WEBVTT

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The only other Abominable Snowman I can think

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of in movies is in Monsters, Inc., a movie that

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I really love. And the Yeti there is also really

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kind and generous and fun to be around. So maybe

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that's a running theme. Welcome to the Himalayas.

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Yeah, exactly. Love that movie. Which we should

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talk about sometime. Hello and welcome to Camp

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Kaiju Monster Movie Podcast. We're your hosts,

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Matt Levine and Vincent Hanna. And we're talking

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about all of our favorite monster movies, the

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good, the bad, and the downright campy, and asking

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if they stand the test of time. Traditional kaiju,

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creature features, space invaders, the supernatural,

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and everything in between, all strange beasts

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are welcome here. Camp Kaiju is brought to you

00:00:58.869 --> 00:01:01.030
by Zack Linder and the Zack Pack, powered by

00:01:01.030 --> 00:01:03.450
Coldwell Banker Realty. Whether you're looking

00:01:03.450 --> 00:01:05.870
for your dream home, a savvy investment property,

00:01:06.030 --> 00:01:08.310
or expert guidance in home rehab and flipping,

00:01:08.730 --> 00:01:11.049
the Zach Pack has you covered. Check the link

00:01:11.049 --> 00:01:23.010
in the show notes for more information. A small

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band of men on a perilous search for the man

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-beast of Tibet, the abominable snowman of the

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Himalayas. You've heard of him, haven't you?

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The world's most shocking monster. No one's ever

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lived who's seen him. Be on your guard. He's

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coming to this theater. The abominable snowman

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dares you. We dare you. Dare you to see the abominable

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snowman of the Himalayas. What did it look like?

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Tell me, what did you see, Kusang? Tell me! I

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see. I see what men must not see. They're after

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me. They know it was me that did it last night.

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They're after me. They're after all of us. They

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just killed McBain. Why say that? It was an accident.

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It's me next. They know it was me. Stay where

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you are. Ed, I can hear you. You've got to understand

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that isn't Shelley. It isn't anybody. I can hear

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his voice. It's in your own mind. It's just happened

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to me too. Warning. Only those with stout nerves

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and strong hearts should risk seeing the abominable

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snowman of the Himalayas. So, Vincent, we have

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a special guest joining us today on this episode

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of Camp Kaiju. Steffi Theodora, thank you so

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much for joining us. This is the sound of my

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voice. Hello. Thank you so much for being here.

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Steffi, you and I connected on Instagram just

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as like mutual monster movie lovers a month ago,

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not too long ago. But I love the stuff you're

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putting on Instagram and I'll give you a chance

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to talk about all that stuff. Kindred spirits,

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for sure. So thank you for being here to talk

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about this classic horror monster movie. Yeah,

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pleasure is all mine. I've been a big fan of

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the show, and I love what you guys do. The last

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episode, well, not the one that came out today,

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but before, I was just laughing so hard. I think

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you guys have huge comedy chops, and your historical

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knowledge, it's just uncanny, the combination.

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So I'm really happy to be here. Thank you, Steffi.

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All right. Watch this episode completely crash

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and burn. But thank you for those kind words.

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Yeah, that's amazing. Thank you again so much

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for being here. You're joining from Athens, Greece

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today, right? That's right. Yes. Very cool. Are

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you able to talk a little bit about like your

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monster movie background, like what you do on

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Instagram, maybe the name of your Instagram handle

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and just kind of how you got into monster movies?

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Sure. So I have been a screenwriter for the past

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15 years. So I've mostly been writing kids cartoons.

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And of course, like a lot of my inspiration has

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come from the movies from the 50s. And so like

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combining my passion with monster movies, I've

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always tried to like infuse that into my kids

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cartoons. So some of the shows that I've worked

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on, like I'm usually the one who gets the monster

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episodes. And yeah, it's just somehow been this

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crazy thing that's brought me a lot of joy you

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know it's like a comfort food and like I also

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love hearing the old stories of the behind the

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scenes and the historical like significance of

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a lot of these movies and of course like they're

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not just about monsters as we will talk about

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today they're always about something more philosophical

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and something different and I find that That

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also isn't as pretentious as a lot of other films

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that try to say something. So I love monster

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movies that they're just easily accessible for

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a wider audience where I feel like, you know,

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a lot of these serious dramas and stuff like

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that, you have to be like super smart to understand

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it. But monster movies have a great way of sneaking

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in really smart things, but also being like entertaining.

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And yeah, just for like the last couple of months,

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I decided to just take like my favorite movies

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and show the favorite, like my favorite parts

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of them. So I call it a monster movie minute.

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And I just go over like, Oh, you haven't seen

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the wasp woman. Okay. Here's like the best parts

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and why you should see it. And then like historically

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why it was significant. And then, you know, like

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questions like, Oh, could that have been an inspiration

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for the substance kind of thing, or going through

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like the history of how they did the original

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hunchback of Notre Dame with Lon Chaney, just

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talking about, you know, You know, when they're

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building, Universal was building the lot, what

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that looked like. So a lot of it's like historical,

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but then like infused with my personal love.

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And then, yeah, it's all in one minute for the

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short attention spans. But like hopefully like

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getting younger people to like see like, oh,

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these old movies, these are really good. You

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know, they were checking out like you guys do.

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Yeah, that's what I'm saying. kindred spirits

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because i i started camp kaiju kind of in the

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same vein like years ago just like five minute

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episodes nowhere near the production quality

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that you have on your instagram but certainly

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that idea of everything everything you enjoy

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today has its roots going back a hundred years

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and more even to literary sources so just like

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storytelling itself nothing there are no new

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ideas but there are always new and interesting

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twists and spins to these tried and true stories

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that that always that gets me going as a writer

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matt's a writer too indeed we're all writers

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here yeah that's great we'll have to write something

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together one day that would be super cool that'd

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be amazing let's start working on that and expensive

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i'm sure it'd be very expensive the ideas we

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would come up with We'll worry about budget later.

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Well, cool. Thank you so much, Steffi. And yeah,

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totally agreed. Especially in the sense of the

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blend of genre entertainment and thematic depth

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and historical complexity. I know Vincent feels

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this way too, but I just think that if you can

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present that stuff through fun, visceral genre

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entertainment, that kind of makes everything

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more engaging, more powerful in a way, even if

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it kind of sneaks up on you a little bit. So

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yeah, kindred spirits, like Vincent said, for

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sure. So today we are talking about The Abominable

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Snowman from 1957, which is maybe not an early

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Hammer Horror film, but relatively early in their

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horror heyday. They didn't really start focusing

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on horror and science fiction until the mid -50s,

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mostly due to the success with films like The

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Curse of Frankenstein and also The Quartermast

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Experiment. We'll be talking a little bit about

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that more in this episode. So a relatively early

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Hammer Horror film, if not an early Hammer film

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itself. This was also known as the abominable

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snowman of the Himalayas in the United States

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upon its release. Just wanted to throw that out

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there as well. Thank you so much for hanging

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out with us today, friends. Please rate and review

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the show and follow us on patreon .com slash

00:08:47.759 --> 00:08:51.200
campkaiju for additional videos, reviews, merchandise,

00:08:51.320 --> 00:08:53.960
and more. Other ways you can get in touch are

00:08:53.960 --> 00:08:58.679
via email, campkaiju at gmail .com. On our website,

00:08:58.899 --> 00:09:02.779
campkaijupodcast .com. on Instagram, and our

00:09:02.779 --> 00:09:09.320
voicemail number, 612 -470 -2612. Special thank

00:09:09.320 --> 00:09:12.500
you to our current Patreon members, Jason, Chris,

00:09:12.740 --> 00:09:17.899
Sean, Peggy, Superfan Don, Steffi, our guest

00:09:17.899 --> 00:09:20.980
star today, and our anonymous patron. Thank you

00:09:20.980 --> 00:09:24.159
so much. So yeah, thank you so much to our Patreon

00:09:24.159 --> 00:09:27.340
members. Sign up and get, you know, some special

00:09:27.340 --> 00:09:29.340
swag announcements. Who knows what's going to

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come up in the future. So thank you again. I'm

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doing some blogs every now and then. I just released

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one featuring famous actors from Minnesota, like

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James Arness, who is in The Thing from Another

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World, and them, even Josh Hartnett, more recent

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actors as well, Winona Ryder. So that's on there

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for patrons. I still go back to little five -minute

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short videos, just me blabbing about. my monster

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movie collection and kind of what I'm up to.

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And so, yeah, there's lots of things to check

00:10:01.850 --> 00:10:04.669
out on the Patreon and some additional nuts and

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bolts. Just real quick. Coming up February 11th.

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That's a Wednesday, February 11th in St. Paul,

00:10:12.289 --> 00:10:15.990
Minnesota at the Blackheart Bar. You can join

00:10:15.990 --> 00:10:20.230
me at the Blackheart where I will present as

00:10:20.230 --> 00:10:23.149
a part of the Nerd Night programming. I've talked

00:10:23.149 --> 00:10:26.500
about this before, but it's a really cool. organization

00:10:26.500 --> 00:10:29.220
maybe I don't know but they they do it across

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America in bars and the the conceit is that you

00:10:34.379 --> 00:10:38.039
can present you can sign up to present on any

00:10:38.039 --> 00:10:41.139
topic you just like really nerd out about well

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here I am with a podcast total nerd and I thought

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for a 15 minute 10 minute slideshow like it's

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really short it's a 10 minute slideshow I will

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present to a bar full of patrons and they will

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ask me questions and my topic is going to be

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who would win in a fight the blob or the thing

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and what makes that interesting and this is an

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argument all over the internet you can look it

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up what makes it interesting is that the blob

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absorbs creatures and the thing assimilates creatures

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so there's a difference in that what that is

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i'll really get into the nuts and bolts if you

00:11:20.370 --> 00:11:23.850
will but who would win In that hypothetical battle.

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Listeners out there in the world, if you have

00:11:26.610 --> 00:11:30.289
any thoughts, send them our way. And maybe I

00:11:30.289 --> 00:11:32.730
will definitely listen to those arguments as

00:11:32.730 --> 00:11:37.070
I construct my slideshow presentation. So that's

00:11:37.070 --> 00:11:39.590
really cool, exciting, and just some fun coming

00:11:39.590 --> 00:11:42.210
up. Some other really cool, exciting news is

00:11:42.210 --> 00:11:46.370
the Rondo Awards nomination process is open.

00:11:46.629 --> 00:11:49.570
A little bit about the Rondo Hatton Horror Awards.

