WEBVTT

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So I mentioned those two police officers who

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were like under control, the Martians, and then

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they blow up a building and then they're both

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killed by the Martians because they've done their

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duty or whatever. And then another police officer

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is like radioing to his superior officer and

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he's like, yeah, they were blown to bits. And

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I just think that's like a hilarious way to talk

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about the death of like two officers that you

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probably knew pretty well and worked with for

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a long time. And this guy just emotionlessly

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is like, they're blown to bits. I burst out laughing

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at that. I love that. Hello, everybody, and welcome

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to Camp Kaiju Monster Movie Podcast. We are your

00:00:48.060 --> 00:00:51.240
hosts, Vincent Hannum and Matt Levine, and we're

00:00:51.240 --> 00:00:53.380
talking about all of our favorite monster movies,

00:00:53.560 --> 00:00:56.280
the good, the bad, and the downright campy, and

00:00:56.280 --> 00:00:59.759
asking if they stand the test of time. Traditional

00:00:59.759 --> 00:01:02.479
kaiju, creature features, space invaders, the

00:01:02.479 --> 00:01:05.140
supernatural, and everything in between. All

00:01:05.140 --> 00:01:08.989
strange beasts welcome here. Amp Kaiju is sponsored

00:01:08.989 --> 00:01:12.269
by Zach Linder and The Zach Pack, powered by

00:01:12.269 --> 00:01:15.109
Coldwell Banker Realty, your source for real

00:01:15.109 --> 00:01:17.930
estate, home rehab, fixing and flipping for investor

00:01:17.930 --> 00:01:20.829
clients and residential buyers. Reach out to

00:01:20.829 --> 00:01:22.709
The Zach Pack today for real estate services.

00:01:23.030 --> 00:01:25.549
Follow The Zach Pack on social media and contact

00:01:25.549 --> 00:01:28.590
The Zach Pack for investment opportunities. Link

00:01:28.590 --> 00:01:53.719
in the show notes. Invaders from Mars. He saw

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them land from outer space. He saw them capture

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innocent people only to destroy. Father turned

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against son. People changed into strange, weird

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animals. A general of the army becomes a saboteur.

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Trusted police turned into arsonists. The boy's

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parents changed into killers. But nobody's getting

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anywhere out there. Nobody can locate anything.

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Anybody. The Martians. We've got to stop them.

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Invaders from Mars. Capturing humans at will

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for their own sinister purposes. turning them

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into diabolical instruments of destruction. Invaders

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from Mars, weird, fantastic beings of a super

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intelligence, ruling a race of synthetic humans

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and pitting them against mankind's dream to conquer

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the universe. We've got to find Rinaldi and the

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kid. When the colonel gives a signal, get back

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here on the double. Matt, we have some space

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invaders on the show this week. We do indeed.

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Like the prototypical space invaders we're going

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to be talking about tonight. Little green men,

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except they're kind of tall and wearing onesies,

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like pajama footings. You know what I mean? Yeah,

00:04:03.199 --> 00:04:05.460
yeah. It's a bold look for sure. Footie pajamas.

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Footie pajamas, yeah. Maybe more adorable than

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menacing, but still pretty cool looking. They're

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definitely, they may not be little, but they're

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definitely green men. They're bright green. And

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I can't wait to talk about the colors in this

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movie because it's pretty eye -popping. It looks

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amazing. Yeah. I can't wait to talk about, there's

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all the technical stuff. I can't wait to talk

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about how we both watch this movie respectively,

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I on Pluto and you on Amazon. And what's the

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ideal condition to watch a movie? And that's

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always a great conversation. Yeah. And to talk

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about the legacy of this film, the reputation,

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I think this is a movie that a lot of people

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have not seen. And I think it's one people should

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see more often. And I can't wait to dig into

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all that. Totally agree. Not to get ahead of

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ourselves, but I hadn't really heard that much

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about this movie before watching it for this

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episode. And it deserves to be part of the cult

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canon for sure. Love that. Cult canon. Oh, a

00:05:09.500 --> 00:05:12.079
t -shirt just popped up in my head. Ooh, nice.

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A t -shirt shot out of a cannon, like a t -shirt

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gun, you know? A Camp Kaiju t -shirt gun. The

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Camp Kaiju cult canon. T -shirt gun. Whoa, what

00:05:24.620 --> 00:05:28.579
acronym would that be? T -K -C -C -T -S -G. In

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any case, we got to get working on that swag.

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That's a great idea. Ba -boom. All right. How

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the hell are you? I'm doing pretty well. We're

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pretty much in spring here in Minnesota. It's

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a beautiful day. NBA playoffs are going on. Watched

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a lot of movies this weekend. Went for a bike

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ride. It was a good weekend. How are you doing?

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Right on. Pretty good. Getting over a little

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cold. Me too. Also watching some good movies

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lately. We talked about Brian De Palma over email

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because I just watched Phantom of the Paradise.

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Yeah. It's my new obsession. Talk about cult

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canon. That movie is phenomenally bonkers. It

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is. I really love that movie. Like on the surface,

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it's kind of like, you know. sold your soul to

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the devil for rock and roll kind of movie. But

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I think there's a lot more to it than just that.

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I think it's kind of about like how precarious

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the world of entertainment is, the risks of kind

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of like duplicating yourself and your voice and

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like your identity, you know, through like mechanical

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means or whatever. There's a lot of, you know,

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I think De Palma is really great at making movies

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that are like really fun and stylish on the surface,

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but have some like pretty dense ideas underneath

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them. And that movie is a great example of that.

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Yeah. There's just so much to chew on with that

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film. So listeners, get on it. Phantom of the

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Paradise. You will not regret that decision.

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Indeed. Great soundtrack, too. Oh, yeah. Well,

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folks, thank you for hanging out. Please rate

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and review wherever you listen. Spotify, Apple,

00:06:56.800 --> 00:06:59.839
that's another podcasting app. So I've heard.

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You can also send us listener comments at campkaiju

00:07:03.879 --> 00:07:08.259
at gmail .com. or our Instagram page at camp

00:07:08.259 --> 00:07:11.740
underscore kaiju underscore podcast. Or if you'd

00:07:11.740 --> 00:07:14.079
like to be a featured voice on the show, go ahead

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and do it. Leave a voicemail at 612 -470 -2612.

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And tell us about your favorite monster movies

00:07:21.540 --> 00:07:24.139
and memories. Go ahead and check out our website,

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campkaijupodcast .com. Subscribe to that, and

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you will get more reviews and special content.

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You can check out our merch store. No t -shirt

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cannons yet, but we have a guy working on it.

00:07:39.250 --> 00:07:42.829
And that is campkaiju .threadless .com. Of course,

00:07:42.850 --> 00:07:46.290
the best place to go is patreon .com slash campkaiju.

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Become a patron for as little as $5 a month.

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You're going to get discounts on that merchandise.

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Folks, I'm not kidding when I tell you, I send

00:07:54.529 --> 00:07:58.149
our patrons merchandise whenever I can because

00:07:58.149 --> 00:08:01.670
fortunately, and we're very thankful, we have

00:08:01.670 --> 00:08:04.709
money in the bank. because of our patrons. So

00:08:04.709 --> 00:08:08.829
that money goes towards production value and

00:08:08.829 --> 00:08:12.670
merchandise. Patrons, if you're listening, be

00:08:12.670 --> 00:08:15.730
on the lookout for a little treat that I'm sending

00:08:15.730 --> 00:08:19.670
you all in the mail in May. It will relate to

00:08:19.670 --> 00:08:25.069
our trivia event on May 5th with Naomi. Matt,

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do you want to talk about that a little bit?

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Yeah, for sure. So Naomi, who has appeared on

00:08:29.870 --> 00:08:32.830
the podcast several times, she does trivia every

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month at Indeed Brewing in Minneapolis, the first

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Monday of each month. She very kindly invited

00:08:38.190 --> 00:08:41.409
me and Vincent to join her on May 5th. So that's

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at 8 p .m., I believe. Is that right? On Monday,

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May 5th? Or 7. Yeah, maybe. I'm not sure. Yeah,

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it's one of those two. Yeah, we'll verify that.

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But, you know, there will be some great monster

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movie questions, some non -monster movie questions,

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image rounds, video rounds. It's going to be

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a lot of fun. Yes, and if you are a patron and

00:09:04.230 --> 00:09:06.450
you happen to be in Minneapolis, if you stop

00:09:06.450 --> 00:09:09.809
by, you get a free drink on us, alcoholic or

00:09:09.809 --> 00:09:14.330
non. If you're not a patron, you have until 7

00:09:14.330 --> 00:09:17.009
or 8 o 'clock that night to become a patron,

00:09:17.090 --> 00:09:20.799
and we'll give you a free drink voucher. So even

00:09:20.799 --> 00:09:22.480
if you show up, you're like, oh, I don't know

00:09:22.480 --> 00:09:24.700
if I should be a patron. Go ahead and do it.

00:09:25.220 --> 00:09:28.399
Do it. Yeah, just do it. Just listen to the peer

00:09:28.399 --> 00:09:31.899
pressure. Yeah. We're the angel and devil on

00:09:31.899 --> 00:09:33.639
your shoulders telling you to do it, Vincent

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and I. All right. So that's going to be a lot

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of fun. Here's something fun. So for all of you

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who would like to send us a voicemail, but maybe

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you want a little more guidance on what to talk

00:09:46.639 --> 00:09:50.259
about, totally hear you. Well, Matt, guess what

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movie is celebrating its 50th anniversary this

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year? Monster movie. Three tons on him. 25 feet.

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Oh, it's got to be Bruce the Shark from Jaws.

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Yeah, Jaws. So, I don't know. I just had this

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idea of if we get enough listener voicemails

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just talking to us about Jaws, like, why do you

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love this movie? What's your favorite thing about

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this movie? I could string those together into

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like a whole episode. Yeah, because that is your

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favorite monster movie, right? It's my favorite

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movie. Oh, wow. I don't think I knew that. That's

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cool. Oh, yeah. That's a good choice for favorite

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Steven Spielberg monster movie. It's between

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that and Jurassic Park for me. Close battle.

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Yeah, yeah. Jurassic Park for sure. But I don't

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know. Jaws has always had my heart. Classic.

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Yeah. A very formative experience for, especially

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for people our age, like I'm a little bit older

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than you are, but you know, older millennials,

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like Jaws is a very formative text for sure.

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For sure. So listeners, please, please leave

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a voicemail telling us about Jaws in your life,

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how Jaws has impacted you for the better. We'd

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love to hear from you. Indeed. All right. Well,

00:11:01.620 --> 00:11:04.679
this month in monster movie history, of course,

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this being May, there's some fun movies. From

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the annals of May. From the annals of May. What

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do we have here? Well, if we're talking about

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the annals or the annals of May, I think those

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are going to be two very different things. I'm

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just kidding. That was a bad joke. Sorry, that's

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very juvenile, very immature. Anyway, Shadi,

00:11:34.429 --> 00:11:36.370
you can go first. Sorry, I didn't mean to jump

00:11:36.370 --> 00:11:40.659
over you there. No, that's okay. I think, so

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I have like a real pick and then a fun pick.

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My fun pick is some movie called Attack of the

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Flesh -Devouring Space Worms from Outer Space

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from 1998. I think there's like nothing on this

00:11:53.159 --> 00:11:56.080
movie on the internet except that it has a title.

00:11:56.580 --> 00:11:58.519
So I'm very curious if it was just like a student

00:11:58.519 --> 00:12:03.779
film, but either way, wonderful title. I'm going

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to shout out Gamera Super Monster from 1980.

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This is like the fifth, maybe? And last film

00:12:11.019 --> 00:12:15.779
in the Showa era Gamera series. It's 90 minutes

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of spliced footage from the previous installments,

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loosely wrapped around some child nonsense. And

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it's so bad. But like, because it's made up from

00:12:28.940 --> 00:12:31.559
other movies, it's just like a greatest hits.

00:12:31.659 --> 00:12:34.559
And you're like, oh, well, this isn't. It's just

00:12:34.559 --> 00:12:40.299
extremely cheap and lazy. It sounds kind of charming

00:12:40.299 --> 00:12:44.100
in a way. It is. I like the first Gamera movie

00:12:44.100 --> 00:12:46.720
from the Showa era. I think that might be the

00:12:46.720 --> 00:12:49.659
only Gamera movie that I've seen. We watched

00:12:49.659 --> 00:12:53.120
Gauss. Oh, and Gamera versus Gauss. That one

00:12:53.120 --> 00:12:55.860
is great. Yeah. Well, I like those two. So I

00:12:55.860 --> 00:12:58.299
feel like I would like at least parts of Gamera

00:12:58.299 --> 00:13:02.259
Super Monster. Yeah. I'll mention a couple as

00:13:02.259 --> 00:13:04.480
well. The first one I'll mention is Horror of

00:13:04.480 --> 00:13:08.419
Dracula from 1958, a Hammer Horror picture. To

00:13:08.419 --> 00:13:11.279
be honest, I don't love all of the Hammer Horror

00:13:11.279 --> 00:13:13.960
movies. Some of them, on the subject of being

00:13:13.960 --> 00:13:16.519
kind of cheap and quick and lazy, I think some

00:13:16.519 --> 00:13:20.320
of the Hammer Horror movies fit that bill. Some

00:13:20.320 --> 00:13:22.039
of them seem a little bit like rushed into production,

00:13:22.200 --> 00:13:25.179
but Horror of Dracula is a classic of that studio.

00:13:25.559 --> 00:13:28.320
Christopher Lee is fantastic as Dracula. Really

00:13:28.320 --> 00:13:31.100
like artificial sets, great colorful cinematography.

00:13:31.340 --> 00:13:34.019
So that movie's a lot of fun, very campy. The

00:13:34.019 --> 00:13:36.039
other one that I'll mention is Dog Soldiers from

00:13:36.039 --> 00:13:39.340
2002, a really great werewolf movie. I feel like

00:13:39.340 --> 00:13:41.220
I've maybe talked about that in the podcast before

00:13:41.220 --> 00:13:44.639
because I love that movie very much. I think

00:13:44.639 --> 00:13:46.899
Neil Marshall directed it. who also made The

00:13:46.899 --> 00:13:48.740
Descent right around the same time. I think that

00:13:48.740 --> 00:13:51.000
might have been his follow -up movie. But Dog

00:13:51.000 --> 00:13:53.240
Soldiers is funny. It's really stylish. It's

00:13:53.240 --> 00:13:56.419
very scary and gory. Yeah, just a great, great

00:13:56.419 --> 00:13:59.720
werewolf movie. That's terrific. I admittedly

00:13:59.720 --> 00:14:02.340
haven't seen it yet, but you have talked about

00:14:02.340 --> 00:14:04.419
it before, and you've definitely piqued my interest.

00:14:05.389 --> 00:14:07.490
Highly recommended. And, you know, it's kind

00:14:07.490 --> 00:14:11.490
of set among soldiers in the Scottish army. Maybe

00:14:11.490 --> 00:14:13.370
it's not Scotland. I can't quite remember. But

00:14:13.370 --> 00:14:15.830
it is definitely in like a military environment.

00:14:15.909 --> 00:14:18.889
And I feel like that allows for a good satire

00:14:18.889 --> 00:14:21.809
of just like alpha dogs in the army and then

00:14:21.809 --> 00:14:25.009
alpha werewolf dogs, you know. So it's very smart

00:14:25.009 --> 00:14:28.509
and very fun. Very cool. Yeah. New and upcoming

00:14:28.509 --> 00:14:31.090
releases. So this was actually last month in

00:14:31.090 --> 00:14:35.429
April. We had Screamboat released. which is from

00:14:35.429 --> 00:14:39.350
the folks who did the Winnie the Pooh Blood and

00:14:39.350 --> 00:14:44.370
Honey movie. But Screamboat is a riff on Steamboat

00:14:44.370 --> 00:14:47.509
Willie, the Disney animated short, which is now

00:14:47.509 --> 00:14:49.649
in the public domain. So they scooped up that

00:14:49.649 --> 00:14:53.610
and made it into a horror movie about a giant

00:14:53.610 --> 00:14:58.450
killer mouse. Cool. I heard that Winnie the Pooh

00:14:58.450 --> 00:15:00.710
movie was pretty bad, which is unfortunate because

00:15:00.710 --> 00:15:02.750
it's kind of a fun idea. Yeah. I haven't seen

00:15:02.750 --> 00:15:06.379
it myself yet, though. I did read one review

00:15:06.379 --> 00:15:09.639
on Screamboat that was positive. Like there's

00:15:09.639 --> 00:15:13.559
a lot of love for the Disney Studio catalog.

00:15:13.899 --> 00:15:15.799
Like there's a lot of inside jokes and Easter

00:15:15.799 --> 00:15:20.059
eggs. So I don't know. I'm actually surprisingly

00:15:20.059 --> 00:15:24.120
interested in watching Screamboat. Yeah, I'm

00:15:24.120 --> 00:15:27.440
intrigued. I would watch that. I didn't even

00:15:27.440 --> 00:15:30.299
know that came out until just now. There you

00:15:30.299 --> 00:15:33.860
go. I'm pretty excited to see Sinners. I've heard

00:15:33.860 --> 00:15:36.320
really good things about that movie, which apparently

00:15:36.320 --> 00:15:38.159
is a monster movie. Unfortunately, I've kind

00:15:38.159 --> 00:15:40.960
of read some spoilers, which, you know, I would

00:15:40.960 --> 00:15:43.039
just advise anybody that doesn't know what that

00:15:43.039 --> 00:15:44.879
movie is about to not really read too much about

00:15:44.879 --> 00:15:46.779
it. Because it sounds fun, but I haven't seen

00:15:46.779 --> 00:15:49.360
it myself yet. Yeah, it's the talk of the town.

00:15:49.440 --> 00:15:52.860
Everyone is going on about it. Yeah, and like

00:15:52.860 --> 00:15:55.440
seems to be like single -handedly keeping...

