WEBVTT

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playmate land what are we doing like this you

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hefner he creates an island for tourists but

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it's an animal themed island yeah it makes no

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sense i'm like no wonder your daughter doesn't

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like you you're a dirty old man yeah you're kind

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of a sleazeball Hello and welcome to the Camp

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Kaiju Monster Movie Podcast. We're your hosts,

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Vincent Hennem. And Matt Levine. And we're talking

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all our favorite monster movies, the good, the

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bad, and the downright campy, and asking if they

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stand the test of time. Traditional kaiju, creature

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features, space invaders, the supernatural, and

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everything in between. All strange beasts welcome

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here. Camp Kaiju is sponsored by Zach Linder

00:01:03.289 --> 00:01:05.750
and the Zach Pack, powered by Coldwell Banker

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Realty, your source for real estate home rehab,

00:01:08.849 --> 00:01:11.069
fixing and flipping for investor clients and

00:01:11.069 --> 00:01:13.530
residential buyers. Reach out to the Zach Pack

00:01:13.530 --> 00:01:16.030
today for real estate services. Follow the Zach

00:01:16.030 --> 00:01:19.290
Pack on social media and contact the Zach Pack

00:01:19.290 --> 00:01:22.769
for investment opportunities. Link in the show

00:01:22.769 --> 00:01:34.700
notes. Today, modern man is preoccupied by the

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mysteries of outer space. Scientists are probing

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farther and farther away from Earth. And yet,

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here on this very world we live in are hidden

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mysteries. Mysteries better left alone, for if

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they are disturbed, they could destroy the world.

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And now, an expedition goes to a strange South

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Sea island. To a forbidden jungle. To a forbidden

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village. Breaking taboos that anger the gods.

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of the monsters. The selfish whim of a magazine

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publisher. In this park, I will have strange

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tropical animals. Results in horrible destruction.

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The monsters can actually think. And in addition...

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They can communicate with others of their own

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species. Matt Levine, yo, gaba, gaba, yo, gaba,

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gaba. Should the tri -phibian monster himself.

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Are you, what element are you tonight? Are you

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sea, sky, or land? Hmm. Let's say sky. I'm feeling

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that way today. All right. All right. I'm going

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to say sea. I'm the ocean. Maybe drowning a little

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bit, but I'm holding my own. All right. Nice.

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Is that a reference to Trifibion? I have to admit

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I don't know exactly what that means. I believe

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that is the root origin of Trifibion because

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they can travel in those three elements. Yeah,

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that makes a lot of sense. I should have thought

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of that before now. I was just like, I don't

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know what triphibian means. Oh, well, who cares?

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But I probably should have thought about that

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a little bit more. But yeah, that makes sense.

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And it makes sense given the gap of monsters

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in the movie, too. I don't know if anyone knew

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really what it means. Your guess is as good as

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mine. Yeah. Did they make up that word for this

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movie? Or is that... I should have done this

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research already. Sorry. You didn't look up the

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etymology? Of Trifibian? I should die. Let's

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do it. Let's see here. Listeners, this is going

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to be a good episode. Today we are talking about

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Gappa, the Trifibian monster, a 1967 kaiju picture

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from Nikatsu Studios, a rival studio of Toho

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and Daiei. And we're going to get into this.

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under -seen, maybe under -appreciated kaiju movie

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and talk about kind of the oddities of this film,

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including Trifibion. Where did it come from?

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Where did it go? We'll find out. I think it is

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an actual word in my very quick research that

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I did. It's in Merriam -Webster. It doesn't really

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have a lot in the word history section, but yeah,

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it's a word. That's all I can tell you. It is

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a word. Okay. It means something that can operate

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on land, sea, and in the air. Like a giant monster.

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Yep. Like a mom and dad monster that just wants

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to get their baby back. Who doesn't? Yeah. You

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know, they can team up with Mama Gorgo, too.

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Yeah, since this movie is perhaps just a ripoff

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of Gorgo, but we'll talk about that more, I'm

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sure. Perhaps. Who did it better, though? That's

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going to be the question. Yeah, yeah, for sure.

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All right, well, how the hell are you? I'm doing

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pretty well. This is pretty much my favorite

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time of year. We're recording this in early November,

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so Halloween just happened. The fall colors are

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bright and beautiful. Today was like in the mid

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-60s in the Twin Cities. It was also voting day

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in the Twin Cities and obviously a lot of other

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places as well. So yeah, beautiful day today.

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I love this time of year. This is also my favorite

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time of year. Every Tuesday night, sitting down

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to record. I shucks this particular Tuesday night

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though. This is our first recording after Halloween.

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So I'm still feeling the post Halloween glow.

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Yeah. Yeah. And we're, our last episode was 20

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million miles to earth with Naomi. Loved recording

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that. Love that movie. Um, I, I am such a huge

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fan of all monster movies, the universal movies

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off the wall kind of. offbeat types of films.

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But this is Camp Kaiju. And it is always great

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to get back to the traditional Kaijus. And I

00:08:43.190 --> 00:08:45.970
am including the Ymir from 20 Million Miles to

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Earth. But Gappa, it's Japanese Kaiju. We're

00:08:50.269 --> 00:08:52.909
getting back to the home country. And I think

00:08:52.909 --> 00:08:57.350
it's a fun movie to talk about. You know, flaws

00:08:57.350 --> 00:09:01.029
and all. Yeah, I agree. It's good to get back

00:09:01.029 --> 00:09:04.029
to like the genuine, true definition of kaiju.

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It's good to get back to like, you know, a Japanese

00:09:07.230 --> 00:09:09.409
monster movie where there's no question these

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are kaijus in this movie. I almost feel like

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the movie is a little bit too content to be like,

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yeah, we're going back to basics. We're just

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going to repeat all the cliches of every kaiju

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movie you've ever seen. I think Gap of the Tri

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-Fibian Monster definitely does that, but that's

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not necessarily a totally bad thing. Yep. Yep.

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I've felt that the whole time watching it, but,

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but we'll get there. We'll get there. Got some

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nuts and bolts to get through first friends.

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We do not take you for granted. All you listeners

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out there. Thank you for listening to every episode.

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We really appreciate it. And if you could leave

00:09:44.850 --> 00:09:48.590
us a rating and review to express that joy and

00:09:48.590 --> 00:09:51.289
that appreciation, we would be eternally grateful.

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You can send us listener comments at campkaiju

00:09:54.549 --> 00:09:57.809
at gmail .com or Instagram at camp underscore

00:09:57.809 --> 00:10:01.470
kaiju underscore podcast. I love reading those

00:10:01.470 --> 00:10:03.470
here on the show, sharing them with everybody.

00:10:04.029 --> 00:10:06.429
If you'd even like to go one step further and

00:10:06.429 --> 00:10:09.190
feature your own voice on the show, you can do

00:10:09.190 --> 00:10:14.169
that with a voicemail. 612 -470 -2612. Tell us

00:10:14.169 --> 00:10:16.970
about your favorite monster movies. What element

00:10:16.970 --> 00:10:20.840
are you feeling tonight? And check out our website,

00:10:21.019 --> 00:10:24.179
CampKaijuPodcast .com. Subscribe to the website.

00:10:24.360 --> 00:10:28.019
We have subscribers on there. So thank you, specifically,

00:10:28.279 --> 00:10:32.179
listeners, for doing that on the website. You

00:10:32.179 --> 00:10:35.620
can hit up our Threadless store, CampKaiju .Threadless

00:10:35.620 --> 00:10:40.080
.com, for t -shirts, mugs, stickers, a whole

00:10:40.080 --> 00:10:43.799
host of things. You can become a patron. Yes,

00:10:44.019 --> 00:10:47.960
all you super listeners out there. who have not

00:10:47.960 --> 00:10:51.080
yet made the switch to even just a $5 a month

00:10:51.080 --> 00:10:54.700
patron, you can do that at patreon .com slash

00:10:54.700 --> 00:10:59.059
campkaiju. Now, I will tell you right now, we've

00:10:59.059 --> 00:11:02.200
got discounts on all that merch. If you leave

00:11:02.200 --> 00:11:05.740
a comment as a patron, we'll shoot your thoughts

00:11:05.740 --> 00:11:08.399
right up to the top of our list. If we do have

00:11:08.399 --> 00:11:11.100
live events, I know we say this often, we're

00:11:11.100 --> 00:11:13.580
always working on things, but we really are.

00:11:13.639 --> 00:11:16.610
And one day when they happen. We'll treat you

00:11:16.610 --> 00:11:19.909
like the VIP that you are. Now, what I'll say

00:11:19.909 --> 00:11:24.850
is season six is coming up, Matt. And I do want

00:11:24.850 --> 00:11:28.610
to revamp our Patreon a little bit. All TBD.

00:11:29.090 --> 00:11:33.269
But let's have a Patreon drive starting now in

00:11:33.269 --> 00:11:37.610
November and December of 2025. If you sign up

00:11:37.610 --> 00:11:41.649
at any level for Patreon, all you listeners who

00:11:41.649 --> 00:11:44.899
I know are out there wanting to do it. we will

00:11:44.899 --> 00:11:47.840
send you a tote bag. How do you feel about that,

00:11:47.919 --> 00:11:50.340
Matt? Would you like a tote bag with Camp Kaiju's

00:11:50.340 --> 00:11:53.200
logo on it? I would love one. Man, this is all

00:11:53.200 --> 00:11:55.919
news to me. This is exciting. I've been looking

00:11:55.919 --> 00:11:58.240
for a way to carry around my belongings whenever

00:11:58.240 --> 00:12:01.679
I leave the house. That's perfect. Yes, and you

00:12:01.679 --> 00:12:03.779
can tell people about monster movies and they'll

00:12:03.779 --> 00:12:07.200
say, what is that awesome logo on your bag? And

00:12:07.200 --> 00:12:11.799
you'll say, it's Camp Kaiju. They talk about

00:12:11.799 --> 00:12:14.759
all of our favorite movies. And then you're boom,

00:12:14.899 --> 00:12:16.679
you've made a connection, you've made a friend

00:12:16.679 --> 00:12:20.519
and you're just growing the love for giant monster

00:12:20.519 --> 00:12:23.399
movies. Yeah, I think I have to do that. Maybe

00:12:23.399 --> 00:12:26.000
in the tote bag, I'll put nothing but like monster

00:12:26.000 --> 00:12:28.200
figurines just to like continue the conversation,

00:12:28.399 --> 00:12:32.340
you know, to get whatever you put in your tote

00:12:32.340 --> 00:12:35.159
bags, everybody. That's on that's on you. We

00:12:35.159 --> 00:12:37.480
won't we won't you don't need to share what's

00:12:37.480 --> 00:12:40.000
in your tote bag. But if you want a tote bag.

00:12:40.679 --> 00:12:44.720
Join us at Patreon. Any level gets you in. And

00:12:44.720 --> 00:12:48.519
then and then I am toying around with the idea

00:12:48.519 --> 00:12:53.940
of a once a month happy hour where on Zoom, if

00:12:53.940 --> 00:12:56.919
you are a Patreon, we can have a hangout for

00:12:56.919 --> 00:13:00.480
an hour answering your questions about the show,

00:13:00.679 --> 00:13:04.559
just chatting about movies, nerding out like

00:13:04.559 --> 00:13:08.100
a movie club once a month for Patreon members.

00:13:08.879 --> 00:13:13.840
How do you feel about that? I like it. I like

00:13:13.840 --> 00:13:15.799
it. All kaiju all the time. That's cool. I'm

00:13:15.799 --> 00:13:18.539
excited about that. I like that. Maybe that'll

00:13:18.539 --> 00:13:20.860
be the name of the happy hour. All kaiju all

00:13:20.860 --> 00:13:25.639
the time. That could be on your tote bag. Oh,

00:13:25.679 --> 00:13:29.580
I love it. Yeah. I do too, actually. I'm legitimately

00:13:29.580 --> 00:13:33.600
writing that down. Our new slogan. I didn't even

00:13:33.600 --> 00:13:38.700
mean to come up with it, but there you go. So,

00:13:38.759 --> 00:13:41.899
listeners, what are you waiting for? Visit Patreon

00:13:41.899 --> 00:13:45.700
.com slash Camp Kaiju today for all that and

00:13:45.700 --> 00:13:49.919
a tote bag of chips. Amazing. I didn't know there

00:13:49.919 --> 00:13:52.460
were changes to Patreon coming up. This is news

00:13:52.460 --> 00:13:55.519
to me and very pleasant news, I might add. Yes,

00:13:55.519 --> 00:13:58.360
all of our patrons are amazing. Jason, Chris

00:13:58.360 --> 00:14:03.860
B., Sean, our anonymous patron, and Peggy. All

00:14:03.860 --> 00:14:07.679
right. And don't you fret, loyal patrons. you

00:14:07.679 --> 00:14:13.539
will get your tote bag as well. Okay. Well, ring

00:14:13.539 --> 00:14:17.120
a ding. It is November. Let's talk about some

00:14:17.120 --> 00:14:20.279
monster movies that came out this month in monster

00:14:20.279 --> 00:14:23.480
movie history. Ooh, we got some known titles

00:14:23.480 --> 00:14:28.259
here. What's catching your eye? I think the one

00:14:28.259 --> 00:14:29.980
that I'll shout out, even though I haven't seen

00:14:29.980 --> 00:14:32.740
it in a very long time, is called At Midnight,

00:14:32.779 --> 00:14:36.149
I'll Take Your Soul. It's a Brazilian movie from

00:14:36.149 --> 00:14:39.330
1964. I haven't seen it since I was an undergrad

00:14:39.330 --> 00:14:42.570
in college. So that was, I'll just say a long

00:14:42.570 --> 00:14:45.230
time ago now at this point. And I don't really

00:14:45.230 --> 00:14:46.929
remember it all that well, but it's the first

00:14:46.929 --> 00:14:50.429
appearance of a character named Coffin Joe, who

00:14:50.429 --> 00:14:53.090
became sort of like a popular figure in Brazilian

00:14:53.090 --> 00:14:55.889
horror cinema. And from what I remember, he's

00:14:55.889 --> 00:14:58.190
kind of like a, he's an undertaker, but he's

00:14:58.190 --> 00:15:01.129
also kind of a mix of like a vampire and a zombie

00:15:01.129 --> 00:15:03.450
a little bit who wants to achieve immortality.

00:15:04.120 --> 00:15:06.740
I just remember it's very creepy, has very beautiful

00:15:06.740 --> 00:15:09.919
black and white cinematography, and again, kind

00:15:09.919 --> 00:15:12.299
of gave rise to this phenomenon in Brazilian

00:15:12.299 --> 00:15:14.440
cinema, even though I haven't seen any of the

00:15:14.440 --> 00:15:16.940
other Coffin Joe movies. I would like to at some

00:15:16.940 --> 00:15:21.039
point, and it all started with At Midnight I'll

00:15:21.039 --> 00:15:25.580
Take Your Soul. Very cool. I love that. Wow.

00:15:25.740 --> 00:15:29.059
There's just so many little rabbit holes to go

00:15:29.059 --> 00:15:33.080
down in our favorite genre. That's crazy. Absolutely.

00:15:33.240 --> 00:15:35.340
Yeah. And I'm due for a rewatch on that one.

00:15:35.559 --> 00:15:39.820
That reminds me of the Mexican hero El Santo,

00:15:40.059 --> 00:15:43.860
the Mexican wrestler who turned movie star in

00:15:43.860 --> 00:15:47.879
the 60s and 70s with a series of horror films

00:15:47.879 --> 00:15:54.000
called Santo vs. the Evil Brain from 1961. Let's

00:15:54.000 --> 00:15:59.159
see, Santo vs. the Zombies, 1962. Santo vs. the

00:15:59.159 --> 00:16:02.509
Mummies, the Vampires, like this guy. It's like

00:16:02.509 --> 00:16:06.769
if The Rock was making these movies. And I want

00:16:06.769 --> 00:16:10.149
to watch these movies, too. I know El Santo is

00:16:10.149 --> 00:16:12.070
huge, and I just haven't gotten into those yet.

00:16:12.289 --> 00:16:15.649
But real quick, I was watching Coco, the Pixar

00:16:15.649 --> 00:16:20.110
movie, the other night. And in the afterlife,

00:16:20.389 --> 00:16:23.929
where everybody lives while they wait for their

00:16:23.929 --> 00:16:29.210
Day of the Dead return, El Santo shows up as

00:16:29.210 --> 00:16:32.779
a little cameo character. But he's trying to

00:16:32.779 --> 00:16:36.799
get into a VIP party. And I was just, you know,

00:16:36.820 --> 00:16:39.139
the last time I watched Coco, I had no idea who

00:16:39.139 --> 00:16:43.440
El Santo was. But there he was. I feel like I

00:16:43.440 --> 00:16:45.399
vaguely remember that because I've known about

00:16:45.399 --> 00:16:48.620
El Santo for a long time. And I think when I

00:16:48.620 --> 00:16:50.659
like I only saw Coco when I came out. So kind

00:16:50.659 --> 00:16:52.659
of a long time ago at this point. But I feel

00:16:52.659 --> 00:16:54.899
like I remember that joke. It's a good one. Yeah.

00:16:55.080 --> 00:16:59.700
But anyways, what was released in November? Probably

00:16:59.700 --> 00:17:02.529
an El Santo movie. But what I'm going to shout

00:17:02.529 --> 00:17:06.849
out is a film called The Land That Time Forgot

00:17:06.849 --> 00:17:12.569
from 1974. It is based on a novel by Edgar Rice

00:17:12.569 --> 00:17:15.309
Burroughs. So it's an adventure fantasy movie

00:17:15.309 --> 00:17:19.170
with dinosaurs and cave people. I've never seen

00:17:19.170 --> 00:17:23.609
it, but I have always had like the bargain bin

00:17:23.609 --> 00:17:27.869
DVD. And before I got into Camp Kaiju, it was

00:17:27.869 --> 00:17:30.819
just like a DVD I never paid attention to. But

00:17:30.819 --> 00:17:33.220
now that I'm into monster movies, I'm like, oh,

00:17:33.319 --> 00:17:35.539
I have that. I should watch that at some point.

00:17:37.200 --> 00:17:40.019
But you've never seen it before? Nope. Gotcha.