00:11:50.299 --> 00:11:54.480
They are prestigious awards, and they honor horror

00:11:54.480 --> 00:11:57.580
media from the past year, mostly in the classic

00:11:57.580 --> 00:12:00.940
realm. Camp Kaiju last year was nominated for

00:12:00.940 --> 00:12:05.620
Best Podcast with four others, including Frankenstein

00:12:05.620 --> 00:12:08.600
Minute and Monster Kid Radio. Friends of the

00:12:08.600 --> 00:12:11.000
Pod, shows that I've been on, shows that they

00:12:11.000 --> 00:12:16.470
have joined us on. So the Rondo Awards. are fan

00:12:16.470 --> 00:12:19.129
-based, and you as a listener, I would encourage

00:12:19.129 --> 00:12:23.309
you to go throw Camp Kaiju into the mix, and

00:12:23.309 --> 00:12:25.169
you could do this one of two ways. You can go

00:12:25.169 --> 00:12:27.929
to the Classic Horror Film Board, just Google

00:12:27.929 --> 00:12:32.370
that, and you'll see information about the Rondo

00:12:32.370 --> 00:12:38.429
Awards. You can email the runner of the Rondo

00:12:38.429 --> 00:12:44.409
Awards, and his name is David Colton. at t -a

00:12:44.409 --> 00:12:50.309
-r -a -c -o at aol .com or you can just go to

00:12:50.309 --> 00:12:54.289
our patreon .com slash camp kaiju one -stop shop

00:12:54.289 --> 00:12:57.549
and you can read my own post about that with

00:12:57.549 --> 00:13:01.730
related links so please if you feel so inclined

00:13:01.730 --> 00:13:05.309
give camp kaiju a nomination awesome thank you

00:13:05.309 --> 00:13:07.980
vincent We always do something on Camp Kaiju

00:13:07.980 --> 00:13:10.240
where we take a look back at monster movies that

00:13:10.240 --> 00:13:13.039
came out around this time in horror movie history.

00:13:13.379 --> 00:13:15.659
So for us, that'll be like late January, early

00:13:15.659 --> 00:13:18.759
February. I have a list of movies here that came

00:13:18.759 --> 00:13:21.120
out around this time of year. Steffi, do any

00:13:21.120 --> 00:13:22.840
of those titles kind of jump out at you? Is there

00:13:22.840 --> 00:13:24.360
anything you want to shout out on that list?

00:13:24.940 --> 00:13:26.980
Well, I love The Incredible Shrinking Woman.

00:13:27.120 --> 00:13:29.259
I think that movie does not get enough credit.

00:13:29.360 --> 00:13:32.679
It's insane. The props, everything. And so that

00:13:32.679 --> 00:13:35.379
it came out in, yeah, like this time of year

00:13:35.379 --> 00:13:38.139
is pretty cool. Flash Gordon's trip to Mars,

00:13:38.299 --> 00:13:42.600
I had no idea when that was received. So I'm

00:13:42.600 --> 00:13:45.019
imagining people with their coats on going into

00:13:45.019 --> 00:13:48.220
the theater and what if they paid a penny or

00:13:48.220 --> 00:13:51.960
something to see the serial. And Invasion of

00:13:51.960 --> 00:13:54.120
the Body Snatchers, which is crazy because you

00:13:54.120 --> 00:13:56.200
guys were also mentioning this on a previous

00:13:56.200 --> 00:13:59.419
podcast. This time of year, the movies were released

00:13:59.419 --> 00:14:02.299
kind of... in thought that they wouldn't be considered

00:14:02.299 --> 00:14:05.059
for an award. Is that right? It's kind of too

00:14:05.059 --> 00:14:08.500
late for the big awards. Yeah. And certainly

00:14:08.500 --> 00:14:11.840
for in recent history, I'm not sure about the

00:14:11.840 --> 00:14:15.320
past. Okay. Yeah. Because Invasion of the Body

00:14:15.320 --> 00:14:18.620
Snatchers for me, I mean, like that one. Definitely

00:14:18.620 --> 00:14:21.899
should have gotten some kind of award. And matinee,

00:14:22.080 --> 00:14:25.360
I mean, that's too bad for Joe Dante and I guess

00:14:25.360 --> 00:14:29.139
William Castle, but it didn't get enough recognition.

00:14:29.820 --> 00:14:33.759
But yeah, no, it's a fabulous list. Videodrome.

00:14:33.980 --> 00:14:36.519
Oh, Lost World. And you guys are covering Lost

00:14:36.519 --> 00:14:40.259
World 2 this year, right? We are. Yeah. Yeah,

00:14:40.299 --> 00:14:42.000
we'll be talking about that one soon. I wish

00:14:42.000 --> 00:14:43.600
we could have made that in for its centennial

00:14:43.600 --> 00:14:46.200
last year in 2025, but we're just a little bit

00:14:46.200 --> 00:14:48.200
late. So happy to be talking about that one soon.

00:14:49.600 --> 00:14:51.620
Willis O 'Brien will never forgive us. Yeah.

00:14:52.519 --> 00:14:54.919
I want to shout out In the Mouth of Madness,

00:14:55.000 --> 00:14:57.919
a John Carpenter film from 1995 released this

00:14:57.919 --> 00:15:00.580
time that year. I just recently watched it for

00:15:00.580 --> 00:15:04.419
the first time. And it is madness. At first,

00:15:04.440 --> 00:15:06.899
for me, it was kind of like a slow burn trying

00:15:06.899 --> 00:15:09.600
to get into it. But then by like the final...

00:15:10.080 --> 00:15:12.980
third of the film it was a it was a roller coaster

00:15:12.980 --> 00:15:17.980
of madness with sam neill would recommend well

00:15:17.980 --> 00:15:20.700
okay i'll check that out oh yeah that's a great

00:15:20.700 --> 00:15:22.840
movie that's a good latter day john carpenter

00:15:22.840 --> 00:15:25.100
i recently watched ghosts of mars which i really

00:15:25.100 --> 00:15:27.960
love and i didn't have high expectations because

00:15:27.960 --> 00:15:30.120
vincent we've talked about vampires the john

00:15:30.120 --> 00:15:32.620
carpenter movie on the podcast before which i

00:15:32.620 --> 00:15:34.240
don't i didn't like very much and i don't think

00:15:34.240 --> 00:15:36.860
you did either but ghosts of mars is like Way

00:15:36.860 --> 00:15:38.899
better. And it came right after Vampires. So

00:15:38.899 --> 00:15:41.600
I chose the wrong late Carpenter movie. Sorry

00:15:41.600 --> 00:15:45.120
about that. It's a better title than just Vampires.

00:15:45.120 --> 00:15:47.600
Yeah. Ghosts of Mars really captures the imagination.

00:15:48.220 --> 00:15:50.639
Totally. And that's, I mean, that's the movie

00:15:50.639 --> 00:15:52.559
in a nutshell, way more original and creative

00:15:52.559 --> 00:15:55.179
than Vampires is. So maybe we'll bring that to

00:15:55.179 --> 00:15:58.159
the pod someday. Maybe. The movie that I want

00:15:58.159 --> 00:16:00.759
to shout out on this list is Phenomena from 1985.

00:16:01.299 --> 00:16:04.100
That's by Dario Argento. Very young Jennifer

00:16:04.100 --> 00:16:07.500
Connelly is in that movie. She plays a girl of

00:16:07.500 --> 00:16:10.059
like a boarding school in Italy where a bunch

00:16:10.059 --> 00:16:12.200
of people have been killed recently in true giallo

00:16:12.200 --> 00:16:14.899
fashion. And Jennifer Connelly's character turns

00:16:14.899 --> 00:16:17.039
out to have a weird relationship with insects.

00:16:17.240 --> 00:16:19.799
Like she can call insects to her and like make

00:16:19.799 --> 00:16:22.220
them attack people. And that helps her kind of

00:16:22.220 --> 00:16:25.379
like solve the crime. It's a really weird giallo,

00:16:25.480 --> 00:16:28.289
very stylish. of Dario Argento's movies. Top

00:16:28.289 --> 00:16:30.590
three Argento, I would say. So that's a really

00:16:30.590 --> 00:16:34.549
good one. Sweet. I'll check that out, too. Yeah,

00:16:34.590 --> 00:16:36.230
I don't know if you guys are fans of Giallo or

00:16:36.230 --> 00:16:38.669
Dario Argento. He has some bad movies, but like

00:16:38.669 --> 00:16:42.129
Suspiria, Opera, Tenebrae, Deep Red, those are

00:16:42.129 --> 00:16:45.450
all pretty great, in my opinion. In terms of

00:16:45.450 --> 00:16:47.389
new and upcoming releases, there are some good

00:16:47.389 --> 00:16:50.309
pseudo -monster movies coming out. Have either

00:16:50.309 --> 00:16:52.470
of you seen the new 28 Years Later Bone Temple

00:16:52.470 --> 00:16:56.399
movie yet? No, that just dropped, right? Yeah,

00:16:56.500 --> 00:17:00.519
I think maybe a week ago, yeah. I love 28 Years

00:17:00.519 --> 00:17:03.419
Later, so I'm super excited to see what they

00:17:03.419 --> 00:17:06.799
did with it. Did you see 28 Years Later? Yeah,

00:17:06.880 --> 00:17:09.619
I mostly really liked it a lot. There were a

00:17:09.619 --> 00:17:11.160
few small things I didn't like, but Ralph Fiennes

00:17:11.160 --> 00:17:14.400
is amazing in that movie. Yeah, definitely. And

00:17:14.400 --> 00:17:17.400
I mean, they shot them both together, so I guess

00:17:17.400 --> 00:17:20.299
it's kind of this good continuation. So very

00:17:20.299 --> 00:17:23.730
excited to see that one. Definitely, yeah. I've

00:17:23.730 --> 00:17:26.230
heard good things about Primate, which just seems

00:17:26.230 --> 00:17:28.990
like such a ridiculous monkey on the loose sort

00:17:28.990 --> 00:17:31.890
of creature feature. Surprisingly, that's supposed

00:17:31.890 --> 00:17:34.170
to be pretty good. All You Need Is Kill is a

00:17:34.170 --> 00:17:36.369
new anime movie with a great title. I love that

00:17:36.369 --> 00:17:40.289
title. And yeah, Steffi, you're kind of highlighting

00:17:40.289 --> 00:17:42.150
this right now. I don't know if you knew that

00:17:42.150 --> 00:17:44.069
Luc Besson has a new Dracula movie coming out.

00:17:44.750 --> 00:17:48.829
This is the one... With Christopher Waltz, right.

00:17:49.029 --> 00:17:52.789
I saw it because I live in Europe. I saw a trailer

00:17:52.789 --> 00:17:56.309
and I was like, what the hell is this? It was

00:17:56.309 --> 00:17:58.970
in a different language. And I was like, is this

00:17:58.970 --> 00:18:02.589
like old or new or what is happening here? Because

00:18:02.589 --> 00:18:05.490
they speak French. It's all in French, I believe,

00:18:05.630 --> 00:18:08.569
the film. Is that correct? I think so. I don't

00:18:08.569 --> 00:18:10.009
really know very much about it, but I think so,

00:18:10.029 --> 00:18:15.109
yeah. But I guess it has good reviews. It's supposed

00:18:15.109 --> 00:18:18.019
to be very good. Okay. There's something in the

00:18:18.019 --> 00:18:20.539
water, I think, with reimagining the classic

00:18:20.539 --> 00:18:24.240
monsters. How many Frankenstein adaptations are

00:18:24.240 --> 00:18:26.859
we getting? There's The Bride coming out, directed

00:18:26.859 --> 00:18:30.900
by Maggie Gyllenhaal. And then Universal's releasing

00:18:30.900 --> 00:18:34.119
yet another Mummy film, directed by Lee Cronin,

00:18:34.240 --> 00:18:38.079
this time around. The trailer, I don't know.