00:15:55.850 --> 00:15:58.049
Hollywood box office alive right now. Like it's

00:15:58.049 --> 00:16:00.269
been a terrible year for Hollywood, but with

00:16:00.269 --> 00:16:01.870
maybe a couple exceptions. But yeah, Sinners

00:16:01.870 --> 00:16:05.789
is doing really well. Cool. Yeah, that and Wolfman.

00:16:05.870 --> 00:16:08.409
As soon as I get the time to find them on streaming,

00:16:08.669 --> 00:16:11.029
Sinners is in theaters, of course, and everyone

00:16:11.029 --> 00:16:13.909
should see it in the theater. But if you're like

00:16:13.909 --> 00:16:16.529
me and you just don't have the time, you know,

00:16:16.529 --> 00:16:19.110
streaming is the next best thing. Yeah, for sure.

00:16:19.169 --> 00:16:21.830
Sometimes, for whatever reason, you know, schedules

00:16:21.830 --> 00:16:23.509
or whatever, it's impossible to see it in the

00:16:23.509 --> 00:16:26.470
theaters, which I try to as much as I can. That

00:16:26.470 --> 00:16:28.830
one I'm really dying to see in the theater. It

00:16:28.830 --> 00:16:30.549
seems like it's, you know, you should see it

00:16:30.549 --> 00:16:32.850
on that kind of big screen experience. But there

00:16:32.850 --> 00:16:34.389
are a couple others that came out earlier this

00:16:34.389 --> 00:16:36.370
year, like Companion I haven't seen yet, and

00:16:36.370 --> 00:16:38.669
I might try to stream that sometime soon. Wolfman,

00:16:38.750 --> 00:16:40.950
like you mentioned. So I'm trying to catch up

00:16:40.950 --> 00:16:44.929
on those soon as well. Yeah. It's also the communal

00:16:44.929 --> 00:16:48.460
aspect, like a horror movie. It's so much fun

00:16:48.460 --> 00:16:51.019
when you watch it with a group of people. Yeah,

00:16:51.039 --> 00:16:53.080
absolutely. If it's a good audience and they're

00:16:53.080 --> 00:16:54.700
screaming and laughing at all the right times,

00:16:54.779 --> 00:16:58.559
it's an incomparable experience. Yeah. You're

00:16:58.559 --> 00:17:01.460
reminded that, oh, movies can do this because

00:17:01.460 --> 00:17:05.460
we watch so many movies by ourselves that you

00:17:05.460 --> 00:17:10.720
forget that audibly reacting to the film can

00:17:10.720 --> 00:17:13.960
be a valid experience. Let me ask you, do you...

00:17:14.650 --> 00:17:17.650
Do you make noises when you watch a movie, a

00:17:17.650 --> 00:17:20.410
comedy or a horror film? Absolutely, yeah. And

00:17:20.410 --> 00:17:22.490
within moderation, I love it when other people

00:17:22.490 --> 00:17:25.930
do as well. I love a good scream. Even a brief

00:17:25.930 --> 00:17:28.430
comment, like a brief snarky comment is cool.

00:17:28.630 --> 00:17:30.450
I definitely don't like people talking all that

00:17:30.450 --> 00:17:33.029
much during movies, but yeah, it's good to engage,

00:17:33.210 --> 00:17:34.910
good to laugh and scream and all that stuff.

00:17:35.230 --> 00:17:38.190
It's wonderful when movies cause that visceral

00:17:38.190 --> 00:17:40.410
reaction, to use a word that I probably overuse

00:17:40.410 --> 00:17:43.609
on this podcast. It's your catchphrase. Yeah.

00:17:44.440 --> 00:17:47.299
yeah i also laugh i'm a big laugher at movies

00:17:47.299 --> 00:17:50.440
even like when i'm just by myself but i can't

00:17:50.440 --> 00:17:53.359
help it you gotta get into it yeah and you know

00:17:53.359 --> 00:17:55.259
like i obviously i watch a lot of horror movies

00:17:55.259 --> 00:17:57.380
and i usually don't really mind gore all that

00:17:57.380 --> 00:17:59.960
much so when i watch very gory horror movies

00:17:59.960 --> 00:18:02.460
usually there are some like oh that's nasty oh

00:18:02.460 --> 00:18:04.599
shit like stuff like that you know like i can't

00:18:04.599 --> 00:18:07.880
help myself so yeah it's fun yeah uh speaking

00:18:07.880 --> 00:18:11.099
of alien invaders we have a another one coming

00:18:11.099 --> 00:18:14.990
up matt it's your pick Yeah. On Camp Kaiju, sorry.

00:18:15.329 --> 00:18:17.809
No, that's okay. Species is my next pick from

00:18:17.809 --> 00:18:20.930
1995 starring Natasha Henstridge, I believe.

00:18:21.369 --> 00:18:23.210
I'm pretty sure Ben Kingsley is in that movie

00:18:23.210 --> 00:18:25.930
as well. Roger Donaldson is the director who

00:18:25.930 --> 00:18:27.730
made some pretty good like pop entertainment

00:18:27.730 --> 00:18:30.190
movies back in the day. Of course, I can't think

00:18:30.190 --> 00:18:32.230
of any other ones right now. But yeah, I've heard

00:18:32.230 --> 00:18:35.849
Species is like really trashy, kind of erotic,

00:18:35.869 --> 00:18:38.869
campy, alien, you know, monster movie. So I'm

00:18:38.869 --> 00:18:40.769
excited to talk about it. Yeah. Have you never

00:18:40.769 --> 00:18:44.519
seen it? I never have. No. Oh, I watched a couple

00:18:44.519 --> 00:18:46.920
of years ago. It's perfect for this podcast.

00:18:47.680 --> 00:18:51.599
Cool. All those words you used are apt descriptors.

00:18:52.700 --> 00:18:54.920
Nice. I can't wait. In some ways, I feel like

00:18:54.920 --> 00:18:57.980
it's going to be like the tawdry version of the

00:18:57.980 --> 00:19:02.559
movie that we're talking about tonight. Yeah.

00:19:02.920 --> 00:19:08.240
Tawdry 90s movie. Yeah. I love the word tawdry.

00:19:08.940 --> 00:19:12.579
Following species. We are going to visit the

00:19:12.579 --> 00:19:16.079
Gamera franchise with the first one from 1965,

00:19:16.660 --> 00:19:21.500
Gamera the Giant Monster, or Gamera the Invincible,

00:19:21.640 --> 00:19:24.259
depending on which, the American or the Japanese

00:19:24.259 --> 00:19:27.920
release. But we have yet to feature the OG Gamera

00:19:27.920 --> 00:19:33.160
film, so I'm excited to rectify that and, yeah,

00:19:33.240 --> 00:19:35.980
have some good fun talking about Gamera. Me too.

00:19:36.059 --> 00:19:37.940
I just watched it, actually, maybe like two years

00:19:37.940 --> 00:19:41.519
ago, and I liked it a lot. Yeah, it's got a lot

00:19:41.519 --> 00:19:46.019
of things going for it. Yeah. Well, thank you,

00:19:46.019 --> 00:19:48.700
Jason, Chris, Sean, Peggy, and our anonymous

00:19:48.700 --> 00:19:52.920
patron. You are strong, loyal patrons. Keep the

00:19:52.920 --> 00:19:55.579
lights on here at Camp Kaiju. So we appreciate

00:19:55.579 --> 00:20:17.779
it. And thank you. This could be the beginning

00:20:17.779 --> 00:20:20.940
of the end for the human race. For what men first

00:20:20.940 --> 00:20:23.420
thought were meteors or the often ridiculed flying

00:20:23.420 --> 00:20:27.299
saucers are in reality the flaming vanguard of

00:20:27.299 --> 00:20:30.359
the invasion from Mars. Looks like they're going

00:20:30.359 --> 00:20:32.799
to come out of that gully pretty soon. We'll

00:20:32.799 --> 00:20:34.279
have to rush our defenses to be ready when they

00:20:34.279 --> 00:20:36.619
do. We're going to need plenty of reinforcements.

00:20:36.640 --> 00:20:43.440
We'll get them. Lieutenant, look! They slashed

00:20:43.440 --> 00:20:46.309
across country like scythes. wiping out everything

00:20:46.309 --> 00:20:48.390
that's trying to get away from them. That explains

00:20:48.390 --> 00:20:50.289
why communication is cut the moment their machines

00:20:50.289 --> 00:20:53.569
begin moving. Montreal's blacked out. Nothing

00:20:53.569 --> 00:20:55.309
more has come through. Same thing that happened

00:20:55.309 --> 00:20:57.210
on the Pacific coast. Anything from them yet?

00:20:57.309 --> 00:20:59.210
No, Mr. Secretary. We've had nothing from San

00:20:59.210 --> 00:21:02.130
Francisco for over five hours. The nations of

00:21:02.130 --> 00:21:04.450
the world mobilize their armed might, rushing

00:21:04.450 --> 00:21:06.769
to defend the Earth against the unknown weapons

00:21:06.769 --> 00:21:12.150
of the super race from the Red Planet. Is there

00:21:12.150 --> 00:21:14.130
nothing that can stop the Martian death machines?

00:21:14.920 --> 00:21:17.740
Guns, tanks, bombs. They're like toys against

00:21:17.740 --> 00:21:19.940
them. We know now that we can't beat their machine.

00:21:20.240 --> 00:21:26.160
We've got to beat them. All over the world, human

00:21:26.160 --> 00:21:29.119
beings cower before the onslaught of these unearthly

00:21:29.119 --> 00:21:33.720
enemies whom no one has ever seen. Look out!

00:21:35.420 --> 00:21:37.759
Panic that sweeps around the globe as the great

00:21:37.759 --> 00:21:40.819
masses of mankind flee blindly in a headlong

00:21:40.819 --> 00:22:35.140
stampede of hysteria. Yes, it came from outer

00:22:35.140 --> 00:22:38.160
space to fill the world with terror, to bring

00:22:38.160 --> 00:22:42.980
you unforgettable suspense. What was it? Where

00:22:42.980 --> 00:22:45.799
did it come from? Who were the all -powerful

00:22:45.799 --> 00:22:48.480
creatures it brought from outer space? And what

00:22:48.480 --> 00:22:51.839
did they want on Earth? You can learn the amazing

00:22:51.839 --> 00:22:54.160
answer only when you see the most thrilling picture

00:22:54.160 --> 00:23:00.640
in years. It came from outer space. In the astonishing

00:23:00.640 --> 00:23:03.380
realism of three dimensions. with objects coming

00:23:03.380 --> 00:23:05.920
right out of the screen, so real they almost

00:23:05.920 --> 00:23:36.259
touch. Listen to me. Please listen. If you don't,

00:23:36.259 --> 00:23:40.380
if you won't, if you fail to understand, then

00:23:40.380 --> 00:23:42.680
the same incredible terror that's menacing me

00:23:42.680 --> 00:24:03.630
will strike at you! come from another world spawned

00:24:03.630 --> 00:24:05.990
in the light years of space unleashed to take

00:24:05.990 --> 00:24:07.930
over the bodies and souls of the people of our

00:24:07.930 --> 00:24:10.549
planet bringing a new dimension in terror to

00:24:10.549 --> 00:24:13.869
the giant super scope screen whatever intelligence

00:24:13.869 --> 00:24:16.450
or instinct it is that can govern the forming

00:24:16.450 --> 00:24:21.349
of human flesh and blood out of thin air is fantastically

00:24:21.349 --> 00:24:27.130
powerful beyond any comprehension a cursed dreadful

00:24:27.130 --> 00:24:29.230
malevolent thing was happening to those he loved

00:24:31.119 --> 00:24:35.500
This isn't just an ordinary body, is it? I never

00:24:35.500 --> 00:24:43.200
saw one like it. It looks... unused. The sensational

00:24:43.200 --> 00:24:45.660
star discovery of the view from Poppy's head.

00:24:45.880 --> 00:24:48.640
And now an undreamed -of horror makes her life

00:24:48.640 --> 00:25:01.759
and love a vortex of fear. Suddenly, while you're

00:25:01.759 --> 00:25:05.240
asleep, they'll absorb your minds, your memories.

00:25:05.819 --> 00:25:08.319
I don't want any part of it. You're forgetting

00:25:08.319 --> 00:25:11.420
something, Miles. What's that? You have no choice.

00:25:12.900 --> 00:25:15.700
From city to city, an incredible hysterical panic

00:25:15.700 --> 00:25:18.599
spreads. As the unimaginable becomes real, the

00:25:18.599 --> 00:25:45.420
impossible becomes true. Now, let's turn our

00:25:45.420 --> 00:25:49.579
attention to Invaders from Mars from 1953, directed

00:25:49.579 --> 00:25:53.319
by William Cameron Menzies. Matt, what's your

00:25:53.319 --> 00:25:56.420
personal history with this film? Up until I watched

00:25:56.420 --> 00:25:59.140
it last night, I had zero personal history with

00:25:59.140 --> 00:26:01.259
this film. I think I had maybe heard the title

00:26:01.259 --> 00:26:03.359
a couple times, didn't really hear if it was

00:26:03.359 --> 00:26:06.119
good or bad. I definitely didn't really get the

00:26:06.119 --> 00:26:09.160
sense that it was like a classic of 50s sci -fi

00:26:09.160 --> 00:26:12.180
movies. But yeah, I was kind of blown away by

00:26:12.180 --> 00:26:14.299
it, as we'll talk about in a little bit here.

00:26:14.400 --> 00:26:16.039
But up until yesterday, I knew next to nothing

00:26:16.039 --> 00:26:20.640
about this movie. Had you never come across the

00:26:20.640 --> 00:26:25.509
86 remake? No, I mean, I've never seen it. Again,

00:26:25.670 --> 00:26:28.450
I feel like maybe I knew of that title, like

00:26:28.450 --> 00:26:30.089
I knew of the movie's existence, but I didn't

00:26:30.089 --> 00:26:31.970
really know anything else about it. It's by Toby

00:26:31.970 --> 00:26:36.789
Hooper, right? Yeah. Yeah, I first saw this film

00:26:36.789 --> 00:26:39.829
just a few years ago. I fell in love with it.

00:26:40.250 --> 00:26:42.690
When I started Camp Kaiju, I knew this was something

00:26:42.690 --> 00:26:45.789
I wanted to talk about, but it's taken years

00:26:45.789 --> 00:26:49.529
to do that, which is so wild. But yeah, I thought

00:26:49.529 --> 00:26:51.569
this was the year to do it and talk about it,

00:26:51.609 --> 00:26:56.150
and I'm excited to. Oh, oh, I'll tell you this.

00:26:56.210 --> 00:26:58.549
So I was so actually I was first turned on to

00:26:58.549 --> 00:27:01.910
this movie. There's a TCM documentary called

00:27:01.910 --> 00:27:05.029
Watch the Skies. And it's all about 50s sci fi.

00:27:05.549 --> 00:27:09.150
And it features folks like Spielberg, Ridley

00:27:09.150 --> 00:27:14.250
Scott, James Cameron, George Lucas. And they're

00:27:14.250 --> 00:27:17.309
talking to like, they're the people on the documentary,

00:27:17.349 --> 00:27:19.210
and they're talking about all their influences.

00:27:20.400 --> 00:27:23.099
from the 50s when they were kid baby boomers

00:27:23.099 --> 00:27:26.400
watching these movies. And there's a whole segment

00:27:26.400 --> 00:27:29.380
on Invaders from Mars. And that's when I first

00:27:29.380 --> 00:27:31.740
learned about this movie and thought, whoa, I

00:27:31.740 --> 00:27:34.740
definitely want to see this because I'm a huge

00:27:34.740 --> 00:27:39.660
Spielberg fan, for example. And when you watch

00:27:39.660 --> 00:27:42.440
Invaders from Mars with its child protagonist,

00:27:42.960 --> 00:27:45.660
you're instantly reminded of a Spielberg film,

00:27:45.759 --> 00:27:49.549
I think, and how he focuses on children. in almost

00:27:49.549 --> 00:27:52.289
every one of his science fiction monster movies.

00:27:53.269 --> 00:27:56.410
Yeah, absolutely. And I wasn't surprised to find

00:27:56.410 --> 00:27:58.509
out that Joe Dante is a big fan of this movie

00:27:58.509 --> 00:28:01.150
as well. I feel like maybe in Small Soldiers,

00:28:01.150 --> 00:28:02.529
especially, there are a lot of similarities.

00:28:02.710 --> 00:28:04.789
That's a movie that I like a lot. And that has

00:28:04.789 --> 00:28:07.890
mostly child protagonists. And, you know, it's

00:28:07.890 --> 00:28:11.220
kind of a fun thriller about... militaristic

00:28:11.220 --> 00:28:14.119
toys that come to life. But it's also like, you

00:28:14.119 --> 00:28:16.819
know, there's some satire about war and American

00:28:16.819 --> 00:28:19.640
militarism and stuff like that. So yeah, I'm

00:28:19.640 --> 00:28:22.359
generally not surprised to read that Spielberg

00:28:22.359 --> 00:28:25.220
or Joe Dante are huge fans of this movie. And

00:28:25.220 --> 00:28:28.299
as we'll talk about, John Sayles is a big champion

00:28:28.299 --> 00:28:32.299
of this film. Martin Scorsese, which is so funny.

00:28:32.359 --> 00:28:35.420
Whenever I hear Scorsese talk about genre movies,

00:28:35.680 --> 00:28:38.980
it's because he has never attempted to make...

00:28:39.130 --> 00:28:42.849
A science fiction movie? I don't think. That's

00:28:42.849 --> 00:28:45.130
interesting. Yeah, I mean, I feel like he has

00:28:45.130 --> 00:28:47.230
some horror movies kind of like Shutter Island

00:28:47.230 --> 00:28:48.970
and Cape Fear. But yeah, I can't think of any

00:28:48.970 --> 00:28:51.970
straight up sci -fi movies. Yeah. Interesting.

00:28:52.450 --> 00:28:54.849
But I still love it because he's a student of

00:28:54.849 --> 00:28:58.509
film. He loves cinema and he can appreciate that

00:28:58.509 --> 00:29:00.890
stuff. Yeah, and I think a lot of that is because

00:29:00.890 --> 00:29:02.890
of the visual style of this movie, which we'll

00:29:02.890 --> 00:29:05.069
definitely talk about in a little bit here. Definitely.