00:17:41.019 --> 00:17:43.279
Yeah, I've heard that title. It's kind of like

00:17:43.279 --> 00:17:47.460
a cult classic in a way, right? Yeah. Yeah. Sorry,

00:17:47.640 --> 00:17:50.019
I feel like you kind of just said that. No, it's

00:17:50.019 --> 00:17:53.319
all right. Yeah. Well, maybe we'll bring it to

00:17:53.319 --> 00:17:55.920
the pod someday. Maybe. I've got a lot of movies

00:17:55.920 --> 00:17:58.900
like that in my collection that I've never watched.

00:17:59.660 --> 00:18:01.680
But they're waiting. I'll get to them at some

00:18:01.680 --> 00:18:05.799
point. Who knows what treasures await? Including

00:18:05.799 --> 00:18:09.700
Monster from a Prehistoric Planet, which is the

00:18:09.700 --> 00:18:14.079
title of the AIP American release of Gappa, the

00:18:14.079 --> 00:18:18.579
Trifibian Monster. Matt, I have two copies of

00:18:18.579 --> 00:18:21.460
Monster from a Prehistoric Planet. I've had these

00:18:21.460 --> 00:18:24.720
for years. I had no idea what I was sitting on.

00:18:25.000 --> 00:18:29.759
It was Gappa. Yeah. And like the American version

00:18:29.759 --> 00:18:31.700
is pretty similar, right? From the little bit

00:18:31.700 --> 00:18:33.240
that I've read, like it's dubbed into English.

00:18:33.819 --> 00:18:36.359
And like the title over the opening, sorry, the

00:18:36.359 --> 00:18:38.279
song over the opening credits is different. But

00:18:38.279 --> 00:18:40.440
other than that, there aren't too many changes.

00:18:40.519 --> 00:18:43.200
Am I correct about that? It's largely the same.

00:18:43.339 --> 00:18:44.960
There are some, they're just minor differences.

00:18:45.279 --> 00:18:49.140
And I gotta be honest with you. I tried to watch

00:18:49.140 --> 00:18:52.900
Monster from a Prehistoric Planet. And because

00:18:52.900 --> 00:18:56.740
it's a bargain bin DVD, the transfer was atrocious.

00:18:57.599 --> 00:19:03.240
Apparently most of these AIP additions, these

00:19:03.240 --> 00:19:05.500
days they're in the public domain, so they're

00:19:05.500 --> 00:19:09.819
just copied of a copied of a copied dupe of a

00:19:09.819 --> 00:19:16.279
16mm TV viewing from 30 years ago. So it's all

00:19:16.279 --> 00:19:21.299
very terribly, yeah, just rendered. Honestly,

00:19:21.559 --> 00:19:24.420
I couldn't watch it. But if you watch Gappa on

00:19:24.420 --> 00:19:27.009
Tubi... The original just Gap of the Trifibian

00:19:27.009 --> 00:19:30.269
Monster. Night and day difference. It's in lush,

00:19:30.329 --> 00:19:33.430
beautiful, vibrant colors. It's like a real movie.

00:19:33.849 --> 00:19:38.369
So be forewarned out there, folks. If you, too,

00:19:38.529 --> 00:19:41.069
have a copy of Monster from a Prehistoric Planet.

00:19:42.069 --> 00:19:44.109
The same exact thing happened to me. The first

00:19:44.109 --> 00:19:47.410
version I saw online was Monster from a Prehistoric

00:19:47.410 --> 00:19:50.849
Planet. I started it. Could not handle how terrible

00:19:50.849 --> 00:19:53.750
it looked. And then, yeah, found Gap on Tubi.

00:19:53.829 --> 00:19:56.789
So I did exactly what you just mentioned. And

00:19:56.789 --> 00:19:59.150
yeah, the version on Tubi is, it looks pretty

00:19:59.150 --> 00:20:02.670
great. It's a good transfer and everything. I

00:20:02.670 --> 00:20:04.609
usually tend to prefer the subtitled version

00:20:04.609 --> 00:20:07.009
anyway. And in this case, it just looked infinitely

00:20:07.009 --> 00:20:09.170
better than the American one that I found. Oh

00:20:09.170 --> 00:20:14.890
my gosh, it's astoundingly different. Yeah, right.

00:20:15.089 --> 00:20:16.950
It's amazing how much of a difference it makes.

00:20:17.210 --> 00:20:21.339
Like, what? ah i couldn't get through it so yeah

00:20:21.339 --> 00:20:25.400
and also gap of the triphibian monster is just

00:20:25.400 --> 00:20:28.119
a way cooler title i mean monster from a prehistoric

00:20:28.119 --> 00:20:30.400
planet is a pretty good title don't get me wrong

00:20:30.400 --> 00:20:32.799
but like the japanese title is way better in

00:20:32.799 --> 00:20:35.799
my opinion both don't make sense in their own

00:20:35.799 --> 00:20:39.019
ways but i feel like gap of the triphibian monster

00:20:39.019 --> 00:20:43.059
makes less sense but in in a truly intriguing

00:20:43.059 --> 00:20:46.339
way like i'm like oh what what what does that

00:20:46.339 --> 00:20:50.049
mean yeah Monster from a prehistoric planet.

00:20:50.210 --> 00:20:52.150
I'm like, I don't know. Is it just like a dinosaur

00:20:52.150 --> 00:20:55.730
movie? I'm not really invested in finding out

00:20:55.730 --> 00:20:59.710
what that means. Right. Yeah, exactly. Well,

00:21:01.910 --> 00:21:04.289
there's the end of the podcast, everybody. Links

00:21:04.289 --> 00:21:09.009
to the show notes. The end. We're not going to

00:21:09.009 --> 00:21:10.329
tell you if it's good, bad, or can't be. You'll

00:21:10.329 --> 00:21:13.769
have to find out for yourself. All right. What's

00:21:13.769 --> 00:21:16.009
coming up here on the show and in the world?

00:21:16.690 --> 00:21:20.700
Well. Today, as of yesterday, yesterday was Godzilla

00:21:20.700 --> 00:21:25.279
Day, November 3rd. Happy 71st birthday to Godzilla.

00:21:25.519 --> 00:21:28.460
But it was announced the sequel to Godzilla minus

00:21:28.460 --> 00:21:34.420
one will be titled Godzilla minus zero. And the

00:21:34.420 --> 00:21:39.200
assumed release date will be sometime late next

00:21:39.200 --> 00:21:42.920
year, 2026. Not much is known. The plot is not

00:21:42.920 --> 00:21:46.359
known about this story, about this movie. Although

00:21:46.359 --> 00:21:48.680
I did hear that some shooting locations will

00:21:48.680 --> 00:21:52.940
happen in Norway and somewhere else, which is

00:21:52.940 --> 00:21:54.579
like a big deal because usually Godzilla movies

00:21:54.579 --> 00:21:58.440
aren't shot outside of Japan, like the Toho productions.

00:21:58.720 --> 00:22:01.500
So I don't know. I don't know. Will there be

00:22:01.500 --> 00:22:05.200
another monster involved? Ooh, I hope so. I hope

00:22:05.200 --> 00:22:09.700
so too. Cool. That's exciting. I don't want to

00:22:09.700 --> 00:22:11.279
sound like a hater. I feel like I don't love

00:22:11.279 --> 00:22:13.960
Godzilla minus one quite as much as most other

00:22:13.960 --> 00:22:16.160
people do. Still a good movie in my opinion,

00:22:16.240 --> 00:22:18.839
but I'm excited for the sequel. I have high hopes

00:22:18.839 --> 00:22:24.119
for it. Yeah. Yeah. Yeah. We love our solo Godzilla

00:22:24.119 --> 00:22:27.799
movies, but I think we all actually really love

00:22:27.799 --> 00:22:31.400
when there's more than one monster in the movie.

00:22:32.000 --> 00:22:36.160
Yeah. Yeah. If it goes that way, I hope so. We'll

00:22:36.160 --> 00:22:41.859
see. Yeah. Yeah. Coming up on Camp Kaiju, your

00:22:41.859 --> 00:22:44.900
pick. What do you got for us? Yeah, the next

00:22:44.900 --> 00:22:47.599
one that I'm bringing to the podcast is The Addiction,

00:22:47.700 --> 00:22:51.500
directed by Abel Ferrara from 1995. I've been

00:22:51.500 --> 00:22:53.380
curious about this movie for a long time. It's

00:22:53.380 --> 00:22:55.920
very well reviewed, and it's technically about

00:22:55.920 --> 00:22:59.220
vampires, but I've read that that's kind of a

00:22:59.220 --> 00:23:01.660
metaphor for drug addiction in this movie, as

00:23:01.660 --> 00:23:05.539
the title implies. And Lily Taylor is the lead

00:23:05.539 --> 00:23:08.339
actress in the movie. Excited to watch it. And

00:23:08.339 --> 00:23:11.859
I believe Frank Olson will be joining us. 90

00:23:11.859 --> 00:23:14.819
% sure that that's the case. So excited to have

00:23:14.819 --> 00:23:18.359
him back on the podcast. Fantastic. And then

00:23:18.359 --> 00:23:22.960
following that, we will get back to our kaiju

00:23:22.960 --> 00:23:25.940
offerings with Guillermo del Toro's Pacific Rim.

00:23:26.720 --> 00:23:31.220
And along with that episode, we will also have

00:23:31.220 --> 00:23:34.700
our traditional holiday episode. With returning

00:23:34.700 --> 00:23:38.259
guests and you and I can reveal the first six

00:23:38.259 --> 00:23:43.259
months worth of films for season six of Camp

00:23:43.259 --> 00:23:47.059
Kaiju. Season six. Amazing. How you must be so

00:23:47.059 --> 00:23:49.480
proud that this is going to be the sixth season.

00:23:49.559 --> 00:23:52.279
Six seasons. I think this is going to be my fifth

00:23:52.279 --> 00:23:56.759
year doing this. And you've been we've been doing

00:23:56.759 --> 00:24:00.920
it for like four years. Yes. Yeah. Couldn't do

00:24:00.920 --> 00:24:04.079
it without you. Oh, well, thank you. But, you

00:24:04.079 --> 00:24:06.559
know, thank you for inviting me four years ago.

00:24:06.559 --> 00:24:08.880
And I didn't know what I was in for all the fun

00:24:08.880 --> 00:24:11.039
conversations we would have. But congratulations.

00:24:11.740 --> 00:24:14.299
This is your brainchild, of course. And it's

00:24:14.299 --> 00:24:17.440
been a lot of fun. Well, seriously, congrats

00:24:17.440 --> 00:24:19.519
to you, too. There are episodes now like there

00:24:19.519 --> 00:24:21.460
are movies I watch. I'm like, yeah, the last

00:24:21.460 --> 00:24:24.720
time I saw that was for the podcast four years

00:24:24.720 --> 00:24:28.460
ago when me and Matt did an episode on it. Yeah.

00:24:29.549 --> 00:24:33.269
man time flies oh it really does like that's

00:24:33.269 --> 00:24:37.130
yeah but no it feels good it feels good so i'm

00:24:37.130 --> 00:24:39.369
excited i'm still kicking around some titles

00:24:39.369 --> 00:24:43.589
but i'll be ready i might try to do a certain

00:24:43.589 --> 00:24:46.609
theme to my picks for next season but we'll you

00:24:46.609 --> 00:24:48.890
know to what's the word to be continued i'll

00:24:48.890 --> 00:24:51.369
talk we'll talk more about that soon okay more

00:24:51.369 --> 00:24:55.789
kaiju all the time i already forgot the slogan

00:24:55.789 --> 00:24:59.960
all kaiju all the time All kaiju all the time.

00:25:01.559 --> 00:25:06.380
100 % kaiju. Pounding across the motion picture

00:25:06.380 --> 00:25:09.299
screen comes the most terrifying monster of them

00:25:09.299 --> 00:25:15.099
all. Gamera, the invincible. Gamera, the super

00:25:15.099 --> 00:25:17.819
monster that even the H -bomb cannot destroy.

00:25:18.400 --> 00:25:24.500
Gamera, the invincible. Gamera, consuming raw

00:25:24.500 --> 00:25:27.990
atomic power. Power to destroy entire cities.

00:25:28.829 --> 00:25:32.109
Open fire! Man's most destructive weapons have

00:25:32.109 --> 00:25:35.789
no effect on Gamera the Invincible. The mightiest

00:25:35.789 --> 00:25:38.670
nuclear weapons ever devised are powerless against

00:25:38.670 --> 00:25:44.529
Gamera the Invincible. Is humanity doomed? Will

00:25:44.529 --> 00:25:47.990
the world be destroyed? The United Nations is

00:25:47.990 --> 00:25:50.549
called to emergency session in a last desperate

00:25:50.549 --> 00:25:53.829
effort to save the world. We have one plan that

00:25:53.829 --> 00:25:57.289
we think might work. We have discussed Plan Z

00:25:57.289 --> 00:25:59.809
with the Japanese authorities, and they agree

00:25:59.809 --> 00:26:03.809
it is the best of our alternative plans. Is that

00:26:03.809 --> 00:26:08.430
correct, sir? That is so. Plan Z is hope of the

00:26:08.430 --> 00:26:16.210
world. A cast of thousands at the mercy of the

00:26:16.210 --> 00:26:20.309
most terrifying monster that ever lived. Brian

00:26:20.309 --> 00:26:23.349
Donrevy as General Arnold. Beyond comprehension.

00:26:24.170 --> 00:26:27.450
He must be stopped now. Albert Decker as the

00:26:27.450 --> 00:26:31.369
Secretary of Defense. Will Plan Z stop Gamera?

00:26:32.049 --> 00:26:40.970
Gamera, the invincible. Ebira and Mothra in one

00:26:40.970 --> 00:26:43.390
of the most explosive action pictures ever to

00:26:43.390 --> 00:26:46.910
hit the screen. From the depths of the ocean

00:26:46.910 --> 00:26:49.609
comes the most terrifying horror of the deep.

00:26:59.500 --> 00:27:02.059
From within the mountain caves comes the dreaded

00:27:02.059 --> 00:27:18.059
monster Godzilla. See the most titanic battle

00:27:18.059 --> 00:27:21.140
ever screened when the monster of the deep challenges

00:27:21.140 --> 00:27:42.099
the mighty Godzilla. such scope and realism,

00:27:42.339 --> 00:27:45.019
as up from the depths of prehistoric mystery

00:27:45.019 --> 00:27:51.940
rages Virgo. The headlines of the world blazed

00:27:51.940 --> 00:27:54.220
the fabulous story of this monster from another

00:27:54.220 --> 00:27:57.400
age, catapulted from some vast sub -ocean cavern

00:27:57.400 --> 00:28:01.059
by unprecedented volcanic action. And the headlines

00:28:01.059 --> 00:28:03.420
screamed the story of the reckless skin divers

00:28:03.420 --> 00:28:05.980
who captured the monster and put it on exhibition.

00:28:07.000 --> 00:28:14.200
Stop! Come out! Drop the nets! I can't let him

00:28:14.200 --> 00:28:17.160
go back to the sea where he belongs. Why? Maybe

00:28:17.160 --> 00:28:22.339
to save his silly skins for you. But the headlines

00:28:22.339 --> 00:28:25.480
do not record the story of a little boy who had

00:28:25.480 --> 00:28:27.980
a curious sympathy and understanding for the

00:28:27.980 --> 00:28:31.359
fantastic creature. What strange secret does

00:28:31.359 --> 00:28:34.740
he know that scientists only suspect? You're

00:28:34.740 --> 00:28:36.099
trying to say there may be a fully grown one

00:28:36.099 --> 00:28:38.119
of these things around somewhere? How big would

00:28:38.119 --> 00:28:41.539
a full grown one be? An approximate guess. The

00:28:41.539 --> 00:28:46.000
infant. The adult. That'll make it nearly 200

00:28:46.000 --> 00:28:48.440
feet tall. Wreaking terrible vengeance against

00:28:48.440 --> 00:28:50.960
the civilization that has captured its offspring.

00:28:51.779 --> 00:28:54.559
Powering over the cities of the world as millions

00:28:54.559 --> 00:29:12.359
flee its awesome terror. Defying the force of

00:29:12.359 --> 00:29:16.500
the army, the might of the Navy. Fire number

00:29:16.500 --> 00:29:23.880
one, Terry. Ready to open fire, sir. Fire one.

00:29:27.240 --> 00:29:36.480
Even the fury of the jets. gentle sights never

00:29:36.480 --> 00:29:39.640
before beheld by human eyes, and adventures never

00:29:39.640 --> 00:29:57.980
before experienced by any man or woman. Alright,

00:29:58.119 --> 00:30:01.980
well, Gap of the Trifibian Monster, not one,

00:30:02.039 --> 00:30:05.700
not two, but three kaiju in this film. What is

00:30:05.700 --> 00:30:09.420
your personal history with this movie? Pretty

00:30:09.420 --> 00:30:12.880
much zero. I knew nothing about this movie until

00:30:12.880 --> 00:30:15.859
watching it for this episode. And you've talked

00:30:15.859 --> 00:30:18.420
about it a little bit in the past. And then the

00:30:18.420 --> 00:30:20.259
title, again, just jumps out at me because it's

00:30:20.259 --> 00:30:23.000
so unique. But beyond that, I have zero history

00:30:23.000 --> 00:30:26.779
with this movie. You and most of the world, honestly.

00:30:27.940 --> 00:30:31.740
This movie just doesn't get talked about outside

00:30:31.740 --> 00:30:36.700
of... diehard kaiju film nerds. And I don't know

00:30:36.700 --> 00:30:39.980
if that's entirely merited. Regardless, I came

00:30:39.980 --> 00:30:44.099
upon this movie six years ago when I was doing

00:30:44.099 --> 00:30:47.359
my deep dive into the genre. And I was honestly

00:30:47.359 --> 00:30:50.960
surprised by the film. I didn't expect much.

