01:09:22,040
Speaker 2: jungle itself. Like when Thorkel said that, I was like, no,

1364
01:09:22,080 --> 01:09:24,559
Speaker 2: he's absolutely right, Like to go into the jungle at

1365
01:09:24,560 --> 01:09:27,880
Speaker 2: this size is just death, Like everything is going to

1366
01:09:27,920 --> 01:09:28,760
Speaker 2: potentially eat you.

1367
01:09:29,160 --> 01:09:29,519
Speaker 4: Yeah.

1368
01:09:29,800 --> 01:09:31,320
Speaker 2: But and then on top of that the storm.

1369
01:09:31,720 --> 01:09:33,840
Speaker 4: Right, And again this comes back to the hall day

1370
01:09:33,880 --> 01:09:35,920
Speaker 4: and essay I mentioned earlier on being the right size.

1371
01:09:36,160 --> 01:09:38,680
Speaker 4: The thing about how when you're when you have a

1372
01:09:39,600 --> 01:09:44,120
Speaker 4: much larger surface area to mass ratio as smaller creatures do.

1373
01:09:44,439 --> 01:09:46,720
Speaker 4: There are advantages to that, Like you can fall off

1374
01:09:46,720 --> 01:09:49,000
Speaker 4: of a roof and probably not be hurt because you

1375
01:09:49,040 --> 01:09:52,880
Speaker 4: know the the amount of air resistance provided by the

1376
01:09:52,880 --> 01:09:54,720
Speaker 4: surface of your body will be enough to keep you

1377
01:09:54,800 --> 01:09:57,800
Speaker 4: going pretty slow actually as you fall compared to the

1378
01:09:57,840 --> 01:10:00,920
Speaker 4: mass in your body. But the downside are like getting

1379
01:10:01,040 --> 01:10:04,640
Speaker 4: wet is a terrifying proposition when you are tiny, like

1380
01:10:04,680 --> 01:10:07,320
Speaker 4: the surface tension of water clings to you like a

1381
01:10:07,400 --> 01:10:11,320
Speaker 4: kind of slime. And so imagine, Yeah, you're out in

1382
01:10:11,360 --> 01:10:13,320
Speaker 4: the jungle and the rain is coming down and there's

1383
01:10:13,520 --> 01:10:18,639
Speaker 4: rivulets everywhere. Very scary. So they end up coming across

1384
01:10:18,680 --> 01:10:21,280
Speaker 4: a boat in a river later on, and they try

1385
01:10:21,320 --> 01:10:23,599
Speaker 4: to use technology to free it, and they get attacked

1386
01:10:23,640 --> 01:10:26,160
Speaker 4: by a crocodilian. I think it's a crocodile. Might have

1387
01:10:26,200 --> 01:10:29,200
Speaker 4: been an alligator. I didn't check the nose shaped too well,

1388
01:10:29,800 --> 01:10:32,360
Speaker 4: But the crocodile attack sequence is great. They're trying to

1389
01:10:32,360 --> 01:10:34,880
Speaker 4: fend it off with fire, but they've got these like

1390
01:10:35,000 --> 01:10:37,320
Speaker 4: little tiny sticks that are on fire that are just

1391
01:10:37,439 --> 01:10:38,639
Speaker 4: not enough fire.

1392
01:10:38,920 --> 01:10:41,080
Speaker 2: Yeah, they're just kind of dropping it on the creature

1393
01:10:41,120 --> 01:10:42,439
Speaker 2: and doesn't seem to particularly care.

1394
01:10:42,760 --> 01:10:45,120
Speaker 4: Yeah, and then eventually, after they chase it off by

1395
01:10:45,160 --> 01:10:48,839
Speaker 4: throwing a bunch of flaming sticks on it, Thorkel returns.

1396
01:10:48,880 --> 01:10:53,519
Speaker 4: He comes and finds them, and again it's brutal. Pedro

1397
01:10:53,720 --> 01:10:57,840
Speaker 4: heroically leads his dog away from them. Drawing off the

1398
01:10:58,280 --> 01:11:01,880
Speaker 4: smell and and so he saves the rest of the people,

1399
01:11:01,880 --> 01:11:05,000
Speaker 4: but Thorkel sees him and shoots him, and so Pedro

1400
01:11:05,120 --> 01:11:07,840
Speaker 4: has been murdered. And then after that, the rest of

1401
01:11:07,840 --> 01:11:10,839
Speaker 4: the people are hiding in some grass and Thorkel starts

1402
01:11:10,880 --> 01:11:13,880
Speaker 4: stomping through the grass and then when he can't find them,

1403
01:11:13,880 --> 01:11:15,160
Speaker 4: he burns the grass.