00:18:38.099 --> 00:18:41.819
I think it looks promising. It looks like a proper

00:18:41.819 --> 00:18:45.039
horror film rather than... The action adventure

00:18:45.039 --> 00:18:48.039
that was the Tom Cruise one. So I'm hoping at

00:18:48.039 --> 00:18:50.900
least it's scary. That's all I would just, even

00:18:50.900 --> 00:18:53.559
if it's not like great quote unquote, I just

00:18:53.559 --> 00:18:56.299
want it to be a proper horror film. It didn't

00:18:56.299 --> 00:18:59.740
look mummy enough for me. Like it, it looked

00:18:59.740 --> 00:19:03.359
too horror. I was like, where's the. mummy i

00:19:03.359 --> 00:19:07.000
want more mummy you know um but yeah it kind

00:19:07.000 --> 00:19:09.359
of seems like this thing where every 10 years

00:19:09.359 --> 00:19:12.420
they're sort of rebooting them and whether they're

00:19:12.420 --> 00:19:15.519
successful or not like we kind of forget like

00:19:15.519 --> 00:19:18.579
the bad ones and then they just redo them like

00:19:18.579 --> 00:19:21.740
all over again so and they're making i don't

00:19:21.740 --> 00:19:23.500
know if you guys saw that tim burton's redoing

00:19:23.500 --> 00:19:26.460
attack of the 50 foot woman sorry i've been following

00:19:26.460 --> 00:19:29.980
that closely oh yeah what's the latest on that

00:19:29.980 --> 00:19:34.250
one I think they're just still in talks, really.

00:19:34.569 --> 00:19:38.789
Okay. Redevelopment. So nothing new, new, but

00:19:38.789 --> 00:19:42.190
I hope that comes to pass because that is such

00:19:42.190 --> 00:19:46.789
a great story. I mean, the original is so fun

00:19:46.789 --> 00:19:50.329
in a campy way that I'd love to see a modern

00:19:50.329 --> 00:19:54.529
take on it. In addition to the, what was the

00:19:54.529 --> 00:19:57.289
one from 1990? 89, something like that. There

00:19:57.289 --> 00:20:01.670
was, there was another one. Yes. Yes. Yes. Yeah.

00:20:02.269 --> 00:20:05.049
Yeah, and Tim Burton needs to redeem himself.

00:20:05.569 --> 00:20:08.210
I think he owes us a good movie after all these

00:20:08.210 --> 00:20:11.390
years. Yeah, for sure. Come on, Tim. You can

00:20:11.390 --> 00:20:14.470
do it. There's one more. Yeah, there's got to

00:20:14.470 --> 00:20:17.190
be. What happened? If anything's getting back

00:20:17.190 --> 00:20:18.890
on track, you would think it would be that movie.

00:20:19.109 --> 00:20:23.650
It's perfect. Yes. Handing it to you on a platter.

00:20:23.710 --> 00:20:25.809
It's Margot Robbie. Come on. How can you screw

00:20:25.809 --> 00:20:29.490
this up? Screw this up. Right. Yeah. Yeah. And

00:20:29.490 --> 00:20:31.069
like with the new Dracula, it's like, yeah, it

00:20:31.069 --> 00:20:32.950
would be nice if they would maybe not go back

00:20:32.950 --> 00:20:34.930
to the same well over and over again and maybe

00:20:34.930 --> 00:20:37.269
make something new. But, you know, somebody like

00:20:37.269 --> 00:20:39.630
Luc Besson who has, who's interesting, like even

00:20:39.630 --> 00:20:41.609
though he's hit or miss, but like always pretty

00:20:41.609 --> 00:20:43.289
interesting. It's like, oh, you know, I'll show

00:20:43.289 --> 00:20:44.849
up for that and see what he does with it. So

00:20:44.849 --> 00:20:48.289
we'll see. Yeah. In terms of what's coming up

00:20:48.289 --> 00:20:51.509
on Camp Kaiju, next up we'll have Blackula featuring

00:20:51.509 --> 00:20:54.910
our frequent guest star, Sean Pryor. Vincent,

00:20:54.930 --> 00:20:57.250
you're bringing that to the podcast. Is there

00:20:57.250 --> 00:20:59.349
anything you want to say about that one? No,

00:20:59.410 --> 00:21:01.549
just looking forward to it. Sean Pryor is always

00:21:01.549 --> 00:21:03.910
a delight to have on the show, a good friend

00:21:03.910 --> 00:21:07.889
of ours. So looking forward to that one. After

00:21:07.889 --> 00:21:11.130
that, I just need to double check, Matt. I do

00:21:11.130 --> 00:21:13.769
not believe it's Troll Hunter. I think in that

00:21:13.769 --> 00:21:16.369
case, it's probably Alucarda, the Mexican horror

00:21:16.369 --> 00:21:19.589
movie. Correct. Which is like a gothic film set

00:21:19.589 --> 00:21:22.549
at a convent, I believe. It's kind of about demonic

00:21:22.549 --> 00:21:24.130
possession and things like that. I don't know

00:21:24.130 --> 00:21:25.890
a lot about it, but it's high on most of the

00:21:25.890 --> 00:21:27.930
lists of best Mexican horror movies of all time.

00:21:28.109 --> 00:21:32.650
So very excited for that. Nice. And then a special

00:21:32.650 --> 00:21:36.700
episode, we're going to have author. and monster

00:21:36.700 --> 00:21:41.180
movie enthusiast Tom Shubilla on the show. He

00:21:41.180 --> 00:21:45.400
has written a historical book about King Kong

00:21:45.400 --> 00:21:49.119
versus Godzilla, the Toho film from the 60s and

00:21:49.119 --> 00:21:52.099
the cultural impact of the film. So he reached

00:21:52.099 --> 00:21:55.859
out asking if he could stop by camp. I said,

00:21:55.900 --> 00:21:58.279
absolutely. Let's talk about your book and talk

00:21:58.279 --> 00:22:02.839
about some Showa era Godzilla films. So looking

00:22:02.839 --> 00:22:05.710
forward to that. Absolutely. That'll be fun.

00:22:05.869 --> 00:22:08.430
All campers welcome here on Camp Kaiju. So if

00:22:08.430 --> 00:22:09.890
there's anything you want to reach out about,

00:22:10.069 --> 00:22:12.170
I mentioned some of the ways you can do so earlier,

00:22:12.250 --> 00:22:14.130
and we'll mention those again. But please let

00:22:14.130 --> 00:22:15.809
us know if you have any ideas or feedback on

00:22:15.809 --> 00:22:18.470
the show. Yeah. But today, again, we're talking

00:22:18.470 --> 00:22:20.890
about The Abominable Snowman from Hammer Studios.

00:22:21.769 --> 00:22:24.829
What are our personal histories with this movie?

00:22:24.970 --> 00:22:26.890
Steffi, do you have a personal history with this

00:22:26.890 --> 00:22:30.000
movie or with Hammer films in general? I do.

00:22:30.200 --> 00:22:32.980
So with this movie, it was one of those really

00:22:32.980 --> 00:22:37.160
hot days in the summer. It was like August on

00:22:37.160 --> 00:22:40.099
a Saturday, just like you think you're going

00:22:40.099 --> 00:22:43.059
crazy. And I was like, I need to watch something

00:22:43.059 --> 00:22:46.359
to get my mind off of this heat. What can I watch?

00:22:46.480 --> 00:22:50.000
I just need to do something. And then I said,

00:22:50.180 --> 00:22:52.779
oh, it's finally time for Abominable Snowman.

00:22:52.880 --> 00:22:56.720
So I'm a big Val Guest fan. So Val Guest directed.

00:22:57.989 --> 00:23:01.009
Fantastic film, The Day the Earth Blew Up, if

00:23:01.009 --> 00:23:03.730
you've seen that one. Definitely worth checking

00:23:03.730 --> 00:23:05.869
out. Or sorry, The Day the Earth Caught Fire,

00:23:06.069 --> 00:23:08.029
which is not a movie you want to watch when it's

00:23:08.029 --> 00:23:10.309
super hot out because that movie is very hot.

00:23:10.390 --> 00:23:12.769
So I thought, okay, I'll put on Abominable Snowman.

00:23:13.029 --> 00:23:15.730
And then, yeah, I actually am not like the biggest

00:23:15.730 --> 00:23:19.269
Hammer Horror fan. I am like revisiting a lot

00:23:19.269 --> 00:23:21.990
of their kind of odd films now. So I just watched

00:23:21.990 --> 00:23:24.869
The Gorgon. But like initially like this kind

00:23:24.869 --> 00:23:28.240
of gothic like thing. isn't really like slow

00:23:28.240 --> 00:23:31.460
burn isn't really my thing. So I was really pleasantly

00:23:31.460 --> 00:23:34.960
surprised and totally like captivated by this

00:23:34.960 --> 00:23:37.660
film as soon as I saw it. I just, you know, I'm

00:23:37.660 --> 00:23:40.500
really into the anamorphic lens thing and the

00:23:40.500 --> 00:23:42.700
fact that this was Hammer's first time using

00:23:42.700 --> 00:23:46.259
those lenses. And it's just like this wide screen

00:23:46.259 --> 00:23:50.660
of these beautiful shots and like Peter Cushing,

00:23:50.680 --> 00:23:53.660
like his ability to just play a character that

00:23:53.660 --> 00:23:56.250
you love so much. you know, and you really root

00:23:56.250 --> 00:24:00.529
for is like pretty uncanny. And yeah, I just

00:24:00.529 --> 00:24:02.869
thought the atmosphere of this and I, yeah, I

00:24:02.869 --> 00:24:05.410
loved everything about it immediately and was

00:24:05.410 --> 00:24:07.509
trying to like tell everyone I know, like you

00:24:07.509 --> 00:24:10.849
guys see this movie and stuff. So yeah, I've

00:24:10.849 --> 00:24:13.269
been in love with it since I first saw it. And

00:24:13.269 --> 00:24:15.269
when I saw you guys were going to do it, I was

00:24:15.269 --> 00:24:17.289
like, oh yeah, that would be like my number one

00:24:17.289 --> 00:24:19.170
choice. So I'm glad we get to talk about it today.