00:29:05.750 --> 00:29:07.589
You know, it's weird because, oh, sorry, I was

00:29:07.589 --> 00:29:09.640
just going to mention one more thing. I read

00:29:09.640 --> 00:29:12.000
this book a while ago called Army of Phantoms

00:29:12.000 --> 00:29:14.059
by Jay Hoberman. It's a really great book of

00:29:14.059 --> 00:29:17.299
film history and social analysis. Jay Hoberman

00:29:17.299 --> 00:29:19.099
is one of my favorite film critics of all time.

00:29:19.259 --> 00:29:21.339
And Army of Phantoms is all about American sci

00:29:21.339 --> 00:29:24.119
-fi movies from the 1950s and how their allegories

00:29:24.119 --> 00:29:28.559
for McCarthy witch hunts, the communist era witch

00:29:28.559 --> 00:29:32.259
hunts, themes of conformism and post -war prosperity

00:29:32.259 --> 00:29:35.140
and things like that. I don't really remember

00:29:35.140 --> 00:29:37.519
too many explicit references to Invaders from

00:29:37.519 --> 00:29:39.779
Mars from that book, but it's been a long time

00:29:39.779 --> 00:29:41.279
since I've read it, so I might have to take another

00:29:41.279 --> 00:29:43.460
look at that. Maybe at some point during this

00:29:43.460 --> 00:29:45.279
episode, I might take a quick peek at the index,

00:29:45.420 --> 00:29:48.140
if you don't mind. Yeah, I love that. And if

00:29:48.140 --> 00:29:49.500
you're willing to share that book with me at

00:29:49.500 --> 00:29:52.759
any point, please do. Yes, absolutely. I'm surprised

00:29:52.759 --> 00:29:54.680
it hasn't come up yet. I just thought of it right

00:29:54.680 --> 00:29:59.980
now. I feel like we don't often talk about 50s

00:29:59.980 --> 00:30:02.660
sci -fi as much as I think we should on this

00:30:02.660 --> 00:30:05.890
podcast. Yeah, you're right. I think Them is

00:30:05.890 --> 00:30:09.829
one of the few exceptions. Yeah, like for American

00:30:09.829 --> 00:30:11.509
sci -fi at least, because of course we've talked

00:30:11.509 --> 00:30:13.130
about a number of Godzilla movies and whatnot,

00:30:13.289 --> 00:30:16.089
but yeah, not too many American sci -fi movies

00:30:16.089 --> 00:30:19.509
from the 50s up until right now, I guess. I guess

00:30:19.509 --> 00:30:22.069
not, but I just love so many of these movies.

00:30:22.269 --> 00:30:24.869
The Thing from Another World, Invasion of the

00:30:24.869 --> 00:30:27.809
Body Snatchers. Yeah. It Came from Outer Space.

00:30:28.549 --> 00:30:30.990
The Day the Earth Stood Still. The Day the Earth

00:30:30.990 --> 00:30:34.250
Stood Still. Yeah. Which I revisited. Have you

00:30:34.250 --> 00:30:36.730
seen that one recently? It's been maybe like

00:30:36.730 --> 00:30:39.930
three years, but I do love that movie. Like I'd

00:30:39.930 --> 00:30:41.730
seen it as a kid and I was like, yeah, okay,

00:30:41.809 --> 00:30:44.029
I get it. But I watched it like two years ago.

00:30:44.730 --> 00:30:48.109
I was, I think I was gobsmacked by the end. I

00:30:48.109 --> 00:30:52.390
was like, what? That's like a near perfect film.

00:30:52.589 --> 00:30:56.259
I, I just. Yeah, I can't say enough about that

00:30:56.259 --> 00:30:58.519
movie. Totally agree. Yeah, very well directed

00:30:58.519 --> 00:31:01.000
by Robert Wise. We did talk about The Beast from

00:31:01.000 --> 00:31:03.019
20 ,000 Fathoms recently, which I like a lot.

00:31:03.359 --> 00:31:06.099
Yeah, yeah, that's true. The Amazing Colossal

00:31:06.099 --> 00:31:10.200
Man. Yeah. Throwback. Yep. We've talked about

00:31:10.200 --> 00:31:14.400
a couple like shrinking or expanding people movies.

00:31:16.059 --> 00:31:17.960
I know that's one of your favorite subgenres.

00:31:19.759 --> 00:31:23.440
Yeah. Well, we got to talk more about 50s sci

00:31:23.440 --> 00:31:41.210
-fi. For sure. Ladies and gentlemen, this is

00:31:41.210 --> 00:31:43.470
Drew Pearson. We bring you this special radio

00:31:43.470 --> 00:31:45.430
television broadcast in order to give you the

00:31:45.430 --> 00:31:48.230
very latest information on an amazing phenomenon.

00:31:48.630 --> 00:31:52.059
The arrival of a spaceship in Washington. The

00:31:52.059 --> 00:31:55.400
Army has taken every precaution to meet any emergency

00:31:55.400 --> 00:31:58.259
which may develop. Just a minute. Ladies and

00:31:58.259 --> 00:32:26.329
gentlemen, I think something is happening. I

00:32:26.329 --> 00:32:29.230
came here to give you these facts. But if you

00:32:29.230 --> 00:32:32.430
threaten to extend your violence, this earth

00:32:32.430 --> 00:32:35.369
of yours will be reduced to a burned -out cinder.

00:32:42.930 --> 00:32:50.630
But he's a robot. Without you, what could he

00:32:50.630 --> 00:32:54.130
do? There's no limit to what he could do. He

00:32:54.130 --> 00:32:57.450
could destroy the earth. All vehicles, close

00:32:57.450 --> 00:33:37.160
in. Let's go. She's a girl who loved a man. A

00:33:37.160 --> 00:33:40.059
man who, in a flash, became a living threat to

00:33:40.059 --> 00:33:43.059
humanity. A danger so awe -inspiring that they

00:33:43.059 --> 00:33:57.380
tried to hide his existence from the world. What

00:33:57.380 --> 00:34:00.420
happened? What made him grow? Glenn Manning is

00:34:00.420 --> 00:34:03.430
growing from 8 to 10 feet a day. The moment he's

00:34:03.430 --> 00:34:06.750
18 feet tall, tomorrow he'll be 26 feet. The

00:34:06.750 --> 00:34:09.269
next day, 35, maybe 40. And the next day... But

00:34:09.269 --> 00:34:24.750
you've got to stop it! I don't want to grow anymore!

00:34:25.190 --> 00:34:28.849
Day and night, scientists search, trying every

00:34:28.849 --> 00:34:31.190
experiment their brilliant minds can conceive.

00:34:32.000 --> 00:34:35.280
Finding the expected, the unexpected, and the

00:34:35.280 --> 00:34:38.179
shocking. For the immeasurable power of this

00:34:38.179 --> 00:34:41.199
ever -growing mammoth portends a fate that terrifies

00:34:41.199 --> 00:34:44.260
the universe. Drive it in hard. We have to penetrate

00:34:44.260 --> 00:34:51.320
the bone in the first ejection. Ready? Look out!

00:34:51.380 --> 00:34:57.019
It's reaching down! We want to help you to get

00:34:57.019 --> 00:35:03.190
well. Penning's disappeared, Eric. We can't find

00:35:03.190 --> 00:35:05.690
him anywhere on the grounds. Police Chief Benson

00:35:05.690 --> 00:35:07.690
has asked me to tell you to stay in your homes.

00:35:08.010 --> 00:35:12.530
Stay in your homes. A man once loved by a woman,

00:35:12.630 --> 00:35:18.269
now feared by the whole world. A 60 -foot giant

00:35:18.269 --> 00:35:39.920
in the streets of Las Vegas. But Invaders from

00:35:39.920 --> 00:35:44.760
Mars is directed by William Cameron Menzies.

00:35:45.420 --> 00:35:48.460
Little did I know, he's one of the most celebrated

00:35:48.460 --> 00:35:52.039
figures in Hollywood history. Yeah. Did you know

00:35:52.039 --> 00:35:54.940
anything about him beforehand? Yeah. I maybe

00:35:54.940 --> 00:35:57.139
didn't realize the full extent of how influential

00:35:57.139 --> 00:35:59.659
he was, but I knew that he was a great production

00:35:59.659 --> 00:36:02.199
designer. He was the production designer on Gone

00:36:02.199 --> 00:36:04.639
with the Wind, for example. On a lot of other

00:36:04.639 --> 00:36:07.079
silent movies, he started in the silent era.

00:36:07.360 --> 00:36:09.280
You actually wrote in the Google Doc for tonight

00:36:09.280 --> 00:36:11.679
that he won, I think, the first Oscar for Best

00:36:11.679 --> 00:36:14.139
Art Direction for two different movies, The Dove

00:36:14.139 --> 00:36:16.260
and The Tempest, or just Tempest without the.

00:36:16.780 --> 00:36:19.019
So that's pretty impressive. He directed the

00:36:19.019 --> 00:36:22.420
movie Things to Come from the 1930s, which honestly

00:36:22.420 --> 00:36:24.599
is a movie I don't love all that much, but there's

00:36:24.599 --> 00:36:26.360
a lot to like about it for sure. Visually, it's

00:36:26.360 --> 00:36:30.119
amazing. Yeah, I don't want to steal all the

00:36:30.119 --> 00:36:32.019
thunder. What are your thoughts about William

00:36:32.019 --> 00:36:35.699
Cameron Menzies? Oh, I mean, I just was like,

00:36:35.719 --> 00:36:39.019
what? This guy, he won an honorary Oscar for

00:36:39.019 --> 00:36:43.840
his work on Gone with the Wind. The really famous

00:36:43.840 --> 00:36:47.980
Burning of Atlanta sequence is singled out as

00:36:47.980 --> 00:36:52.199
like his crown jewel. Totally, yeah. Well, and

00:36:52.199 --> 00:36:54.099
Gone with the Wind is a fascinating example because

00:36:54.099 --> 00:36:56.860
that's like... Even though Victor Fleming is

00:36:56.860 --> 00:36:58.820
credited as the only director of that movie,

00:36:58.960 --> 00:37:02.480
that's not really true. In assembly line Hollywood

00:37:02.480 --> 00:37:04.420
studio fashion, there were numerous directors

00:37:04.420 --> 00:37:06.840
of that movie. Victor Fleming, but also George

00:37:06.840 --> 00:37:09.420
Cukor. And then even aside from the burning of

00:37:09.420 --> 00:37:12.079
Atlanta scene, I think William Cameron Menzies

00:37:12.079 --> 00:37:14.260
played a pretty major role in the storyboarding

00:37:14.260 --> 00:37:18.659
and the overall look of that film. So maybe one

00:37:18.659 --> 00:37:21.179
of the unofficial directors of Gone with the

00:37:21.179 --> 00:37:25.570
Wind was William Cameron Menzies. It's so funny

00:37:25.570 --> 00:37:27.829
you mentioned storyboarding, because there's

00:37:27.829 --> 00:37:30.030
a really great five -minute clip I'll include

00:37:30.030 --> 00:37:33.429
in the show notes of director -writer John Sayles.

00:37:33.530 --> 00:37:36.010
And he's introducing this film, Invaders from

00:37:36.010 --> 00:37:39.530
Mars, to an audience before a screening through

00:37:39.530 --> 00:37:45.570
TCM. And one of the things he highlights is that...

00:37:46.250 --> 00:37:49.570
He's not sure if William Cameron Menzies invented

00:37:49.570 --> 00:37:52.829
storyboarding, but he certainly popularized it,

00:37:52.909 --> 00:37:56.550
as Sales says in the feature. So I hadn't thought

00:37:56.550 --> 00:37:58.750
about that. Storyboarding had to come from somewhere.

00:37:59.170 --> 00:38:04.150
And I guess William Cameron Menzies kind of honed

00:38:04.150 --> 00:38:07.409
that craft, which is a pretty significant contribution.

00:38:08.159 --> 00:38:11.239
Yeah, absolutely. I mean, pretty much all of

00:38:11.239 --> 00:38:13.219
my favorite directors very carefully storyboard

00:38:13.219 --> 00:38:16.300
all their movies. So yeah, it's huge. And I read

00:38:16.300 --> 00:38:18.400
that David O. Selznick, the executive producer

00:38:18.400 --> 00:38:21.400
of Gone with the Wind. kind of told the crew,

00:38:21.559 --> 00:38:24.860
whatever questions you have, Menzies is the authority.

00:38:25.000 --> 00:38:27.460
Ask him. He knows everything about Technicolor,

00:38:27.599 --> 00:38:30.280
the colors of the film. Menzies will know anything

00:38:30.280 --> 00:38:33.320
about the set design. I think even the costumes.

00:38:33.679 --> 00:38:36.260
David O. Selznick, who was a notorious tyrant,

00:38:36.400 --> 00:38:39.760
was not really very forthcoming in his support

00:38:39.760 --> 00:38:43.199
of other artists. Basically said, just ask William

00:38:43.199 --> 00:38:46.500
Cameron Menzies. He's the authority. Wow. And

00:38:46.500 --> 00:38:50.329
Menzies... did have a real affinity for color

00:38:50.329 --> 00:38:53.429
film yeah with the wind obviously i didn't even

00:38:53.429 --> 00:38:56.650
think about that but there's a reason he he shot

00:38:56.650 --> 00:38:59.829
invaders from mars in color there's a lot of

00:38:59.829 --> 00:39:03.170
technical jargon around that that we'll unpack

00:39:03.170 --> 00:39:06.809
later in the production but we can come back

00:39:06.809 --> 00:39:09.369
to menzies if we want but we could talk about

00:39:09.369 --> 00:39:11.789
some other select members of the crew and cast

00:39:11.789 --> 00:39:15.739
i mean honestly Well, okay, I'll just say it.

00:39:15.760 --> 00:39:17.820
Screenplay by Richard Blake. Producers Edward

00:39:17.820 --> 00:39:22.139
L. Alperson Jr. The film was released through

00:39:22.139 --> 00:39:26.280
20th Century Fox. And the music is by Raoul Krausschar

00:39:26.280 --> 00:39:31.139
with contributions by Mort Glickman. Yes. And

00:39:31.139 --> 00:39:34.239
what I was going to say before was that no disrespect

00:39:34.239 --> 00:39:38.019
to many of these cast and crew, but I hadn't

00:39:38.019 --> 00:39:42.159
heard of most of these people. And I think they're

00:39:42.159 --> 00:39:46.320
just all like... contract workmen who are doing

00:39:46.320 --> 00:39:49.719
a job playing around in maybe the the smaller

00:39:49.719 --> 00:39:53.659
studios so i don't know i don't think they're

00:39:53.659 --> 00:39:56.219
necessarily like quote -unquote famous people

00:39:56.219 --> 00:40:00.019
but they know how to do their work yeah absolutely

00:40:00.019 --> 00:40:03.400
i do want to shout out the cinematographer though

00:40:03.400 --> 00:40:06.280
john sites yes thank you Yeah, does incredible

00:40:06.280 --> 00:40:08.440
work on this movie. And he was actually a fairly

00:40:08.440 --> 00:40:11.539
well -known cinematographer. If you can bear

00:40:11.539 --> 00:40:13.780
him with me for one second, I'm just looking

00:40:13.780 --> 00:40:16.059
up some of his most well -known movies. Because

00:40:16.059 --> 00:40:18.480
he did a lot of really great films. He did wonderful

00:40:18.480 --> 00:40:21.920
cinematography for a lot of movies. Which I'm

00:40:21.920 --> 00:40:26.389
trying to find right now, sorry. Sunset Boulevard,

00:40:26.550 --> 00:40:30.150
for example, from 1950. The Big Clock, a very

00:40:30.150 --> 00:40:32.690
great film noir movie. The Lost Weekend, also

00:40:32.690 --> 00:40:35.590
by Billy Wilder, double indemnity. Several Preston

00:40:35.590 --> 00:40:37.570
Sturgis movies like Hail the Conquering Hero

00:40:37.570 --> 00:40:40.210
and The Miracle of Morgan's Creek. So John Seitz,

00:40:40.309 --> 00:40:42.489
I think overall you're right, but I think John

00:40:42.489 --> 00:40:45.030
Seitz was a very well -known cinematographer

00:40:45.030 --> 00:40:47.090
and he did great work on this movie, certainly

00:40:47.090 --> 00:40:49.349
in collaboration with William Cameron Menzies.

00:40:50.130 --> 00:40:53.949
Absolutely. And Menzies himself, obviously, is

00:40:53.949 --> 00:40:56.730
a legend. But I don't know what the hell I'm

00:40:56.730 --> 00:41:00.110
talking about. Maybe Richard Blake, the screenwriter,

00:41:00.210 --> 00:41:05.329
in some circles is a god. I don't know. You know,

00:41:05.369 --> 00:41:07.690
one thing about the screenwriters, too, that

00:41:07.690 --> 00:41:09.050
I wanted to mention real quick, if you don't

00:41:09.050 --> 00:41:11.610
mind, even though Richard Blake is credited as

00:41:11.610 --> 00:41:14.230
the writer, the guy who's credited with the story

00:41:14.230 --> 00:41:16.550
is John Tucker Battle, who wrote the original

00:41:16.550 --> 00:41:19.969
treatment for Invaders from Mars. And I read

00:41:19.969 --> 00:41:22.050
it. Again, I'm getting ahead of myself a little

00:41:22.050 --> 00:41:24.349
bit. John Tucker Battle did the original treatment,

00:41:24.389 --> 00:41:26.190
and then he hated the ending of the finished

00:41:26.190 --> 00:41:28.269
movie so much that he wanted his name taken off

00:41:28.269 --> 00:41:30.889
the credits. So that's like the main reason that

00:41:30.889 --> 00:41:33.090
he's not credited as a screenwriter as well.

00:41:33.869 --> 00:41:36.230
At least the early draft. What's his name again?