1404
01:11:15,520 --> 01:11:20,320
Speaker 2: Yeah, so there's this inferno that he starts here, just

1405
01:11:20,360 --> 01:11:22,920
Speaker 2: trying to flush them out. Yeah, but he doesn't quite work,

1406
01:11:23,040 --> 01:11:26,880
Speaker 2: because they find another place that they can hide themselves, right.

1407
01:11:27,080 --> 01:11:30,280
Speaker 4: They stow away in his specimen box, the box that

1408
01:11:30,360 --> 01:11:32,519
Speaker 4: he was going to put them in when he found them.

1409
01:11:33,400 --> 01:11:36,680
Speaker 4: And so Robinson, Stockton and Steve the mule guy are

1410
01:11:36,720 --> 01:11:39,559
Speaker 4: the three people left alive. And they ride back in

1411
01:11:39,680 --> 01:11:43,320
Speaker 4: this box to Thorkell's hut and once they get there,

1412
01:11:43,360 --> 01:11:46,840
Speaker 4: they get out and Stockton decides, no, I'm gonna stand

1413
01:11:46,880 --> 01:11:49,000
Speaker 4: my ground this time. I'm not going to try to escape.

1414
01:11:49,040 --> 01:11:52,000
Speaker 4: We've got to kill Thorkel and the other to agree.

1415
01:11:52,400 --> 01:11:54,920
Speaker 4: So first they try to aim a shotgun like a

1416
01:11:54,920 --> 01:11:58,280
Speaker 4: cannon at his pillow in his bed, but then Thorkel

1417
01:11:58,360 --> 01:12:00,479
Speaker 4: doesn't go to bed and stead he falls sleep in

1418
01:12:00,479 --> 01:12:04,040
Speaker 4: his chair and then it really gets into the blinding

1419
01:12:04,080 --> 01:12:07,240
Speaker 4: of Polyphemus in the Odyssey because they steal his glasses.

1420
01:12:07,280 --> 01:12:10,040
Speaker 4: Remember it said at the beginning that he called them

1421
01:12:10,040 --> 01:12:12,880
Speaker 4: there because his eyes were so damaged he really couldn't

1422
01:12:12,920 --> 01:12:16,080
Speaker 4: see without his glasses. And they they know where he

1423
01:12:16,200 --> 01:12:18,519
Speaker 4: keeps his extra pairs of glasses because they find them

1424
01:12:18,520 --> 01:12:21,400
Speaker 4: when they're going through his stuff earlier, and they hide those.

1425
01:12:21,920 --> 01:12:23,640
Speaker 2: Yeah, they stick them through like a hole on the

1426
01:12:23,640 --> 01:12:25,640
Speaker 2: floor of the wall. So now he has the you know,

1427
01:12:25,640 --> 01:12:29,160
Speaker 2: the only only the one pair, and they remove those

1428
01:12:29,200 --> 01:12:33,000
Speaker 2: as well. So yeah, suddenly you have this this blinded

1429
01:12:33,040 --> 01:12:35,200
Speaker 2: polythemous trope going on here.

1430
01:12:35,640 --> 01:12:39,400
Speaker 4: Yeah, and so Thorkel is enraged. He's smashing, you know,

1431
01:12:39,439 --> 01:12:43,000
Speaker 4: he's running around trying to destroy them. He does recover

1432
01:12:43,200 --> 01:12:46,280
Speaker 4: one pair of glasses, but one of the lenses is smashed,

1433
01:12:46,520 --> 01:12:49,360
Speaker 4: and he says, now you can call me Cyclops because

1434
01:12:49,360 --> 01:12:50,519
Speaker 4: I have one good eye.

1435
01:12:51,080 --> 01:12:53,599
Speaker 2: Thank you for being clear about the title of the film,

1436
01:12:53,640 --> 01:12:54,400
Speaker 2: doctor thorp Kel.

1437
01:12:54,840 --> 01:12:56,240
Speaker 4: I think they could have done without that.