00:24:19.990 --> 00:24:23.190
That's awesome. It's a perfect fit. Yeah. Did

00:24:23.190 --> 00:24:25.789
it. accomplish your goal of taking your mind

00:24:25.789 --> 00:24:28.970
off of the heat how like how it was yeah i think

00:24:28.970 --> 00:24:31.849
you know it's got so much snow and atmosphere

00:24:31.849 --> 00:24:35.029
and you really feel like you know and i guess

00:24:35.029 --> 00:24:37.710
they when they shot it in england as well like

00:24:37.710 --> 00:24:40.509
those sets like it was really cold too you can

00:24:40.509 --> 00:24:43.349
see their breath and it actually was freezing

00:24:43.349 --> 00:24:46.349
for them so i think it does work if you if you're

00:24:46.349 --> 00:24:49.470
in a situation and you're like needing to cool

00:24:49.470 --> 00:24:52.230
down you know watch it watch a movie that like

00:24:52.230 --> 00:24:54.930
yeah makes you feel like you're outside yeah

00:24:54.930 --> 00:24:58.410
yeah totally my part i i had never heard of this

00:24:58.410 --> 00:25:01.309
movie honestly until matt recommended it for

00:25:01.309 --> 00:25:08.029
the show i am not super familiar with like the

00:25:08.029 --> 00:25:10.089
hammer output i've seen a few things i've seen

00:25:10.089 --> 00:25:14.940
the gorgon actually But it's one of those facets

00:25:14.940 --> 00:25:18.900
of the genre of horror movies that I have yet

00:25:18.900 --> 00:25:22.779
to deep dive into. So I'm excited for this chance

00:25:22.779 --> 00:25:24.940
to do that. Like you, Vincent, I didn't really

00:25:24.940 --> 00:25:26.779
know very much about this movie. I had seen a

00:25:26.779 --> 00:25:30.200
handful of Hammer Horror films. Which, Steffi,

00:25:30.200 --> 00:25:31.880
kind of like you were saying, maybe a little

00:25:31.880 --> 00:25:33.799
bit hit or miss for me. I don't necessarily love

00:25:33.799 --> 00:25:36.019
most of the ones that I've seen. But I do like

00:25:36.019 --> 00:25:38.299
the Gorgon quite a bit. The Curse of the Werewolf

00:25:38.299 --> 00:25:40.779
with Oliver Reed I thought was pretty good. So

00:25:40.779 --> 00:25:42.799
this one I read was kind of an underrated early

00:25:42.799 --> 00:25:45.700
Hammer Horror picture. I was excited to check

00:25:45.700 --> 00:25:47.619
it out. Yeah, it was different than I expected

00:25:47.619 --> 00:25:50.160
it to be. Perhaps in both good and bad ways.

00:25:50.279 --> 00:25:53.480
But I'm excited to talk about it today. Name?

00:25:54.319 --> 00:25:57.029
Wait a minute. There's scores of them coming

00:25:57.029 --> 00:25:59.650
down. What are they? Meteorites? These are different.

00:26:02.250 --> 00:26:04.210
Marsh! Your face! There was something on your

00:26:04.210 --> 00:26:07.630
face! Just how much do you know about a place

00:26:07.630 --> 00:26:09.849
called Winnerton Flats? You must know as well

00:26:09.849 --> 00:26:12.529
as I do that Winnerton Flats is top secret. Secret?

00:26:13.009 --> 00:26:16.049
Why are the police here? What did this? You know

00:26:16.049 --> 00:26:18.809
what did it. Tell us and try to save her. We've

00:26:18.809 --> 00:26:20.430
traced the source of these things. It's in a

00:26:20.430 --> 00:26:23.210
freak orbit. Inside those domes are creatures

00:26:23.210 --> 00:26:26.190
from outside this earth, producing deadly poison.

00:26:26.990 --> 00:26:42.690
This infection is widespread. Look out! Are you

00:26:42.690 --> 00:26:45.269
mad? I've seen them. Thousands of tiny creatures

00:26:45.269 --> 00:26:47.190
that can join together and expand into things

00:26:47.190 --> 00:27:07.259
a hundred feet high. More than a hundred years

00:27:07.259 --> 00:27:10.420
ago, in a mountain village in Switzerland, lived

00:27:10.420 --> 00:27:13.059
a man whose strange experiments with the dead

00:27:13.059 --> 00:27:18.140
have since become a legend. A legend that is

00:27:18.140 --> 00:27:29.259
still told with horror the world over. We've

00:27:29.259 --> 00:27:32.119
only just started. Just open the door. Now's

00:27:32.119 --> 00:27:34.339
the time to go through that door and find what

00:27:34.339 --> 00:27:37.799
lies beyond it. But don't you see, Paul? We've

00:27:37.799 --> 00:27:40.460
discovered the source of life itself, and we've

00:27:40.460 --> 00:27:42.019
used it to restore a creature that was dead.

00:27:42.339 --> 00:27:46.019
This is Frankenstein, who revolted against nature,

00:27:46.200 --> 00:27:48.779
who experimented with the devil and was forever

00:27:48.779 --> 00:27:52.680
cursed. His unwilling collaborator was Paul Kremple.

00:27:53.380 --> 00:27:57.440
I can't prove him, Lord, but I can stop you using

00:27:57.440 --> 00:27:59.759
his brain. Why? He has no further use for it?

00:28:00.000 --> 00:28:03.920
Don't be a fool! Be careful! You'll damage it!

00:28:04.799 --> 00:28:07.740
Only two women ever entered this house of evil.

00:28:07.960 --> 00:28:12.660
Elizabeth! Come back! Elizabeth, the lovely cousin

00:28:12.660 --> 00:28:15.599
who had promised to marry him, and Justine, the

00:28:15.599 --> 00:28:18.279
maid who kept passionate and secret rendezvous

00:28:18.279 --> 00:28:20.779
with her master. Won't you understand you're

00:28:20.779 --> 00:28:23.220
in real danger? What Victor is doing is dangerous

00:28:23.220 --> 00:28:25.980
to everyone in the house. Now, you cannot possibly

00:28:25.980 --> 00:28:30.140
conceive what dreadful things can be done. What

00:28:30.140 --> 00:28:32.299
are you trying to tell me, Paul? That Victor's

00:28:32.299 --> 00:28:38.480
wicked? Insane? Wicked? Insane? Evil? Call Frankenstein

00:28:38.480 --> 00:28:42.279
what you will. A demon had made a man -made monster.

00:28:42.619 --> 00:28:47.339
And now, the monster was the master. What are

00:28:47.339 --> 00:28:50.539
you going to do? For your sake and to protect

00:28:50.539 --> 00:28:53.940
Elizabeth, I've so far kept silent. But now I

00:28:53.940 --> 00:28:55.460
shall go to the authorities and have them destroy

00:28:55.460 --> 00:28:58.640
that creature. And see that you pay for these

00:28:58.640 --> 00:29:21.619
atrocities. No! The preceding program has been

00:29:21.619 --> 00:29:23.980
a fully sponsored paid program. The airtime for

00:29:23.980 --> 00:29:26.160
this program has been paid for by Health and

00:29:26.160 --> 00:29:29.700
Tennis Corporation. You're watching WGBO -TV,

00:29:29.980 --> 00:29:36.400
Joliet, Chicago. Good morning, and welcome to

00:29:36.400 --> 00:29:40.900
the 66 Morning Movie. Today, she's the queen

00:29:40.900 --> 00:29:46.279
and her sting is deadly. Susan Cavan is the Wasp

00:29:46.279 --> 00:30:06.359
Woman. Supposing a more powerful form of royal

00:30:06.359 --> 00:30:09.299
jelly could be obtained. From the queen wasp,

00:30:09.299 --> 00:30:11.880
for example. Socially, the queen wasp is on level

00:30:11.880 --> 00:30:15.299
with the black widow spider. Oh, no, no, no,

00:30:15.299 --> 00:30:18.240
no. There might be danger. Those are my terms.

00:30:19.440 --> 00:30:21.240
Janice Starlin will be your next guinea pig.

00:30:26.660 --> 00:30:30.740
A woman of fantastic desires. Sponsoring a scientist

00:30:30.740 --> 00:30:35.029
with fantastic theories. and demanding fantastic

00:30:35.029 --> 00:30:40.190
results. How old do I look? Tell me! How old?

00:30:41.849 --> 00:31:00.910
Twenty -three. The enzymes. The enzymes. They're

00:31:00.910 --> 00:31:03.890
going crazy. This darling will kill her and tear

00:31:03.890 --> 00:31:24.009
her body to shreds. So let's dive into the crew

00:31:24.009 --> 00:31:26.420
a little bit. Steffi, it sounds like you're a

00:31:26.420 --> 00:31:28.740
big Val Guest fan who is the director of the

00:31:28.740 --> 00:31:30.980
film. Are you able to talk about Val Guest a

00:31:30.980 --> 00:31:32.440
little bit? You can go off of the bullet points

00:31:32.440 --> 00:31:34.420
here or just talk about whatever comes to mind

00:31:34.420 --> 00:31:38.119
if you want. Well, one of my favorite things

00:31:38.119 --> 00:31:41.539
about him is that he was a journalist for the

00:31:41.539 --> 00:31:44.559
Hollywood Reporter back in the day in England

00:31:44.559 --> 00:31:46.619
when I think there was only like two. And he

00:31:46.619 --> 00:31:50.420
would review movies coming out of England. And

00:31:50.420 --> 00:31:53.819
one, he kept going after this one producer, like

00:31:53.819 --> 00:31:56.559
saying like, oh man, you made another bad movie.

00:31:57.019 --> 00:31:59.180
Like how, you know, how, how long are you going

00:31:59.180 --> 00:32:01.420
to keep doing this? And then one article, he

00:32:01.420 --> 00:32:03.359
actually like calls out to the producer, like,

00:32:03.460 --> 00:32:06.619
hey, I can write something way better than anything

00:32:06.619 --> 00:32:09.819
that you're making. And the producer wrote an

00:32:09.819 --> 00:32:13.079
open letter to him and said, okay, challenge

00:32:13.079 --> 00:32:16.119
accepted. Why don't you write a movie? And that's

00:32:16.119 --> 00:32:19.079
how Val Guest got his start was as a screenwriter.

00:32:19.769 --> 00:32:22.029
And he did start writing really great films.

00:32:22.309 --> 00:32:25.890
And yeah. And, you know, I feel like he's really.

00:32:26.730 --> 00:32:29.269
He's really kind of unknown compared to a lot

00:32:29.269 --> 00:32:31.970
of other directors, which is sort of unfair.

00:32:32.390 --> 00:32:34.730
Unfortunately, he directed sort of the worst

00:32:34.730 --> 00:32:37.910
James Bond movie of all time. So he directed

00:32:37.910 --> 00:32:40.750
Casino Royale, which I actually love because

00:32:40.750 --> 00:32:43.049
it's super campy and stuff. So that kind of was

00:32:43.049 --> 00:32:45.369
like a little bit of a bruise on his career.