00:41:36.289 --> 00:41:38.610
John Tucker Battle was partially responsible

00:41:38.610 --> 00:41:43.409
for that. Camp Kaiju, where we do our research

00:41:43.409 --> 00:41:47.269
on the fly. What was his name again? John Tucker

00:41:47.269 --> 00:41:49.710
Battle. Yeah, yeah. Kind of proving your point.

00:41:49.789 --> 00:41:51.210
I had never heard of him before, and I don't

00:41:51.210 --> 00:41:54.309
think he really did anything else. But, you know,

00:41:54.369 --> 00:41:56.090
I mean, I think most of the crew did pretty great

00:41:56.090 --> 00:41:59.110
work on this. And again, credit to Menzies for

00:41:59.110 --> 00:42:01.789
pulling it all together. Yeah. Do you want to

00:42:01.789 --> 00:42:04.369
talk about the cast a little bit? Yeah, sure.

00:42:04.550 --> 00:42:07.550
I mean, to be honest, I don't know a lot about

00:42:07.550 --> 00:42:09.150
most of the cast in this movie kind of going

00:42:09.150 --> 00:42:11.789
along with that theme. But the movie stars Jimmy

00:42:11.789 --> 00:42:14.710
Hunt as David McLean. He's the child actor in

00:42:14.710 --> 00:42:18.110
the movie. He didn't really do like I think maybe

00:42:18.110 --> 00:42:19.789
he started a couple other movies as a child,

00:42:19.829 --> 00:42:21.889
but nothing really all that well known. He did

00:42:21.889 --> 00:42:24.869
have an extended cameo. And do you know if it's

00:42:24.869 --> 00:42:26.989
Tobe Hooper or Toby Hooper? I've always wondered

00:42:26.989 --> 00:42:29.829
that. I think it's Toby Hooper. Okay, I thought

00:42:29.829 --> 00:42:32.809
so. So Jimmy Hunt, as an adult, has a cameo in

00:42:32.809 --> 00:42:35.730
Toby Hooper's 1986 remake of Invaders from Mars,

00:42:35.889 --> 00:42:39.289
but he has a major role as the main boy in this

00:42:39.289 --> 00:42:44.610
movie. Arthur Franz stars as Dr. Stuart Kelston,

00:42:44.829 --> 00:42:48.489
who I'll have a lot to say about in the campy

00:42:48.489 --> 00:42:51.929
section of this episode. Helena Carter stars

00:42:51.929 --> 00:42:54.690
as Dr. Patricia Blake. She's really good in this

00:42:54.690 --> 00:42:57.380
movie, I thought. She has a wonderful look. Well,

00:42:57.480 --> 00:42:58.980
I'm sure we'll talk about her a little bit more,

00:42:58.980 --> 00:43:01.019
too. This was the first time that she didn't

00:43:01.019 --> 00:43:03.980
play a romantic interest, so I would presume

00:43:03.980 --> 00:43:06.059
maybe she enjoyed having a little bit more range

00:43:06.059 --> 00:43:09.059
in this movie. She did retire from acting after

00:43:09.059 --> 00:43:10.880
this role, though, so I don't know what that

00:43:10.880 --> 00:43:12.739
says about her career or her experience. It means

00:43:12.739 --> 00:43:17.159
she went out on top. Yeah, right. I feel like

00:43:17.159 --> 00:43:18.920
that might be true just because I didn't really

00:43:18.920 --> 00:43:20.900
recognize any of the other films that she had

00:43:20.900 --> 00:43:23.820
starred in. Yeah, she's really good in this.

00:43:24.159 --> 00:43:28.480
Leif Erikson also stars as George McLean, who's

00:43:28.480 --> 00:43:30.860
the father of the main boy character in this

00:43:30.860 --> 00:43:33.880
movie. Hilary Brooke stars as Mary McLean, the

00:43:33.880 --> 00:43:38.280
boy's mother. And Todd Carnes has a very brief

00:43:38.280 --> 00:43:41.400
role as Jim, a gas station attendant, whom you

00:43:41.400 --> 00:43:43.219
might recognize as Harry from It's a Wonderful

00:43:43.219 --> 00:43:47.099
Life. Did you recognize him? I mean, I could

00:43:47.099 --> 00:43:49.400
place his face, or I should say I recognized

00:43:49.400 --> 00:43:51.179
his face, but I couldn't figure out who it was

00:43:51.179 --> 00:43:53.420
until after I saw the movie. Yeah, it took me

00:43:53.420 --> 00:43:58.019
a second. I was like, is that Harry Bailey? Decorated

00:43:58.019 --> 00:44:02.420
Medal of Honor? Harry Bailey? Barbara Billingsley,

00:44:02.460 --> 00:44:04.820
too, is in this movie, who later played the mom

00:44:04.820 --> 00:44:08.260
on Leave It to Beaver, I believe. Oh, okay. And

00:44:08.260 --> 00:44:10.380
she's an airplane. She's the woman who speaks

00:44:10.380 --> 00:44:14.820
jive in that movie. I didn't know that. That's

00:44:14.820 --> 00:44:17.349
great. I have to shout that out. There are so

00:44:17.349 --> 00:44:19.909
many actors in this movie like supporting like

00:44:19.909 --> 00:44:22.269
actors who would who just had long careers as

00:44:22.269 --> 00:44:26.110
supporting and character players. I only named

00:44:26.110 --> 00:44:29.389
like kind of the main cast, but that doesn't

00:44:29.389 --> 00:44:31.230
surprise me that one of these actors showed up

00:44:31.230 --> 00:44:35.789
in Airplane. Yeah. 20 years later. Right. Yeah,

00:44:35.889 --> 00:44:38.349
it's always fun when you can like spot faces

00:44:38.349 --> 00:44:40.409
that you recognize from other movies and TV shows

00:44:40.409 --> 00:44:43.960
and whatnot. Yeah. What did you, we'll probably

00:44:43.960 --> 00:44:45.659
talk about this more. What did you think of Jimmy

00:44:45.659 --> 00:44:49.099
Hunt as the boy David McLean in this movie? I

00:44:49.099 --> 00:44:51.659
think he's pitch perfect. Okay. As just like

00:44:51.659 --> 00:44:56.679
a gee whiz kind of boy. Jimmy Hunt, he's 86 years

00:44:56.679 --> 00:44:59.719
old now. I don't know if he's still active on

00:44:59.719 --> 00:45:02.800
like the convention circuit, but he certainly

00:45:02.800 --> 00:45:08.199
was for a long time. I'm debating on sending

00:45:08.199 --> 00:45:12.820
him like an 8x10. still from this movie because

00:45:12.820 --> 00:45:16.039
i think i think you can send him fan mail and

00:45:16.039 --> 00:45:18.860
he would autograph something oh cool i think

00:45:18.860 --> 00:45:22.300
you definitely should do that should i i mean

00:45:22.300 --> 00:45:24.380
i think so that sounds fun that would be fun

00:45:24.380 --> 00:45:26.980
doesn't cost me anything but the postage and

00:45:26.980 --> 00:45:30.300
the the print yeah i'm sure he would like to

00:45:30.300 --> 00:45:34.309
see that you know i did that years ago with actor

00:45:34.309 --> 00:45:37.590
Rico Browning who plays, he's one of two actors

00:45:37.590 --> 00:45:39.590
who plays the creature from The Creature from

00:45:39.590 --> 00:45:42.530
the Black Lagoon. So I have Rico Browning's autograph.

00:45:43.210 --> 00:45:45.570
He was like 92 at the time and he died three

00:45:45.570 --> 00:45:48.690
weeks later. Wow. Like after I got the autograph.

00:45:49.469 --> 00:45:52.570
I'm glad you did. That's amazing. Yeah, but like

00:45:52.570 --> 00:45:54.590
what if I get Jimmy Hunt's autograph and then

00:45:54.590 --> 00:46:00.690
he dies three weeks later? I mean, if that happens,

00:46:00.730 --> 00:46:03.449
I feel like maybe you would have. You could legitimately

00:46:03.449 --> 00:46:05.989
wonder if you're like a bad omen, but until then,

00:46:06.010 --> 00:46:07.429
like, I don't think you have to worry about that

00:46:07.429 --> 00:46:12.369
too much. Okay. 92 is a ripe old age. Mr. Hunt,

00:46:12.449 --> 00:46:14.829
if you're out there, you don't have to accept

00:46:14.829 --> 00:46:20.289
my letter. You've been warned. Yeah. It's got

00:46:20.289 --> 00:46:25.480
dark all of a sudden. But I'm glad you said he's

00:46:25.480 --> 00:46:27.539
the great gee whiz kind of character, because

00:46:27.539 --> 00:46:29.800
I was going to bring up how often he says, in

00:46:29.800 --> 00:46:33.300
pure 50s fashion, gee whiz, oh gosh, stuff like

00:46:33.300 --> 00:46:37.900
that. It's funny. I feel like that's such a stereotype

00:46:37.900 --> 00:46:42.679
of the time, when people think of the 50s. But

00:46:42.679 --> 00:46:44.840
then you watch these movies from the 50s, and

00:46:44.840 --> 00:46:47.420
that's how the children talk. Yeah. It's not

00:46:47.420 --> 00:46:50.780
an exaggeration. Right. It's very charming, and

00:46:50.780 --> 00:46:52.400
there are a lot of other lines of dialogue that

00:46:52.400 --> 00:46:56.159
are, like, adorably kind of quaint and antiquated.

00:46:56.219 --> 00:46:58.820
And I'm not trying to, like, make fun of the

00:46:58.820 --> 00:47:00.719
error or whatever. It's just, you know, it's

00:47:00.719 --> 00:47:03.139
fun. It, like, encapsulates that time. Yeah,

00:47:03.179 --> 00:47:06.679
absolutely. All right, production history of

00:47:06.679 --> 00:47:09.760
this film, or at least, like, the production

00:47:09.760 --> 00:47:13.340
backstory. Honestly, I didn't find too much on

00:47:13.340 --> 00:47:16.920
this film, which I find interesting. Because

00:47:16.920 --> 00:47:20.199
of its legacy, I'm interested in getting, like

00:47:20.199 --> 00:47:23.139
there's a 4K release of this film. You know,

00:47:23.179 --> 00:47:27.159
I love bonus features. Maybe like the audio commentaries

00:47:27.159 --> 00:47:30.800
will reveal more about it. But at least in my

00:47:30.800 --> 00:47:33.619
snooping on the internet, I couldn't find much.

00:47:33.820 --> 00:47:36.300
Now, with that said, this film was shot over

00:47:36.300 --> 00:47:41.500
three weeks in 1953 on a very small budget. It

00:47:41.500 --> 00:47:44.820
is, I think, interesting to note that that year,

00:47:45.400 --> 00:47:48.260
We also saw the release of two other alien invasion

00:47:48.260 --> 00:47:51.460
classics, Jack Arnold's It Came From Outer Space

00:47:51.460 --> 00:47:55.539
and George Powell's War of the Worlds, which

00:47:55.539 --> 00:47:59.300
is also in color, but Invaders from Mars did

00:47:59.300 --> 00:48:02.519
it first. Yeah, and I think they really rushed

00:48:02.519 --> 00:48:05.300
production so that they could release the film

00:48:05.300 --> 00:48:07.039
before War of the Worlds came out for that exact

00:48:07.039 --> 00:48:10.619
reason. Yeah, I think I read that too. It's pretty

00:48:10.619 --> 00:48:15.440
cool. Yeah, good year for sci -fi. Yeah, absolutely.

00:48:15.780 --> 00:48:17.940
Because The Beast from 20 ,000 Fathoms was that

00:48:17.940 --> 00:48:22.139
year too, right? Yes, it was. Yeah. Yeah. Good

00:48:22.139 --> 00:48:26.019
year indeed. Yeah. And then the next year, 54,

00:48:26.320 --> 00:48:28.659
you had Creature from the Black Lagoon, Them,

00:48:28.940 --> 00:48:32.340
and Godzilla. Man, must have been an amazing

00:48:32.340 --> 00:48:35.559
time to be alive. Aside from concerns over like

00:48:35.559 --> 00:48:37.400
nuclear war and stuff like that, but in terms

00:48:37.400 --> 00:48:39.780
of monster movies. Yeah, yeah. And you know,

00:48:39.820 --> 00:48:44.849
like segregation. Right. Cold War, McCarthyism.

00:48:46.090 --> 00:48:49.429
Yeah, maybe only to watch the movies was like

00:48:49.429 --> 00:48:51.289
that was the only way it was a great time to

00:48:51.289 --> 00:48:56.150
be alive. But, you know, people needed the escape.

00:48:56.409 --> 00:48:58.630
So that's why they got these fantasy pictures.

00:48:58.929 --> 00:49:00.989
Yeah, that's why it's such a rich period of monster

00:49:00.989 --> 00:49:05.710
movies for sure. Yeah. 1953, so it came from

00:49:05.710 --> 00:49:08.289
outer space. That was a 3D film because around

00:49:08.289 --> 00:49:11.610
this time, 3D became a fad for the first time.

00:49:12.190 --> 00:49:14.889
There's some disputes as to whether or not Invaders

00:49:14.889 --> 00:49:17.750
from Mars was shot for 3D. I don't think it was.

00:49:17.949 --> 00:49:20.849
It never was. But it was shot in Eastman color.

00:49:21.389 --> 00:49:24.309
Yeah, I mean, like the technical specifics of

00:49:24.309 --> 00:49:26.590
this movie are very convoluted. So I'm a little

00:49:26.590 --> 00:49:28.730
bit confused by it as well. But I know it was

00:49:28.730 --> 00:49:33.090
shot on Eastman color, which was a kind of film.

00:49:33.679 --> 00:49:36.880
A single strip color processing technique introduced

00:49:36.880 --> 00:49:40.679
in 1950. Around that time, Technicolor was kind

00:49:40.679 --> 00:49:43.039
of being phased out a little bit. Technicolor

00:49:43.039 --> 00:49:45.960
probably is like... The most beautiful color

00:49:45.960 --> 00:49:48.420
processing technique of all time, like Gone with

00:49:48.420 --> 00:49:50.079
the Wind we already talked about, but then like

00:49:50.079 --> 00:49:52.099
Powell and Pressburger movies from the 40s are

00:49:52.099 --> 00:49:54.960
mostly shot on Technicolor. Lever to Heaven,

00:49:55.179 --> 00:49:57.719
some Douglas Sirk movies are also other examples.

00:49:57.860 --> 00:50:00.460
So Technicolor was kind of like the big gold

00:50:00.460 --> 00:50:03.079
standard, like just top of the line. That was

00:50:03.079 --> 00:50:05.860
being phased out around 1950. It was just very

00:50:05.860 --> 00:50:08.860
expensive. Like you needed a lot of like chemicals

00:50:08.860 --> 00:50:11.519
for that process. It was like a three strip process.

00:50:12.000 --> 00:50:15.079
So Eastman color was quite a bit. simpler. But

00:50:15.079 --> 00:50:17.440
then the fascinating thing about invaders from

00:50:17.440 --> 00:50:19.980
Mars is that it was shot on Eastman color, but

00:50:19.980 --> 00:50:22.460
then it was struck onto prints using a different

00:50:22.460 --> 00:50:25.460
technique called super cine color. And those

00:50:25.460 --> 00:50:27.579
are the prints that were distributed to movie

00:50:27.579 --> 00:50:31.500
theaters. I'm just going to read straight off

00:50:31.500 --> 00:50:33.760
the Google doc, if you don't mind. Please do.

00:50:33.880 --> 00:50:38.880
If anybody out there is an expert in this process,

00:50:39.000 --> 00:50:44.239
please educate us. Yeah. Yeah. Cause I, you know,

00:50:44.260 --> 00:50:46.559
went to film school for a couple of years and

00:50:46.559 --> 00:50:48.320
that's all I know about it. So like, this is

00:50:48.320 --> 00:50:51.280
all way over my head, but apparently Super Cinecolor

00:50:51.280 --> 00:50:53.960
used black and white separations produced from

00:50:53.960 --> 00:50:57.800
monopack color negatives made with Ansco slash

00:50:57.800 --> 00:51:01.019
Agfa, DuPont, Kodachrome, or Eastman Color Film

00:51:01.019 --> 00:51:04.059
for principal photography. After the negative

00:51:04.059 --> 00:51:06.159
was edited, it was copied through color filters

00:51:06.159 --> 00:51:09.039
into three black and white negatives. An oddity

00:51:09.039 --> 00:51:11.019
of the system was that rather than using cyan,

00:51:11.219 --> 00:51:13.579
magenta, and yellow primary subtractive colors,

00:51:13.920 --> 00:51:16.940
Super Cinecolor printed its films with red, blue,

00:51:16.980 --> 00:51:19.360
and yellow matrices to create a system that was

00:51:19.360 --> 00:51:22.079
compatible with the previous printers. The result

00:51:22.079 --> 00:51:24.519
of the combination of the color spectra was an

00:51:24.519 --> 00:51:27.719
oddly striking look to the final print. And all

00:51:27.719 --> 00:51:30.099
I can say is that last sentence is absolutely

00:51:30.099 --> 00:51:33.199
correct. This is like a gorgeous, colorful, rich,

00:51:33.320 --> 00:51:36.469
deep movie. which is why I included it despite

00:51:36.469 --> 00:51:40.130
not really understanding that process. But this,

00:51:40.210 --> 00:51:42.809
the color of this film to me doesn't actually

00:51:42.809 --> 00:51:45.190
look like the color of any other film I've seen.

00:51:45.690 --> 00:51:50.190
There's something, I don't know. It's not bad

00:51:50.190 --> 00:51:52.949
in any way, but it seems off to me. It seems

00:51:52.949 --> 00:51:56.849
raw. It seems, I don't know. What do you think

00:51:56.849 --> 00:51:59.820
about the color in this film? I love it. Like

00:51:59.820 --> 00:52:02.480
it's beautiful, stunningly beautiful. And I think

00:52:02.480 --> 00:52:05.320
like the non -reality of it, the surrealism of

00:52:05.320 --> 00:52:07.639
it totally goes with the visual style that Menzies

00:52:07.639 --> 00:52:10.360
is trying to create. It's basically like a nightmare

00:52:10.360 --> 00:52:13.860
as seen by a young boy, you know? And it is totally

00:52:13.860 --> 00:52:15.800
distinct, but I think it's absolutely gorgeous.