00:30:51.500 --> 00:30:55.980
And I threw it on on Tubi. And I was pleasantly

00:30:55.980 --> 00:30:58.599
surprised. So I have been wanting to talk about

00:30:58.599 --> 00:31:01.400
it for a while. But because it's so underseen,

00:31:02.280 --> 00:31:05.619
Like my producer hat was like, well, maybe maybe

00:31:05.619 --> 00:31:07.640
I save that one. Do we have a little bit of an

00:31:07.640 --> 00:31:10.420
audience and they can they can go on that journey

00:31:10.420 --> 00:31:15.200
with us? So here we go. I'm ready for it. That

00:31:15.200 --> 00:31:17.000
makes sense. And probably a good idea to like,

00:31:17.140 --> 00:31:19.039
you know, we'll be talking about Pacific Rim

00:31:19.039 --> 00:31:22.019
in a couple episodes and probably good to balance

00:31:22.019 --> 00:31:24.880
out like the obscure deep dive titles with like

00:31:24.880 --> 00:31:27.039
the blockbusters that everybody knows about,

00:31:27.119 --> 00:31:29.920
you know? I think so. You got to give and take

00:31:29.920 --> 00:31:32.559
a little bit. Yeah, for sure. Yeah, but we're

00:31:32.559 --> 00:31:34.619
good at that. That's what I love about our show,

00:31:34.700 --> 00:31:40.980
too, that we cover all types, underseen, overseen,

00:31:40.980 --> 00:31:46.619
maybe. Yeah, right. For sure. Can I, this is

00:31:46.619 --> 00:31:48.119
going back to what we were just talking about,

00:31:48.180 --> 00:31:50.539
and I apologize, but I'm just curious, with Pacific

00:31:50.539 --> 00:31:53.200
Rim and Guillermo del Toro, have you seen Frankenstein

00:31:53.200 --> 00:31:58.180
yet? No. Have you? No, I have not. Yeah, just

00:31:58.180 --> 00:32:00.259
curious. And Predator Badlands is coming out

00:32:00.259 --> 00:32:02.960
too. So anyway, sorry to go back to that tangent.

00:32:03.039 --> 00:32:05.319
Just curious if you had seen those yet. No, I

00:32:05.319 --> 00:32:07.279
haven't. Listeners, if you had, please let us

00:32:07.279 --> 00:32:10.960
know. The thing is, I'm pretty bad at getting

00:32:10.960 --> 00:32:14.019
to the theater these days, just with my limited

00:32:14.019 --> 00:32:18.539
free time. And I don't have Netflix, which is

00:32:18.539 --> 00:32:23.099
maybe a surprise. But this might be what gets

00:32:23.099 --> 00:32:25.420
me back onto Netflix just for a little bit, because

00:32:25.420 --> 00:32:30.319
I'm dying to see it. Yeah, me too. Sorry not

00:32:30.319 --> 00:32:33.819
to spend too much time on Frankenstein, but I'm

00:32:33.819 --> 00:32:37.200
guardedly excited about it. I definitely want

00:32:37.200 --> 00:32:40.279
to see it. Again, I sound like such a snob, but

00:32:40.279 --> 00:32:43.180
Guillermo del Toro, usually I'm like, oh, that

00:32:43.180 --> 00:32:45.880
was okay. I'm not super excited by his movies,

00:32:45.920 --> 00:32:48.859
and Frankenstein is like... It seemed like this

00:32:48.859 --> 00:32:50.819
is the movie that he was born to make and that

00:32:50.819 --> 00:32:53.200
he's wanted to make for a very long time to the

00:32:53.200 --> 00:32:55.140
extent where I'm like, oh, yeah, kind of obvious.

00:32:55.240 --> 00:32:56.799
Like we all knew he was going to make this movie,

00:32:56.859 --> 00:32:59.460
you know, but I'm sorry. That all sounds like

00:32:59.460 --> 00:33:01.599
so negative. I am excited to see it and I've

00:33:01.599 --> 00:33:03.339
heard good things about it. So it should be good.

00:33:03.880 --> 00:33:06.660
Well, let's save our del Toro talk for Pacific

00:33:06.660 --> 00:33:10.859
Rim. Yeah. And actually, I think we will be joined

00:33:10.859 --> 00:33:17.569
by Sean Childers, big mech giant robot fan. Yes,

00:33:17.569 --> 00:33:19.390
that'll be a good episode. We'll talk about the

00:33:19.390 --> 00:33:23.630
Toro more then. Yeah. Thank you. Awesome. Sorry.

00:33:23.970 --> 00:33:27.910
Jumping around a little bit. That's okay. Yeah,

00:33:27.950 --> 00:33:30.230
let's just dive into the cast and crew of Gappa.

00:33:30.569 --> 00:33:33.789
These are all Nikatsu studio actors and crew.

00:33:34.430 --> 00:33:38.690
The film was directed by Haruyasu Noguchi. The

00:33:38.690 --> 00:33:43.670
screenplay was by Iwao Yamazaki and Ryuzo Nakaishi.

00:33:44.519 --> 00:33:46.599
Vincent, like you just said, these are kind of

00:33:46.599 --> 00:33:49.700
crew members at Nakatsu Studio, kind of on their

00:33:49.700 --> 00:33:53.059
roster of crew members there. The story and special

00:33:53.059 --> 00:33:56.859
effects were by Akira Watanabe, a former employee

00:33:56.859 --> 00:33:59.900
at Toho Studios and collaborator of Eiji Tsuburaya,

00:34:00.079 --> 00:34:02.440
who we know from doing the special effects for

00:34:02.440 --> 00:34:07.059
many of Toho's kaiju movies. Watanabe left Toho

00:34:07.059 --> 00:34:11.260
in 1966 after serving as Tsuburaya's art director

00:34:11.260 --> 00:34:14.980
on Invasion of Astro Monster. I can read off

00:34:14.980 --> 00:34:17.800
some of his other credits here real quick. Just

00:34:17.800 --> 00:34:21.760
pulling up the list here. Yeah. The more of the

00:34:21.760 --> 00:34:25.699
kaiju films that you mentioned helps me target

00:34:25.699 --> 00:34:27.960
any of the trailers that I'm going to include

00:34:27.960 --> 00:34:32.059
in the episode. Okay. Well, I'll pick some of

00:34:32.059 --> 00:34:33.820
the better known ones, the ones that I know anyway.

00:34:34.139 --> 00:34:37.079
He was the special effects art director for the

00:34:37.079 --> 00:34:40.780
original Godzilla, Godzilla Raids Again, Rodan,

00:34:40.940 --> 00:34:45.409
The Mysterians. Battle in Outer Space, Mothra,

00:34:45.590 --> 00:34:48.829
Gorath, I feel like I've heard of that, King

00:34:48.829 --> 00:34:52.070
Kong vs. Godzilla, Matango, which I just watched

00:34:52.070 --> 00:34:56.170
recently and loved. That's a great movie. Atragon,

00:34:56.530 --> 00:35:00.269
Mothra vs. Godzilla, Ghidorah the Three -Headed

00:35:00.269 --> 00:35:03.530
Monster, another one of my favorites, Frankenstein

00:35:03.530 --> 00:35:06.730
vs. Baragon, Invasion of Astro Monster, I think

00:35:06.730 --> 00:35:10.190
I mentioned that one, Ultra Q. And that's just

00:35:10.190 --> 00:35:11.690
some of the highlights. So he definitely has

00:35:11.690 --> 00:35:15.329
a lot of titles on his filmography. Definitely.

00:35:16.050 --> 00:35:18.110
And then just finishing out the crew here real

00:35:18.110 --> 00:35:22.289
quick, the film was produced by Hideo Koi, and

00:35:22.289 --> 00:35:26.789
the cinematography was by Muneo Ueda. Yeah, and

00:35:26.789 --> 00:35:31.590
then the cast, big cast, but our main cohort

00:35:31.590 --> 00:35:37.909
here, Tamiyo Kawachi as Hiroshi Kurosaki. Kawachi,

00:35:37.989 --> 00:35:41.230
the actor. Long career in TV and film. I happen

00:35:41.230 --> 00:35:44.110
to see that he was on a couple of Ultraman series

00:35:44.110 --> 00:35:48.349
in the late 90s. So just, you know, highlighting

00:35:48.349 --> 00:35:53.610
a kaiju connection there. He in the movie. Oh,

00:35:53.690 --> 00:35:57.250
he plays one of our our young male leads. That's

00:35:57.250 --> 00:36:00.070
right. There's like a love triangle between two

00:36:00.070 --> 00:36:05.550
young men and our female lead. Itoko Koyanagi

00:36:05.550 --> 00:36:08.090
is the name of the character. played by Yoko

00:36:08.090 --> 00:36:14.190
Yamamoto. And she is joined by Yuji Okada as

00:36:14.190 --> 00:36:19.429
Daizy Tonoka, and Koji Wada as Mashida, and Tatsuo

00:36:19.429 --> 00:36:24.250
Fuji as George, which is strangely American there.

00:36:24.550 --> 00:36:29.170
But there's our main cast. Now, the production

00:36:29.170 --> 00:36:31.329
backstory. I think this is where it gets interesting.

00:36:31.630 --> 00:36:37.989
So 1967, peak kaiju cinema in Japan. on the success

00:36:37.989 --> 00:36:41.230
of the Godzilla series, and even Gamera the Giant

00:36:41.230 --> 00:36:43.630
Monster, which was released by Daiei Studios

00:36:43.630 --> 00:36:48.130
in 1966. So with especially Gamera's success,

00:36:48.489 --> 00:36:51.690
other studios jumped on the bandwagon. Nikatsu

00:36:51.690 --> 00:36:56.389
produced Gappa, its only kaiju film. And another

00:36:56.389 --> 00:36:59.869
one worth shouting out is a movie called The

00:36:59.869 --> 00:37:03.769
X from Outer Space from studio Shochiku. Now,

00:37:03.869 --> 00:37:07.309
Nikatsu... Matt, do you have any familiarity

00:37:07.309 --> 00:37:10.449
with this studio? Yeah, a little bit. Mostly

00:37:10.449 --> 00:37:12.690
because of the next bullet point that you have

00:37:12.690 --> 00:37:15.269
here. But I can just cover this bullet point

00:37:15.269 --> 00:37:18.050
real quick if you'd like me to. So yeah, Nakatsu

00:37:18.050 --> 00:37:21.130
began making movies in 1954 with a lot of historical

00:37:21.130 --> 00:37:24.550
and samurai films. I don't think they were any

00:37:24.550 --> 00:37:27.210
of the Akira Kurosawa ones because I think Kurosawa

00:37:27.210 --> 00:37:29.730
was a Toho director. But if I remember right,

00:37:29.789 --> 00:37:33.769
Nakatsu maybe did like Sword of the Beast. Samurai

00:37:33.769 --> 00:37:35.690
Rebellion, possibly? That might have been later.

00:37:35.829 --> 00:37:38.789
So don't quote me on that. But yeah, they started

00:37:38.789 --> 00:37:41.070
making historical and samurai films in 1954.

00:37:41.630 --> 00:37:44.269
By the 60s, they were focusing more on urban

00:37:44.269 --> 00:37:47.590
youth drama. If I remember right, I believe Nagisa

00:37:47.590 --> 00:37:50.130
Oshima was an early director for Nakatsu. And

00:37:50.130 --> 00:37:52.969
I love Nagisa Oshima, a really good Japanese

00:37:52.969 --> 00:37:56.769
new wave filmmaker. But Gappa was Nakatsu's biggest

00:37:56.769 --> 00:37:59.360
budget film ever. and like you just said, Vincent,

00:37:59.480 --> 00:38:02.559
their only kaiju film, the 1970s saw them move

00:38:02.559 --> 00:38:05.440
into the sexploitation market to stay profitable.

00:38:06.880 --> 00:38:11.119
Yeah, a term that I think we've used on this

00:38:11.119 --> 00:38:15.760
show before, Roman porno? I don't know exactly

00:38:15.760 --> 00:38:19.139
what that means. That does sound kind of familiar.

00:38:19.320 --> 00:38:22.219
I don't know that subgenre very well either,

00:38:22.280 --> 00:38:25.199
though. Okay. I've also heard them referred to

00:38:25.199 --> 00:38:28.159
in the context of Japanese cinema as pink films.

00:38:28.440 --> 00:38:31.619
I don't know if that extends to other national

00:38:31.619 --> 00:38:34.420
cinemas as well, but I've heard some erotic Japanese

00:38:34.420 --> 00:38:38.239
films referred to as pink films before. Interesting.

00:38:38.340 --> 00:38:41.119
Maybe it was our Kinky Kong jokes. I don't remember.

00:38:41.559 --> 00:38:46.019
That could be. Yeah. We still got to work on

00:38:46.019 --> 00:38:47.900
our Kinky Kong movie that we're making. We got

00:38:47.900 --> 00:38:51.679
to work on that script. Anyways, the Akatsu was

00:38:51.679 --> 00:38:54.920
bankrupt by the 90s. So they are no longer a

00:38:54.920 --> 00:38:58.079
functioning studio. Maybe another reason why

00:38:58.079 --> 00:39:01.619
Gappa has just kind of been lost to time because

00:39:01.619 --> 00:39:05.800
the studio behind it is lost to time. And whoever

00:39:05.800 --> 00:39:08.940
the rights holders are clearly aren't interested

00:39:08.940 --> 00:39:12.960
in promoting it. So I just think that alone is

00:39:12.960 --> 00:39:15.920
an interesting quirk of history that corporations

00:39:15.920 --> 00:39:20.019
shift and disappear and what's left with their

00:39:20.019 --> 00:39:23.610
art and who's to curate it. If nobody cares.

00:39:24.510 --> 00:39:27.409
Right. Yeah. And we've seen that with a lot of

00:39:27.409 --> 00:39:29.969
Hollywood studios too. Like, you know, RKO studios

00:39:29.969 --> 00:39:32.489
obviously isn't around anymore. Some of the old

00:39:32.489 --> 00:39:34.530
like Republic pictures, like B movies from back

00:39:34.530 --> 00:39:37.570
in the day had went through like extremely convoluted

00:39:37.570 --> 00:39:40.610
rights ownership and just archival issues, you

00:39:40.610 --> 00:39:44.269
know? Yeah. So that's a little bit on Nikatsu.

00:39:44.849 --> 00:39:46.969
Can I correct something I said before? Sorry.

00:39:47.769 --> 00:39:50.030
I don't want to say anything blatantly wrong

00:39:50.030 --> 00:39:54.050
on the podcast. So Nagisa Oshima was not well

00:39:54.050 --> 00:39:56.349
known as an Akatsu director, but looking at their

00:39:56.349 --> 00:39:58.929
lineup of directors right now, I feel like the

00:39:58.929 --> 00:40:01.789
best known ones are probably Seijun Suzuki, who

00:40:01.789 --> 00:40:04.610
made really psychedelic crime movies like Branded

00:40:04.610 --> 00:40:07.550
to Kill, for example. And then Shohei Imamura,

00:40:07.730 --> 00:40:10.150
who made some really great movies also like Vengeance

00:40:10.150 --> 00:40:12.590
is Mine is one of those. another Japanese New

00:40:12.590 --> 00:40:15.090
Wave director. Those two were Nakatsu directors,

00:40:15.329 --> 00:40:17.510
but Nagisa Oshima was not. Just want to correct

00:40:17.510 --> 00:40:20.969
that. Have you seen those movies? Some of them.

00:40:21.030 --> 00:40:23.610
I've seen several Seijun Suzuki movies, which

00:40:23.610 --> 00:40:26.789
I like a lot. They're very strange. If you're

00:40:26.789 --> 00:40:29.170
looking for like cohesive plot, they're definitely

00:40:29.170 --> 00:40:31.590
not very satisfying movies, but they're just

00:40:31.590 --> 00:40:35.030
like insanely stylish. And they kind of epitomize

00:40:35.030 --> 00:40:37.710
the Japanese New Wave, which was like very abrasive

00:40:37.710 --> 00:40:40.070
and in your face. And I like a lot of those movies

00:40:40.070 --> 00:40:42.969
very much. Very cool. And I'm just asking just

00:40:42.969 --> 00:40:46.309
as a friend now, like, did you just make time

00:40:46.309 --> 00:40:48.650
to watch those movies or were they part of your

00:40:48.650 --> 00:40:52.190
film education in school? A little bit of both,

00:40:52.230 --> 00:40:54.829
I guess. I feel like I wanted to explore them

00:40:54.829 --> 00:40:57.650
because like so many people getting into film

00:40:57.650 --> 00:40:59.909
at an early age, like you start with Akira Kurosawa

00:40:59.909 --> 00:41:03.869
and Yasujiro Ozu, who are amazing filmmakers.

00:41:03.969 --> 00:41:05.550
And then you kind of want to understand a little

00:41:05.550 --> 00:41:09.059
bit more about Japanese cinema. Like for me,

00:41:09.079 --> 00:41:12.400
I was just curious why some of the like Kurosawa

00:41:12.400 --> 00:41:15.460
and Ozu movies kind of indirectly led to these

00:41:15.460 --> 00:41:17.719
like really weird Japanese new wave movies from

00:41:17.719 --> 00:41:20.059
the 60s. And I was just like, how did that happen?

00:41:20.079 --> 00:41:22.579
These movies are so different than like the more

00:41:22.579 --> 00:41:25.480
classical style movies, the classics that we

00:41:25.480 --> 00:41:28.159
know from, again, Kurosawa and some other directors.

00:41:28.219 --> 00:41:31.400
So I was just like personally interested in it.

00:41:31.559 --> 00:41:35.610
And then. I did see some Japanese movies in college

00:41:35.610 --> 00:41:37.829
when I was a film student. I remember I took

00:41:37.829 --> 00:41:40.269
a horror cinema class and we watched a lot of

00:41:40.269 --> 00:41:42.230
Japanese horror movies from the 60s, which are

00:41:42.230 --> 00:41:46.090
very political and very much about the fallout

00:41:46.090 --> 00:41:50.489
after World War II and trauma from the atomic

00:41:50.489 --> 00:41:53.070
bombs and stuff like that. So yeah, mostly a

00:41:53.070 --> 00:41:55.030
personal interest, but did watch them a little

00:41:55.030 --> 00:41:57.829
bit in college as well. That's great. That's

00:41:57.829 --> 00:41:59.889
really cool. There's just so much. There's so

00:41:59.889 --> 00:42:03.219
many movies from so many countries. that from

00:42:03.219 --> 00:42:06.820
so many different from a century or more of filmmaking

00:42:06.820 --> 00:42:12.820
i guess it just takes time right and it's it's

00:42:12.820 --> 00:42:15.460
kind of daunting it's like how it's hard to specialize

00:42:15.460 --> 00:42:17.519
in one thing if you want to see it all you know

00:42:17.519 --> 00:42:20.139
yeah and that's that's kind of how i feel like

00:42:20.139 --> 00:42:22.679
i want to And I think you feel the same way.