00:32:45.670 --> 00:32:49.250
But yeah, as far as like his early life was concerned,

00:32:49.509 --> 00:32:52.109
I didn't know his parents were divorced when

00:32:52.109 --> 00:32:54.069
he was young. His parents tried to hide the divorce

00:32:54.069 --> 00:32:56.380
from him. So they lied and said like his. father

00:32:56.380 --> 00:32:58.680
lied and said that his mom had died which is

00:32:58.680 --> 00:33:01.940
just crazy to me and I you know my my brain is

00:33:01.940 --> 00:33:03.660
just like oh did that lead to some of his later

00:33:03.660 --> 00:33:06.119
sort of like horror like aspects a little bit

00:33:06.119 --> 00:33:08.099
I don't know if that's true but just interesting

00:33:08.099 --> 00:33:11.549
backstory Yeah, that is crazy. And actually,

00:33:11.609 --> 00:33:14.230
that is interesting because in some of his films,

00:33:14.309 --> 00:33:18.470
how he does depict marriage. So specifically,

00:33:18.690 --> 00:33:22.849
he did a film called Oh, Hell is a City, which

00:33:22.849 --> 00:33:26.410
is a great title, I feel. And at the center of

00:33:26.410 --> 00:33:29.089
that is this kind of not happy marriage. So maybe

00:33:29.089 --> 00:33:32.529
that's part of it. But yeah, in my opinion, he's

00:33:32.529 --> 00:33:36.269
a fantastic thriller director. And I think you

00:33:36.269 --> 00:33:38.109
see that in this film, too. You're sort of like,

00:33:38.150 --> 00:33:39.589
oh, my gosh. what's about to happen, what's about

00:33:39.589 --> 00:33:42.869
to happen. If you guys have seen Cater Mass Experiment,

00:33:43.509 --> 00:33:46.529
you know, that was like a revolutionary film

00:33:46.529 --> 00:33:50.430
that just keeps moving at this pace where a lot

00:33:50.430 --> 00:33:52.690
of sci -fi elements, but at the core, he's just

00:33:52.690 --> 00:33:56.410
a great thriller director. And yeah, I think

00:33:56.410 --> 00:33:59.069
you can really see that in this film. And yeah,

00:33:59.289 --> 00:34:02.430
he lived pretty long too. He lived into the early

00:34:02.430 --> 00:34:06.630
2000s. Cater Mass Experiment, I always see pop

00:34:06.630 --> 00:34:09.800
up on these lists of, of great movies to check

00:34:09.800 --> 00:34:12.280
out. Like I said, I have yet to do that, but

00:34:12.280 --> 00:34:15.619
it's, it's high on my list. I just was Googling,

00:34:15.619 --> 00:34:17.719
you know, where is it streaming to be? Of course

00:34:17.719 --> 00:34:21.699
it is. So I'll be checking that out. Yeah. It's

00:34:21.699 --> 00:34:24.440
really special. And it, and it's similar to this

00:34:24.440 --> 00:34:28.219
film where it's suspenseful and it's, it's sort

00:34:28.219 --> 00:34:31.639
of questioning. Should we go after the unknown?

00:34:32.960 --> 00:34:36.329
It's a classic theme. interesting yeah for the

00:34:36.329 --> 00:34:39.710
50s you know there's a lot of like don't go there

00:34:39.710 --> 00:34:41.949
because of atomic stuff or oh the atomic thing

00:34:41.949 --> 00:34:44.130
or whatever but like oh maybe we should stop

00:34:44.130 --> 00:34:48.010
exploring is is an interesting like concept yeah

00:34:48.010 --> 00:34:50.170
and maybe even a little bit of a theme in this

00:34:50.170 --> 00:34:54.460
movie too I might talk about Niger Neal a little

00:34:54.460 --> 00:34:56.980
bit, who is the screenwriter of the film. So

00:34:56.980 --> 00:34:59.039
he's from the Isle of Man. He started off in

00:34:59.039 --> 00:35:04.179
television. He joined the BBC in 1951 as a television

00:35:04.179 --> 00:35:06.960
writer. Like we were just talking about, he created

00:35:06.960 --> 00:35:09.519
the fictional scientist Bernard Catermass and

00:35:09.519 --> 00:35:12.900
wrote the BBC TV serial featuring that character,

00:35:13.039 --> 00:35:15.840
which aired in 1953, and then the two Hammer

00:35:15.840 --> 00:35:18.320
films that featured him, which both came out

00:35:18.320 --> 00:35:21.300
in 1955. I thought this was really interesting,

00:35:21.380 --> 00:35:23.039
and I didn't actually know this before. Most

00:35:23.039 --> 00:35:27.260
BBC TV productions in the 1950s were live plays

00:35:27.260 --> 00:35:29.960
that were broadcast live and weren't even recorded.

00:35:30.179 --> 00:35:33.719
So there aren't recordings of many of these BBC

00:35:33.719 --> 00:35:36.579
airings, including the Catermass ones and some

00:35:36.579 --> 00:35:39.719
of the other ones that Niger Neal wrote back

00:35:39.719 --> 00:35:41.119
in the day, which I think is pretty fascinating.

00:35:41.760 --> 00:35:45.760
And the Abominable Snowman was one of those plays

00:35:45.760 --> 00:35:48.599
on television? Yes. Called The Creature? Sorry.

00:35:48.699 --> 00:35:50.199
Yeah. Called the creature. You're right about

00:35:50.199 --> 00:35:51.659
that. That's a little bit more on the production

00:35:51.659 --> 00:35:53.500
backstory section. So we'll definitely get to

00:35:53.500 --> 00:35:56.360
that a little bit as well. I'm sorry, Mr. Levine.

00:35:56.420 --> 00:35:59.219
I'll remember my place next time. No, it's a

00:35:59.219 --> 00:36:00.900
good foreshadowing. We will definitely return

00:36:00.900 --> 00:36:04.900
to that. But yeah, so he wrote a lot of TV scripts

00:36:04.900 --> 00:36:07.659
back in the day. Some critics claim that Neil

00:36:07.659 --> 00:36:10.539
invented popular TV, which seems like a broad,

00:36:10.679 --> 00:36:13.320
you know, kind of exaggerated claim, but maybe

00:36:13.320 --> 00:36:15.780
there's some credence to it. But he wrote a lot

00:36:15.780 --> 00:36:17.639
of other screenplays and scripts as well. He

00:36:17.639 --> 00:36:20.920
wrote the kitchen sink drama Look Back in Anger

00:36:20.920 --> 00:36:23.599
from 1959, which is really a classic British

00:36:23.599 --> 00:36:26.460
film directed by Tony Richardson. He won a BAFTA

00:36:26.460 --> 00:36:29.800
award for that one, Nigel Neill did. He wrote

00:36:29.800 --> 00:36:32.659
adaptations of Wuthering Heights in 1984, and

00:36:32.659 --> 00:36:35.000
he also wrote the screenplay for a TV broadcast

00:36:35.000 --> 00:36:37.760
called The Year of the Sex Olympics from 1968,

00:36:38.199 --> 00:36:40.659
which some people say foreshadowed the rise of

00:36:40.659 --> 00:36:43.260
reality TV. It's one of the first kind of reality

00:36:43.260 --> 00:36:46.920
TV satires in television history. It's a pretty

00:36:46.920 --> 00:36:51.059
fascinating guy, Niger Neil. Oh, and I just have

00:36:51.059 --> 00:36:52.780
one thing to add to that, which I just found

00:36:52.780 --> 00:36:55.960
out today. So when Joe Dante wanted to do a reboot

00:36:55.960 --> 00:36:59.320
of or remake of The Creature from the Black Lagoon,

00:36:59.500 --> 00:37:03.219
he called Niger Neal in and actually did his

00:37:03.219 --> 00:37:06.460
take on it. And because of Neal's style, which

00:37:06.460 --> 00:37:09.460
isn't very violent, which is very suspenseful,

00:37:09.699 --> 00:37:13.019
actually Joe Dante and him parted ways on the

00:37:13.019 --> 00:37:16.059
project and it never came to be. Interesting.

00:37:16.480 --> 00:37:19.000
Wow. Yeah. Apparently there is a script that

00:37:19.000 --> 00:37:21.690
was written. We should try to get our hands on

00:37:21.690 --> 00:37:25.409
it. It's out there. Yeah, it's out there. I think

00:37:25.409 --> 00:37:27.789
there are about a dozen Creature from the Black

00:37:27.789 --> 00:37:30.550
Lagoon scripts out there somewhere. I don't know

00:37:30.550 --> 00:37:33.369
if they're as good as Niger Neal's, but yeah,

00:37:33.469 --> 00:37:36.510
that's one they have not, the studios have not

00:37:36.510 --> 00:37:39.510
tried to, well, maybe the closest we got to is

00:37:39.510 --> 00:37:43.969
The Shape of Water. Yeah. Arthur Grant. Hammer's

00:37:43.969 --> 00:37:46.250
resident cinematographer, he shot Hammer films

00:37:46.250 --> 00:37:50.170
such as Shadow of the Cat from 1961, The Curse

00:37:50.170 --> 00:37:52.230
of the Werewolf, The Phantom of the Opera from

00:37:52.230 --> 00:37:55.530
1962, The Plague of the Zombies, and The Devil

00:37:55.530 --> 00:37:58.769
Rides Out. I have yet to see those movies, but

00:37:58.769 --> 00:38:01.469
based on his work in The Abominable Snowman,

00:38:01.750 --> 00:38:06.250
high praise. I think, not to give away too much

00:38:06.250 --> 00:38:09.570
of my later review, but I think the photography

00:38:09.570 --> 00:38:14.840
in this movie is beautiful. Agreed. Yeah. And,

00:38:14.840 --> 00:38:17.559
you know, I think Arthur Grant became Hammer's

00:38:17.559 --> 00:38:19.320
resident cinematographer because he worked very

00:38:19.320 --> 00:38:21.960
quickly and very cheaply, like much more so than

00:38:21.960 --> 00:38:23.719
the previous cinematographer for Hammer. I can't

00:38:23.719 --> 00:38:26.440
remember his name right now, but Grant, you know,

00:38:26.440 --> 00:38:28.940
he was able to like finish a setup really quickly.

00:38:29.039 --> 00:38:31.099
They would just like blaze through all the camera

00:38:31.099 --> 00:38:33.199
setups they had that day, which makes sense for

00:38:33.199 --> 00:38:35.079
Hammer. And the fact that he could do such good

00:38:35.079 --> 00:38:37.840
work on that schedule and that budget is pretty

00:38:37.840 --> 00:38:41.460
impressive. And you say that, and I think that

00:38:41.460 --> 00:38:46.210
like, A quick, ah, what did you say? He works

00:38:46.210 --> 00:38:49.269
very efficiently. And I could see that in the

00:38:49.269 --> 00:38:51.289
Abominable Snowman. I could see that maybe the

00:38:51.289 --> 00:38:54.210
budget is kind of low and he's working with what

00:38:54.210 --> 00:38:58.829
he has. With that said, he knows how to use shadows

00:38:58.829 --> 00:39:03.090
and perspective and those sweeping aerial shots.