1438
01:12:56,640 --> 01:12:58,560
Speaker 3: Yeah.

1439
01:12:58,560 --> 01:13:02,439
Speaker 4: But so there's a final conference in the end. I

1440
01:13:02,479 --> 01:13:05,800
Speaker 4: won't spoil exactly how it happens, but there they are victorious.

1441
01:13:05,840 --> 01:13:08,599
Speaker 4: They end up they end up defeating doctor Cyclops here

1442
01:13:09,080 --> 01:13:12,959
Speaker 4: and in the end, the three remaining characters they regrow

1443
01:13:13,040 --> 01:13:16,760
Speaker 4: to full size and they travel back to civilization. And

1444
01:13:17,120 --> 01:13:19,519
Speaker 4: the main things now we find are that Stockton and

1445
01:13:19,600 --> 01:13:22,479
Speaker 4: Robinson are now in love because of course, and we

1446
01:13:22,560 --> 01:13:25,720
Speaker 4: find that Steve the mule guy does not like cats,

1447
01:13:25,760 --> 01:13:27,960
Speaker 4: Like he sees a cat back in the town they

1448
01:13:27,960 --> 01:13:30,160
Speaker 4: go to and he's like, scram.

1449
01:13:30,120 --> 01:13:32,639
Speaker 2: Well, maybe you remember this. I watched it last week

1450
01:13:32,640 --> 01:13:34,680
Speaker 2: and I think you watched it this morning. Did we

1451
01:13:34,720 --> 01:13:37,640
Speaker 2: ever get any real payoff with Satanas? No, Like, like

1452
01:13:37,680 --> 01:13:40,479
Speaker 2: it's not like they had a big throwdown with the

1453
01:13:40,560 --> 01:13:42,120
Speaker 2: Like they didn't have a big fight with the cat.

1454
01:13:42,160 --> 01:13:44,120
Speaker 2: They didn't have to like slay the cat or I

1455
01:13:44,120 --> 01:13:46,720
Speaker 2: think the dog just chased Satanas off and that was it.

1456
01:13:46,920 --> 01:13:48,679
Speaker 4: Yeah, I'm glad they didn't have to kill the cat,

1457
01:13:48,680 --> 01:13:50,200
Speaker 4: because I mean, the cat's just being a cat.

1458
01:13:50,439 --> 01:13:53,040
Speaker 2: It's true, Yeah, I mean, but I also wonder, like

1459
01:13:53,160 --> 01:13:55,800
Speaker 2: was that like maybe something they wanted to do, but

1460
01:13:55,880 --> 01:13:58,280
Speaker 2: they just didn't have the effects, Like maybe that was

1461
01:13:58,320 --> 01:14:00,280
Speaker 2: just too much of an effects asked to have like

1462
01:14:00,280 --> 01:14:03,120
Speaker 2: a big fight with a giant cat. I don't know, Yeah,

1463
01:14:03,160 --> 01:14:05,720
Speaker 2: I don't know, because of you know, there are there

1464
01:14:05,720 --> 01:14:08,240
Speaker 2: were films that you know, they would later go more

1465
01:14:08,280 --> 01:14:10,400
Speaker 2: in that direction of having you know, the cat to

1466
01:14:10,520 --> 01:14:13,559
Speaker 2: aggressively go after tiny humans.

1467
01:14:14,240 --> 01:14:16,000
Speaker 4: Well like Cat's Eye the one you mentioned.

1468
01:14:16,200 --> 01:14:17,080
Speaker 3: Yeah, yeah, that's true.

1469
01:14:17,120 --> 01:14:20,280
Speaker 4: Well not a tiny human, an evil troll and the cat.

1470
01:14:20,360 --> 01:14:23,439
Speaker 4: There is the hero going that's right, the evil tiny monster.

1471
01:14:23,920 --> 01:14:27,120
Speaker 2: So yeah, this is this is absolutely a fun film.