00:52:16.079 --> 00:52:19.840
And one of the only other examples that kind

00:52:19.840 --> 00:52:22.579
of came to mind for me was Dr. X, which I think

00:52:22.579 --> 00:52:25.760
is from 1932. It was shot on like a very early

00:52:25.760 --> 00:52:28.460
color, version of color film that was like...

00:52:28.719 --> 00:52:31.199
I think two strip Technicolor as opposed to three

00:52:31.199 --> 00:52:34.019
strip Technicolor. It just has like a very bizarre

00:52:34.019 --> 00:52:37.300
look where it seems almost faded, but at the

00:52:37.300 --> 00:52:39.719
same time, like really bright and saturated color.

00:52:39.860 --> 00:52:42.019
And that was in the early 30s. And I feel like

00:52:42.019 --> 00:52:45.519
maybe a lot of people don't, aren't familiar

00:52:45.519 --> 00:52:47.619
with like early color experiments like that,

00:52:47.659 --> 00:52:49.960
you know? So that was one of the only other examples

00:52:49.960 --> 00:52:52.239
I could think of where the color is just so unique

00:52:52.239 --> 00:52:55.260
and visually astounding. But yeah, Invaders from

00:52:55.260 --> 00:52:58.559
Mars, really gorgeous. I think Martin Scorsese

00:52:58.559 --> 00:53:00.400
loves this movie because he put it on like a

00:53:00.400 --> 00:53:03.280
list of the 10 best movies to ever use light

00:53:03.280 --> 00:53:06.000
and color, which is crazy. Like this is like

00:53:06.000 --> 00:53:08.079
a sci -fi movie that's kind of silly at times,

00:53:08.159 --> 00:53:11.179
but it is, in my opinion, and apparently Martin

00:53:11.179 --> 00:53:14.019
Scorsese is just like an insanely beautiful.

00:53:15.659 --> 00:53:18.860
Well, I can't argue with you or Martin Scorsese.

00:53:20.260 --> 00:53:22.940
No, I think you watch this on Amazon, right?

00:53:23.099 --> 00:53:25.840
Yeah. Yeah. Do you know if it was like an HD?

00:53:26.969 --> 00:53:30.889
kind of transfer? Yeah, it was an HD transfer.

00:53:31.090 --> 00:53:33.630
And I think it was the same version that was

00:53:33.630 --> 00:53:35.650
released on Blu -ray just a couple years ago.

00:53:36.190 --> 00:53:40.090
2021, I think it was. 2022, Ignite Films put

00:53:40.090 --> 00:53:43.010
out a new Blu -ray with a gorgeous 4K restoration.

00:53:43.170 --> 00:53:45.610
I'm reading off of a review right now. And I

00:53:45.610 --> 00:53:47.369
think that's the version that's also on Amazon

00:53:47.369 --> 00:53:50.150
Prime. And it looked really great. Wow. Okay.

00:53:50.250 --> 00:53:54.809
I need to see. I do think I need to see it. And

00:53:54.809 --> 00:53:58.010
like a really beautiful, like restored type of

00:53:58.010 --> 00:54:00.929
version. Cause I watched it years ago on Tubi

00:54:00.929 --> 00:54:04.690
and I watched it recently on Pluto. And I just,

00:54:04.690 --> 00:54:08.550
I don't think it was HD. I don't think it was

00:54:08.550 --> 00:54:11.710
cleaned up in any way. So for me, like the colors,

00:54:11.789 --> 00:54:16.190
they seem more muted. Like they didn't seem vibrant.

00:54:16.429 --> 00:54:19.349
Yeah. Yeah. I just feel like I need to see it

00:54:19.349 --> 00:54:23.199
in all its proper glory, I guess. I would recommend

00:54:23.199 --> 00:54:25.440
re -watching it. I thought the Amazon version

00:54:25.440 --> 00:54:27.920
looked really good, and I have my issues with

00:54:27.920 --> 00:54:29.840
Amazon. I don't necessarily like to give them

00:54:29.840 --> 00:54:31.920
more money, but the versions of movies they have

00:54:31.920 --> 00:54:34.039
streaming on Amazon Prime usually are very high

00:54:34.039 --> 00:54:36.760
quality, and that was true in this case as well.

00:54:37.000 --> 00:54:40.519
Okay. Awesome. Well, I feel like I kind of nerded

00:54:40.519 --> 00:54:42.260
out about the visual style of this movie a little

00:54:42.260 --> 00:54:43.679
bit too much. I got ahead of myself. No, that's

00:54:43.679 --> 00:54:46.619
great. I think so much of this movie, again,

00:54:46.760 --> 00:54:49.460
of its appeal, I think lies in Menzies and the

00:54:49.460 --> 00:54:52.659
cinematography. And his art direction. Yeah.

00:54:52.760 --> 00:54:56.639
He gives the movie a very surrealist aspect in

00:54:56.639 --> 00:55:00.000
multiple scenes. The police station is one that's

00:55:00.000 --> 00:55:04.380
cited all the time for its use of bare walls.

00:55:04.619 --> 00:55:06.760
And the walls and the doors are taller than they

00:55:06.760 --> 00:55:10.900
need to be. And really long hallways where you

00:55:10.900 --> 00:55:16.559
see actors walking from the background all the

00:55:16.559 --> 00:55:20.130
way to the foreground. That's, I mean, even like

00:55:20.130 --> 00:55:22.250
years ago, that's what I loved about this movie.

00:55:22.349 --> 00:55:25.090
I was like, wow, it just doesn't look like anything

00:55:25.090 --> 00:55:29.889
else that I've seen from an alien movie. Totally

00:55:29.889 --> 00:55:32.329
agree. Yeah, I mean, that police station hallway

00:55:32.329 --> 00:55:34.570
is probably the best example. And when that shot

00:55:34.570 --> 00:55:37.090
came up when I was watching the movie, I out

00:55:37.090 --> 00:55:39.489
loud was like, oh my God, it just looks so bizarre

00:55:39.489 --> 00:55:43.030
and so striking. And then the interior of the

00:55:43.030 --> 00:55:45.070
spaceship and some of the subterranean tunnels

00:55:45.070 --> 00:55:47.849
towards the end as well look just very surreal.

00:55:48.090 --> 00:55:50.650
And it's interesting, like you said before, it

00:55:50.650 --> 00:55:52.550
had a very minuscule budget. It was a very low

00:55:52.550 --> 00:55:54.409
budget movie. And you can tell that some of the

00:55:54.409 --> 00:55:58.039
sets are reused for various locations. But I

00:55:58.039 --> 00:56:00.000
feel like Menzies kind of like uses that to the

00:56:00.000 --> 00:56:02.719
film's advantage because it actually is a weird

00:56:02.719 --> 00:56:05.019
sense of like deja vu and it's kind of uncanny.

00:56:05.059 --> 00:56:07.019
And that just adds to like the dreamlike aspect,

00:56:07.119 --> 00:56:09.559
you know? Yeah, and there's like the camera is

00:56:09.559 --> 00:56:13.400
angled at certain points leading to that sense

00:56:13.400 --> 00:56:16.980
of dreamscape. Yeah, it's kind of an off -kilter

00:56:16.980 --> 00:56:22.539
visual style that I love. Yeah, I just, that's

00:56:22.539 --> 00:56:24.380
what keeps me coming back to this film, I think.

00:56:24.719 --> 00:56:27.650
Yeah, for sure. Yeah, but just focusing on the

00:56:27.650 --> 00:56:30.630
production of this film, that's what Menzies

00:56:30.630 --> 00:56:33.730
and his cinematographer brought to this film.

00:56:34.630 --> 00:56:38.050
According to John Sayles, again, in this clip

00:56:38.050 --> 00:56:40.650
I keep referencing, he says that the producers

00:56:40.650 --> 00:56:45.550
came in after the film was finished, and they

00:56:45.550 --> 00:56:48.949
added all this stock footage of army tanks to

00:56:48.949 --> 00:56:53.030
extend the run. So did you notice all that army

00:56:53.030 --> 00:56:56.030
stuff? Yeah, for sure. Those are the parts of

00:56:56.030 --> 00:56:57.590
the movie that I don't like so much. Like this

00:56:57.590 --> 00:57:00.730
movie is like maybe an hour and a half, 95 minutes,

00:57:00.789 --> 00:57:03.190
somewhere around there. It could have been probably

00:57:03.190 --> 00:57:05.530
like 85 minutes. Like I feel like 10 minutes

00:57:05.530 --> 00:57:07.789
of the running time is stock footage of like

00:57:07.789 --> 00:57:11.150
tanks and soldiers and explosions. And like,

00:57:11.170 --> 00:57:14.369
it's like, there's at times like weirdly like

00:57:14.369 --> 00:57:16.730
patriotic marches in the background of some of

00:57:16.730 --> 00:57:18.570
that footage. And it's like, why are we getting

00:57:18.570 --> 00:57:21.630
this like gung -ho American military stuff right

00:57:21.630 --> 00:57:24.239
now? It's weird. I don't like it. Yeah, I don't

00:57:24.239 --> 00:57:28.280
think it's well implemented into Menzies' version

00:57:28.280 --> 00:57:31.199
of this film. I don't think it's... Yeah, it

00:57:31.199 --> 00:57:34.980
seems like more of a question mark. Why is this

00:57:34.980 --> 00:57:38.380
in here? Yeah. I think maybe if they had used

00:57:38.380 --> 00:57:40.500
it sparingly in that one scene where the army

00:57:40.500 --> 00:57:43.039
does actually attack where they think the spaceship

00:57:43.039 --> 00:57:44.920
is located, that would have made sense. Yeah.

00:57:45.300 --> 00:57:47.059
But it's in a lot more scenes than just that.

00:57:47.199 --> 00:57:50.980
Yeah. The use of bare walls. Like in the police

00:57:50.980 --> 00:57:55.900
station, there's... shots of actors with just

00:57:55.900 --> 00:57:58.500
a bare wall behind them and there's something

00:57:58.500 --> 00:58:04.139
so stark about that so cold that i really dig

00:58:04.139 --> 00:58:08.460
as an artistic choice totally agree yeah and

00:58:08.460 --> 00:58:11.119
i think you know sorry we're kind of jumping

00:58:11.119 --> 00:58:13.119
around a little bit but i think like you know

00:58:13.119 --> 00:58:16.219
if the if if this story is told from the boy's

00:58:16.219 --> 00:58:18.300
perspective and like he has to deal with all

00:58:18.300 --> 00:58:20.860
these older authority figures and he's like very

00:58:21.820 --> 00:58:23.699
he's made very uncomfortable by them. He doesn't

00:58:23.699 --> 00:58:25.719
really trust them. And like, I just feel like

00:58:25.719 --> 00:58:28.739
that lack of anything in the background, like

00:58:28.739 --> 00:58:30.400
you just have these stark walls and then these

00:58:30.400 --> 00:58:33.340
adult figures looming over you. It like perfectly

00:58:33.340 --> 00:58:35.619
conveys that theme, I think, you know? Totally.

00:58:35.719 --> 00:58:38.840
Yeah. Release and legacy of this film. It was

00:58:38.840 --> 00:58:43.900
released in April of 1953. There was a 1954 British

00:58:43.900 --> 00:58:47.400
release that had several scenes extended with

00:58:47.400 --> 00:58:51.079
new footage featuring new actors even. Again,

00:58:51.559 --> 00:58:55.059
distributors found the runtime too short. So

00:58:55.059 --> 00:58:58.420
that's a running theme with this movie, actually.

00:58:59.139 --> 00:59:02.400
Producers saying, okay, let's pad the runtime.

00:59:02.920 --> 00:59:06.900
Initial reviews were strong, but it's sometimes

00:59:06.900 --> 00:59:09.630
this film gets... quote, lost in the shuffle

00:59:09.630 --> 00:59:13.070
with other 1950s sci -fi movies, as we've talked

00:59:13.070 --> 00:59:16.269
about. But its reputation is strong. Filmmakers

00:59:16.269 --> 00:59:18.809
like Spielberg, Scorsese, John Landis, Joe Dante

00:59:18.809 --> 00:59:23.829
cite it as a childhood favorite. And it's become

00:59:23.829 --> 00:59:28.610
a real cult classic. Deservedly so. Yeah. Well,

00:59:28.670 --> 00:59:30.889
here's a good time for our sponsor break. Camp

00:59:30.889 --> 00:59:32.809
Kaiju is sponsored by Zack Linder and the Zack

00:59:32.809 --> 00:59:35.739
Pack. powered by Coldwell Banker Realty, your

00:59:35.739 --> 00:59:37.980
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buyers. Reach out to the Zach Pack today for

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real estate services. Follow the Zach Pack on

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social media and contact the Zach Pack for investment

00:59:48.119 --> 00:59:51.440
opportunities. Links in the show notes. Now,

00:59:51.440 --> 00:59:57.559
we have a good email from an anonymous supporter

00:59:57.559 --> 01:00:04.500
of ours. Our friend comments on our episode about

01:00:04.500 --> 01:00:08.159
Invasion of Astro Monster. Now, I'm not going

01:00:08.159 --> 01:00:10.039
to read it verbatim, and I'm not going to read

01:00:10.039 --> 01:00:15.760
it all, but our friend does gently critique,

01:00:15.780 --> 01:00:23.539
I would say, that our own critique of E .G. Tsuburaya's

01:00:23.539 --> 01:00:28.780
special effects in that movie. If you recall

01:00:28.780 --> 01:00:32.800
in Invasion of Astro Monster, there's like a

01:00:32.800 --> 01:00:39.019
lot of unrealistic effects of astronauts on the

01:00:39.019 --> 01:00:45.119
moon and of spaceships and other things. I liken

01:00:45.119 --> 01:00:48.980
them to like toys, you know, being played with

01:00:48.980 --> 01:00:53.079
on the moon. Our friend, and I think rightly

01:00:53.079 --> 01:00:56.519
so, pushes back a little bit and says, wants

01:00:56.519 --> 01:01:00.150
us to remember. That Tsuburaya felt it was more

01:01:00.150 --> 01:01:03.610
about selling an idea, these are his words, than

01:01:03.610 --> 01:01:09.110
being any way realistic. That Tsuburaya is making

01:01:09.110 --> 01:01:14.449
an intentional choice to make these models more

01:01:14.449 --> 01:01:18.969
fantastical than, quote, realistic. Yeah, I think

01:01:18.969 --> 01:01:21.170
that's totally fair. Yeah, that makes a lot of

01:01:21.170 --> 01:01:23.809
sense. I think like overall, I like the suitmation

01:01:23.809 --> 01:01:25.590
effects. I love the model effects in a lot of

01:01:25.590 --> 01:01:28.309
the kaiju films. Yeah, we might have been a little

01:01:28.309 --> 01:01:30.730
unnecessarily harsh about Invasion of Astro Monster.

01:01:30.949 --> 01:01:34.309
I feel like I just thought there were like too

01:01:34.309 --> 01:01:36.809
few special effects overall. Like we barely even

01:01:36.809 --> 01:01:40.190
see Godzilla and Rodan in that movie. But yeah,

01:01:40.329 --> 01:01:43.409
no, that's a very valid criticism for sure. Yeah.

01:01:43.909 --> 01:01:46.570
You remember in Frankenstein Conquers the World,

01:01:46.769 --> 01:01:50.829
the Baragon monster like eats a horse. There's

01:01:50.829 --> 01:01:54.489
a horse in a little corral. Yeah. Yep. Yeah.

01:01:55.750 --> 01:01:59.050
I know I certainly had the same critique of Tsuburaya

01:01:59.050 --> 01:02:00.869
there. I was like, what? This isn't realistic.

01:02:01.090 --> 01:02:04.909
But again, maybe that's not the point. That's

01:02:04.909 --> 01:02:06.849
a good example. That's like such a memorably

01:02:06.849 --> 01:02:10.170
like, I mean, obviously it's not real. It almost

01:02:10.170 --> 01:02:13.030
makes it like more disturbing that like, you

01:02:13.030 --> 01:02:14.550
know, he's supposed to be eating this horse and

01:02:14.550 --> 01:02:16.269
it's clearly just like a toy horse that's being

01:02:16.269 --> 01:02:19.190
ripped in half or whatever. That's a very bizarre

01:02:19.190 --> 01:02:21.070
moment. I forgot about that. So you just brought

01:02:21.070 --> 01:02:25.079
it up. Yeah. But I think we can all agree that

01:02:25.079 --> 01:02:28.179
that's better than CGI, infinitely better. I

01:02:28.179 --> 01:02:32.840
will give you that, yeah. I would say so anyway.

01:02:33.219 --> 01:02:37.880
Well, thank you, our anonymous friend, for writing

01:02:37.880 --> 01:02:41.039
in. Others out there, please send us an email

01:02:41.039 --> 01:02:44.940
at campkaiju at gmail .com, letting us know your

01:02:44.940 --> 01:02:49.039
thoughts about Invasion of Astro Monster, Invaders

01:02:49.039 --> 01:02:52.400
from Mars, or Jaws. Leave us a voicemail, please,

01:02:52.500 --> 01:02:54.159
telling us about Jaws. We've got a couple months

01:02:54.159 --> 01:02:57.059
to do that. I'll try to get that episode, if

01:02:57.059 --> 01:03:01.199
I get voicemails, sometime in the summer. Matt,

01:03:01.260 --> 01:03:05.559
did you know Peter Lorre has a growing lilac

01:03:05.559 --> 01:03:08.440
in his room, which I think is across the hall

01:03:08.440 --> 01:03:11.659
from your room? Ah, I did not know that. I thought

01:03:11.659 --> 01:03:14.760
I could detect a faint whiff of floral bouquet

01:03:14.760 --> 01:03:19.300
coming from his tiny little dungeon there, but

01:03:19.300 --> 01:03:22.289
I did not know that, no. Yeah. I mean, next time

01:03:22.289 --> 01:03:24.170
he's out of the house, don't tell him I said

01:03:24.170 --> 01:03:27.869
this, but check on it. He says it's starting

01:03:27.869 --> 01:03:30.889
to emanate like a glow, like a radioactive glow.