00:39:03.429 --> 00:39:10.050
My God. So yeah, he's really efficient, but in

00:39:10.050 --> 00:39:13.900
a very... intelligent, man -knows -what -he's

00:39:13.900 --> 00:39:16.960
-doing type of way. Absolutely, yeah. An expert

00:39:16.960 --> 00:39:19.960
craftsman. So I just real quickly want to talk

00:39:19.960 --> 00:39:22.079
about Forrest Tucker, who is an American actor

00:39:22.079 --> 00:39:24.820
in the film. He plays a boorish American named

00:39:24.820 --> 00:39:27.519
Tom Friend, who is interested in the wealth and

00:39:27.519 --> 00:39:29.559
fame that he can get by capturing the Abominable

00:39:29.559 --> 00:39:32.480
Snowman. Tucker began in vaudeville, fought in

00:39:32.480 --> 00:39:34.900
World War II. He was made famous by westerns

00:39:34.900 --> 00:39:37.219
and action movies, though he returned to comedies

00:39:37.219 --> 00:39:39.829
and musicals later in his career. An early breakout

00:39:39.829 --> 00:39:41.969
role for him was in The Westerner from 1940,

00:39:42.369 --> 00:39:45.349
starring Gary Cooper. He later appeared in films

00:39:45.349 --> 00:39:47.710
such as The Yearling, Sands of Iwo Jima, The

00:39:47.710 --> 00:39:50.250
Strange World of Planet X, and The Trollenberg

00:39:50.250 --> 00:39:52.710
Terror. Those last two movies were both made

00:39:52.710 --> 00:39:54.630
in England, so Tucker spent some time in the

00:39:54.630 --> 00:39:57.750
late 50s making British horror movies, particularly

00:39:57.750 --> 00:40:00.489
for Hammer Studios. But I feel like the real

00:40:00.489 --> 00:40:02.989
draw on the cast here, and maybe the most legendary

00:40:02.989 --> 00:40:05.750
figure in horror cinema, is Peter Cushing, and

00:40:05.750 --> 00:40:08.179
I wanted to... Throw it out there to either of

00:40:08.179 --> 00:40:09.840
you guys want to talk about him. Steffi, are

00:40:09.840 --> 00:40:13.210
you a particular Peter Cushing fan? Yes, I mean,

00:40:13.230 --> 00:40:15.869
of course, as a kid, my first encounter with

00:40:15.869 --> 00:40:20.269
him was General Tarkin. And so it's so delightful

00:40:20.269 --> 00:40:23.230
to go back through history and see like what

00:40:23.230 --> 00:40:26.429
he was doing. He was also a man who was really

00:40:26.429 --> 00:40:29.670
dedicated to England and staying within the studio

00:40:29.670 --> 00:40:32.469
systems there, which is why we never saw him

00:40:32.469 --> 00:40:36.010
in the States until George Lucas kind of brought

00:40:36.010 --> 00:40:38.130
him there. So I found that to be really interesting.

00:40:38.230 --> 00:40:41.429
I guess Oliver Reed also had that sort of mindset.

00:40:41.610 --> 00:40:45.289
of like, no, I work in England. I work in British

00:40:45.289 --> 00:40:49.090
film. I don't need to go over to that rat race.

00:40:49.349 --> 00:40:54.030
So I find that really admirable. He was working

00:40:54.030 --> 00:40:57.010
with Sir Lawrence Olivier. He was touring with

00:40:57.010 --> 00:40:59.869
him on some productions and learned a lot of

00:40:59.869 --> 00:41:03.250
his acting technique from Lawrence Olivier. There's

00:41:03.250 --> 00:41:06.889
a certain Peter Cushing move that he does, which

00:41:06.889 --> 00:41:09.710
he does in this film as well, where he will take

00:41:09.710 --> 00:41:13.579
his... arm that is the furthest away from the

00:41:13.579 --> 00:41:16.019
camera. And there'll be a small moment where

00:41:16.019 --> 00:41:20.320
he will point to his eye to steal the scene,

00:41:20.480 --> 00:41:24.579
to sort of bring everyone's attention in, which

00:41:24.579 --> 00:41:27.260
he said he learned from Laurence Olivier. So

00:41:27.260 --> 00:41:29.320
yeah, that's really interesting. So if you're

00:41:29.320 --> 00:41:31.000
a big Peter Cushing fan, you're watching a movie

00:41:31.000 --> 00:41:33.679
with him, there's a good chance in one scene.

00:41:34.230 --> 00:41:37.630
just for a second, he'll raise his index finger

00:41:37.630 --> 00:41:40.769
and point to his eye that's furthest from the

00:41:40.769 --> 00:41:44.570
camera so that everyone on set and all the energy

00:41:44.570 --> 00:41:47.389
suddenly goes to him for his important dramatic

00:41:47.389 --> 00:41:50.630
moment. And I just love that, that he did that.

00:41:50.809 --> 00:41:52.750
But yeah, Vincent, do you want to talk more about

00:41:52.750 --> 00:41:56.530
the films that he was in and stuff? Oh, sure.

00:41:56.650 --> 00:41:59.489
Yeah. So he did work briefly in Hollywood in

00:41:59.489 --> 00:42:02.639
the late 30s. But like you said, returned to

00:42:02.639 --> 00:42:04.559
England at the start of World War II and just

00:42:04.559 --> 00:42:08.440
kind of planted himself there. His career in

00:42:08.440 --> 00:42:10.400
England did struggle, however, until he started

00:42:10.400 --> 00:42:14.539
to work in live TV plays for BBC. He appeared

00:42:14.539 --> 00:42:17.940
in 22 Hammer horror films. That's a lot. And

00:42:17.940 --> 00:42:20.980
that's why he's iconic. He played Baron Frankenstein

00:42:20.980 --> 00:42:24.239
in seven of their Frankenstein films, Dr. Van

00:42:24.239 --> 00:42:27.619
Helsing in five Dracula films. He played Sherlock

00:42:27.619 --> 00:42:31.119
Holmes in The Hound of the Baskervilles. He became

00:42:31.119 --> 00:42:33.099
close friends with Christopher Lee, who I was

00:42:33.099 --> 00:42:35.079
going to say was his frequent co -star in all

00:42:35.079 --> 00:42:38.320
those films. So if you're watching a Hammer,

00:42:38.460 --> 00:42:40.360
Peter Cushing film, there's a good chance Christopher

00:42:40.360 --> 00:42:44.599
Lee is in that as well. And those two on screen

00:42:44.599 --> 00:42:48.559
together, just electric. So really the draw.

00:42:48.679 --> 00:42:51.320
I mean, even like if the movie's kind of ho -hum,

00:42:51.460 --> 00:42:55.880
if Cushing is on the screen, I'm like, yeah,

00:42:56.000 --> 00:42:59.659
he's got such screen presence. He could just

00:42:59.659 --> 00:43:02.579
lift his finger to his eye and I'm riveted. So

00:43:02.579 --> 00:43:06.119
that's kind of that's my my draw to him and many

00:43:06.119 --> 00:43:09.000
others. I'm sure he played Doctor Who in the

00:43:09.000 --> 00:43:11.659
mid 60s. I didn't know that. That's cool. And

00:43:11.659 --> 00:43:15.980
yeah, he was in Star Wars. Steffi, like you said,

00:43:16.059 --> 00:43:19.139
that was my first presence, my first encounter

00:43:19.139 --> 00:43:22.079
with him, certainly. So it's fun to see him in

00:43:22.079 --> 00:43:25.170
Star Wars now and be like, oh. What a cameo.

00:43:25.210 --> 00:43:27.949
Like you don't realize how much of a big deal

00:43:27.949 --> 00:43:31.789
that was. I feel like, you know, you talked about

00:43:31.789 --> 00:43:33.369
a screen presence, Vincent. I feel like he just

00:43:33.369 --> 00:43:35.710
has the ability to like play pretty ridiculous

00:43:35.710 --> 00:43:37.750
roles sometimes. Like the dialogue might be a

00:43:37.750 --> 00:43:39.670
little bit absurd in some cases, but he's able

00:43:39.670 --> 00:43:42.769
to present it with like seriousness. But like

00:43:42.769 --> 00:43:45.130
maybe there's like a level of camp like underlying

00:43:45.130 --> 00:43:46.929
that a little bit, you know, because it's so

00:43:46.929 --> 00:43:49.429
serious. There's a glint in his eye. You could

00:43:49.429 --> 00:43:52.809
tell he's having fun. Yeah. Which I so appreciate.

00:43:53.260 --> 00:43:56.079
I want the actors to, A, take the content seriously.

00:43:56.380 --> 00:43:58.360
Like, they're not making fun of the Abominable

00:43:58.360 --> 00:44:02.159
Snowman. And yet, you could tell he's just having

00:44:02.159 --> 00:44:05.519
fun. Maybe off camera, they're telling jokes,

00:44:05.699 --> 00:44:07.880
they're playing with props. I don't know. There's

00:44:07.880 --> 00:44:11.440
a sense of camaraderie on the screen that I think

00:44:11.440 --> 00:44:14.639
goes a long way. Did you guys hear about his

00:44:14.639 --> 00:44:19.460
nickname on this film? Yes. They gave him the

00:44:19.460 --> 00:44:23.440
nickname Props. Props Cushing. Right. And a lot

00:44:23.440 --> 00:44:26.760
of times those were surprises to his like co

00:44:26.760 --> 00:44:29.840
-actors on like film. So the scene where he's

00:44:29.840 --> 00:44:31.800
with the llama and he pulls out the cigarette

00:44:31.800 --> 00:44:34.139
and he even asked the llama if he could smoke,

00:44:34.219 --> 00:44:36.960
that actually wasn't planned at all. That's amazing.

00:44:37.769 --> 00:44:41.809
When they have the tooth, he pulls out the, okay,

00:44:41.869 --> 00:44:44.489
he measures it, but then he pulls out a nail

00:44:44.489 --> 00:44:48.170
file and he hands it to Helen. And that actually

00:44:48.170 --> 00:44:51.130
all was just a surprise that Peter Cushing did.

00:44:51.269 --> 00:44:53.329
So I guess he used to like load his pockets with

00:44:53.329 --> 00:44:56.449
stuff and then just like bring it on set and

00:44:56.449 --> 00:44:59.289
then try to surprise everyone. And his co -stars

00:44:59.289 --> 00:45:01.969
would have to try to not laugh or like break

00:45:01.969 --> 00:45:05.150
character because what are you doing, Peter?

00:45:08.799 --> 00:45:11.760
They must have added some like really nice spontaneity,

00:45:11.840 --> 00:45:13.539
you know, like maybe when the script is a little

00:45:13.539 --> 00:45:15.400
bit on the dry side, like doing stuff like that,

00:45:15.440 --> 00:45:17.440
maybe like engages the actors a little bit more.

00:45:17.519 --> 00:45:21.139
So it's subtly brilliant on Cushing's part. A

00:45:21.139 --> 00:45:24.780
level of realism, I think, that especially in

00:45:24.780 --> 00:45:27.000
plays and movies, sometimes if you're going by

00:45:27.000 --> 00:45:30.840
the script, you can lose out on those little

00:45:30.840 --> 00:45:33.019
things like, I'm going to pull out a cigarette.