00:42:22.699 --> 00:42:24.579
But I, you know, I want to watch the Hollywood

00:42:24.579 --> 00:42:26.980
classics and like the indie movies and Japanese

00:42:26.980 --> 00:42:29.760
cinema. And then like the more sort of like under

00:42:29.760 --> 00:42:32.619
celebrated movies like African cinema after a

00:42:32.619 --> 00:42:34.079
lot of different African countries started gaining

00:42:34.079 --> 00:42:37.059
independence. I love those. Egyptian cinema is

00:42:37.059 --> 00:42:40.019
fantastic. So, yeah, I'm kind of rambling a little

00:42:40.019 --> 00:42:41.400
bit. But just to your point, it's like there's

00:42:41.400 --> 00:42:43.119
so much out there. How do you find time for all

00:42:43.119 --> 00:42:46.619
this stuff? You host a podcast. And it forces

00:42:46.619 --> 00:42:50.920
you to watch things. Yeah, exactly. It's a good

00:42:50.920 --> 00:42:53.199
problem to have, I would say. Yeah. I mean, honestly,

00:42:53.320 --> 00:42:55.840
something like the addiction, for example, I

00:42:55.840 --> 00:42:58.500
would be, it might be on my list, but I would,

00:42:58.500 --> 00:43:01.579
I would never prioritize it if it weren't for

00:43:01.579 --> 00:43:06.860
this podcast. So I am appreciative of that. Same.

00:43:07.019 --> 00:43:08.679
I don't know if I ever would have seen Gappa

00:43:08.679 --> 00:43:11.800
if it weren't for, for the podcast. So, so thank

00:43:11.800 --> 00:43:16.760
you for that. Yeah. Yeah. Well, thank you, Japanese

00:43:16.760 --> 00:43:20.619
government, who in the late 60s and early 70s

00:43:20.619 --> 00:43:25.719
had a financial program to give grants to the

00:43:25.719 --> 00:43:30.179
studios to make movies that could be then exported

00:43:30.179 --> 00:43:33.980
to international markets. So that's kind of also

00:43:33.980 --> 00:43:38.280
what led to this boon in kaiju cinema at the

00:43:38.280 --> 00:43:43.300
time. Yes, there was the audience want for it.

00:43:43.639 --> 00:43:46.480
but there was also financial backing from the

00:43:46.480 --> 00:43:50.199
government. So Nikatsu took this, ran with it.

00:43:50.320 --> 00:43:54.199
Gappa was their highest budgeted film ever. This

00:43:54.199 --> 00:43:57.179
one source says 500 million yen, which is today

00:43:57.179 --> 00:44:00.960
$1 .4 million. You know, not a lot by today's

00:44:00.960 --> 00:44:04.260
standards, but at the time, huge budget. And

00:44:04.260 --> 00:44:06.099
I think it's reflected in the final product.

00:44:06.320 --> 00:44:09.460
You could tell that, wow, these effects have

00:44:09.460 --> 00:44:14.250
money behind them. Nikatsu had bandied about

00:44:14.250 --> 00:44:18.269
other ideas for their kaiju movie, including

00:44:18.269 --> 00:44:21.550
a giant squid that attacks a Nazi U -boat in

00:44:21.550 --> 00:44:25.329
World War II. You had a giant alien spider that

00:44:25.329 --> 00:44:28.230
invades Earth. And then you had one idea about

00:44:28.230 --> 00:44:31.510
a giant flying squirrel. Eventually, they settled

00:44:31.510 --> 00:44:33.869
on what is now known as the Trifibian monster.

00:44:34.510 --> 00:44:37.650
Do you have any thoughts about those other ideas?

00:44:38.250 --> 00:44:40.670
I think the giant squid attacking a Nazi U -boat

00:44:40.670 --> 00:44:42.809
sounds especially awesome. I would love to see

00:44:42.809 --> 00:44:46.230
that movie. It's like the historical context

00:44:46.230 --> 00:44:48.809
that that would bring up, like kind of boggle

00:44:48.809 --> 00:44:50.750
the mind a little bit, you know? That would have

00:44:50.750 --> 00:44:53.429
been a very cool movie. And as we've talked about

00:44:53.429 --> 00:44:55.750
on the podcast, I'm terrified of spiders, so

00:44:55.750 --> 00:44:57.309
I feel like the giant spider idea would have

00:44:57.309 --> 00:44:59.929
been cool too. I don't know about the giant flying

00:44:59.929 --> 00:45:01.849
squirrel, but who knows? That might be awesome.

00:45:02.489 --> 00:45:04.349
It's just weird enough that that could work.

00:45:04.809 --> 00:45:08.110
Just weird enough. I I'll tell you, I think that

00:45:08.110 --> 00:45:10.849
the triphibian monsters are pretty weird in and

00:45:10.849 --> 00:45:13.289
of themselves. I don't know if they always work

00:45:13.289 --> 00:45:17.889
for me just as like a concept. It just seems

00:45:17.889 --> 00:45:21.550
like like somebody in a room just was like, well,

00:45:21.630 --> 00:45:24.449
I'll add a beak. I'll add some wings. I'll add

00:45:24.449 --> 00:45:27.650
a tail, you know, just like that's what they

00:45:27.650 --> 00:45:31.489
came up with. Yeah, I know what you mean. It

00:45:31.489 --> 00:45:33.369
kind of reminded me of Gauss a little bit. The

00:45:33.369 --> 00:45:34.949
monster Gauss, who we've talked about in the

00:45:34.949 --> 00:45:37.329
podcast before. Gauss looks a little bit cooler,

00:45:37.409 --> 00:45:40.170
I would say, but just like the avian look of

00:45:40.170 --> 00:45:43.070
it, you know, and maybe also a Rodin a little

00:45:43.070 --> 00:45:46.210
bit too. Oh yeah. Yeah. I could see all that.

00:45:46.489 --> 00:45:50.090
Yeah. Yeah. Well, do you want to talk about the

00:45:50.090 --> 00:45:52.750
release in legacy a little bit? Yeah. Yeah, for

00:45:52.750 --> 00:45:55.329
sure. So Gappa, the tri -phibian monster was

00:45:55.329 --> 00:45:59.789
released in April, 1967 in Japan. American TV

00:45:59.789 --> 00:46:02.030
rights were purchased by American international

00:46:02.030 --> 00:46:05.050
pictures. As we talked about before, it was dubbed

00:46:05.050 --> 00:46:07.750
and retitled Monster from a Prehistoric Planet.

00:46:08.590 --> 00:46:11.829
And yeah, Vincent, like you said, the fact that

00:46:11.829 --> 00:46:14.030
American International isn't around anymore means

00:46:14.030 --> 00:46:15.690
that it's in the public domain. And a lot of

00:46:15.690 --> 00:46:18.889
those transfers, unlike the bargain DVDs that

00:46:18.889 --> 00:46:21.690
you find now, are definitely not very good. But

00:46:21.690 --> 00:46:23.670
yeah, the one on Tubi looked very good, I thought.

00:46:23.769 --> 00:46:26.469
And I think Tubi has both the subtitled and the

00:46:26.469 --> 00:46:29.110
dubbed one. So for viewers out there interested

00:46:29.110 --> 00:46:33.059
in either one, Tubi will have them. Variety kind

00:46:33.059 --> 00:46:35.219
of surprisingly gave the film a positive review

00:46:35.219 --> 00:46:37.519
at the time. I think it's surprising. Well, I

00:46:37.519 --> 00:46:41.099
do too because they're probably, I think, reviewing

00:46:41.099 --> 00:46:45.179
the AIP monsters from a prehistoric planet. I

00:46:45.179 --> 00:46:48.340
would assume so, yeah. Because I don't even think

00:46:48.340 --> 00:46:50.920
that was released in American cinemas at all.

00:46:50.980 --> 00:46:54.079
It was only shown on TV in America. So yeah,

00:46:54.199 --> 00:46:55.980
that must be the one that they were reviewing.

00:46:56.280 --> 00:47:00.019
And again, like the dubbing, you know, some other

00:47:00.019 --> 00:47:02.579
dubbed movies are decent. I don't think the dubbing

00:47:02.579 --> 00:47:05.039
was very good in this case. Granted, I didn't

00:47:05.039 --> 00:47:06.599
watch the whole dubbed version of the movie,

00:47:06.679 --> 00:47:10.179
but yeah, that's what makes it so surprising

00:47:10.179 --> 00:47:12.000
that Variety gave it a good review because that's

00:47:12.000 --> 00:47:13.480
the dubbed version that they must have watched.

00:47:13.800 --> 00:47:16.320
And Variety wrote that the creature Gappa makes

00:47:16.320 --> 00:47:19.840
an auspicious debut and reveals itself as the

00:47:19.840 --> 00:47:23.039
best monster so far. I don't know exactly what

00:47:23.039 --> 00:47:24.800
that alludes to, though. If it's like the best

00:47:24.800 --> 00:47:27.800
monster of the year or just like among recent

00:47:27.800 --> 00:47:29.880
Japanese movies, it's kind of hard to tell from

00:47:29.880 --> 00:47:33.130
that review. Variety, just to finish this little

00:47:33.130 --> 00:47:36.170
excerpt here, Variety concluded that these are

00:47:36.170 --> 00:47:38.389
the only Japanese monsters one might like to

00:47:38.389 --> 00:47:41.190
see again, and that most effects are well done,

00:47:41.289 --> 00:47:44.550
a few superb, noting the destruction of the city

00:47:44.550 --> 00:47:48.409
of Itami as one of the highlights. And I find

00:47:48.409 --> 00:47:51.309
that kind of baffling. There are many other Japanese

00:47:51.309 --> 00:47:54.090
monsters that I would probably want to watch

00:47:54.090 --> 00:47:56.989
before I watched Gappa, but maybe that's just

00:47:56.989 --> 00:48:03.920
me. yeah i mean i don't know i like you know

00:48:03.920 --> 00:48:07.219
i could see it but you know does this movie get

00:48:07.219 --> 00:48:10.579
lost the time for other reasons beyond its control

00:48:10.579 --> 00:48:13.820
yeah and i you know we'll obviously talk more

00:48:13.820 --> 00:48:15.980
about our subjective responses to the film in

00:48:15.980 --> 00:48:19.019
a moment here but yeah i i can see the the charm

00:48:19.019 --> 00:48:21.880
in the movie and i can understand why like you

00:48:21.880 --> 00:48:23.820
know like coming at a coming across it on tv

00:48:24.519 --> 00:48:26.940
and being like, whoa, what is this weird creature

00:48:26.940 --> 00:48:29.340
movie? That would be kind of fun. I can see the

00:48:29.340 --> 00:48:32.159
appeal of that. But I'm just saying, like, to

00:48:32.159 --> 00:48:35.059
compare this to, like, Gamera and even some of

00:48:35.059 --> 00:48:36.920
the Godzilla movies from the 60s and say that

00:48:36.920 --> 00:48:39.519
Gappa is, like, the best of the Japanese monsters

00:48:39.519 --> 00:48:41.659
is, like, Variety, what are you talking about?

00:48:41.820 --> 00:48:44.840
What are you doing? No, I agree. I'm playing

00:48:44.840 --> 00:48:47.579
devil's advocate a little bit. But let me ask,

00:48:47.820 --> 00:48:54.920
Gappa or Ebera Horror of the Deep? Ooh. That's

00:48:54.920 --> 00:48:59.679
a tough choice, to be honest. I like the design

00:48:59.679 --> 00:49:03.340
of Eberra more. I think Eberra looks really weird.

00:49:03.599 --> 00:49:06.239
We don't really get a good look at it in that

00:49:06.239 --> 00:49:09.079
movie, Eberra, Horror of the Deep. Yeah, I feel

00:49:09.079 --> 00:49:11.239
like maybe the movie gap is a little bit better,

00:49:11.300 --> 00:49:13.679
but the monster Eberra, I probably prefer a little

00:49:13.679 --> 00:49:21.610
bit. Yeah, sure. I can be down with that. But,

00:49:21.610 --> 00:49:24.190
you know, I'll take Gamera. Thank you very much.

00:49:24.369 --> 00:49:27.429
Like, if the choice is between those three, I'd

00:49:27.429 --> 00:49:29.929
rather have Gamera, I think. Yeah. Gappa or Ebera,

00:49:30.030 --> 00:49:34.869
the answer is Gamera. Right. None of the above.

00:49:35.690 --> 00:49:43.670
I'll take Gamera, please. Yeah. 100%. Well, I

00:49:43.670 --> 00:49:45.590
added a little bit here that this movie does

00:49:45.590 --> 00:49:49.730
get compared to Gorgo a lot. Just a basic conceit

00:49:49.730 --> 00:49:53.989
of... The parent version of the monster coming

00:49:53.989 --> 00:49:58.309
to rescue its offspring. I want to push back

00:49:58.309 --> 00:50:03.269
on that one, if I may, and say that I don't,

00:50:03.269 --> 00:50:09.690
I, after watching Gappa, it's never a twist that

00:50:09.690 --> 00:50:12.769
it's the parents. Like in Gorgo, we have the

00:50:12.769 --> 00:50:15.570
monster, and it's a twist in the film that, oh

00:50:15.570 --> 00:50:18.409
no, this is actually the baby, and the bigger

00:50:18.409 --> 00:50:22.349
one is coming. Gappa never plays it for a twist.

00:50:23.130 --> 00:50:28.809
So to all you out there arguing this one, I'm

00:50:28.809 --> 00:50:33.309
going to push back gently on you. I think that's

00:50:33.309 --> 00:50:36.750
fair. I like your note on the document here that

00:50:36.750 --> 00:50:39.349
like, maybe this is just a classic Kaiju story

00:50:39.349 --> 00:50:41.469
that like a lot of different productions and

00:50:41.469 --> 00:50:43.409
writers and directors kind of latched onto, you

00:50:43.409 --> 00:50:45.670
know? And I feel like it's very likely that both

00:50:45.670 --> 00:50:49.349
Gorgo and Gappa kind of are recycling some of

00:50:49.349 --> 00:50:52.389
the earlier stories that we see. I feel like

00:50:52.389 --> 00:50:55.369
Mothra has that a little bit, because the Shobijin

00:50:55.369 --> 00:50:58.690
are taken from Infant Island and then taken back

00:50:58.690 --> 00:51:00.650
to Japan, and then Mothra kind of has to rescue

00:51:00.650 --> 00:51:02.030
them a little bit. So I feel like it's kind of

00:51:02.030 --> 00:51:04.329
that vibe, you know? Definitely. I didn't even

00:51:04.329 --> 00:51:05.650
think about Mothra, because I was just thinking

00:51:05.650 --> 00:51:08.630
about King Kong, which is the obvious taking

00:51:08.630 --> 00:51:13.329
a monster from its homeland to exploit it on

00:51:13.329 --> 00:51:16.280
the entertainment stage. But no, you're right.

00:51:16.340 --> 00:51:20.519
Mothra does dabble in the monster coming to rescue

00:51:20.519 --> 00:51:26.219
its brethren, in a way. Yeah, if not its offspring,

00:51:26.380 --> 00:51:28.920
then, like, just another, you know, its wards

00:51:28.920 --> 00:51:31.099
or whatever. Yeah, it's Ken and its brethren,

00:51:31.179 --> 00:51:32.900
like you said. But yeah, Ken Kong, too, definitely

00:51:32.900 --> 00:51:35.719
has that element to it. I know it's, like, the

00:51:35.719 --> 00:51:37.900
one topic everyone's talking about these days.

00:51:37.980 --> 00:51:43.829
Where did Gappa get its influences? What? We're

00:51:43.829 --> 00:51:47.230
here to talk about it. Yeah. It's lighting up

00:51:47.230 --> 00:51:51.449
all the Reddit boards. We're moving right along.

00:51:51.849 --> 00:51:54.949
Oh, yeah. Camp Kaiju is sponsored by Zach Linder

00:51:54.949 --> 00:51:57.150
and the Zach Pack, powered by Coldwell Banker

00:51:57.150 --> 00:51:59.869
Realty. Your source for real estate, home rehab,

00:52:00.110 --> 00:52:02.250
fixing and flipping for investor clients and

00:52:02.250 --> 00:52:04.789
residential buyers. Reach out to the Zach Pack

00:52:04.789 --> 00:52:07.530
today for real estate services. Follow the Zach

00:52:07.530 --> 00:52:10.190
Pack on social media and contact the Zach Pack

00:52:10.190 --> 00:52:13.599
for investment opportunities. Link in the show

00:52:13.599 --> 00:52:16.300
notes. So what do we got in old Minya's mailbox?

00:52:17.320 --> 00:52:20.179
All right, so in Minya's mailbox, we have a comment

00:52:20.179 --> 00:52:27.380
from Don Long -S3K. Don Long says, Daiei wanted

00:52:27.380 --> 00:52:29.380
to compete with Toho's Godzilla at the time.

00:52:29.460 --> 00:52:32.199
Their first kaiju project, Gamera the Giant Monster

00:52:32.199 --> 00:52:35.219
from 1965, turned out to be more of a success

00:52:35.219 --> 00:52:37.820
than they had initially expected. Gamera had

00:52:37.820 --> 00:52:39.940
many traits that separated him from Godzilla.

00:52:40.570 --> 00:52:42.949
While he is more antagonistic in his debut film,

00:52:43.130 --> 00:52:45.150
he becomes more of a good guy monster in the

00:52:45.150 --> 00:52:48.070
sequels. He is best known to be a guardian and

00:52:48.070 --> 00:52:51.849
friend to all children. After Gamera vs. Ziggura

00:52:51.849 --> 00:52:56.369
from 1971, Daiei had put the series into hiatus

00:52:56.369 --> 00:53:00.090
until Gamera Super Monster from 1980. The eighth

00:53:00.090 --> 00:53:02.809
film of the Showa era was a box office failure,

00:53:02.949 --> 00:53:06.469
and the series went on hiatus again until Gamera

00:53:06.469 --> 00:53:11.989
Guardian of the Universe in 1995. Thank you,

00:53:11.989 --> 00:53:14.550
Don Long. That's a fascinating history. And I

00:53:14.550 --> 00:53:17.210
think I've seen the first two Gamera movies.