01:03:31.590 --> 01:03:34.909
It might be getting bigger for all the wrong

01:03:34.909 --> 01:03:37.570
reasons. I don't know. Just check in on him.

01:03:38.090 --> 01:03:40.090
All right. I'm a little scared. It might be like

01:03:40.090 --> 01:03:42.579
a little shop of horror scenario, I think. I

01:03:42.579 --> 01:03:44.820
think so, but he's never seen that movie, so

01:03:44.820 --> 01:03:47.320
I don't know if he knows what he's getting into.

01:03:47.900 --> 01:03:50.940
Yeah. Oh, man, poor Peter. All right, I'll check

01:03:50.940 --> 01:03:53.760
on his safety as well as the lilac as soon as

01:03:53.760 --> 01:03:57.079
I can. Okay, thank you. We look out for each

01:03:57.079 --> 01:04:00.360
other here, listeners, at Camp Kaiju. But Peter

01:04:00.360 --> 01:04:03.739
Lorre's going to talk about the 1944 movie called

01:04:03.739 --> 01:04:09.420
Bluebeard from PRC, or Monogram Pictures, don't

01:04:09.420 --> 01:04:11.500
remember which, but it stars John Carradine.

01:04:11.849 --> 01:04:16.530
He's a serial killer slash puppeteer. And this

01:04:16.530 --> 01:04:19.710
movie actually has quite a reputation. Have you

01:04:19.710 --> 01:04:23.090
heard of Edgar G. Ulmer? Yeah. Yeah, he directed

01:04:23.090 --> 01:04:25.650
this movie. That sounds great. I'm very excited

01:04:25.650 --> 01:04:27.690
to hear Peter's thoughts about that. Edgar G.

01:04:27.710 --> 01:04:29.570
Ulmer also directed Detour, which is a great

01:04:29.570 --> 01:04:34.170
film noir. Yeah, so I'll let Mr. Laurie dish

01:04:34.170 --> 01:04:36.710
on all that. But yeah, interesting stuff coming

01:04:36.710 --> 01:04:40.650
up. Cool. Thank you, Peter, as always. Danke,

01:04:40.730 --> 01:04:58.730
Shane. Welcome to Poverty Row Studios on the

01:04:58.730 --> 01:05:01.389
other side of Hollywood, where the stars were

01:05:01.389 --> 01:05:03.929
dimmer and the red carpets dripped with blood.

01:05:04.480 --> 01:05:06.699
Together we will watch the best of the worst.

01:05:07.039 --> 01:05:10.280
Movies known for their limited budgets, outlandish

01:05:10.280 --> 01:05:13.880
concepts, and questionable performances. But

01:05:13.880 --> 01:05:16.900
with enough haunted houses, zombies, ape men,

01:05:17.019 --> 01:05:20.219
and devil bats to keep you up at night. This

01:05:20.219 --> 01:05:23.780
is the Poverty Row Picture Show. I dare you to

01:05:23.780 --> 01:05:29.800
sleep through these nightmares. I am your host,

01:05:29.960 --> 01:05:34.059
Peter Lorre. You may remember me and my... My

01:05:34.059 --> 01:05:37.800
sultry voice from such pictures as The Maltese

01:05:37.800 --> 01:05:41.619
Falcon with Humphrey Bogart and The Invisible

01:05:41.619 --> 01:05:47.420
Agent, where I played a Japanese agent for Universal.

01:05:47.820 --> 01:05:51.480
Well, I'm going to move on from that one. This

01:05:51.480 --> 01:05:54.739
week on the Poverty World Pictures Show, we review

01:05:54.739 --> 01:05:59.760
a film called Bluebeard from PRC, starring John

01:05:59.760 --> 01:06:04.309
Carradine as a traveling puppet master. who abducts

01:06:04.309 --> 01:06:08.050
and murders unsuspecting women in the streets

01:06:08.050 --> 01:06:13.469
of Victorian Paris. Oh yes, this is some sundry

01:06:13.469 --> 01:06:17.809
escapades this week, my friends. In the same

01:06:17.809 --> 01:06:21.670
vein as Hitchcock's The Lodger, which of course

01:06:21.670 --> 01:06:24.889
was based on the Jack the Ripper murders in the

01:06:24.889 --> 01:06:30.480
1880s in London. But I digress. Bluebeard. is

01:06:30.480 --> 01:06:34.780
a film directed by Edgar G. Ulmer, a fellow Austrian

01:06:34.780 --> 01:06:38.559
and a film director with a now -renowned legacy

01:06:38.559 --> 01:06:42.500
for shooting dark mysteries on unlimited budgets.

01:06:43.260 --> 01:06:47.179
He directed 1934's The Black Cat for Universal

01:06:47.179 --> 01:06:51.219
and allegedly worked on the classics The Golem,

01:06:51.380 --> 01:06:57.860
Metropolis, and M. Now, I starred in the latter

01:06:57.860 --> 01:07:04.880
picture These rumors are unconfirmed. Sorry to

01:07:04.880 --> 01:07:10.380
disappoint, but this Frank Capra of PRC turns

01:07:10.380 --> 01:07:14.139
in a slick historical noir in Bluebeard with

01:07:14.139 --> 01:07:17.539
John Carradine in the lead. Now Carradine at

01:07:17.539 --> 01:07:19.980
this time was known for his powerfully intimidating

01:07:19.980 --> 01:07:24.429
screen presence in horror films. and in this

01:07:24.429 --> 01:07:28.090
one he looms over his co -stars with a steely

01:07:28.090 --> 01:07:32.409
glare. And when he laughs, you are deeply unsettled,

01:07:32.449 --> 01:07:34.949
for you know his character is merely playing

01:07:34.949 --> 01:07:38.010
a part, and that the young ladies do not stand

01:07:38.010 --> 01:07:42.849
a chance. Bluebeard was actually a film ten years

01:07:42.849 --> 01:07:46.510
in development, originally a script to follow

01:07:46.510 --> 01:07:51.469
up with Ulmer's The Black Cat. Eventually, Universal

01:07:51.469 --> 01:07:54.489
passed on the project. and with it, the chance

01:07:54.489 --> 01:07:57.829
for Ulmer to work again with Karloff. But now

01:07:57.829 --> 01:08:01.590
with PRC, this film is as much of an A -picture

01:08:01.590 --> 01:08:05.130
as the studio would ever release. And its reviews

01:08:05.130 --> 01:08:09.309
were good, and it did prove a moneymaker. Today

01:08:09.309 --> 01:08:12.570
it is often considered Ulmer's second best outing,

01:08:12.570 --> 01:08:18.409
next to Detour, the 1944 film noir classic, which

01:08:18.409 --> 01:08:21.989
established the director's reputation as an auteur.

01:08:23.560 --> 01:08:26.880
Now, the most amazing aspect of Bluebeard, and

01:08:26.880 --> 01:08:30.460
which speaks to Ulmer's talents, is that Ulmer

01:08:30.460 --> 01:08:34.239
shot the picture in a mere six days. Now that

01:08:34.239 --> 01:08:38.859
is the mark of a master. Next time on the Poverty

01:08:38.859 --> 01:08:42.659
Row Picture Show, we review a film entitled Black

01:08:42.659 --> 01:08:47.010
Dragons. Starring Bela Lugosi in a sinister movie

01:08:47.010 --> 01:08:51.729
about Japanese and Nazi mad scientists. No, I

01:08:51.729 --> 01:08:55.510
do not play one of either of those types of people.

01:08:55.770 --> 01:08:58.569
I have learned my lesson looking back on some

01:08:58.569 --> 01:09:00.970
of the roles I have played in my filmography.

01:09:01.310 --> 01:09:04.210
I'll let you look into those titles at your own

01:09:04.210 --> 01:09:08.710
risk. Now, if you'll excuse me, I must trim the

01:09:08.710 --> 01:09:12.380
leaves of my glowing lilacs. They have grown

01:09:12.380 --> 01:09:15.340
to the size of palm fronds, and I am doing my

01:09:15.340 --> 01:09:18.140
best to keep these monster plants hidden from

01:09:18.140 --> 01:09:22.579
Matthew. I fear he would prefer to get rid of

01:09:22.579 --> 01:09:25.699
them, these plants from Pierre. They, oh, how

01:09:25.699 --> 01:09:49.760
they baffle me so. just woke up to a nightmare

01:09:49.760 --> 01:09:55.619
in his own backyard. But no one will listen.

01:09:56.800 --> 01:10:02.619
Right back there, right behind the hill. No one

01:10:02.619 --> 01:10:05.020
will believe. I told you, he needs psychiatric

01:10:05.020 --> 01:10:10.859
help. And soon, no one will be left. Dad? Are

01:10:10.859 --> 01:10:16.250
you okay, Dad? because something strange is happening

01:10:16.250 --> 01:10:19.649
to the people of willow creek everything's fine

01:10:19.649 --> 01:10:25.210
now and david gardner is about to find out why

01:11:01.669 --> 01:11:06.810
All right, back to Invaders from Mars. I think

01:11:06.810 --> 01:11:08.590
there's a lot of themes in this movie. I think

01:11:08.590 --> 01:11:11.369
it wears its themes on its sleeve, on its big

01:11:11.369 --> 01:11:14.609
green footie pajama sleeves, which is really

01:11:14.609 --> 01:11:20.090
nice. I appreciate that, actually. Me too. We

01:11:20.090 --> 01:11:22.529
can rely on 50s American sci -fi movies for that.

01:11:22.810 --> 01:11:26.390
Oh, ain't it the truth. I think the big one,

01:11:26.449 --> 01:11:30.189
like for me anyways, I was getting a real sense

01:11:30.189 --> 01:11:33.569
of like societal paranoia. Like you can't trust

01:11:33.569 --> 01:11:35.489
your neighbors. You can't trust the little girl

01:11:35.489 --> 01:11:38.270
on the street. You can't trust the cops because

01:11:38.270 --> 01:11:40.630
let's be honest, maybe they're Cold War spies.

01:11:40.909 --> 01:11:43.310
Maybe they're Soviets. I don't know. But this

01:11:43.310 --> 01:11:46.229
movie came out at the height of the Red Scare,

01:11:46.470 --> 01:11:51.659
McCarthyism. Like a lot of 50s sci -fi, I think

01:11:51.659 --> 01:11:58.720
it really evokes that theme of paranoia. Yeah,

01:11:58.800 --> 01:12:02.100
absolutely. I think, you know, at first I was

01:12:02.100 --> 01:12:04.420
like, like the social commentary maybe doesn't

01:12:04.420 --> 01:12:06.819
seem as deep in this movie as it is in Invasion

01:12:06.819 --> 01:12:08.500
of the Body Snatchers, which came out three years

01:12:08.500 --> 01:12:10.920
later, or in The Day the Earth Stood Still, which

01:12:10.920 --> 01:12:12.880
came out two years earlier, I think, if I remember

01:12:12.880 --> 01:12:16.420
right. But then as the movie went on... I think

01:12:16.420 --> 01:12:19.600
it's filtering that theme through a different

01:12:19.600 --> 01:12:21.420
perspective, and that's the perspective of the

01:12:21.420 --> 01:12:24.659
little boy who, again, just has to deal with

01:12:24.659 --> 01:12:27.140
all these authority figures, not only his parents,

01:12:27.239 --> 01:12:29.659
who suddenly turn from these loving, benevolent

01:12:29.659 --> 01:12:33.220
figures to just very harsh, violent even. His

01:12:33.220 --> 01:12:35.680
father slaps him pretty early in the movie. And

01:12:35.680 --> 01:12:37.699
then, like you said, the girl next door, the

01:12:37.699 --> 01:12:41.420
police chief. Yeah, I actually grew to really

01:12:41.420 --> 01:12:44.899
love how it's a very... Kind of familiar theme,

01:12:45.060 --> 01:12:47.140
but it's really filtered through the boy's perspective.

01:12:47.319 --> 01:12:51.420
And that was kind of unique to me. Yeah. Do you

01:12:51.420 --> 01:12:54.579
want to talk about anything else? Yeah. You know,

01:12:54.600 --> 01:12:57.359
I think there's even, you know, also like the

01:12:57.359 --> 01:12:59.880
threat of nuclear war is like such a common theme

01:12:59.880 --> 01:13:02.159
from monster movies around this time. And we

01:13:02.159 --> 01:13:03.739
even get that a little bit in this movie, too,

01:13:03.800 --> 01:13:07.800
because the astronomer, Dr. Kelston, I think

01:13:07.800 --> 01:13:10.560
is his name. You know, he's positing a possible

01:13:10.560 --> 01:13:13.600
reason why the Martians would invade Earth and

01:13:13.600 --> 01:13:16.079
why they would be pretty antagonistic right from

01:13:16.079 --> 01:13:19.000
the start. And Dr. Kelston says pretty reasonably

01:13:19.000 --> 01:13:22.430
like, well, we're... launching atomic rockets

01:13:22.430 --> 01:13:24.649
into space and these Martians probably don't

01:13:24.649 --> 01:13:26.189
like that. They're probably, they feel threatened.

01:13:26.270 --> 01:13:29.750
Like we could endanger their way of life at any

01:13:29.750 --> 01:13:32.189
moment. And that's, you know, the, the, that

01:13:32.189 --> 01:13:34.390
doctor character, the male doctor, the astronomer

01:13:34.390 --> 01:13:36.829
or whatever he is actually like, doesn't really

01:13:36.829 --> 01:13:38.770
seem to criticize the Martians too much. He's

01:13:38.770 --> 01:13:40.670
like, well, it makes sense. Like we're kind of

01:13:40.670 --> 01:13:43.189
endangering them. So I just thought it was interesting

01:13:43.189 --> 01:13:45.130
that like the threat of nuclear war even makes

01:13:45.130 --> 01:13:47.270
its way into this movie, even though that doesn't

01:13:47.270 --> 01:13:50.029
seem to be the primary theme. Yeah. And what

01:13:50.029 --> 01:13:53.510
I also appreciate about this movie is that there's

01:13:53.510 --> 01:13:56.270
a lot of, like it takes its themes of science

01:13:56.270 --> 01:14:00.210
in a rather mature way, despite being through

01:14:00.210 --> 01:14:04.310
the lens of a child. Like the scientists treat

01:14:04.310 --> 01:14:10.930
the science and the atomic research very maturely.

01:14:10.930 --> 01:14:12.590
It's not like a lot of other science fiction

01:14:12.590 --> 01:14:15.970
films where it's got this mumbo jumbo, they say

01:14:15.970 --> 01:14:18.220
something about something and then... it kind

01:14:18.220 --> 01:14:20.279
of explains it away. I feel like this movie does

01:14:20.279 --> 01:14:23.260
take its time to take the audience seriously

01:14:23.260 --> 01:14:26.659
and say, here's what's going on. Here's X, Y,

01:14:26.659 --> 01:14:30.399
and Z. Yeah, yeah, I agree. And I think especially

01:14:30.399 --> 01:14:33.260
with the little controlling devices that are

01:14:33.260 --> 01:14:35.840
implanted into the bases of people's necks, it

01:14:35.840 --> 01:14:38.859
actually seems kind of plausible that like, and

01:14:38.859 --> 01:14:40.239
that's a weird thing to say about this movie,

01:14:40.319 --> 01:14:42.560
but you know, maybe the Martians would control

01:14:42.560 --> 01:14:44.619
people that way. And then like once the human

01:14:44.619 --> 01:14:48.960
characters do what they're, forced to do than

01:14:48.960 --> 01:14:51.319
like the Martians kill them. They like make the

01:14:51.319 --> 01:14:53.319
little like transmitters erupt in their brain

01:14:53.319 --> 01:14:55.500
basically, which is very violent. And honestly,

01:14:55.680 --> 01:14:59.039
like, you know, I read like some of the reviews

01:14:59.039 --> 01:15:01.180
when the movie came out were like, oh, this is

01:15:01.180 --> 01:15:03.399
going to be really scary for kids. And at first

01:15:03.399 --> 01:15:04.720
I thought that was kind of ridiculous because

01:15:04.720 --> 01:15:06.319
nowadays it doesn't really seem all that scary.

01:15:06.439 --> 01:15:08.880
But there is some like kind of violent, brutal

01:15:08.880 --> 01:15:12.079
stuff like that in the movie. I know. I would

01:15:12.079 --> 01:15:14.789
like to show this to my kid one day. Because

01:15:14.789 --> 01:15:17.909
I do think it's for children as much as it's

01:15:17.909 --> 01:15:20.729
for adults. But you're right, there are some

01:15:20.729 --> 01:15:24.210
violent things in this film. Yeah, and to your

01:15:24.210 --> 01:15:26.189
point, they do seem kind of scientifically plausible.

01:15:26.890 --> 01:15:30.689
Yeah. I think there's a comment on the family

01:15:30.689 --> 01:15:33.149
unit in this film, which again, we see in a lot

01:15:33.149 --> 01:15:37.390
of 50s sci -fi films, like the nuclear family

01:15:37.390 --> 01:15:41.750
may not be all hunky -dory on the surface, that

01:15:41.750 --> 01:15:46.270
underneath there are cracks. But but to see the

01:15:46.270 --> 01:15:50.369
boy just lose his parents and he can't trust

01:15:50.369 --> 01:15:52.710
them anymore. His dad hits him right at the top,

01:15:52.750 --> 01:15:56.329
which I found very effective and like tragic

01:15:56.329 --> 01:15:59.430
because his dad is when you first meet him, his

01:15:59.430 --> 01:16:01.510
dad is like the best dad in the world. Yeah.

01:16:01.630 --> 01:16:06.810
So nice. So supportive. So just like a nice dad.

01:16:07.050 --> 01:16:11.409
And then he smacks the crap out of his son. That

01:16:11.409 --> 01:16:13.890
was real. That was that was very good. Yeah.