00:45:33.099 --> 00:45:35.719
I'm going to light a smoke. Oh, do you mind?

00:45:36.380 --> 00:45:39.960
No, go for it. And it's just that level of, like,

00:45:40.000 --> 00:45:41.579
that's what, those are the little things that

00:45:41.579 --> 00:45:45.159
life is made up of. And, you know, using props

00:45:45.159 --> 00:45:48.099
correctly can highlight that. Yeah, absolutely.

00:45:48.599 --> 00:45:51.239
All right. So rounding out the cast in The Abominable

00:45:51.239 --> 00:45:53.820
Snowman, we have Maureen Connell as Helen Rolison,

00:45:54.019 --> 00:45:57.199
the doctor's wife. Richard Wattis as Foxy, another

00:45:57.199 --> 00:45:58.960
scientist stationed at the Tibetan monastery.

00:45:59.699 --> 00:46:02.780
Wolf Morris, an English -Russian actor playing

00:46:02.780 --> 00:46:06.869
the Sherpa Kusang. So from... Modern standards,

00:46:07.010 --> 00:46:10.190
that casting is probably not super PC. But again,

00:46:10.269 --> 00:46:12.170
through the lens of presentism, this movie was

00:46:12.170 --> 00:46:15.070
made 70 years ago, almost at this point. And

00:46:15.070 --> 00:46:17.730
then the llama of the monastery is played by

00:46:17.730 --> 00:46:20.989
Arnold Marley, a German actor who appeared in

00:46:20.989 --> 00:46:22.989
a lot of British films and television programs

00:46:22.989 --> 00:46:27.010
throughout his very long career. All right, let's

00:46:27.010 --> 00:46:28.809
move to the production backstory a little bit.

00:46:29.130 --> 00:46:32.530
Vincent, you brought up the creature, the BBC...

00:46:33.150 --> 00:46:35.730
live tv drama do you want to get us started here

00:46:35.730 --> 00:46:39.809
yeah so niger neil wrote this play called the

00:46:39.809 --> 00:46:42.269
creature first of all i would love to see this

00:46:42.269 --> 00:46:45.409
story on stage that's my bread and butter as

00:46:45.409 --> 00:46:48.309
a writer so like amazing how do you pull that

00:46:48.309 --> 00:46:51.670
off but he was one of several writers that wrote

00:46:51.670 --> 00:46:54.489
for bbc in the early and mid 50s he was inspired

00:46:54.489 --> 00:46:59.630
by then popular rumors of the yeti the you know

00:46:59.630 --> 00:47:03.510
also known as the abominable snowman So this

00:47:03.510 --> 00:47:05.190
is where I'll get into a little bit of that history.

00:47:05.829 --> 00:47:09.989
The Yeti legend of the Abominable Snowman really

00:47:09.989 --> 00:47:14.909
started in the West, you could say, in the 1920s,

00:47:14.909 --> 00:47:17.050
but it wasn't made famous until the discovery

00:47:17.050 --> 00:47:20.769
of footprints by a British explorer named Eric

00:47:20.769 --> 00:47:24.570
Shipton in 1951, who was actually mentioned in

00:47:24.570 --> 00:47:28.309
the screenplay of the Abominable Snowman, I think.

00:47:29.099 --> 00:47:32.940
It is Tom Friend who's like, well, in 1951, we

00:47:32.940 --> 00:47:36.619
had those footprints. So the legend was at large

00:47:36.619 --> 00:47:42.579
at this point. And then in 1953, 1954, Sir Edmund

00:47:42.579 --> 00:47:47.059
Hillary and his Sherpa guide, Tenzing Norgay,

00:47:47.199 --> 00:47:50.900
they ascended Mount Everest, the first confirmed

00:47:50.900 --> 00:47:54.320
climb to the peak of Mount Everest in the 50s.

00:47:54.320 --> 00:47:58.440
So there was a huge fascination, not only with...

00:47:58.670 --> 00:48:02.789
the yeti legend but also just mount everest in

00:48:02.789 --> 00:48:07.289
the 1950s and just speaking off the cuff you

00:48:07.289 --> 00:48:10.690
know the himalayas you could think of as a last

00:48:10.690 --> 00:48:14.510
frontier of of humankind going under the ocean

00:48:14.510 --> 00:48:17.289
going into outer space going to the himalayas

00:48:17.289 --> 00:48:20.110
like these were parts of the world yet unexplored

00:48:20.110 --> 00:48:24.929
again by at least westerners that really captured

00:48:24.929 --> 00:48:27.780
the imagination and i could see why Are there

00:48:27.780 --> 00:48:32.679
monsters up there? Nobody really knew. So historically,

00:48:32.900 --> 00:48:36.619
pretty fascinating. But anyways, this play, The

00:48:36.619 --> 00:48:39.659
Creature, then, was broadcast live in January

00:48:39.659 --> 00:48:43.860
of 1955. It did receive mixed reviews. Some critics

00:48:43.860 --> 00:48:47.539
called it dry, unrealistic. But nonetheless,

00:48:47.840 --> 00:48:50.079
Hammer purchased the rights to the production,

00:48:50.179 --> 00:48:54.840
and Neil wrote the screenplay. So he stayed faithful

00:48:54.840 --> 00:48:58.699
to his TV script. Although he did add the subplot

00:48:58.699 --> 00:49:01.300
with Helen Rolison and she was a new character

00:49:01.300 --> 00:49:04.980
for the film and also the Foxy character. That

00:49:04.980 --> 00:49:08.119
sounds so funny. What is his name? Yeah, I guess

00:49:08.119 --> 00:49:11.059
his name is Foxy. That's what they call him.

00:49:11.139 --> 00:49:13.519
I wonder if he has a different. Yeah, his name

00:49:13.519 --> 00:49:15.699
is like that's his nickname. I think his last

00:49:15.699 --> 00:49:18.760
name is Fox. Yeah, that makes sense to me. When

00:49:18.760 --> 00:49:20.940
they called him that, I was like, oh, what's

00:49:20.940 --> 00:49:23.659
he going to do? Is he like the third man? Like,

00:49:23.659 --> 00:49:26.780
what's the deal with this character? So I'm glad

00:49:26.780 --> 00:49:30.099
they added him. But yeah, I was always like,

00:49:30.199 --> 00:49:31.639
oh, what's this guy going to do? He's going to

00:49:31.639 --> 00:49:36.039
do something. He seemed a little shifty. Yeah.

00:49:36.619 --> 00:49:40.699
Like he's so proper. You wonder, is he hiding

00:49:40.699 --> 00:49:43.599
something? Didn't quite go that way. Maybe not

00:49:43.599 --> 00:49:45.900
very foxy. More shifty than foxy, I would say.

00:49:47.160 --> 00:49:52.760
Sly like a fox. Yeah, true. The characters of

00:49:52.760 --> 00:49:57.679
Helen and Foxy were added to the film by Neil.

00:49:57.920 --> 00:50:01.320
And yeah, also for the time, what was kind of

00:50:01.320 --> 00:50:07.260
rare is the Daily Post published this like. contest

00:50:07.260 --> 00:50:11.260
basically they would award anyone five thousand

00:50:11.260 --> 00:50:15.360
dollars if they had proof of the yeti existing

00:50:15.360 --> 00:50:20.360
so there was a lot of hype at the time of people

00:50:20.360 --> 00:50:23.059
like you know really putting themselves in danger

00:50:23.059 --> 00:50:26.239
to come back with some some sort of proof so

00:50:26.840 --> 00:50:30.440
This film came out at that perfect time where

00:50:30.440 --> 00:50:33.320
everybody was like, oh, there is a huge possibility.

00:50:33.820 --> 00:50:37.900
Edmund Hillary, too, the explorers that Vincent

00:50:37.900 --> 00:50:40.610
mentioned. those guys were really well respected.

00:50:40.710 --> 00:50:43.309
And for them to come down from like a giant mountain

00:50:43.309 --> 00:50:46.809
and be like, whoa, we saw these like huge footprints

00:50:46.809 --> 00:50:49.570
that definitely could not be human. You know,

00:50:49.590 --> 00:50:52.570
everyone really believed them. So this was like

00:50:52.570 --> 00:50:56.369
peak, there is a giant snowman living in the

00:50:56.369 --> 00:51:00.530
Himalayas of fascination time, which would be

00:51:00.530 --> 00:51:03.369
so cool, you know? And this also is the time

00:51:03.369 --> 00:51:07.369
when it's called cryptozoology. Cryptozoology.

00:51:08.269 --> 00:51:11.670
Yeah, that also started to sort of surface as

00:51:11.670 --> 00:51:15.969
this kind of quasi -scientist study of animals

00:51:15.969 --> 00:51:19.550
that couldn't be proven. Which I also love, and

00:51:19.550 --> 00:51:22.710
I just think we need way more of those and those

00:51:22.710 --> 00:51:26.650
movies. But yeah, to ignite the public's imagination

00:51:26.650 --> 00:51:29.190
about something that could be living on Earth

00:51:29.190 --> 00:51:32.590
among us that we haven't found yet, I think is

00:51:32.590 --> 00:51:35.690
so great. So yeah, Hammer purchased the rights

00:51:35.690 --> 00:51:38.050
to the production, having found success with

00:51:38.050 --> 00:51:41.610
their recent adaptation of the Quatermass experiment.

00:51:41.769 --> 00:51:45.889
Neil wrote the screenplay. And then, yeah, it

00:51:45.889 --> 00:51:48.909
was co -produced by American producer Robert

00:51:48.909 --> 00:51:52.849
Lippert, who partnered with Hammer on many films

00:51:52.849 --> 00:51:56.070
around that time. And he would provide an American

00:51:56.070 --> 00:51:58.610
star in exchange for the rights to distribute

00:51:58.610 --> 00:52:01.829
Hammer's film in the U .S. And Lippert brought

00:52:01.829 --> 00:52:05.449
Forrest Tucker, though director Val Guest was

00:52:05.449 --> 00:52:08.960
disappointed with his performance. Oh, Boris

00:52:08.960 --> 00:52:12.079
Tucker might have been very good at some things

00:52:12.079 --> 00:52:16.079
too, but many people's mind acting wasn't one

00:52:16.079 --> 00:52:19.059
of them. And I think he rather spoiled the picture,

00:52:19.139 --> 00:52:21.619
which is what Val Guest said about his performance.

00:52:21.619 --> 00:52:25.610
I don't think he was that bad. Right. Yeah, you

00:52:25.610 --> 00:52:28.230
know, in a lot of ways, he really underplays

00:52:28.230 --> 00:52:31.030
the role, which is kind of nice. He downplays

00:52:31.030 --> 00:52:33.789
it. If you look at Forrest Tucker and other predictions,

00:52:33.789 --> 00:52:36.369
like pictures, you know, he's this like larger

00:52:36.369 --> 00:52:40.769
than life, like dominating figure. So, yeah,

00:52:40.849 --> 00:52:42.750
I don't know. He had some beef with Val, I guess.