00:53:17.409 --> 00:53:19.329
And then we did talk about another later one

00:53:19.329 --> 00:53:22.030
on the podcast at some point, right? Yeah, Guardian

00:53:22.030 --> 00:53:26.269
of the Universe from the 90s. Right. And I like

00:53:26.269 --> 00:53:27.730
them. I like that series, what I've seen of it

00:53:27.730 --> 00:53:31.949
so far. You are riding high. You've seen the

00:53:31.949 --> 00:53:38.920
best of the best. Okay. The 90s movies. are all

00:53:38.920 --> 00:53:44.539
top notch. After the third entry in the Showa

00:53:44.539 --> 00:53:49.699
era, it goes downhill pretty fast, but might

00:53:49.699 --> 00:53:55.119
still offer plenty of camp, but less, less, just

00:53:55.119 --> 00:53:59.159
less quality, cheaper budgets, lots of stock

00:53:59.159 --> 00:54:03.320
footage type of stuff. Okay. That doesn't sound

00:54:03.320 --> 00:54:05.539
great. But I feel like I like the first two well

00:54:05.539 --> 00:54:07.239
enough that I do want to continue going with

00:54:07.239 --> 00:54:10.019
them. So hopefully. And you should. Because Gamera

00:54:10.019 --> 00:54:14.980
is always better than Gappa and Eberra. Yes,

00:54:15.019 --> 00:54:18.159
that's the main takeaway of this episode. And

00:54:18.159 --> 00:54:20.559
I actually feel like maybe Gappa rips off Gamera

00:54:20.559 --> 00:54:22.679
more than it does Gorgo, because Gamera definitely

00:54:22.679 --> 00:54:26.900
has the friend of the children, and Gappa certainly

00:54:26.900 --> 00:54:29.880
has that as well. The baby Gappa especially has

00:54:29.880 --> 00:54:32.260
this kinship with all these human kids in this

00:54:32.260 --> 00:54:35.460
movie. So that is taken directly from Gamera,

00:54:35.519 --> 00:54:37.780
I would say. And I think that goes back to your

00:54:37.780 --> 00:54:42.199
point of Nikatsu just including every trope they

00:54:42.199 --> 00:54:45.579
can. Oh, this worked for Gamera. Let's put a

00:54:45.579 --> 00:54:48.000
kid in this movie with some sort of connection.

00:54:48.300 --> 00:54:52.519
Yeah. That stuff is kind of boring in this movie,

00:54:52.579 --> 00:54:56.739
in my opinion. Yeah, because it just feels surface

00:54:56.739 --> 00:55:01.260
level. Like they never really utilize it as much

00:55:01.260 --> 00:55:04.860
as they can. Yeah, exactly. Yeah. Yeah. And it's

00:55:04.860 --> 00:55:08.079
so sentimental. And I think like the main kid

00:55:08.079 --> 00:55:10.099
in this movie is in blackface and that's obviously

00:55:10.099 --> 00:55:13.019
not good. So there are many things that are just

00:55:13.019 --> 00:55:15.980
like not enjoyable about that theme in this movie.

00:55:17.340 --> 00:55:21.500
We'll get there. We'll get there. Getting ahead

00:55:21.500 --> 00:55:23.699
of ourselves a little bit. That's like the biggest

00:55:23.699 --> 00:55:27.019
thing in this movie. Okay. But Peter Lorre, he

00:55:27.019 --> 00:55:29.579
was at the Halloween party. He was busting a

00:55:29.579 --> 00:55:33.960
move. He. He got a hold of some sort of jack

00:55:33.960 --> 00:55:38.920
-o' -lantern alcohol pumpkin thingamajig that

00:55:38.920 --> 00:55:41.960
he was drinking all night. I still haven't seen

00:55:41.960 --> 00:55:44.760
him. That was two weeks ago. He had to disappear

00:55:44.760 --> 00:55:47.800
for a little bit. But it was great. It was great

00:55:47.800 --> 00:55:51.280
fun. Wish he could have been there. Yeah, I wish

00:55:51.280 --> 00:55:53.539
I could have too. It's hard to imagine Peter

00:55:53.539 --> 00:55:55.300
Lorre cutting a rug, but that must have been

00:55:55.300 --> 00:56:00.460
something. He got down with all the monsters

00:56:00.460 --> 00:56:05.239
that night. man it was just like a universal

00:56:05.239 --> 00:56:10.880
reunion at your house i bet i had a little i

00:56:10.880 --> 00:56:14.699
had my vcr tv here i had it set up in the kitchen

00:56:14.699 --> 00:56:19.460
a little corner like rip to vhs corner cool and

00:56:19.460 --> 00:56:23.280
people could just the idea was people could play

00:56:23.280 --> 00:56:26.579
their play whatever tapes were available nice

00:56:26.579 --> 00:56:30.590
at their leisure uh we ended up I put in Young

00:56:30.590 --> 00:56:33.190
Frankenstein to start the night. And then it

00:56:33.190 --> 00:56:35.210
was really funny because me and Gary and some

00:56:35.210 --> 00:56:37.849
others, you go get a beer in the fridge and then

00:56:37.849 --> 00:56:40.489
you find yourself just watching Young Frankenstein

00:56:40.489 --> 00:56:43.750
for five minutes. Yeah, that's a good choice.

00:56:43.849 --> 00:56:46.929
Young Frankenstein's awesome. Yeah. Whenever

00:56:46.929 --> 00:56:49.550
that's on like TV or whatever, like you can't

00:56:49.550 --> 00:56:53.530
pull yourself away from it, you know? Yeah. That's

00:56:53.530 --> 00:56:56.090
cool. What else did other people play on VHS

00:56:56.090 --> 00:56:58.550
that night? It's actually a friend of mine wanted

00:56:58.550 --> 00:57:02.269
to play the thing, the 1951 thing. Oh, nice.

00:57:02.590 --> 00:57:05.170
But then it wasn't working because the tape was

00:57:05.170 --> 00:57:09.570
locked. If you recall the tapes, they'd have

00:57:09.570 --> 00:57:11.909
like a little lock button mechanism on the side.

00:57:12.650 --> 00:57:14.610
Yeah. Kind of forgot about that till right now.

00:57:14.630 --> 00:57:16.489
Yeah. So we had to fiddle with that and then

00:57:16.489 --> 00:57:19.429
just pivoted and put in Bride of Frankenstein.

00:57:19.969 --> 00:57:22.170
Oh, Bride of Frankenstein. One of my favorites.

00:57:22.230 --> 00:57:26.050
That's a great choice. Yeah. Cool. Did you have

00:57:26.050 --> 00:57:28.150
any games or activities or anything that night?

00:57:28.949 --> 00:57:33.889
Yes. Eyes the Phantom of the Opera hosted a night

00:57:33.889 --> 00:57:38.469
of fate and madness. So I concocted some games,

00:57:38.590 --> 00:57:42.090
three rounds of games, like a dance of doom,

00:57:42.150 --> 00:57:44.690
I called it, where everyone had to dance. And

00:57:44.690 --> 00:57:46.710
I called out people who kept moving after I stopped

00:57:46.710 --> 00:57:51.329
the music. I whittled them down to three. And

00:57:51.329 --> 00:57:54.760
then the three of them had to complete. the lyrics

00:57:54.760 --> 00:57:57.480
to the monster mash, the best of their ability.

00:57:59.300 --> 00:58:02.119
That's amazing. I'd be terrible at that. And

00:58:02.119 --> 00:58:05.059
then the final two, it was like a relay race.

00:58:05.219 --> 00:58:08.599
I have like a little toy heart that I had placed

00:58:08.599 --> 00:58:11.099
in a hidden box and they had to find the phantom's

00:58:11.099 --> 00:58:13.579
heart and bring it back to me. Oh man, that's

00:58:13.579 --> 00:58:17.980
awesome. You're really good at party planning.

00:58:18.539 --> 00:58:21.280
That's creative. I love that. Thank you. It was

00:58:21.280 --> 00:58:26.710
very silly. I led each round with a quote from

00:58:26.710 --> 00:58:33.489
the 1925 movie. Cool. Including the one you mentioned

00:58:33.489 --> 00:58:37.429
in our episode. Like a toad, I secrete the venom.

00:58:38.210 --> 00:58:41.190
Something, something, something. Yeah. I was

00:58:41.190 --> 00:58:43.829
trying to remember what it was. Yeah. It rings

00:58:43.829 --> 00:58:48.349
a bell. What I said that there was an audible

00:58:48.349 --> 00:58:53.960
visceral reaction from the party goers. I love

00:58:53.960 --> 00:58:56.079
it. It's 100 years old and it still holds up.

00:58:56.320 --> 00:59:02.659
Yeah. They're like, what? In the what? That's

00:59:02.659 --> 00:59:07.800
the correct response, I would say. That probably

00:59:07.800 --> 00:59:10.179
sounded way cooler in that character's head before

00:59:10.179 --> 00:59:12.719
he said it out loud, you know, in a silent movie

00:59:12.719 --> 00:59:15.119
or whatever. But it's such a weird, weird choice

00:59:15.119 --> 00:59:19.340
for dialogue. Back on track. The Girl Who Dared

00:59:19.340 --> 00:59:26.039
from 1944. Our letterboxd synopsis reads, A group

00:59:26.039 --> 00:59:28.500
of people are invited to a party at a creepy

00:59:28.500 --> 00:59:31.679
mansion where legend has it a ghost appears once

00:59:31.679 --> 00:59:35.420
a year. And the tagline of the film is, Your

00:59:35.420 --> 00:59:38.480
blood will run cold. It's got those chills and

00:59:38.480 --> 00:59:43.900
thrills. Chills and thrills. Nice. The girl who

00:59:43.900 --> 00:59:46.840
dared. Sounds good. Kind of sounds like The House

00:59:46.840 --> 00:59:49.900
on Haunted Hill a little bit. Yeah. A little

00:59:49.900 --> 00:59:53.440
bit. We'll see. Can't wait to watch that and

00:59:53.440 --> 00:59:57.400
hear Peter Lorre's take. Yeah, if he can find

00:59:57.400 --> 00:59:59.500
him and like if he's not still on a bender, you

00:59:59.500 --> 01:00:02.460
know. Well, that's that's always the catch, isn't

01:00:02.460 --> 01:00:04.260
it? I don't know how you lived with the guy for

01:00:04.260 --> 01:00:08.219
a year. Oh, man, I'm glad he's not here anymore.

01:00:08.380 --> 01:00:10.519
Like I'm, you know, good riddance. I wash my

01:00:10.519 --> 01:00:13.619
hands of him. Yeah, man, I didn't know you held

01:00:13.619 --> 01:00:17.400
grudges like this, but. Oh, yeah, yeah. No, the

01:00:17.400 --> 01:00:19.280
next time I see Peter, it is not going to go

01:00:19.280 --> 01:00:35.880
well. I'll just say that. Yikes! Welcome to the

01:00:35.880 --> 01:00:39.000
Poverty Row Studios on the other side of Hollywood,

01:00:39.380 --> 01:00:42.340
where the stars were dimmer and the red carpets

01:00:42.340 --> 01:00:45.579
dripped with blood. Together we will watch the

01:00:45.579 --> 01:00:48.920
best of the worst. Movies known for their limited

01:00:48.920 --> 01:00:52.400
budgets. outlandish concepts, and questionable

01:00:52.400 --> 01:00:55.260
performances, but with enough haunted houses,

01:00:55.519 --> 01:00:58.840
zombies, ape men, and devil bats to keep you

01:00:58.840 --> 01:01:03.360
up at night. Yes, this is the Poverty Row Picture

01:01:03.360 --> 01:01:07.059
Show, and I dare you to sleep through these nightmares.

01:01:10.780 --> 01:01:17.780
Oh, my aching pirate's booty. What a couple of

01:01:17.780 --> 01:01:22.079
weeks it has been. Friends, I am sorely, sorely

01:01:22.079 --> 01:01:25.280
deeply sorry for my behavior at Vincent's Halloween

01:01:25.280 --> 01:01:29.519
party. Yes, I do not even remember leaving, but

01:01:29.519 --> 01:01:33.039
I do remember waking up on this beach. Yes, the

01:01:33.039 --> 01:01:36.260
crashing waves were a cold and crude wake -up

01:01:36.260 --> 01:01:39.860
call. And as I sat there, sat there holding my

01:01:39.860 --> 01:01:44.139
troublesome temples in my hands, my costume clinging

01:01:44.139 --> 01:01:48.639
to my perfectly sculpted body, a shadow, appeared

01:01:48.639 --> 01:01:52.159
over me. I looked up into the beaming sun and

01:01:52.159 --> 01:01:56.360
saw reflected in the sun the raven circling up

01:01:56.360 --> 01:02:00.920
above. It cawed, it cawed to me, demanding the

01:02:00.920 --> 01:02:05.019
continuance of the poem. Well, I have never been

01:02:05.019 --> 01:02:08.900
one to disappoint an audience, so there, on the

01:02:08.900 --> 01:02:14.639
pebbles, I began the words. Ah, distinctly I

01:02:14.639 --> 01:02:18.440
remember it was In the bleak December, and each

01:02:18.440 --> 01:02:21.599
separate dying amber wrought its ghost upon the

01:02:21.599 --> 01:02:26.119
floor, eagerly I wished the morrow, vainly I

01:02:26.119 --> 01:02:29.039
had sought to borrow from my book's surcease

01:02:29.039 --> 01:02:33.500
of sorrow, sorrow for the lost Lenore, for the

01:02:33.500 --> 01:02:36.420
rare and radiant maiden whom the angels name

01:02:36.420 --> 01:02:42.710
Lenore, nameless here forevermore. and the silken

01:02:42.710 --> 01:02:46.250
sad uncertain rustling of each purple curtain

01:02:46.250 --> 01:02:49.869
thrilled me filled me with fantastic terrors

01:02:49.869 --> 01:02:54.170
never felt before so that now to still the beating

01:02:54.170 --> 01:02:58.590
of my heart I stood up I stood repeating tis

01:02:58.590 --> 01:03:01.449
some visitor entreating entrance at my chamber

01:03:01.449 --> 01:03:05.869
door some late visitor entreating entrance at

01:03:05.869 --> 01:03:11.849
my chamber door this it is and nothing more Recently

01:03:11.849 --> 01:03:16.329
my soul grew stronger, hesitating then no longer.

01:03:16.570 --> 01:03:20.269
Sir, I said, or madam, truly your forgiveness

01:03:20.269 --> 01:03:24.289
I implore, but the fact is I was napping, and

01:03:24.289 --> 01:03:28.070
so gently you came rapping, and so faintly you

01:03:28.070 --> 01:03:30.929
came tapping, tapping at my chamber door that

01:03:30.929 --> 01:03:34.969
I scarce was sure I heard you. Here I opened

01:03:34.969 --> 01:03:40.210
wide the door. Darkness there, and nothing more.

01:03:41.420 --> 01:03:45.480
Deep into that darkness peering, long I stood

01:03:45.480 --> 01:03:49.099
there wondering, fearing, doubting, dreaming

01:03:49.099 --> 01:03:52.480
dreams no mortal ever dared to dream before.

01:03:53.239 --> 01:03:57.719
But the silence was unbroken, and the stillness

01:03:57.719 --> 01:04:01.679
gave no token, and the only word there spoken

01:04:01.679 --> 01:04:07.539
was the whispered word, Lenore. This I whispered,

01:04:07.539 --> 01:04:11.889
and an echo murmured back the word. Lenore, merely

01:04:11.889 --> 01:04:16.309
this and nothing more. Back into the chamber

01:04:16.309 --> 01:04:20.210
turning, all my soul within me burning. Soon

01:04:20.210 --> 01:04:24.030
again I heard a tapping somewhat louder than

01:04:24.030 --> 01:04:28.369
before. Surely, I said, surely that this is something

01:04:28.369 --> 01:04:32.309
at my window lattice. Let me see then what thereat

01:04:32.309 --> 01:04:35.210
is, and this mystery explore. Let my heart be

01:04:35.210 --> 01:04:37.889
still a moment, and this mystery explore. Tis

01:04:37.889 --> 01:04:43.880
the wind and nothing more. And then I woke up.

01:04:45.000 --> 01:04:49.739
And my raven companion led me back to my basement

01:04:49.739 --> 01:04:53.780
dwelling in Vincent's home. And there waiting

01:04:53.780 --> 01:04:59.159
for me was my life's work. A box of Poverty Row

01:04:59.159 --> 01:05:05.280
video cassettes. And lying on top, Republic's

01:05:05.280 --> 01:05:10.960
1944 picture, The Girl Who Dared. This film,

01:05:11.500 --> 01:05:14.679
This film is a typical old dark house whodunit,

01:05:14.699 --> 01:05:17.940
but at the brisk 56 minutes, it is enjoyable

01:05:17.940 --> 01:05:22.079
enough. Yes, the action begins with a party of

01:05:22.079 --> 01:05:24.719
socialites who have gathered at a remote seaside

01:05:24.719 --> 01:05:28.980
home for a ghost hunt. Out on the beach, amidst

01:05:28.980 --> 01:05:31.460
the crashing waves, is a pirate ship haunted

01:05:31.460 --> 01:05:35.780
by the spirit of a buccaneer. Sadly, this does

01:05:35.780 --> 01:05:38.639
not go anywhere, but... There remains a mystery

01:05:38.639 --> 01:05:41.260
to be solved worthy of Scooby -Doo and the gang,

01:05:41.380 --> 01:05:44.519
so listeners, check out The Girl Who Dared for

01:05:44.519 --> 01:05:48.679
an easy, albeit slightly forgettable, little

01:05:48.679 --> 01:05:52.840
thriller. But next week, on the Poverty Row Picture

01:05:52.840 --> 01:05:56.260
Show, uh -huh, yes, yes, we are talking killer

01:05:56.260 --> 01:05:58.920
brains. Yes, killer brains are on the loose.

01:05:59.079 --> 01:06:12.460
In 1944's The Lady and the Monster. It must have

01:06:12.460 --> 01:06:14.340
been a little after three o 'clock in the afternoon

01:06:14.340 --> 01:06:19.179
that it began. The afternoon of June 3rd, 1916.

01:06:21.360 --> 01:06:29.280
Fire one. Fire two. This could have been the

01:06:29.280 --> 01:06:32.579
end. The end of just another tragic episode in

01:06:32.579 --> 01:06:36.219
War at Sea. But for the few survivors of a torpedoed

01:06:36.219 --> 01:06:38.639
merchant ship and the crew of a German U -boat

01:06:38.639 --> 01:06:41.449
lost in the frozen South Atlantic. It was the

01:06:41.449 --> 01:06:44.769
beginning of an incredible adventure. For this

01:06:44.769 --> 01:06:47.690
was the day the 20th century met the primeval

01:06:47.690 --> 01:06:51.590
world face to face. American International presents

01:06:51.590 --> 01:06:55.889
The Land That Time Forgot. An astounding motion

01:06:55.889 --> 01:06:58.690
picture based on the book by Edgar Rice Burroughs,

01:06:58.809 --> 01:07:01.670
creator of Tarzan, and the most thrilling science

01:07:01.670 --> 01:07:05.369
fiction stories ever written. Travel through

01:07:05.369 --> 01:07:08.289
an underwater passage and discover an awesome

01:07:08.289 --> 01:07:13.440
prehistoric world. Fight for your life against

01:07:13.440 --> 01:07:16.019
the terrifying creatures of a lost continent.