01:16:14.590 --> 01:16:17.130
And they become like him, his dad and his mom

01:16:17.130 --> 01:16:20.569
become, become traitors. They become spies. They

01:16:20.569 --> 01:16:25.229
start conducting espionage and that's very real.

01:16:26.109 --> 01:16:31.850
But then the doctor, Dr. Kelston and the female

01:16:31.850 --> 01:16:36.510
doctor, Dr. Blake, they kind of become surrogate

01:16:36.510 --> 01:16:39.109
parents. And then the army, like the generals

01:16:39.109 --> 01:16:43.750
and the colonels, they also seem to take. a familial

01:16:43.750 --> 01:16:47.489
liking to the boy. And I feel like he's found

01:16:47.489 --> 01:16:50.189
like a surrogate family with all these other

01:16:50.189 --> 01:16:54.130
adults, which I found oddly heartwarming. So

01:16:54.130 --> 01:16:56.210
I don't know what that says, but just like, okay,

01:16:56.289 --> 01:17:00.329
families can be destroyed, which is really sad,

01:17:00.489 --> 01:17:04.989
but you can still find family in other people.

01:17:05.550 --> 01:17:10.180
I don't know. Yeah, it's, you know, I feel like

01:17:10.180 --> 01:17:12.800
it is a little bit like muddled maybe at times

01:17:12.800 --> 01:17:15.060
because I thought like the distrust of the police

01:17:15.060 --> 01:17:17.800
was very powerful. And at that time, like you

01:17:17.800 --> 01:17:19.659
mentioned before, probably speaks to like a sense

01:17:19.659 --> 01:17:23.239
of social unease. But then, and that's, you know,

01:17:23.239 --> 01:17:24.640
again, that's really powerful. Like there are

01:17:24.640 --> 01:17:27.279
two police officers that like blow up a building

01:17:27.279 --> 01:17:29.560
and it's like pretty shocking to see. Like they're,

01:17:29.560 --> 01:17:31.920
you know, it's an unexpected turn of events for

01:17:31.920 --> 01:17:34.569
sure. But then for the boy to become very good

01:17:34.569 --> 01:17:36.550
friends with the general and the colonel, and

01:17:36.550 --> 01:17:38.149
like you said, they're very paternalistic towards

01:17:38.149 --> 01:17:40.529
him, or just paternal, I guess is a better way

01:17:40.529 --> 01:17:43.430
to put it. It's like, oh, is there a distrust

01:17:43.430 --> 01:17:45.109
of authority in this movie or isn't there? I

01:17:45.109 --> 01:17:46.590
guess it kind of has it both ways, but maybe

01:17:46.590 --> 01:17:48.470
that's all right. Yeah, I think it does have

01:17:48.470 --> 01:17:51.069
it both ways. This is a very pro -military film,

01:17:51.130 --> 01:17:56.010
which again, most 50s sci -fi is. Yeah. But the

01:17:56.010 --> 01:17:58.430
critique of the police is also very interesting.

01:17:59.430 --> 01:18:01.909
And this is a very white film, too. And I just

01:18:01.909 --> 01:18:05.390
feel like the image we're presented of the 50s

01:18:05.390 --> 01:18:08.329
is that if you were white, you trusted authority

01:18:08.329 --> 01:18:11.569
figures. Obviously, if you were black, for example,

01:18:11.829 --> 01:18:16.090
you did not. But here we have a white protagonist

01:18:16.090 --> 01:18:21.350
being jailed. Like, there's a point where the

01:18:21.350 --> 01:18:25.569
10 -year -old boy is thrown behind bars, ostensibly

01:18:25.569 --> 01:18:27.989
for his own safety or whatever. But I was like,

01:18:28.069 --> 01:18:32.159
that's... Pretty extreme. So I think it's I think

01:18:32.159 --> 01:18:35.500
it's a really powerful critique of police officers.

01:18:36.159 --> 01:18:39.119
I agree. Yeah. And then, you know, the kindly

01:18:39.119 --> 01:18:42.220
female doctor, Dr. Blake, she even like she talks

01:18:42.220 --> 01:18:44.020
to David in the jail cell and then she locks

01:18:44.020 --> 01:18:45.720
him back in and she's like, sorry, I have to

01:18:45.720 --> 01:18:48.220
follow the rules. And you understand why she

01:18:48.220 --> 01:18:49.520
would have to do that, I guess. But it's still

01:18:49.520 --> 01:18:52.180
a very surprising moment. And I think there are

01:18:52.180 --> 01:18:53.619
maybe some other Hollywood movies from around

01:18:53.619 --> 01:18:56.289
this time where like. even though the characters

01:18:56.289 --> 01:18:58.850
are predominantly white or even exclusively white,

01:18:58.949 --> 01:19:01.630
like I think you can like read certain interpretations

01:19:01.630 --> 01:19:04.449
into them. Like for example, Fritz Long's movie

01:19:04.449 --> 01:19:08.630
Fury from 1936 is all about a lynch mob and Fritz

01:19:08.630 --> 01:19:11.210
Long wanted the main character to be black, but

01:19:11.210 --> 01:19:13.390
the studio wouldn't allow that. The production

01:19:13.390 --> 01:19:16.770
code wouldn't allow that. So that character is

01:19:16.770 --> 01:19:19.449
ultimately played by Spencer Tracy. But, you

01:19:19.449 --> 01:19:22.810
know, I think like in movies about... you know,

01:19:22.810 --> 01:19:25.229
abuse of authority and distrust of authority

01:19:25.229 --> 01:19:27.850
figures. Like, I think you can read in some of

01:19:27.850 --> 01:19:30.449
those racial issues, even if for a lot of reasons,

01:19:30.569 --> 01:19:33.409
the characters themselves were kind of forced

01:19:33.409 --> 01:19:36.310
to be almost unanimously white, you know? Yeah.

01:19:36.310 --> 01:19:38.829
Oh, that adds such an interesting layer to this

01:19:38.829 --> 01:19:43.029
film. Yeah. Yeah. Because yeah, like you said,

01:19:43.130 --> 01:19:46.149
I mean, it is very, I can't think of too many

01:19:46.149 --> 01:19:47.869
other movies from this time where the police

01:19:47.869 --> 01:19:52.510
characters are so untrustworthy. violent, negative,

01:19:52.630 --> 01:19:54.829
and of course they are under control by Martians,

01:19:54.829 --> 01:19:57.029
so that's the explanation of it, but it's still

01:19:57.029 --> 01:19:59.529
a pretty striking representation to see. There

01:19:59.529 --> 01:20:01.010
was one other thing I was going to add, but I

01:20:01.010 --> 01:20:03.050
think I can work it into my breakdowns later.

01:20:03.590 --> 01:20:05.729
Great. We'll talk about the good, the bad, and

01:20:05.729 --> 01:20:09.649
the campy as we respectively saw it. What did

01:20:09.649 --> 01:20:12.729
you find good about this movie? Well, I know

01:20:12.729 --> 01:20:15.430
I kind of overindulged my love of the movie's

01:20:15.430 --> 01:20:17.869
visual style before, but it is just stunningly

01:20:17.869 --> 01:20:20.670
beautiful. And like, I don't know, sometimes

01:20:20.670 --> 01:20:22.229
in the past I've wondered like, what would it

01:20:22.229 --> 01:20:24.430
be like if like a genre movie like horror or

01:20:24.430 --> 01:20:27.189
sci -fi had like the kind of just stunningly

01:20:27.189 --> 01:20:29.329
gorgeous technicolor that you see in some of

01:20:29.329 --> 01:20:31.289
those Powell and Pressburger movies, like the

01:20:31.289 --> 01:20:33.470
Red Shoes and Black Narcissus and A Matter of

01:20:33.470 --> 01:20:35.329
Life and Death and stuff like that. And this

01:20:35.329 --> 01:20:37.850
is not technicolor, but I think this is basically

01:20:37.850 --> 01:20:42.100
that. Like, it's sort of a... silly but fun genre

01:20:42.100 --> 01:20:45.539
movie that is just stunningly beautiful and there

01:20:45.539 --> 01:20:47.840
were a number of compositions where I like audibly

01:20:47.840 --> 01:20:50.899
gasped or said like wow or like oh my god like

01:20:50.899 --> 01:20:54.880
it's and like again credit to Menzies and also

01:20:54.880 --> 01:20:57.659
John Seitz and you know the set designers and

01:20:57.659 --> 01:20:59.899
everybody else involved but the compositions

01:20:59.899 --> 01:21:03.279
the sets the colors just a feast for the eyes

01:21:03.279 --> 01:21:07.560
it looks amazing I love that I love the score

01:21:07.560 --> 01:21:14.399
the music in this film It is so eerie and unsettling.

01:21:14.699 --> 01:21:18.800
It's like a sting every time we, like somebody

01:21:18.800 --> 01:21:22.880
disappears into the sand pit. Big, like cosmic

01:21:22.880 --> 01:21:26.800
horror type vibes. Like color out of space. Like

01:21:26.800 --> 01:21:30.000
I could see this living in that world too. And

01:21:30.000 --> 01:21:33.819
I just found that really captivating. The little

01:21:33.819 --> 01:21:38.079
girl, when she's mind controlled, very creepy.

01:21:38.820 --> 01:21:41.859
Very effective. Yeah. The other things I've mentioned,

01:21:41.920 --> 01:21:45.600
the stark minimalism of the set, but yeah, I

01:21:45.600 --> 01:21:48.680
love the music. I love the, it's this brand of

01:21:48.680 --> 01:21:52.220
horror that it digs into. Yeah. It's like formally,

01:21:52.279 --> 01:21:55.420
it's just really amazing movie. And I'm always

01:21:55.420 --> 01:21:57.380
especially impressed if like a very low budget

01:21:57.380 --> 01:21:59.859
movie is able to achieve that because, you know,

01:21:59.859 --> 01:22:02.039
they didn't have the best resources to work with,

01:22:02.079 --> 01:22:05.260
but still they put so much care and like precision

01:22:05.260 --> 01:22:07.960
into the style of the movie. I'm honestly surprised

01:22:07.960 --> 01:22:10.239
it was shot in color at all. Yeah. Considering

01:22:10.239 --> 01:22:13.579
the budget. And maybe that's why we don't really

01:22:13.579 --> 01:22:15.380
recognize a lot of the cast and crew because

01:22:15.380 --> 01:22:18.899
all the budget went to like the film basically,

01:22:18.979 --> 01:22:21.560
like the literal like celluloid, like color film

01:22:21.560 --> 01:22:23.720
strip or whatever, you know? Because yeah, I

01:22:23.720 --> 01:22:25.560
feel like that's where most of the budget went.

01:22:25.619 --> 01:22:28.079
And then maybe the cast was mostly unknowns,

01:22:28.199 --> 01:22:31.939
but money well spent, I would say. Yeah. Cool,

01:22:32.060 --> 01:22:35.899
man. What doesn't work for you in this movie?

01:22:36.700 --> 01:22:38.619
Well, we already talked about the military stock

01:22:38.619 --> 01:22:41.239
footage a little bit, so I won't focus on that

01:22:41.239 --> 01:22:43.300
right now. But I really don't like the ending

01:22:43.300 --> 01:22:46.010
of this movie. And I, you know, there will be

01:22:46.010 --> 01:22:47.689
a couple of spoilers here, so I'm sorry about

01:22:47.689 --> 01:22:50.470
that, but it gets pretty close to like the, was

01:22:50.470 --> 01:22:53.670
it all a dream ending? And it's like a little

01:22:53.670 --> 01:22:56.270
bit more complex in this case, because you think

01:22:56.270 --> 01:22:58.409
it was all a dream, but then like the boy looks

01:22:58.409 --> 01:23:00.850
out the window and he sees another spaceship

01:23:00.850 --> 01:23:03.010
crash land. So it's seemingly starting all over

01:23:03.010 --> 01:23:05.829
again. And I was kind of just like, why, what

01:23:05.829 --> 01:23:08.739
is the point of that? I feel like they just didn't

01:23:08.739 --> 01:23:12.199
know how to end it. But this is, so I do want

01:23:12.199 --> 01:23:13.899
to shout out a really great review of this movie

01:23:13.899 --> 01:23:16.100
that I read online. I didn't really find too

01:23:16.100 --> 01:23:18.619
many reviews online, unfortunately. Maybe that

01:23:18.619 --> 01:23:20.920
speaks to just how undervalued this movie is.

01:23:21.000 --> 01:23:24.479
But there is a really good review from SciFist,

01:23:24.579 --> 01:23:27.380
SciFiST. I don't know how you pronounce the website.

01:23:27.779 --> 01:23:29.659
I hope it's SciFist because that's kind of a

01:23:29.659 --> 01:23:32.659
funny name. But this review is by somebody named...

01:23:33.000 --> 01:23:37.800
Jan Voss, J -A -N -N -E -W -A -S -S. I apologize

01:23:37.800 --> 01:23:40.760
if I'm pronouncing that incorrectly. But anyway,

01:23:40.920 --> 01:23:44.000
this critic says this is a very Freudian movie.

01:23:44.199 --> 01:23:47.579
It is the boy's dream, basically. And his dream

01:23:47.579 --> 01:23:51.079
of like... His terror that his parents will betray

01:23:51.079 --> 01:23:53.859
him, will turn on him. And even like his sexual

01:23:53.859 --> 01:23:55.979
awakening with the Dr. Blake character, who's

01:23:55.979 --> 01:23:58.460
very pretty and is the first adult figure to

01:23:58.460 --> 01:24:00.760
actually trust him and take his side. And some

01:24:00.760 --> 01:24:03.479
other Freudian stuff that comes up, like the

01:24:03.479 --> 01:24:05.960
review goes into some depth about that. And it's

01:24:05.960 --> 01:24:08.560
a really fascinating reading. And I read that

01:24:08.560 --> 01:24:10.100
review and I was like, all right, well, I guess

01:24:10.100 --> 01:24:12.500
I kind of understand the, it was all a dream

01:24:12.500 --> 01:24:15.180
scenario, but it still feels like kind of a cop

01:24:15.180 --> 01:24:19.890
-out ending to me. Yeah, that's interesting.

01:24:20.310 --> 01:24:24.350
I could see that take or that lens of the film.

01:24:24.689 --> 01:24:28.449
I think that just speaks to the type of movie

01:24:28.449 --> 01:24:30.810
it is. You can read this movie any way you want.

01:24:31.149 --> 01:24:35.569
Yeah. Sexual awakening or not. And I think the

01:24:35.569 --> 01:24:38.069
surreal sets that look very unrealistic kind

01:24:38.069 --> 01:24:40.170
of add to that a little bit too, you know? Yeah.

01:24:40.369 --> 01:24:42.789
I don't mind the ending. I just don't think about

01:24:42.789 --> 01:24:45.529
it. So here's kind of like what I don't. It just

01:24:45.529 --> 01:24:48.079
doesn't work for me with this film. In addition

01:24:48.079 --> 01:24:51.300
to, well, it's all the like the tank montages.

01:24:51.640 --> 01:24:54.720
It's like the last half hour of this movie. Dude,

01:24:54.779 --> 01:24:58.079
Pluto TV has a commercial break like every five

01:24:58.079 --> 01:25:01.560
minutes. And it just totally killed like the

01:25:01.560 --> 01:25:05.220
viewing experience of this film. Yeah. So that

01:25:05.220 --> 01:25:09.800
last half hour was a long half hour. Tank montages

01:25:09.800 --> 01:25:12.880
and then like running through tunnels. And I

01:25:12.880 --> 01:25:18.109
just, it was such a struggle for me. That's so

01:25:18.109 --> 01:25:20.590
understandable. How do you feel about the design

01:25:20.590 --> 01:25:24.369
of the Martians themselves? I'm not, I think

01:25:24.369 --> 01:25:27.710
they look too cheap. Yeah. I love like the tentacled

01:25:27.710 --> 01:25:32.109
head in the orb. Yeah. But like the humanoid

01:25:32.109 --> 01:25:36.189
Martians, I mean, I am making fun of their costumes

01:25:36.189 --> 01:25:40.109
because I'm kind of like, that's the best you

01:25:40.109 --> 01:25:41.949
could do. Like I'm all for like going simple.

01:25:42.880 --> 01:25:45.300
You don't have to give me like six arms and,

01:25:45.359 --> 01:25:48.720
you know, a one eye type thing. Yeah. But like,

01:25:48.800 --> 01:25:52.579
I don't know. It looks like you just. A better

01:25:52.579 --> 01:25:54.220
choice could have been could have been made with

01:25:54.220 --> 01:25:58.079
their costuming. Yes, for sure. Yeah. I mean,

01:25:58.079 --> 01:25:59.840
you're right. It looks like they're wearing green

01:25:59.840 --> 01:26:01.739
footie pajamas and they're supposed to like,

01:26:01.819 --> 01:26:03.439
you know, they're supposed to be really tall.

01:26:03.579 --> 01:26:05.500
But then they like lumber through these tunnels

01:26:05.500 --> 01:26:07.439
and they look honestly just kind of like klutzy

01:26:07.439 --> 01:26:10.939
and awkward. Yeah. Not very scary. And like.

01:26:11.430 --> 01:26:13.170
You know, we really only see them in the last

01:26:13.170 --> 01:26:15.229
20 minutes, half hour of the movie. And like,

01:26:15.229 --> 01:26:17.789
that should be the most intense, scary part of

01:26:17.789 --> 01:26:19.909
the movie. But even aside from the commercial

01:26:19.909 --> 01:26:21.770
breaks, I feel like that is when it kind of starts

01:26:21.770 --> 01:26:23.770
to slow down a little bit. And you know what

01:26:23.770 --> 01:26:26.310
it is? It's the, I think it's the casting of

01:26:26.310 --> 01:26:29.329
those actors in the Martian costumes because

01:26:29.329 --> 01:26:34.470
they look like uncles who just like left the

01:26:34.470 --> 01:26:36.890
bar and then went into this movie. Like they

01:26:36.890 --> 01:26:39.739
have beer bellies. Like you say, lumbering. You're

01:26:39.739 --> 01:26:41.979
right. They lumber. And I'm like, you should

01:26:41.979 --> 01:26:46.020
give me someone who looks physically superior.