1472
01:14:27,520 --> 01:14:29,800
Speaker 2: You know, there's not not a you know, tremendous amount

1473
01:14:29,840 --> 01:14:32,600
Speaker 2: of depth to it. There's not a huge amount of

1474
01:14:32,640 --> 01:14:34,519
Speaker 2: monster science to discuss about it. I mean you can

1475
01:14:34,560 --> 01:14:37,080
Speaker 2: take various you can certainly get really pedantic on the

1476
01:14:37,120 --> 01:14:40,280
Speaker 2: idea of miniaturizing organisms and then how does that miniaturize

1477
01:14:40,360 --> 01:14:46,719
Speaker 2: organism react and and fit in with with an immediate

1478
01:14:46,760 --> 01:14:50,240
Speaker 2: environment that it was not miniaturized. And depending on how

1479
01:14:50,280 --> 01:14:53,599
Speaker 2: small you go, those problems can be you know, can

1480
01:14:53,640 --> 01:14:57,280
Speaker 2: be quite extreme. But then there are other directions as well.

1481
01:14:58,000 --> 01:15:00,479
Speaker 2: You know, we found this interesting paper we were both

1482
01:15:00,560 --> 01:15:04,760
Speaker 2: looking at titled Human Engineering and Climate Change by lal

1483
01:15:04,880 --> 01:15:09,759
Speaker 2: Sandberg and Roche. This was from twenty twelve published in Ethics,

1484
01:15:09,800 --> 01:15:12,599
Speaker 2: Policy and Environment, and it's pretty wild read. You can

1485
01:15:12,640 --> 01:15:16,360
Speaker 2: find it for free online. I think we founded at

1486
01:15:16,760 --> 01:15:20,479
Speaker 2: BLC dot Arizona Dot Edu. And one of the things

1487
01:15:20,479 --> 01:15:22,040
Speaker 2: they get into is like, if you were to shrink

1488
01:15:22,120 --> 01:15:25,800
Speaker 2: humans down, they would have less of an environmental footprint,

1489
01:15:25,880 --> 01:15:27,799
Speaker 2: so it would ultimately be better for the environment.

1490
01:15:28,360 --> 01:15:31,800
Speaker 4: This paper is absolute. This is something doctor Thorkel would write.

1491
01:15:32,439 --> 01:15:34,800
Speaker 4: I started reading it and I was just like, what

1492
01:15:35,439 --> 01:15:39,920
Speaker 4: it is interesting, but it is nuts And I don't know.

1493
01:15:40,000 --> 01:15:42,320
Speaker 4: I mean, it seems like there may be more direct

1494
01:15:42,400 --> 01:15:45,000
Speaker 4: things that could be done about climate change than saying, like,

1495
01:15:45,200 --> 01:15:47,439
Speaker 4: what if we were to shrink humans so that they

1496
01:15:47,479 --> 01:15:48,960
Speaker 4: consume fewer resources.

1497
01:15:49,320 --> 01:15:53,759
Speaker 2: Yeah, there are other levers we should pull first. Certainly

1498
01:15:54,680 --> 01:15:58,559
Speaker 2: we shouldn't take the thorkelp that path Thorkel way on

1499
01:15:58,600 --> 01:15:59,759
Speaker 2: that particular problem.

1500
01:16:00,000 --> 01:16:01,679
Speaker 4: I mean, it's at least got to go like solar

1501
01:16:01,720 --> 01:16:03,479
Speaker 4: panels before shrinking people.

1502
01:16:03,800 --> 01:16:09,040
Speaker 2: Absolutely. All right, Well you may be wondering where can

1503
01:16:09,080 --> 01:16:12,799
Speaker 2: I watch Doctor Cyclops. Well, these things are always subject

1504
01:16:12,840 --> 01:16:15,240
Speaker 2: to change. But we actually had a hard time tracking

1505
01:16:15,280 --> 01:16:17,760
Speaker 2: this one down. We couldn't find it streaming anywhere or

1506
01:16:17,800 --> 01:16:20,280
Speaker 2: for digital purchaser rental. We couldn't even find a We

1507
01:16:20,280 --> 01:16:23,120
Speaker 2: couldn't find a physical rental either, So we actually bought

1508
01:16:23,120 --> 01:16:26,880
Speaker 2: it on special edition Blu ray from kl Studio Classics

1509
01:16:27,320 --> 01:16:30,799
Speaker 2: aka Keno Lorber. It's a brand new four K master.

1510
01:16:31,160 --> 01:16:34,240
Speaker 2: It also has an audio commentary by film historian Richard

1511
01:16:34,240 --> 01:16:36,479
Speaker 2: Harlan Smith. I didn't I didn't have a chance to

1512
01:16:36,520 --> 01:16:38,640
Speaker 2: listen to it, but it sounds like it would be

1513
01:16:38,680 --> 01:16:41,639
Speaker 2: pretty cool. The box art on this one is great.