01:07:19.099 --> 01:07:22.760
Come face to face with primitive man and learn

01:07:22.760 --> 01:07:26.820
the secret of evolution. The land that time forgot.

01:07:27.099 --> 01:07:33.880
Mr. Tyler! Starring Doug McClure. There's a secret

01:07:33.880 --> 01:07:37.360
to this island. Something that we haven't been

01:07:37.360 --> 01:07:41.610
able to fathom yet. And whether we stay or get

01:07:41.610 --> 01:07:51.289
away may depend on it. It's action, danger, and

01:07:51.289 --> 01:07:59.929
adventure on an epic scale. How much longer do

01:07:59.929 --> 01:08:01.889
we keep them? We're not leaving without them!

01:08:02.050 --> 01:08:08.840
You will never forget. Edgar Rice Burroughs,

01:08:08.840 --> 01:08:15.139
the land that time forgot. Well, let's get back

01:08:15.139 --> 01:08:18.359
to Gappa the Trifibian Monster. Let's talk about

01:08:18.359 --> 01:08:22.399
some themes about this movie. You know, this

01:08:22.399 --> 01:08:25.100
is one of those movies where I honestly, you

01:08:25.100 --> 01:08:29.520
know, I could give it like the film school critique

01:08:29.520 --> 01:08:34.439
treatment. But like we've talked about, it just,

01:08:34.520 --> 01:08:38.279
it does try to include everything. So I'm like,

01:08:38.300 --> 01:08:41.340
well, of course it has themes, but I don't know

01:08:41.340 --> 01:08:45.199
how seriously I should take Gappa, the triphibian

01:08:45.199 --> 01:08:49.100
monster. You know what I mean? I do. I feel the

01:08:49.100 --> 01:08:51.659
same way. The themes are so obvious that it's

01:08:51.659 --> 01:08:53.920
like, well, do we even have to talk about them?

01:08:54.060 --> 01:08:57.640
I guess you have science versus entertainment

01:08:57.640 --> 01:09:02.199
is one of them. Kind of like the corporate sort

01:09:02.199 --> 01:09:05.500
of head honcho in the movies. Like he leads a

01:09:05.500 --> 01:09:07.300
company called Playmate, which I thought was

01:09:07.300 --> 01:09:08.739
kind of funny. I didn't know if that's like a

01:09:08.739 --> 01:09:12.119
Playboy parody or something. But, you know, he

01:09:12.119 --> 01:09:13.939
wants to open up a theme park with all these

01:09:13.939 --> 01:09:16.279
exotic animals. And that's clearly like both

01:09:16.279 --> 01:09:19.439
King Kong and Jurassic Park, of course. So, yeah,

01:09:19.500 --> 01:09:20.880
to your point, it's like, yeah, there are themes.

01:09:21.020 --> 01:09:23.260
And like they're ripped off from like every other

01:09:23.260 --> 01:09:27.960
monster movie you've ever seen before. The biggest.

01:09:28.430 --> 01:09:31.550
theme if you will that i wanted to bring up was

01:09:31.550 --> 01:09:35.050
at the end as sentimental as the ending is everyone's

01:09:35.050 --> 01:09:39.029
crying there's just like sappy lighting and you

01:09:39.029 --> 01:09:42.510
know i think it's lit really well it's shot really

01:09:42.510 --> 01:09:44.810
well i don't want to take away from that but

01:09:44.810 --> 01:09:50.409
it is very sappy and the little girl the daughter

01:09:50.409 --> 01:09:54.369
of the you know the the corporate head honcho

01:09:54.369 --> 01:09:59.399
she's like Daddy, the monsters are together,

01:09:59.619 --> 01:10:03.420
like the family's together. I miss mommy. And

01:10:03.420 --> 01:10:06.319
it's just, you know, as sentimental as it is,

01:10:06.380 --> 01:10:11.239
the family unit that are the Gappas is mirrored

01:10:11.239 --> 01:10:14.779
by this broken family between the daughter and

01:10:14.779 --> 01:10:18.800
her dad, who in one scene, the daughter looks

01:10:18.800 --> 01:10:21.020
up at him and says, I don't like you anymore.

01:10:21.399 --> 01:10:27.300
Yeah. Heartbreaking. Yep. Very sappy, but pretty

01:10:27.300 --> 01:10:33.119
heartbreaking. Yeah. Yeah. Right. She just went,

01:10:33.180 --> 01:10:36.640
went, cut him to the quick on that one. Yeah.

01:10:37.420 --> 01:10:40.220
But I mean, that guy that like her dad is like,

01:10:40.279 --> 01:10:42.520
so just like blatantly villainous for much of

01:10:42.520 --> 01:10:45.829
the movie. He's like. You know, what would taking

01:10:45.829 --> 01:10:48.350
the baby Gappa back to the island do? Like, you

01:10:48.350 --> 01:10:50.510
idiot, that's not going to do anything. And he's

01:10:50.510 --> 01:10:52.390
just like so blatantly just like, no, I'm not

01:10:52.390 --> 01:10:54.409
doing that. Like, this is our one chance to like

01:10:54.409 --> 01:10:56.449
make money off of this thing. And it's like,

01:10:56.470 --> 01:10:58.310
well, no wonder your daughter hates you. You're

01:10:58.310 --> 01:11:00.630
like a terrible person, you know? But of course,

01:11:00.630 --> 01:11:02.210
there's the inevitable change of heart at the

01:11:02.210 --> 01:11:06.909
end. So it all works out. But yeah, it is kind

01:11:06.909 --> 01:11:09.510
of touching in a way. And like you also like

01:11:09.510 --> 01:11:11.909
you mentioned the love triangle before. You know,

01:11:11.930 --> 01:11:15.069
I think it's the reporter and the woman scientist

01:11:15.069 --> 01:11:17.170
who kind of do have like a little fling going

01:11:17.170 --> 01:11:20.470
on. And then there's like a conflict between

01:11:20.470 --> 01:11:23.010
them. Like he's totally focused on his work and

01:11:23.010 --> 01:11:25.369
he, you know, doesn't really care about the baby

01:11:25.369 --> 01:11:28.029
Gappa at all. And that kind of drives them apart.

01:11:28.350 --> 01:11:30.880
And then. You know, like there's there's another

01:11:30.880 --> 01:11:32.760
sappy line at the end where that guy is like,

01:11:32.960 --> 01:11:36.479
well, I've learned that one should not be totally

01:11:36.479 --> 01:11:38.939
selfish in their life. And it took the and it

01:11:38.939 --> 01:11:41.180
took Gappa for me to learn that. It's like the

01:11:41.180 --> 01:11:42.779
quote is something like that. I don't remember

01:11:42.779 --> 01:11:45.220
exactly what it is. And it's like that obvious

01:11:45.220 --> 01:11:47.260
of a moral lesson. Like, that's pretty much how

01:11:47.260 --> 01:11:49.520
it's voiced in the movie. But it's like, oh,

01:11:49.600 --> 01:11:52.239
OK, like he's he's learned some lessons and now

01:11:52.239 --> 01:11:53.979
they're getting back together. Like that is kind

01:11:53.979 --> 01:11:55.859
of sweet and a little like a little bit, you

01:11:55.859 --> 01:11:59.739
know? Yeah. There's one theme that I don't jibe

01:11:59.739 --> 01:12:02.479
with, but it's a theme of the movie. The our

01:12:02.479 --> 01:12:08.380
female lead and the character's name is Itoko

01:12:08.380 --> 01:12:14.000
Koyanagi. She is an independent woman. She don't

01:12:14.000 --> 01:12:18.039
need no man. And she's just like, bah, bah, stay

01:12:18.039 --> 01:12:21.039
away from me. All your advances in your in your

01:12:21.039 --> 01:12:23.500
flirting. And, you know, because the guys, you

01:12:23.500 --> 01:12:25.579
know, they're. They're giving her a hard time

01:12:25.579 --> 01:12:27.520
a little bit, joking around like, oh, you're

01:12:27.520 --> 01:12:31.119
22. You've got gray hairs. And she says something

01:12:31.119 --> 01:12:33.399
like she really holds her own. And she's like

01:12:33.399 --> 01:12:35.899
it. It just rolls off her back, which like I

01:12:35.899 --> 01:12:39.220
really appreciated this empowerment, which was

01:12:39.220 --> 01:12:45.279
very in with the times 1960s, you know, at large

01:12:45.279 --> 01:12:49.079
female independence. But then at the end, her

01:12:49.079 --> 01:12:53.930
character's arc is to actually settle down. and

01:12:53.930 --> 01:12:58.970
just be a home wife a housewife which no shade

01:12:58.970 --> 01:13:02.289
if that's what you want to do but to me in this

01:13:02.289 --> 01:13:05.710
film it just torpedoed everything she had going

01:13:05.710 --> 01:13:07.909
for herself it's kind of confusing though because

01:13:07.909 --> 01:13:09.909
at the end of the movie she's like Oh, well,

01:13:09.970 --> 01:13:12.149
I guess I will just go like find a man and settle

01:13:12.149 --> 01:13:14.510
down and be a housewife, like you said. And then

01:13:14.510 --> 01:13:16.430
she walks away and it's almost like she's testing

01:13:16.430 --> 01:13:18.949
one of the guys to see if he'll like chase after

01:13:18.949 --> 01:13:20.789
her and be like, no, don't do that. You're like

01:13:20.789 --> 01:13:23.050
this great reporter. Like, we need you. Or a

01:13:23.050 --> 01:13:25.989
great scientist. I think she is. Sorry. But so,

01:13:26.069 --> 01:13:28.210
yeah, the ending is confusing and it's either

01:13:28.210 --> 01:13:32.409
so vague that it's kind of frustrating or actually

01:13:32.409 --> 01:13:34.529
offensive. Like either way, it's like not a great

01:13:34.529 --> 01:13:39.020
ending for her, you know. You know, as we talk

01:13:39.020 --> 01:13:43.340
about like 1950s monster movies, even 20 million

01:13:43.340 --> 01:13:47.460
miles to earth, it's such, it happens in every

01:13:47.460 --> 01:13:51.739
movie with every female lead. It's a trope in

01:13:51.739 --> 01:13:54.979
and of itself where the female is a scientist,

01:13:55.060 --> 01:13:58.460
a biologist, a doctor, like in 20 million miles

01:13:58.460 --> 01:14:01.659
to earth. And then over the course of the movie,

01:14:01.739 --> 01:14:08.029
that character loses all of her. all of her professional

01:14:08.029 --> 01:14:12.369
ambition and eventually just settles and into

01:14:12.369 --> 01:14:14.590
a romantic relationship with the male lead whoever

01:14:14.590 --> 01:14:17.189
that is the soldier the newspaper man whatever

01:14:17.189 --> 01:14:23.409
so in a way gappa is also just just copying a

01:14:23.409 --> 01:14:26.229
trope scene in every other giant monster movie

01:14:26.229 --> 01:14:29.149
yeah and you're right that's one of the more

01:14:29.149 --> 01:14:33.640
unfortunate tropes for sure i can't like I don't

01:14:33.640 --> 01:14:35.520
know. I'm trying to think of like any female

01:14:35.520 --> 01:14:39.039
lead in a kaiju movie with agency and like it's

01:14:39.039 --> 01:14:40.960
hard. I like honestly, I don't know if a single

01:14:40.960 --> 01:14:44.500
one is coming to mind, you know? I mean, yeah,

01:14:44.560 --> 01:14:46.180
I mean, they're they're they're going to be there.

01:14:46.359 --> 01:14:50.779
I mean, the like we talk about the Heisei movies.

01:14:51.000 --> 01:14:54.560
There's the the one girl, the woman who has that

01:14:54.560 --> 01:14:58.539
telepathic link. Yeah. Those are still from the

01:14:58.539 --> 01:15:02.279
90s. Right. Yeah, it's definitely in that later

01:15:02.279 --> 01:15:04.939
period. And like Godzilla vs. Biollante, I think.

01:15:05.060 --> 01:15:06.600
Is that the one that you're talking about, I

01:15:06.600 --> 01:15:09.739
think? Yeah, and maybe a little bit in Godzilla

01:15:09.739 --> 01:15:13.399
vs. King Ghidorah from 1992. I think there might

01:15:13.399 --> 01:15:16.359
be some strong, very empowered female characters

01:15:16.359 --> 01:15:18.800
in that movie. But either way, yeah, it's much

01:15:18.800 --> 01:15:21.239
later. It's not until after this period. Do you

01:15:21.239 --> 01:15:25.380
remember in Them, our female lead, James Arness

01:15:25.380 --> 01:15:30.850
tries his hardest to woo her? And she's the daughter

01:15:30.850 --> 01:15:34.550
of the main scientist. They might end up together

01:15:34.550 --> 01:15:39.149
in the end, but the sense is it's so forced because

01:15:39.149 --> 01:15:42.829
that actor plays such a good, strong character.

01:15:44.189 --> 01:15:46.510
I just remember that movie came to mind if you

01:15:46.510 --> 01:15:49.630
want to revisit that one. Yeah, I do kind of

01:15:49.630 --> 01:15:51.390
remember that. I like her character in that movie.

01:15:51.729 --> 01:15:55.880
Yeah. Attack of the 50 -Foot Woman. Yeah, that's

01:15:55.880 --> 01:15:58.939
probably the best example. Literally a strong

01:15:58.939 --> 01:16:06.979
female character. Yeah. Yeah, I'll have to think

01:16:06.979 --> 01:16:08.279
about that a little bit more because I'm not

01:16:08.279 --> 01:16:09.880
thinking of too many examples, but I'm sure there

01:16:09.880 --> 01:16:14.140
must be some earlier ones too. But too far and

01:16:14.140 --> 01:16:17.579
few between. Yeah, for sure. Yeah. Well, just

01:16:17.579 --> 01:16:19.840
one more theme. I kind of alluded to this before,

01:16:19.920 --> 01:16:22.699
but just like the depiction of the native islanders.

01:16:22.699 --> 01:16:25.039
And I think it's called Obelisk Island, where

01:16:25.039 --> 01:16:29.659
the Gappa monsters are taken from. And like ostensibly

01:16:29.659 --> 01:16:32.659
the theme is that the natives on the island are

01:16:32.659 --> 01:16:34.880
mistreated by all the Japanese reporters and

01:16:34.880 --> 01:16:38.000
scientists that go there. And then like the Japanese

01:16:38.000 --> 01:16:40.300
characters exploit the island and the people

01:16:40.300 --> 01:16:42.060
and its creatures and then just leave and try

01:16:42.060 --> 01:16:45.079
to make money off of it, basically. which hypothetically

01:16:45.079 --> 01:16:47.340
is an admirable theme. But then of course the

01:16:47.340 --> 01:16:50.020
depiction of the Islanders is like, you know,

01:16:50.039 --> 01:16:52.760
there's, there's blackface, there's like tribal

01:16:52.760 --> 01:16:56.399
dancing. There's like extremely cliched costumes

01:16:56.399 --> 01:16:58.880
and sets and everything. So it's kind of like

01:16:58.880 --> 01:17:01.159
those themes and depictions like balance each

01:17:01.159 --> 01:17:03.020
other out in the long run. You know, it's, it's

01:17:03.020 --> 01:17:04.699
hard to see it as very admirable in the end.

01:17:05.340 --> 01:17:09.460
Yeah. It's just, it's just your classic, classic

01:17:09.460 --> 01:17:15.659
meaning like also dated. exoticism these are

01:17:15.659 --> 01:17:18.779
japanese actors in this japanese film but to

01:17:18.779 --> 01:17:22.619
liken it to our own culture you know the great

01:17:22.619 --> 01:17:28.159
white hunter goes into africa and you know encounters

01:17:28.159 --> 01:17:31.760
mysteries beyond their wildest dreams which we

01:17:31.760 --> 01:17:35.500
know is dated and talked about it in congo yep

01:17:35.500 --> 01:17:37.680
that goes back to king kong like you were talking

01:17:37.680 --> 01:17:40.659
about before like Probably just yet another example

01:17:40.659 --> 01:17:44.300
of Gappa just like taking every possible monster

01:17:44.300 --> 01:17:46.960
movie cliche it possibly can, you know? Yeah,

01:17:46.979 --> 01:17:50.000
right. Like you see that stuff in King Kong and

01:17:50.000 --> 01:17:51.560
you're like, yeah, that's not great. But this

01:17:51.560 --> 01:17:54.140
is like 1933 and there's like enough other stuff

01:17:54.140 --> 01:17:56.699
in the movie to kind of like understand why that's

01:17:56.699 --> 01:17:58.520
such a classic, you know? But by this time in

01:17:58.520 --> 01:18:01.739
1967, maybe not so much. Did you raise your hand?

01:18:02.000 --> 01:18:04.079
I did raise my hand. I want to point out that

01:18:04.079 --> 01:18:07.859
we had actual black actors used in King Kong.

01:18:08.270 --> 01:18:11.729
For what it's worth, at least the casting was

01:18:11.729 --> 01:18:15.710
respectful in that way. That doesn't even sound

01:18:15.710 --> 01:18:18.909
right, but I think you get my point. Yeah, for

01:18:18.909 --> 01:18:22.829
sure. Yeah. Yeah. Right. Yeah. I mean, just like

01:18:22.829 --> 01:18:27.050
the, yeah, the disturbing makeup and disturbing

01:18:27.050 --> 01:18:29.430
in many ways in this movie in Gappa is just hard

01:18:29.430 --> 01:18:32.029
to watch. And like, you know, on a young child,

01:18:32.109 --> 01:18:33.689
it's like, ah, what are you teaching this kid?

01:18:33.789 --> 01:18:35.569
You know, like he's probably not learning very

01:18:35.569 --> 01:18:38.670
many good lessons from this. Yeah, and this came

01:18:38.670 --> 01:18:41.649
up in Mothra too, Ashura Honda's Mothra. The

01:18:41.649 --> 01:18:46.750
depiction of the islanders, they are put in like

01:18:46.750 --> 01:18:50.010
a brown makeup, their whole skin and everything,

01:18:50.270 --> 01:18:55.789
which is bad enough. But this boy character in

01:18:55.789 --> 01:19:00.649
Gappa, just like that's full on black. Yeah.