01:26:46.260 --> 01:26:49.060
Maybe they've got a lot of muscles. Maybe they

01:26:49.060 --> 01:26:51.760
look like they could kick my butt. Yeah. And

01:26:51.760 --> 01:26:54.119
not just like they're going to fall asleep on

01:26:54.119 --> 01:27:01.439
me. Very well said. Yeah. They are not menacing

01:27:01.439 --> 01:27:04.479
at all. That's why it's kind of interesting to

01:27:04.479 --> 01:27:06.180
read just about all the kids that were frightened

01:27:06.180 --> 01:27:07.880
by this movie and like the critics who were like,

01:27:07.939 --> 01:27:10.159
oh, this is a really scary movie. Like parts

01:27:10.159 --> 01:27:12.279
of it are, like I mentioned before, but like

01:27:12.279 --> 01:27:14.979
those Martians are not. They're not the scary

01:27:14.979 --> 01:27:22.029
part of this movie. Yeah. But I guess I just

01:27:22.029 --> 01:27:24.649
want to say there are some amazing shots in the

01:27:24.649 --> 01:27:26.949
last 20 minutes of the movie, especially when

01:27:26.949 --> 01:27:30.109
that doctor, Dr. Blake, she's about to have one

01:27:30.109 --> 01:27:32.189
of those transmitters implanted in her neck.

01:27:32.289 --> 01:27:34.670
And there's this incredible low angle shot where

01:27:34.670 --> 01:27:38.029
we see a close up of her and she's passed out.

01:27:38.090 --> 01:27:40.970
And this transmitter is coming slowly closer

01:27:40.970 --> 01:27:43.529
and closer to her neck. It's an incredible shot.

01:27:43.710 --> 01:27:45.430
So there are still some moments towards the end

01:27:45.430 --> 01:27:48.270
that I did still enjoy. Well, thank you for shouting

01:27:48.270 --> 01:27:50.729
those out. I really need to watch this again,

01:27:50.829 --> 01:27:53.350
and I will one day, because I do like this movie

01:27:53.350 --> 01:27:59.289
a lot, despite my inability to watch it in its

01:27:59.289 --> 01:28:04.310
full glory this week. Yeah. It might be due for

01:28:04.310 --> 01:28:07.130
a rewatch sometime soon. An immediate rewatch.

01:28:07.369 --> 01:28:12.710
Yeah. It would be worth it. Yeah. Yeah. All right.

01:28:12.949 --> 01:28:15.869
Some campy stuff before we give it our final

01:28:15.869 --> 01:28:19.989
ratings. so much. There's a lot of campy stuff

01:28:19.989 --> 01:28:23.029
in this, in the best possible way. One example

01:28:23.029 --> 01:28:25.250
that I really loved is, so I mentioned those

01:28:25.250 --> 01:28:27.409
two police officers who were like under control,

01:28:27.470 --> 01:28:29.409
the Martians, and then they blow up a building

01:28:29.409 --> 01:28:31.170
and then they're both killed by the Martians

01:28:31.170 --> 01:28:32.770
because they've done their duty or whatever.

01:28:33.050 --> 01:28:35.510
And then another police officer is like radioing

01:28:35.510 --> 01:28:37.970
to his superior officer and he's like, yeah,

01:28:38.029 --> 01:28:40.199
they were blown to bits. And I just think that's

01:28:40.199 --> 01:28:42.539
like a hilarious way to talk about the death

01:28:42.539 --> 01:28:45.020
of like two officers that you probably knew pretty

01:28:45.020 --> 01:28:47.359
well and worked with for a long time. And this

01:28:47.359 --> 01:28:49.619
guy just emotionlessly is like, they're blown

01:28:49.619 --> 01:28:52.000
to bits. I burst out laughing at that. I love

01:28:52.000 --> 01:28:56.819
that. Oh, that's very funny. I loved, it was

01:28:56.819 --> 01:28:59.800
right in the beginning. The boy, he wakes up

01:28:59.800 --> 01:29:02.520
his parents because he's seen this UFO. They

01:29:02.520 --> 01:29:05.899
jump up out of bed and mom is in full makeup.

01:29:07.239 --> 01:29:10.239
Lipstick, her hair done up. She's beautiful.

01:29:11.420 --> 01:29:15.180
And Ellen said to me, why is she in full makeup?

01:29:16.939 --> 01:29:20.279
That is a good question. Yeah. Just a classic

01:29:20.279 --> 01:29:24.359
movie thing where even in sleep, women cannot

01:29:24.359 --> 01:29:27.420
take off. They can't look not beautiful, right?

01:29:27.739 --> 01:29:32.039
Yeah. So unrealistic. Yeah. that's a really good

01:29:32.039 --> 01:29:34.500
point I think honestly I was just like so blown

01:29:34.500 --> 01:29:36.779
away by how red the lipstick was and like how

01:29:36.779 --> 01:29:39.180
bright her like blonde hair was and just the

01:29:39.180 --> 01:29:40.659
colors in general that I didn't really think

01:29:40.659 --> 01:29:42.420
about that but yeah that's a little ridiculous

01:29:42.420 --> 01:29:47.270
yep There's another shot that I really love.

01:29:47.449 --> 01:29:49.909
It's going to be hard to explain, but like the

01:29:49.909 --> 01:29:52.170
boy is crying. He's very distraught because he

01:29:52.170 --> 01:29:54.170
thinks that his parents are going to die. Like

01:29:54.170 --> 01:29:56.569
they have the transmitter and he knows that like

01:29:56.569 --> 01:29:58.350
everybody else that has the transmitter has died

01:29:58.350 --> 01:30:02.220
so far. So the boy is like. He's crying. He's

01:30:02.220 --> 01:30:04.920
very distraught. And Dr. Blake, the female doctor,

01:30:05.039 --> 01:30:07.020
is like hugging him and trying to console him.

01:30:07.239 --> 01:30:09.579
And the man, Dr. Kelston, is just like smoking

01:30:09.579 --> 01:30:11.739
a pipe right behind them and like eyeing them

01:30:11.739 --> 01:30:14.659
very coldly. And just the look on his face, he's

01:30:14.659 --> 01:30:16.479
just puffing away on this pipe as this boy is

01:30:16.479 --> 01:30:18.699
crying right in front of him. It's very, very

01:30:18.699 --> 01:30:24.119
funny to me. Remember the mom of the little girl,

01:30:24.220 --> 01:30:27.039
the creepy little girl? Her house is set on fire.

01:30:27.100 --> 01:30:29.699
Like the girl sets her own house on fire. There's

01:30:29.699 --> 01:30:33.489
like a petroleum tank. in the basement and mom

01:30:33.489 --> 01:30:35.949
is like we keep that in the shed and the guy

01:30:35.949 --> 01:30:39.170
was like well that's what's happening i that's

01:30:39.170 --> 01:30:44.590
what's burning yeah don't argue with me the house

01:30:44.590 --> 01:30:50.130
is on fire who cares yeah i laughed at that part

01:30:50.130 --> 01:30:52.670
too yeah just the way he says that like well

01:30:52.670 --> 01:30:54.489
there's a petroleum tank there i don't know what

01:30:54.489 --> 01:30:59.319
to sell you you're right it's It's strange that

01:30:59.319 --> 01:31:01.399
it's not in the garage. What should we do now?

01:31:02.619 --> 01:31:04.939
It must not be the one from your shed because,

01:31:05.039 --> 01:31:06.979
yeah, like clearly that's where you keep your

01:31:06.979 --> 01:31:11.920
petroleum, in the shed at all times. Yeah. Yeah,

01:31:12.039 --> 01:31:16.039
that was a really funny moment. There are also

01:31:16.039 --> 01:31:17.819
a lot of good catchphrases, like we mentioned

01:31:17.819 --> 01:31:19.699
gee whiz before, but there's another part where

01:31:19.699 --> 01:31:22.640
another police officer, I can't even really remember

01:31:22.640 --> 01:31:24.439
exactly what happened, but he's responding to

01:31:24.439 --> 01:31:26.260
something crazy that happened. And he's like,

01:31:26.359 --> 01:31:29.140
suffering cats. And I thought that was a cool

01:31:29.140 --> 01:31:34.720
catchphrase. I remember that, yeah. Yeah, there's

01:31:34.720 --> 01:31:37.460
a lot in this movie, but it still manages to

01:31:37.460 --> 01:31:40.140
take itself seriously, too, which I appreciate.

01:31:41.119 --> 01:31:44.479
Totally. It can't be in the best way. This is

01:31:44.479 --> 01:31:47.060
why we love movies like this. I want to mention

01:31:47.060 --> 01:31:50.319
one more shot before we move on. Mom and Dad,

01:31:50.520 --> 01:31:53.479
when they, or Dad has just tried to assassinate

01:31:53.479 --> 01:31:58.399
the scientist with a rifle, and he misses. And

01:31:58.399 --> 01:32:00.720
you see him. This is one of those great shots.

01:32:00.880 --> 01:32:03.659
He's like in the background of the picture. And

01:32:03.659 --> 01:32:08.119
he runs for like 30 seconds all the way back

01:32:08.119 --> 01:32:11.140
to his getaway car, which is right in the foreground.

01:32:11.899 --> 01:32:16.119
There's no cutting. There's no camera angle other

01:32:16.119 --> 01:32:18.760
than this one master shot. And you just watch

01:32:18.760 --> 01:32:23.359
him run for like 30 seconds. Get in the car and

01:32:23.359 --> 01:32:25.979
speed away. I was like, I love this shot. This

01:32:25.979 --> 01:32:28.829
is amazing. Totally. Yeah, that's an amazing

01:32:28.829 --> 01:32:30.829
scene. Like even the lead up to that when we

01:32:30.829 --> 01:32:32.649
see the scientist working in his laboratory,

01:32:32.850 --> 01:32:35.310
but we see him from the outside. So like we're

01:32:35.310 --> 01:32:37.329
looking through this window and we see like mostly

01:32:37.329 --> 01:32:39.850
this like big white wall with nothing else. There's

01:32:39.850 --> 01:32:42.750
just this one human figure kind of like small

01:32:42.750 --> 01:32:45.750
on screen. That shot is amazing too. Like every

01:32:45.750 --> 01:32:49.210
part of that scene is great. Yeah. All right.

01:32:49.229 --> 01:32:53.710
Let us give our final ratings of this film. Let's

01:32:53.710 --> 01:32:57.420
do it. Take us away. As usual, should I run down

01:32:57.420 --> 01:32:59.899
our different rankings? Please do. All right.

01:32:59.939 --> 01:33:02.680
Our highest ranking here on Camp Kaiju, it's

01:33:02.680 --> 01:33:04.359
a timeless classic. It definitely stands the

01:33:04.359 --> 01:33:08.060
test of time. Second rating, there may be some

01:33:08.060 --> 01:33:09.979
antiquated moments, but overall it's great. It

01:33:09.979 --> 01:33:12.699
stands the test of time. Number three, it may

01:33:12.699 --> 01:33:15.119
be historically significant or just fun, but

01:33:15.119 --> 01:33:18.079
it does not stand the test of time. And our lowest

01:33:18.079 --> 01:33:20.300
ranking, it is not worth revisiting and definitely

01:33:20.300 --> 01:33:25.570
does not stand the test of time. Okay. Well,

01:33:25.570 --> 01:33:29.890
I'll let you go first. Okay. So I'm tempted to

01:33:29.890 --> 01:33:32.050
give this our highest rating, but I think I'm

01:33:32.050 --> 01:33:33.710
going to have to say there may be some antiquated

01:33:33.710 --> 01:33:36.050
moments, but overall, it's great. It stands the

01:33:36.050 --> 01:33:39.210
test of time. I mean, again, just visually, it's

01:33:39.210 --> 01:33:41.170
astonishing. There are some really compelling

01:33:41.170 --> 01:33:44.529
themes. It's very entertaining. So much to love

01:33:44.529 --> 01:33:46.989
about this movie. I think the pro -military stuff

01:33:46.989 --> 01:33:49.779
and that, was it all a dream ending? prevent

01:33:49.779 --> 01:33:52.180
me from giving it the highest score here on Camp

01:33:52.180 --> 01:33:54.939
Kaiju. But this movie absolutely stands the best

01:33:54.939 --> 01:33:57.359
of the test of time. It should be better known.

01:33:57.380 --> 01:34:00.880
And it's just a gorgeous, gorgeous movie. That's

01:34:00.880 --> 01:34:02.899
so cool, man. I'm so happy you liked it. I never

01:34:02.899 --> 01:34:04.899
know, like, you know, you bring a favorite movie,

01:34:05.060 --> 01:34:07.220
you show your friends, you hope they like it

01:34:07.220 --> 01:34:08.680
as much as you. And in fact, I think you'd like

01:34:08.680 --> 01:34:12.699
it more than me. Which is really great. That

01:34:12.699 --> 01:34:15.060
makes me feel good. Cool. I think this movie

01:34:15.060 --> 01:34:17.600
has antiquated moments, but it does stand the

01:34:17.600 --> 01:34:20.979
test of time. I think what prevents me from giving

01:34:20.979 --> 01:34:24.000
this the highest level is the last third of the

01:34:24.000 --> 01:34:28.000
film. It does seem like it's just full of extra

01:34:28.000 --> 01:34:30.460
footage to like, you know, extend that runtime,

01:34:30.720 --> 01:34:34.819
which is strange to me when a movie like is,

01:34:34.920 --> 01:34:37.380
honestly, this movie should just be 60 minutes.

01:34:38.199 --> 01:34:42.060
Yeah. But then is that, you know, I don't know.

01:34:42.159 --> 01:34:45.460
Would I prefer just a tight 60 minutes of this

01:34:45.460 --> 01:34:50.630
movie? Maybe. But at the same time, what we do

01:34:50.630 --> 01:34:52.890
get that's strong in this movie is like really

01:34:52.890 --> 01:34:56.510
strong. Menzi's direction, Seitz's cinematography,

01:34:56.670 --> 01:35:01.770
the themes of the family and distrust in your

01:35:01.770 --> 01:35:05.069
parents. It's so heartbreaking. I can't wait

01:35:05.069 --> 01:35:07.810
to show this to my kid. I hope she's not super

01:35:07.810 --> 01:35:10.090
scared, but maybe she will be. And in that case,

01:35:10.149 --> 01:35:13.890
this will get a classic rating because I think

01:35:13.890 --> 01:35:17.779
this movie... I think we've seen too many things,

01:35:17.899 --> 01:35:20.399
right? I want to watch this movie as a 10 -year

01:35:20.399 --> 01:35:23.600
-old, like Spielberg and all those others. And

01:35:23.600 --> 01:35:26.699
yeah, I bet we would love it more than we can

01:35:26.699 --> 01:35:31.659
say. Yeah, totally. I'm not really very familiar

01:35:31.659 --> 01:35:33.640
with some of the old sci -fi magazines, like

01:35:33.640 --> 01:35:35.920
Weird Tales and Astounding Stories and stuff

01:35:35.920 --> 01:35:37.840
like that, like retro magazines that were very

01:35:37.840 --> 01:35:40.060
popular in the 50s. But I feel like this movie

01:35:40.060 --> 01:35:42.699
maybe is the best. cinematic version of stories

01:35:42.699 --> 01:35:44.739
like that you know where like you can imagine

01:35:44.739 --> 01:35:47.079
a 10 year old boy just like can't wait to like

01:35:47.079 --> 01:35:49.460
open up that magazine and read the next alien

01:35:49.460 --> 01:35:51.680
invasion story oh i love that you brought that

01:35:51.680 --> 01:35:53.720
up because there's a line i think mom talks about

01:35:53.720 --> 01:35:57.000
how how her son's reading all those trash sci

01:35:57.000 --> 01:35:59.720
-fi magazines like they directly allude to what

01:35:59.720 --> 01:36:02.760
you're talking about yeah and i think yeah i

01:36:02.760 --> 01:36:05.500
think in that way this film absolutely taps into

01:36:05.500 --> 01:36:08.960
what was popular with children at the time comic

01:36:08.960 --> 01:36:14.949
books horror stuff absolutely yeah yeah and we

01:36:14.949 --> 01:36:16.630
we kind of talked about this before but like

01:36:16.630 --> 01:36:19.010
very cool to imagine spielberg and joe dante

01:36:19.010 --> 01:36:22.189
and john landis and john sales like as boys loving

01:36:22.189 --> 01:36:23.890
this movie and going to see it numerous times

01:36:23.890 --> 01:36:27.270
in the theater that's great yeah yeah Well, on

01:36:27.270 --> 01:36:29.270
that note, that's a great note to end it all

01:36:29.270 --> 01:36:31.289
on. Thank you all for listening. Thank you for

01:36:31.289 --> 01:36:32.869
hanging out. Please rate and review wherever

01:36:32.869 --> 01:36:35.649
you listen. You can also share this podcast with

01:36:35.649 --> 01:36:38.850
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01:36:38.850 --> 01:36:42.510
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01:36:43.229 --> 01:36:46.170
Links all in the show notes. If you'd like to

01:36:46.170 --> 01:36:48.510
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01:36:48.510 --> 01:36:52.949
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01:36:52.949 --> 01:36:55.149
monster movies and memories, what you think about

01:36:55.149 --> 01:36:58.199
Jaws. and think about invaders from Mars. Please

01:36:58.199 --> 01:37:00.939
check out our website, CampKaijuPodcast .com,

01:37:01.020 --> 01:37:04.159
for more information. Camp Kaiju is recorded

01:37:04.159 --> 01:37:06.500
in Minneapolis, St. Paul, with me in the mailbox

01:37:06.500 --> 01:37:09.439
music by Ben Cook -Felts. Thank you again, friends,

01:37:09.600 --> 01:37:13.369
and until next time, stay campy. Camp Kaiju is

01:37:13.369 --> 01:37:15.449
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