1514
01:16:42,080 --> 01:16:44,360
Speaker 2: Unlike some of the other previous releases that have come

1515
01:16:44,400 --> 01:16:46,559
Speaker 2: out that had kind of like cheesy box art, like

1516
01:16:46,640 --> 01:16:50,400
Speaker 2: this one has that weird probe mechanism in the center

1517
01:16:50,479 --> 01:16:53,120
Speaker 2: that is lowered into the earth. You have a picture

1518
01:16:53,520 --> 01:16:57,080
Speaker 2: of doctor Thorkel there with it looks like lasers coming

1519
01:16:57,080 --> 01:16:57,679
Speaker 2: out of his eyes.

1520
01:16:57,720 --> 01:16:58,360
Speaker 3: It's pretty good.

1521
01:16:58,800 --> 01:16:59,920
Speaker 4: Yeah, it's really good art.

1522
01:17:00,560 --> 01:17:02,639
Speaker 2: But then again, this is also a classic film by

1523
01:17:02,680 --> 01:17:06,280
Speaker 2: a notable director, so it's it's entirely possible you might

1524
01:17:06,280 --> 01:17:08,559
Speaker 2: be able to catch this one on one of like

1525
01:17:09,120 --> 01:17:11,960
Speaker 2: Turner Classic movies or something to that effect. I know

1526
01:17:12,000 --> 01:17:13,960
Speaker 2: we've we heard from some people after we did our

1527
01:17:14,000 --> 01:17:16,880
Speaker 2: episode on Mad Love chiming in and saying, oh, they're

1528
01:17:16,880 --> 01:17:19,240
Speaker 2: showing Mad Love tonight, so who knows. Maybe check your

1529
01:17:19,280 --> 01:17:23,040
Speaker 2: local listings, is what I'm saying. Well, let's do it. Then,

1530
01:17:23,080 --> 01:17:25,760
Speaker 2: let's go ahead and call it done. We're done with

1531
01:17:25,840 --> 01:17:28,559
Speaker 2: Doctor Cyclops here, but this was a fun one to watch,

1532
01:17:28,600 --> 01:17:32,160
Speaker 2: a fun one to discuss, and if you would like

1533
01:17:32,200 --> 01:17:35,080
Speaker 2: to listen to us discuss other films. You can catch

1534
01:17:35,160 --> 01:17:38,120
Speaker 2: other episodes of Weird House Cinema every Friday in the

1535
01:17:38,200 --> 01:17:41,439
Speaker 2: Stuff to Blow Your Mind podcast feed. So our core

1536
01:17:41,479 --> 01:17:44,519
Speaker 2: episodes are are about science and culture and those published

1537
01:17:44,520 --> 01:17:46,920
Speaker 2: on Tuesdays and Thursdays. We do an artifact episode on

1538
01:17:46,960 --> 01:17:50,760
Speaker 2: Wednesdays listener mail on Mondays. But Friday that's when we

1539
01:17:50,800 --> 01:17:53,479
Speaker 2: get to cut loose and discuss some sort of a

1540
01:17:53,520 --> 01:17:56,960
Speaker 2: weird cinematic gem, generally from Yesterdayear.

1541
01:17:56,479 --> 01:17:59,639
Speaker 4: That's right, so keep tuning in. Huge thanks as always

1542
01:17:59,640 --> 01:18:03,439
Speaker 4: to our excellent audio producer Seth Nicholas Johnson. If you

1543
01:18:03,479 --> 01:18:05,280
Speaker 4: would like to get in touch with us to let

1544
01:18:05,320 --> 01:18:07,800
Speaker 4: us know feedback on this episode or any other, to

1545
01:18:07,840 --> 01:18:10,280
Speaker 4: suggest a topic for the future, or just to say hello,

1546
01:18:10,360 --> 01:18:13,160
Speaker 4: you can email us at contact at stuff to Blow

1547
01:18:13,240 --> 01:18:21,519
Speaker 4: your Mind dot com.

1548
01:18:21,720 --> 01:18:24,680
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1549
01:18:24,760 --> 01:18:27,559
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1550
01:18:27,720 --> 01:18:30,479
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.