01:19:00.689 --> 01:19:04.890
And he's even wearing a wig. Right. And it's

01:19:04.890 --> 01:19:08.390
just so... It's stupid, honestly, like I'm not

01:19:08.390 --> 01:19:11.470
even like I'm upset by it, but I'm also angry

01:19:11.470 --> 01:19:14.550
at like how it just looks bad. It's just like

01:19:14.550 --> 01:19:18.789
such an obviously bad makeup job as well. Right.

01:19:18.869 --> 01:19:21.729
Yeah, it's bad in like every conceivable way,

01:19:21.850 --> 01:19:23.829
you know, and like it doesn't even really make

01:19:23.829 --> 01:19:25.789
narrative sense because if they're in the South

01:19:25.789 --> 01:19:27.890
Seas, I think that's where Obelisk Island is

01:19:27.890 --> 01:19:30.470
supposed to be. It doesn't like, yeah, it doesn't

01:19:30.470 --> 01:19:32.529
even make narrative sense that that character

01:19:32.529 --> 01:19:35.229
would be there, you know, it's yeah, it's ridiculous.

01:19:36.579 --> 01:19:42.079
Yeah, it's, yeah, inexcusable in every facet,

01:19:42.079 --> 01:19:48.979
every way possible. Just, yeah. And it is disappointing

01:19:48.979 --> 01:19:53.439
because I do enjoy so much of this movie. But

01:19:53.439 --> 01:19:55.979
would I ever show this movie to a class of my

01:19:55.979 --> 01:19:59.640
students? Absolutely not. And the same thing

01:19:59.640 --> 01:20:03.119
with Mothra, too. Like, I just can't. Absolutely.

01:20:03.220 --> 01:20:05.859
Yeah, pretty much inexcusable. And like, you

01:20:05.859 --> 01:20:09.060
know, I again, like movies from the 30s and the

01:20:09.060 --> 01:20:11.159
silent era don't get a free pass. We should definitely

01:20:11.159 --> 01:20:13.560
hold them accountable as well. But like, you

01:20:13.560 --> 01:20:16.560
know, 1967, like ridiculous. There's no reason

01:20:16.560 --> 01:20:19.779
for it. Like and I don't know. I guess I was

01:20:19.779 --> 01:20:21.539
kind of thinking like maybe there are cultural

01:20:21.539 --> 01:20:24.619
differences between like American attitudes.

01:20:25.479 --> 01:20:28.239
towards blackface and like Japanese attitudes

01:20:28.239 --> 01:20:31.119
towards that. But that's irrelevant. It's, you

01:20:31.119 --> 01:20:34.140
know, it's bad either way. So the cultural differences

01:20:34.140 --> 01:20:36.760
don't really like obviate that point, you know?

01:20:37.159 --> 01:20:41.859
Yeah, that is a such a large web that you tapped

01:20:41.859 --> 01:20:45.319
into that I'm not even gonna pretend like I could

01:20:45.319 --> 01:20:48.720
be an expert on talking about anything. All I

01:20:48.720 --> 01:20:52.979
can speak to relatively confidently is Japan's

01:20:52.979 --> 01:21:00.579
history as an imperial And like its Western counterparts

01:21:00.579 --> 01:21:06.520
going into a quote unquote exotic land and rating

01:21:06.520 --> 01:21:09.680
it for its resources, taking advantage of its

01:21:09.680 --> 01:21:13.140
quote unquote primitive peoples. Yeah. I mean,

01:21:13.140 --> 01:21:16.880
it's still an icky colonial mindset. Yeah. Even

01:21:16.880 --> 01:21:21.060
if it's from the Japanese point of view. Totally.

01:21:21.119 --> 01:21:23.140
And that's why it's frustrating that Gappa seems

01:21:23.140 --> 01:21:26.550
to like, make that critical point i mean like

01:21:26.550 --> 01:21:28.590
the japanese characters do that in this movie

01:21:28.590 --> 01:21:30.409
they exploit the resources and the people there

01:21:30.409 --> 01:21:32.750
on the island but like the way it's achieved

01:21:32.750 --> 01:21:34.829
it like totally defeats that purpose you know

01:21:34.829 --> 01:21:41.390
and also as we already talked about like i don't

01:21:41.390 --> 01:21:43.750
know how much complexity there really is there

01:21:43.750 --> 01:21:45.229
they're just like repeating other points that

01:21:45.229 --> 01:21:48.229
were already made in previous movies so yeah

01:21:48.229 --> 01:21:52.390
it's i i would say probably the one of the worst

01:21:52.390 --> 01:21:54.989
aspects of this movie is is the depiction of

01:21:54.989 --> 01:21:59.090
the native people oh man okay i'm just i'm just

01:21:59.090 --> 01:22:02.350
groaning because my final rating i think is is

01:22:02.350 --> 01:22:05.670
fluctuating by the moment here which is what

01:22:05.670 --> 01:22:09.649
i love i love because you know i i have an impression

01:22:09.649 --> 01:22:12.850
of a movie i just watched but in conversation

01:22:12.850 --> 01:22:15.189
you know you learn things and your your perspective

01:22:15.189 --> 01:22:19.539
starts to shift so yeah it's good That's definitely

01:22:19.539 --> 01:22:22.279
happened to me a lot on while we record. Yeah.

01:22:22.640 --> 01:22:27.560
Yeah. Well, we were already talking about this

01:22:27.560 --> 01:22:31.039
a little bit earlier too, but just like how blatantly

01:22:31.039 --> 01:22:33.600
obvious and sentimental the dialogue is. And

01:22:33.600 --> 01:22:36.300
like most of the characters, like it is not believable

01:22:36.300 --> 01:22:38.460
for a second. And then like any of these people

01:22:38.460 --> 01:22:40.939
are actually saying the things that they say

01:22:40.939 --> 01:22:43.279
in this movie, like they're not really characters.

01:22:43.420 --> 01:22:45.579
They're kind of just like tropes, you know, to

01:22:45.579 --> 01:22:50.329
push the story along. Yeah, I mean, from the

01:22:50.329 --> 01:22:53.289
sort of like crude, vulgar, capitalistic like

01:22:53.289 --> 01:22:57.050
company man to the like scientists who like only

01:22:57.050 --> 01:22:59.069
care about the facts and like don't really care

01:22:59.069 --> 01:23:01.649
about other people or other animals to these

01:23:01.649 --> 01:23:04.949
kids who are just like, you know, like saying

01:23:04.949 --> 01:23:06.869
literally every thought that's in their head.

01:23:07.409 --> 01:23:09.590
You know, like I'm not saying that it has to

01:23:09.590 --> 01:23:12.170
be like naturalistic, realistic dialogue all

01:23:12.170 --> 01:23:14.569
the time, but it's just like impossible to believe

01:23:14.569 --> 01:23:20.270
in this movie, you know? Yeah, it is, yeah, sentimental,

01:23:20.390 --> 01:23:23.949
over the top, heavy -handed. How do you feel

01:23:23.949 --> 01:23:27.649
about the monster design itself? And I have,

01:23:27.890 --> 01:23:34.149
if I may, the baby Gappa, to me, has like a,

01:23:34.229 --> 01:23:40.470
its face has like a, this is not a smart critique,

01:23:40.649 --> 01:23:44.609
but it has a dumb look to it. Like something

01:23:44.609 --> 01:23:48.430
with the eyes, like they're forward set. I don't

01:23:48.430 --> 01:23:52.909
know. The baby doesn't work for me, but the adults

01:23:52.909 --> 01:23:58.189
do. They do look fearsome in the right light,

01:23:58.250 --> 01:24:01.670
in the right angle. They're like a chimera. They

01:24:01.670 --> 01:24:04.350
have lots of different aspects of different creatures.

01:24:05.189 --> 01:24:07.750
But I don't know. Ultimately, I'm like, this

01:24:07.750 --> 01:24:11.890
is kind of, I don't know, a weak monster design.

01:24:13.390 --> 01:24:16.210
Yeah, I agree with everything you said. I think

01:24:16.210 --> 01:24:19.329
like the adult Gappas work a little bit better.

01:24:19.430 --> 01:24:21.350
I mean, like the some of the like attack scenes

01:24:21.350 --> 01:24:24.250
are off. Sorry, my cat scared the hell out of

01:24:24.250 --> 01:24:28.970
me. He does that a lot, surprisingly, while we

01:24:28.970 --> 01:24:31.449
record. But yeah, like the attack scenes that

01:24:31.449 --> 01:24:33.430
the you know, because it is like the adults are

01:24:33.430 --> 01:24:35.409
triphibian monsters, right? They fly around.

01:24:35.529 --> 01:24:38.130
They're underwater. They're like on land. And

01:24:38.130 --> 01:24:39.689
that's kind of cool. And I think that's why.

01:24:40.470 --> 01:24:42.310
The design, for me, works a little bit better

01:24:42.310 --> 01:24:43.850
on the adults because, like, they're just doing

01:24:43.850 --> 01:24:45.890
cooler things, basically, you know? Like, it's

01:24:45.890 --> 01:24:48.590
fun to watch and exciting and visceral, to use

01:24:48.590 --> 01:24:51.210
that word I use all the time. But, yeah, the

01:24:51.210 --> 01:24:54.340
baby... I don't know. Like at first I was like,

01:24:54.399 --> 01:24:56.739
this baby looks sad and like kind of disturbing

01:24:56.739 --> 01:24:59.659
in a way, like it hatches from its egg. And then

01:24:59.659 --> 01:25:01.939
there's this shot of like the baby surrounded

01:25:01.939 --> 01:25:04.539
by all this like yellow mustardy liquid and it

01:25:04.539 --> 01:25:06.859
just looks depressing. And I'm like, Oh, is this

01:25:06.859 --> 01:25:09.579
intentional? Like, are we supposed to be like

01:25:09.579 --> 01:25:13.659
really, uh, convinced that this baby is like

01:25:13.659 --> 01:25:16.699
in peril immediately, but then it becomes clear

01:25:16.699 --> 01:25:18.300
that that's, I don't think it's really intentional.

01:25:18.359 --> 01:25:20.020
That's just kind of bad creature design. I think

01:25:20.020 --> 01:25:22.960
for the baby version of the monster. yeah you're

01:25:22.960 --> 01:25:25.439
right it does look very pathetic and sad in the

01:25:25.439 --> 01:25:30.380
beginning yeah yeah maybe maybe again it's like

01:25:30.380 --> 01:25:32.960
all right you're just playing with my heart here

01:25:32.960 --> 01:25:39.359
i don't know but yeah yeah like you know i like

01:25:39.359 --> 01:25:42.000
even with the adults like it's very kind of like

01:25:43.480 --> 01:25:46.260
what's the word, chintzy design, like very spare

01:25:46.260 --> 01:25:48.399
and minimalist, you know? And I feel like in

01:25:48.399 --> 01:25:50.560
a way that kind of works just because like there's

01:25:50.560 --> 01:25:52.539
so much other crazy stuff happening when like

01:25:52.539 --> 01:25:55.039
they're being shot by lasers and tanks and they're

01:25:55.039 --> 01:25:57.220
flying around and stuff like that. But the design

01:25:57.220 --> 01:25:59.560
itself is like probably not very creative or

01:25:59.560 --> 01:26:03.100
elaborate, you know? Maybe not elaborate. I don't

01:26:03.100 --> 01:26:06.319
know. I'm really torn, clearly. Listeners, please

01:26:06.319 --> 01:26:09.100
let us know your thoughts. Yeah, I don't love

01:26:09.100 --> 01:26:11.819
it, but I don't hate it either. I'm just somewhere

01:26:11.819 --> 01:26:15.310
in the middle, I guess. Yeah, same. Again, in

01:26:15.310 --> 01:26:17.310
comparison to like Gauss and Gamera and some

01:26:17.310 --> 01:26:19.109
other monsters around this time, I feel like

01:26:19.109 --> 01:26:22.829
Gappa pales in comparison. Yeah, yeah. I don't

01:26:22.829 --> 01:26:25.090
think Gappas would win in a fight with any of

01:26:25.090 --> 01:26:29.090
those monsters. Right. Yeah, they don't even

01:26:29.090 --> 01:26:30.890
seem to have any like special moves or anything

01:26:30.890 --> 01:26:33.909
really. Like maybe they have like red laser eyes

01:26:33.909 --> 01:26:38.449
or something. Their eyes do glow red. But they

01:26:38.449 --> 01:26:40.649
also, they do have like an atomic breath sort

01:26:40.649 --> 01:26:44.810
of thing. Okay. I honestly think I missed that.

01:26:44.850 --> 01:26:47.550
Like there's just so much going on in those attack

01:26:47.550 --> 01:26:49.449
scenes. And like, you never really know if like

01:26:49.449 --> 01:26:51.949
they're being shot by missiles or if they're

01:26:51.949 --> 01:26:54.470
shooting something at the military tanks. I think

01:26:54.470 --> 01:26:56.210
I might've missed the atomic breath, to be honest,

01:26:56.329 --> 01:26:58.289
which probably does not reflect very well on

01:26:58.289 --> 01:27:01.510
the movie. Well, yeah, I can talk about those

01:27:01.510 --> 01:27:03.930
scenes as something I like, actually, if you're

01:27:03.930 --> 01:27:08.500
cool to transition. For sure. I like. How the

01:27:08.500 --> 01:27:11.260
attack sequences with the missiles and the jets

01:27:11.260 --> 01:27:17.140
are so chaotic and frenetic. And a couple of

01:27:17.140 --> 01:27:20.720
times you get the POV of the jets swooping in

01:27:20.720 --> 01:27:23.619
on the Gapas, which I liked. A couple of times

01:27:23.619 --> 01:27:26.819
you get the POV from the Gapas themselves, which

01:27:26.819 --> 01:27:30.239
I found really interesting. There's one shot

01:27:30.239 --> 01:27:33.939
there. They're lording over the beach back on

01:27:33.939 --> 01:27:36.890
Obelisk Island. And you see from their point

01:27:36.890 --> 01:27:38.949
of view, like the humans running away like little

01:27:38.949 --> 01:27:43.689
ants. I thought that was really cool. I don't

01:27:43.689 --> 01:27:47.250
know. You may disagree, but I really like the

01:27:47.250 --> 01:27:50.529
way this movie is generally lit and shot and

01:27:50.529 --> 01:27:53.989
the photography. I think it's action -packed.

01:27:53.989 --> 01:27:56.529
I think it moves at a quick pace. I think the

01:27:56.529 --> 01:28:00.329
colors, anytime there's a sunset, it just, to

01:28:00.329 --> 01:28:04.340
me, it's like really just pretty to watch. No,

01:28:04.420 --> 01:28:06.140
I actually totally agree with you that like it's

01:28:06.140 --> 01:28:08.239
very well shot. It's a surprisingly good looking

01:28:08.239 --> 01:28:10.439
movie, I would say, at least in like the restored

01:28:10.439 --> 01:28:13.159
version and not the really terrible monster from

01:28:13.159 --> 01:28:15.720
a prehistoric planet one. But it looks really

01:28:15.720 --> 01:28:18.659
good. There's like an early shot where. the Japanese

01:28:18.659 --> 01:28:20.819
characters have just arrived in Obelisk Island

01:28:20.819 --> 01:28:23.460
and they're going into the village, like the

01:28:23.460 --> 01:28:25.220
native village, but nobody seems to be there

01:28:25.220 --> 01:28:27.140
and it seems like the place is totally abandoned.

01:28:27.420 --> 01:28:29.859
And there's like a really quiet, long tracking

01:28:29.859 --> 01:28:32.819
shot. And it's from the character's POV, I think.

01:28:32.979 --> 01:28:36.020
And it's very mysterious and kind of eerie. That's

01:28:36.020 --> 01:28:38.380
my favorite part of the movie. And I was like,

01:28:38.420 --> 01:28:39.960
oh yeah, I'm excited to see where this goes.

01:28:40.199 --> 01:28:42.180
And then it goes downhill kind of quickly after

01:28:42.180 --> 01:28:44.199
that. But at least in that particular scene,

01:28:44.279 --> 01:28:45.720
because then like the native characters come

01:28:45.720 --> 01:28:47.890
out of the woodwork and it's... questionable

01:28:47.890 --> 01:28:50.550
but but that shot is great there's an earlier

01:28:50.550 --> 01:28:53.750
shot where one of the characters on the ship

01:28:53.750 --> 01:28:56.409
before they arrive on the island sees these like

01:28:56.409 --> 01:28:59.449
glowing eyes underwater i thought that was a

01:28:59.449 --> 01:29:02.489
very cool moment and yeah i actually like the

01:29:02.489 --> 01:29:04.310
attack scenes too i know i was kind of criticizing

01:29:04.310 --> 01:29:07.729
them a little bit but there are a lot of really

01:29:07.729 --> 01:29:11.250
just dynamic images in those scenes There's one

01:29:11.250 --> 01:29:13.630
shot where like the two adult Gappa monsters

01:29:13.630 --> 01:29:16.430
like fly into the fog. And it's just like a very

01:29:16.430 --> 01:29:18.689
striking, like atmospheric moment. I love that

01:29:18.689 --> 01:29:21.029
part too. So yeah, it's a pretty good looking

01:29:21.029 --> 01:29:25.010
movie. I wouldn't say it's always entertaining.

01:29:25.210 --> 01:29:27.590
I was pretty bored by the end. And I was like,

01:29:27.630 --> 01:29:29.210
come on, let's wrap it up already a little bit.

01:29:29.510 --> 01:29:31.329
Especially with like the long scenes where all

01:29:31.329 --> 01:29:33.789
the characters are like delivering very preachy

01:29:33.789 --> 01:29:36.930
moral lessons. But the attack scenes themselves

01:29:36.930 --> 01:29:39.800
are very entertaining and very exciting. I like

01:29:39.800 --> 01:29:42.380
the song over the opening credits too, which

01:29:42.380 --> 01:29:44.659
is kind of silly, but very amusing. It reminded

01:29:44.659 --> 01:29:47.319
me of the blob theme, the blob theme song. It's

01:29:47.319 --> 01:29:49.340
kind of hard to say, but yeah, I like all that

01:29:49.340 --> 01:29:51.340
stuff about it. The stuff on the island in the

01:29:51.340 --> 01:29:54.579
beginning, very captivating, very quickly, very

01:29:54.579 --> 01:29:59.079
dreamlike. They go underground into a cave and

01:29:59.079 --> 01:30:01.640
there's just like great shrouds of mist and an

01:30:01.640 --> 01:30:06.579
underground lake that the blue, it's just, yeah,

01:30:06.680 --> 01:30:10.100
I agree with you there. I think where this movie

01:30:10.100 --> 01:30:14.800
gets long, to your point, is there is a noticeable

01:30:14.800 --> 01:30:20.439
lack of score underlining a lot of the action.

01:30:21.539 --> 01:30:26.159
And I think that is a detriment in this case

01:30:26.159 --> 01:30:30.039
by the end of the film. I think any kind of score

01:30:30.039 --> 01:30:32.819
would liven things up a bit. That's a really

01:30:32.819 --> 01:30:35.539
good point. I don't think I really... focused

01:30:35.539 --> 01:30:37.399
on that too much, but you're totally right. I

01:30:37.399 --> 01:30:40.159
feel like I thought maybe it was dragging for

01:30:40.159 --> 01:30:42.659
narrative reasons, but I think it's also for

01:30:42.659 --> 01:30:45.039
formal reasons like that. So that's a really

01:30:45.039 --> 01:30:49.479
good point. Just quiet. Yeah. Even if there's

01:30:49.479 --> 01:30:51.159
like a lot of sound effects in the movie, like

01:30:51.159 --> 01:30:52.840
they're not really like tied together sometimes,

01:30:53.000 --> 01:30:58.060
you know, by the music. Yeah. Yeah. The effects,

01:30:58.060 --> 01:31:00.899
the special effects. I think Akira Watanabe does

01:31:00.899 --> 01:31:04.420
a great job. the pyrotechnics i found really

01:31:04.420 --> 01:31:07.560
impressive at the end when the gappas are stomping

01:31:07.560 --> 01:31:09.840
through and i'm realizing that those are actors

01:31:09.840 --> 01:31:13.380
in a suit just being surrounded by explosions

01:31:13.380 --> 01:31:18.560
and fire yeah i hope those suits i hope there

01:31:18.560 --> 01:31:21.000
was a man with a fire extinguisher right off

01:31:21.000 --> 01:31:25.350
camera right Yeah, those actors in the suits

01:31:25.350 --> 01:31:27.670
must kind of go through hell. You know, we've

01:31:27.670 --> 01:31:29.069
talked about that a little bit on the podcast

01:31:29.069 --> 01:31:31.010
before, but it cannot be comfortable in those

01:31:31.010 --> 01:31:33.430
suits for like whatever, 10 hours a day while

01:31:33.430 --> 01:31:38.350
they're shooting, you know? Yeah. But yeah, I

01:31:38.350 --> 01:31:41.489
love all that, too. There are like a lot of pyrotechnics,

01:31:41.489 --> 01:31:43.970
like you said. The volcano on the island, I thought,

01:31:43.989 --> 01:31:45.810
looked pretty cool. And that's, you know, there

01:31:45.810 --> 01:31:48.189
are a couple eruption moments that were kind

01:31:48.189 --> 01:31:51.489
of fun. So I love all that stuff. Pretty exciting

01:31:51.489 --> 01:31:57.220
at times. What about campy stuff? I think it

01:31:57.220 --> 01:31:59.439
would be easier to find moments that aren't campy

01:31:59.439 --> 01:32:02.380
in this movie. You know, again, just like every

01:32:02.380 --> 01:32:05.140
line of dialogue is like saying exactly like

01:32:05.140 --> 01:32:06.939
what the theme is or like what the characters

01:32:06.939 --> 01:32:12.159
are, are thinking. Like, so I guess the one example

01:32:12.159 --> 01:32:14.140
that I'll bring up is like the character that's

01:32:14.140 --> 01:32:16.000
intended to be comic relief towards the beginning.

01:32:16.119 --> 01:32:19.279
Who's like, I think a photographer and like,

01:32:19.340 --> 01:32:22.869
he like hooks his shirt on a like fishing. fishing

01:32:22.869 --> 01:32:25.010
line when he's like fishing off of the boat and

01:32:25.010 --> 01:32:27.170
then he like is like looking for treasure on

01:32:27.170 --> 01:32:29.090
the island and he accuses the other characters

01:32:29.090 --> 01:32:31.409
of like trying to steal his treasure from him

01:32:31.409 --> 01:32:34.130
or whatever and it's it's supposed to be funny

01:32:34.130 --> 01:32:36.510
but it's one of those examples of like comic

01:32:36.510 --> 01:32:38.949
relief that's like unintentionally funny if that

01:32:38.949 --> 01:32:40.489
makes sense because it's so over the top and

01:32:40.489 --> 01:32:44.270
ridiculous you know yep there was a moment when

01:32:44.270 --> 01:32:48.489
the gappas the two parents first come ashore

01:32:48.489 --> 01:32:53.090
and one of them has an octopus in its beak And

01:32:53.090 --> 01:32:56.250
it's attacking the whole city with this really

01:32:56.250 --> 01:33:01.130
dumb looking octopus prop in its mouth. Eventually

01:33:01.130 --> 01:33:02.890
it falls away. But I was like, that's a choice.

01:33:03.310 --> 01:33:06.390
That is a funny choice that you're you're making

01:33:06.390 --> 01:33:12.529
right here. Yeah. Yeah, that's I think that's

01:33:12.529 --> 01:33:14.850
an example of intentional humor that actually

01:33:14.850 --> 01:33:16.750
kind of works. I think it's supposed to be intentional

01:33:16.750 --> 01:33:19.310
anyway. But yeah, that's a really campy, like

01:33:19.310 --> 01:33:23.500
very humorous moment for sure. Oh, man. Playmate

01:33:23.500 --> 01:33:26.699
land. What are we doing? Like this? You Hefner.

01:33:26.800 --> 01:33:30.479
He creates an island for tourists, but it's an

01:33:30.479 --> 01:33:34.260
animal themed island. I don't I don't know what

01:33:34.260 --> 01:33:39.720
they were going for. Yeah, no idea. Maybe it's

01:33:39.720 --> 01:33:41.560
not supposed to be a Playboy reference, but I

01:33:41.560 --> 01:33:44.020
just feel like it must be in the late 60s to

01:33:44.020 --> 01:33:47.199
like use that kind of like tycoon sort of character,

01:33:47.279 --> 01:33:49.539
you know? And what else would Playmate refer

01:33:49.539 --> 01:33:54.229
to? I just can't think of anything. Yeah. It

01:33:54.229 --> 01:33:57.850
makes no sense. No wonder your daughter doesn't

01:33:57.850 --> 01:34:01.890
like you. You're a dirty old man. Yeah, you're

01:34:01.890 --> 01:34:05.750
kind of a sleazeball. There's a lot of stuff

01:34:05.750 --> 01:34:07.510
with that character that's just so ridiculous.

01:34:08.409 --> 01:34:11.329
When they're first trying to research the gap

01:34:11.329 --> 01:34:14.689
of monsters and one of the other characters,

01:34:14.869 --> 01:34:17.989
one of that guy's employees, sorry, the main

01:34:17.989 --> 01:34:21.180
guy, the corporate guy is like, what's the height?

01:34:21.560 --> 01:34:24.039
And then the other guy is like, five feet. And

01:34:24.039 --> 01:34:26.140
then the other guy is like, oh, well, it's not

01:34:26.140 --> 01:34:28.720
like how tall a person is that matters. And then

01:34:28.720 --> 01:34:30.300
the other guy is like, oh, it's referring to

01:34:30.300 --> 01:34:32.600
like Gappa's height. And then the corporate guy

01:34:32.600 --> 01:34:34.500
is like, you idiot, why didn't you tell me that?

01:34:37.479 --> 01:34:39.520
It's a drawn out way of describing that scene,

01:34:39.600 --> 01:34:42.140
but it's like, the dialogue is ridiculous. And

01:34:42.140 --> 01:34:44.399
like, I don't know, that's a very campy moment

01:34:44.399 --> 01:34:46.180
too, where like everything is painted in very

01:34:46.180 --> 01:34:50.289
broad strokes, you know? yeah last thing at the

01:34:50.289 --> 01:34:53.310
end everybody is crying including the gappas

01:34:53.310 --> 01:34:57.989
themselves these giant kaiju have tears coming

01:34:57.989 --> 01:35:01.090
down their cheeks it's like all right we we have

01:35:01.090 --> 01:35:06.149
now left the realm of plausibility here oh yeah

01:35:06.149 --> 01:35:11.270
even even more than we already had yeah Right.

01:35:11.430 --> 01:35:13.270
And I, I mean, I think that's why the ending

01:35:13.270 --> 01:35:15.710
feels so drawn out to me because like every character

01:35:15.710 --> 01:35:18.430
has their like, you know, sentimental thing that

01:35:18.430 --> 01:35:20.609
they have to say. It's like, oh, we get it, man.

01:35:20.750 --> 01:35:23.909
Like we get the point. And yeah, the tears do

01:35:23.909 --> 01:35:30.930
make it even more obvious. Oh my gosh. All right.

01:35:30.970 --> 01:35:34.409
Well, that's, I think, I don't know. Can we say

01:35:34.409 --> 01:35:36.750
anything more about this movie or should we just

01:35:36.750 --> 01:35:41.000
give our final ratings? I don't know how much

01:35:41.000 --> 01:35:43.199
more there is to say about it. It's just such

01:35:43.199 --> 01:35:46.859
a hodgepodge of cliches, you know? So I feel

01:35:46.859 --> 01:35:49.140
like we can move into our ratings. Let's do it.

01:35:49.399 --> 01:35:53.260
All right. Yeah, so as usual on Camp Kaiju, we

01:35:53.260 --> 01:35:55.979
have four ratings for our films that we talk

01:35:55.979 --> 01:35:58.939
about. Number one, it's a timeless classic. It

01:35:58.939 --> 01:36:01.699
definitely stands the test of time. Number two,

01:36:01.760 --> 01:36:03.739
there may be some antiquated moments, but overall

01:36:03.739 --> 01:36:06.439
it's great. It stands the test of time. Number

01:36:06.439 --> 01:36:08.760
three, it may be historically significant or

01:36:08.760 --> 01:36:11.060
just fun, but it does not stand the test of time.

01:36:11.260 --> 01:36:13.720
And our lowest rating, it is not worth revisiting.

01:36:13.739 --> 01:36:16.000
It definitely does not stand the test of time.

01:36:16.960 --> 01:36:22.779
Oh, boy. Oh, boy. This is kind of a tough one.

01:36:22.960 --> 01:36:25.479
I imagine that you and I are both gravitating

01:36:25.479 --> 01:36:29.579
between two particular ratings. I get that sense.

01:36:29.840 --> 01:36:35.119
Yeah. Yeah. Yeah. Do you want to go first? I'll

01:36:35.119 --> 01:36:37.960
go first. I'll go first. Okay. Watching this

01:36:37.960 --> 01:36:42.500
movie, my first instinct was there are some antiquated

01:36:42.500 --> 01:36:47.060
moments. The black face, terribly dated and offensive.

01:36:48.000 --> 01:36:51.960
The female character arc, terribly dated, offensive.

01:36:52.579 --> 01:36:58.100
Yeah. But, you know, I said to myself, I think

01:36:58.100 --> 01:37:00.819
the special effects are so good. And I think

01:37:00.819 --> 01:37:05.380
the technical aspects are so good. that I think

01:37:05.380 --> 01:37:08.300
it does stand the test of time as an underrated

01:37:08.300 --> 01:37:13.020
entry in the genre. Now, after we've talked about

01:37:13.020 --> 01:37:17.779
it, and I'm saying how offensive all these aspects

01:37:17.779 --> 01:37:22.380
are, I think I got to go one below. That the

01:37:22.380 --> 01:37:26.640
exception is the technical aspects, but I think

01:37:26.640 --> 01:37:30.840
the overwhelming lasting impression of this film

01:37:30.840 --> 01:37:33.199
is, oh, it's the one with the kid in blackface.

01:37:34.029 --> 01:37:38.630
And that, my friend, means this movie does not

01:37:38.630 --> 01:37:46.430
stand the test of time. It's fun. It has some

01:37:46.430 --> 01:37:49.050
redeeming qualities, but overall, I don't think

01:37:49.050 --> 01:37:52.930
this does stand the test of time. Yeah, I think

01:37:52.930 --> 01:37:55.430
you're right that if that's the main thing it's

01:37:55.430 --> 01:37:58.350
known for, that probably has to go in that category.

01:38:00.279 --> 01:38:02.319
For you, it's the second lowest rating, right?

01:38:02.420 --> 01:38:06.800
It has some fun moments, but okay. Yeah. I'm

01:38:06.800 --> 01:38:09.720
still having trouble deciding, but, you know,

01:38:09.779 --> 01:38:14.020
I so rarely give movies our lowest rating. I

01:38:14.020 --> 01:38:16.140
think Killdozer is the only one that I've given

01:38:16.140 --> 01:38:19.319
our lowest rating to so far. But I think this

01:38:19.319 --> 01:38:21.260
is going to be the second one. I'm sorry to say.

01:38:21.740 --> 01:38:24.560
I mean, like you said, I do like some of the

01:38:24.560 --> 01:38:26.539
special effects. I do think it's well shot. And

01:38:26.539 --> 01:38:28.960
I do think there are some individual moments

01:38:28.960 --> 01:38:30.680
that look really good and are very atmospheric.

01:38:31.159 --> 01:38:33.859
But I think those are such notable exceptions

01:38:33.859 --> 01:38:37.840
to an overall like pretty cliched, offensive,

01:38:38.159 --> 01:38:42.380
like drawn out movie that had completely lost

01:38:42.380 --> 01:38:45.279
me by the end. I'm sorry to say it is just not

01:38:45.279 --> 01:38:47.300
worth revisiting for me. It definitely does not

01:38:47.300 --> 01:38:50.229
stand the test of time. I'm not saying that people

01:38:50.229 --> 01:38:53.189
shouldn't see it once for those like individual

01:38:53.189 --> 01:38:56.069
moments that are kind of like striking looking

01:38:56.069 --> 01:39:01.050
and to have, you know, like a magical sense to

01:39:01.050 --> 01:39:04.569
them, a sense of visual style. But yeah, I, if

01:39:04.569 --> 01:39:06.869
only to make a decisive stand, I think I have

01:39:06.869 --> 01:39:10.550
to give this our lowest rating. And I'm not arguing

01:39:10.550 --> 01:39:12.930
with you on that. It's derivative. It's cliche

01:39:12.930 --> 01:39:17.510
written. I've seen it twice now, but this movie

01:39:17.510 --> 01:39:21.220
is for fun. those of us who have gone through

01:39:21.220 --> 01:39:25.960
our starters and even the B squad. And we're

01:39:25.960 --> 01:39:27.560
like, you know what, what else is out there?

01:39:28.460 --> 01:39:32.949
Yeah. Who made it late to practice. They showed

01:39:32.949 --> 01:39:35.550
up and you'll give them a shot. Go take what

01:39:35.550 --> 01:39:40.109
you got. The emergency third stringer. Yeah.

01:39:40.390 --> 01:39:44.829
Yeah. And I could kind of see somebody like you

01:39:44.829 --> 01:39:47.189
kind of talked about this before sticking up

01:39:47.189 --> 01:39:48.609
for this movie a little bit and saying like,

01:39:48.670 --> 01:39:50.250
Oh no, it's underrated. There are good things

01:39:50.250 --> 01:39:52.710
about it. I can understand somebody making that

01:39:52.710 --> 01:39:56.689
point, but I just don't agree. And, uh, yeah.

01:39:57.010 --> 01:39:59.270
Um, so watch it once, but for me, it's probably

01:39:59.270 --> 01:40:02.479
not going to be worth revisiting. There you go.

01:40:02.539 --> 01:40:05.279
There you have it, folks. Please let us know

01:40:05.279 --> 01:40:07.600
what you think about Captain to Try 15 Monster.

01:40:08.529 --> 01:40:12.609
and tell us about it. Leave us a positive rating

01:40:12.609 --> 01:40:14.970
and review. Spotify, Apple Podcasts, wherever

01:40:14.970 --> 01:40:18.569
you do that, please. We would appreciate it.

01:40:18.590 --> 01:40:20.710
You can share this podcast with all your friends

01:40:20.710 --> 01:40:24.630
on a tote bag. Don't forget to check us out at

01:40:24.630 --> 01:40:28.630
patreon .com slash campkaiju. You can also subscribe

01:40:28.630 --> 01:40:31.670
to our website and send us listener comments

01:40:31.670 --> 01:40:35.409
at campkaiju at gmail .com. All those links and

01:40:35.409 --> 01:40:37.899
more in the show notes. If you'd like to be a

01:40:37.899 --> 01:40:39.880
featured voice on the show, leave a voicemail

01:40:39.880 --> 01:40:44.640
at 612 -470 -2612 and check out our website.

01:40:44.920 --> 01:40:48.699
I already said that. Camp Kaiju is recorded in

01:40:48.699 --> 01:40:51.079
Minneapolis, St. Paul with Minya's mailbox music

01:40:51.079 --> 01:40:54.180
by Ben Cook -Felts. Thank you, friends. And until

01:40:54.180 --> 01:40:58.510
next time, stay campy. Camp Cadre is sponsored

01:40:58.510 --> 01:41:00.810
by Zach Linder and the Zach Pack powered by Coldwell

01:41:00.810 --> 01:41:03.270
Banker Realty. Your source for real estate, home

01:41:03.270 --> 01:41:05.409
rehab, fixing and flipping for investor clients

01:41:05.409 --> 01:41:07.930
and residential buyers. Reach out to the Zach

01:41:07.930 --> 01:41:10.329
Pack today for real estate services. Follow the

01:41:10.329 --> 01:41:12.810
Zach Pack on social media and contact the Zach

01:41:12.810 --> 01:41:15.789
Pack for investment opportunities. Links in the

01:41:15.789 --> 01:41:25.609
show notes. And here will be an outdoor restaurant.

01:41:26.050 --> 01:41:29.140
The visitors. We'll be able to enjoy a meal in

01:41:29.140 --> 01:41:31.399
tropical splendor. And on the stage, we will

01:41:31.399 --> 01:41:33.380
have primitive dances from the islands. Well,

01:41:33.520 --> 01:41:36.840
that's the entire plan. Very good. The publishing

01:41:36.840 --> 01:41:39.279
business is now getting into the tourist business.

01:41:41.880 --> 01:41:44.920
You're right. And every one of you will be able

01:41:44.920 --> 01:41:47.380
to enjoy a southeast trip without leaving the

01:41:47.380 --> 01:41:52.399
country. Right here. Here. Here. Right here.

01:41:54.180 --> 01:41:57.619
Oh. Very good. Wonderful. It's terrific.