00:52:43.590 --> 00:52:46.730
And yeah, Cushing reprised the role that he played

00:52:46.730 --> 00:52:49.750
in the TV play. That was his second appearance

00:52:49.750 --> 00:52:53.860
for Hammer after The Curse of Frankenstein. Yeah,

00:52:53.880 --> 00:52:56.699
and the Curse of Frankenstein came out the same

00:52:56.699 --> 00:52:59.420
year, which also then threw Hammer into this

00:52:59.420 --> 00:53:03.199
super famous position, right? Yeah, that's what

00:53:03.199 --> 00:53:07.440
I read, too. Good year for Peter Cushing. Yeah,

00:53:07.539 --> 00:53:12.030
and for Hammer Studios. Yeah. So on -location

00:53:12.030 --> 00:53:14.250
shooting took place in the French Pyrenees in

00:53:14.250 --> 00:53:17.929
January 1957. The second unit footage did not

00:53:17.929 --> 00:53:20.070
include the main actors, so doubles were used

00:53:20.070 --> 00:53:21.829
whenever the characters appeared from a distance.

00:53:22.210 --> 00:53:24.869
And to me, those are some of the best shots in

00:53:24.869 --> 00:53:26.889
the movie, like these sweeping aerial shots of

00:53:26.889 --> 00:53:28.590
the mountains, which we've already talked about

00:53:28.590 --> 00:53:31.739
before. It's really gorgeous. especially because

00:53:31.739 --> 00:53:34.860
the film was shot in an anamorphic widescreen

00:53:34.860 --> 00:53:38.420
format called Regalscope, later renamed as Hammerscope

00:53:38.420 --> 00:53:40.340
by the studio, which I love that they kind of

00:53:40.340 --> 00:53:43.960
trademarked that themselves. And Steffi, you

00:53:43.960 --> 00:53:45.340
were talking about this before. I do think it's

00:53:45.340 --> 00:53:47.239
a really beautiful visual style, but director

00:53:47.239 --> 00:53:49.199
Val Guest actually did not like it very much.

00:53:49.460 --> 00:53:51.619
Apparently shooting in this format made it very

00:53:51.619 --> 00:53:54.099
difficult to get close to the actors and required

00:53:54.099 --> 00:53:56.300
really meticulous framing, like even more so

00:53:56.300 --> 00:53:59.119
than usual. So it looks great, but was apparently

00:53:59.119 --> 00:54:01.719
pretty difficult to work with. Yeah, I have to

00:54:01.719 --> 00:54:04.260
say I shot a short film with anamorphic lenses

00:54:04.260 --> 00:54:07.440
trying to be this cool hipster shooting in cinema

00:54:07.440 --> 00:54:10.659
scope. And it's so difficult because you're working

00:54:10.659 --> 00:54:13.659
on such a wide plane and you have to fill the

00:54:13.659 --> 00:54:17.480
space, right? And so if you've got one character,

00:54:17.599 --> 00:54:19.679
if you just put them in the middle and then you

00:54:19.679 --> 00:54:21.860
just have landscape around them, it's like super

00:54:21.860 --> 00:54:24.440
tricky. And there are certain points in this

00:54:24.440 --> 00:54:27.530
film where you can. see guests struggling with

00:54:27.530 --> 00:54:29.909
that balance because you just he has so much

00:54:29.909 --> 00:54:33.130
more space to work with and how to fill it and

00:54:33.130 --> 00:54:36.590
how to make it look interesting but but yeah

00:54:36.590 --> 00:54:39.230
i mean it was a revolutionary way to see pictures

00:54:39.230 --> 00:54:43.190
right to go from something that was nearly square

00:54:43.190 --> 00:54:46.829
to this wide screen yeah it's and it's beautiful

00:54:46.829 --> 00:54:49.730
for for being outside for those big shots And

00:54:49.730 --> 00:54:51.289
it must have been especially a striking contrast

00:54:51.289 --> 00:54:53.409
for anybody that saw the TV play. And you just

00:54:53.409 --> 00:54:55.989
think of TVs at that time being relatively small

00:54:55.989 --> 00:54:58.130
and obviously like square in format. Then to

00:54:58.130 --> 00:55:01.050
go to this like huge widescreen theatrical format

00:55:01.050 --> 00:55:02.989
must have been pretty cool for people who saw

00:55:02.989 --> 00:55:06.239
both versions around that time. Definitely. And

00:55:06.239 --> 00:55:08.340
some of those aerial shots that they did, they

00:55:08.340 --> 00:55:10.699
would either take them, there was like one helicopter

00:55:10.699 --> 00:55:15.500
flight that they went over the Andes or the Pyrenees.

00:55:15.519 --> 00:55:19.039
And then another shot that they had was there

00:55:19.039 --> 00:55:22.539
was like a ski lift cable cars. And so there's

00:55:22.539 --> 00:55:24.820
certain shots that were taken and you can kind

00:55:24.820 --> 00:55:27.460
of see the way that it pans that they're like

00:55:27.460 --> 00:55:29.539
sitting in this little ski lift with the camera

00:55:29.539 --> 00:55:32.900
out the window shooting these establishing shots.

00:55:33.539 --> 00:55:35.920
Yeah, not with the actual crew, with stuntmen.

00:55:36.079 --> 00:55:39.300
They took stuntmen up there, of course. But yeah,

00:55:39.380 --> 00:55:41.000
and a lot of that is seamless, right? Between

00:55:41.000 --> 00:55:43.079
the studio and between those location shots,

00:55:43.219 --> 00:55:47.380
it looks great. Yeah. I love that. It does look

00:55:47.380 --> 00:55:49.079
great, but I love it when you have these kind

00:55:49.079 --> 00:55:51.159
of like... Pretty obviously artificial, like,

00:55:51.219 --> 00:55:53.400
tundra sets or, like, the North Pole or whatever.

00:55:53.739 --> 00:55:56.539
But I think it looks so cool, like, the, you

00:55:56.539 --> 00:55:58.219
know, the fake snow and, like, the really kind

00:55:58.219 --> 00:56:01.219
of, like, blocky, like, ice and everything in

00:56:01.219 --> 00:56:03.199
the background. Like, I love that look. The Beast

00:56:03.199 --> 00:56:05.340
from 20 ,000 Fathoms also had that a little bit,

00:56:05.440 --> 00:56:08.360
which we talked about last year. Yeah, yeah.

00:56:08.800 --> 00:56:11.780
It didn't surprisingly distract me. Like, I could

00:56:11.780 --> 00:56:13.639
tell it was artificial, like, on their sets.

00:56:14.360 --> 00:56:17.380
Filmed, by the way, at Bray and Pinewood Studios

00:56:17.380 --> 00:56:21.760
in England. But maybe because it was blended

00:56:21.760 --> 00:56:26.000
so well with the live -action shots, yeah, it

00:56:26.000 --> 00:56:29.639
did not distract me. Yeah, same. I think it's

00:56:29.639 --> 00:56:31.159
done really well, and again, I really love that

00:56:31.159 --> 00:56:33.139
look. I think it's very cinematic, you know?

00:56:33.659 --> 00:56:36.519
Mm -hmm. The sets for the monastery were built

00:56:36.519 --> 00:56:39.119
at Bray Studio and were later reused for a series

00:56:39.119 --> 00:56:41.820
of Fu Manchu movies in the 60s starring Christopher

00:56:41.820 --> 00:56:47.599
Lee. Most of the extras... This is interesting.

00:56:47.739 --> 00:56:50.119
Most of the extras... In The Abominable Snowman

00:56:50.119 --> 00:56:52.800
were waiters at a Chinese restaurant or just

00:56:52.800 --> 00:56:55.599
multiple Chinese restaurants in London. Awesome.

00:56:55.719 --> 00:57:00.239
And then Val Guest, for his part, he encouraged

00:57:00.239 --> 00:57:03.239
the actors to overlap their dialogue to contribute

00:57:03.239 --> 00:57:07.139
to a more realistic feel. Guest also wanted to

00:57:07.139 --> 00:57:10.519
show the creature of the Yeti only in glimpses

00:57:10.519 --> 00:57:14.760
to build suspense. By contrast, Niger Neal thought

00:57:14.760 --> 00:57:17.000
the creatures should be showed in their entirety.

00:57:17.610 --> 00:57:21.429
So spoiler alerts for listeners, the Yeti isn't

00:57:21.429 --> 00:57:25.510
shown until the end of the film. So a classic

00:57:25.510 --> 00:57:28.010
monster movie technique we all know, whether

00:57:28.010 --> 00:57:30.650
it's Jaws or what have you, that we're saving

00:57:30.650 --> 00:57:32.449
the goods to the end. Until then, we're going

00:57:32.449 --> 00:57:35.690
to give you little snippets, maybe feature a

00:57:35.690 --> 00:57:41.489
rather, I don't know, a really big, obvious hand

00:57:41.489 --> 00:57:46.000
puppet. reaching under a tent to grab some rifles

00:57:46.000 --> 00:57:49.460
which i did love that sequence i don't want to

00:57:49.460 --> 00:57:52.099
make fun of that sequence but this yeti hand

00:57:52.099 --> 00:57:54.719
coming under the tent was a little fun a fun

00:57:54.719 --> 00:57:57.199
little treat foreshadowing it's like oh oh there

00:57:57.199 --> 00:58:01.659
it is there's this big paw that's massive paw

00:58:04.480 --> 00:58:06.820
That's a really fun scene. And then the appearance

00:58:06.820 --> 00:58:08.840
at the end of the film, we'll probably talk a

00:58:08.840 --> 00:58:11.219
little bit more later, but maybe it goes in the

00:58:11.219 --> 00:58:13.380
campy category. Maybe it goes in the good category.

00:58:13.420 --> 00:58:16.639
We still pretty much only see fairly limited

00:58:16.639 --> 00:58:18.980
glimpses of the Yeti, even at the end of the

00:58:18.980 --> 00:58:21.940
film, which could be a good or a bad thing. More

00:58:21.940 --> 00:58:27.000
on that later. So much foreshadowing. Yeah. I'm

00:58:27.000 --> 00:58:29.420
trying to, you know, I'm emulating Val Guest

00:58:29.420 --> 00:58:31.239
and his ability to build suspense. I'm trying

00:58:31.239 --> 00:58:33.980
to anyway. You are in shadow right now. I can

00:58:33.980 --> 00:58:38.199
only see your eyes. I wish that were true. Sadly,

00:58:38.280 --> 00:58:41.750
it is not true. All right, so the movie came

00:58:41.750 --> 00:58:45.670
out on August 26, 1957. Reviews were positive,

00:58:45.750 --> 00:58:48.309
but it did not do very well financially. It was

00:58:48.309 --> 00:58:50.349
mostly overshadowed by the lasting popularity

00:58:50.349 --> 00:58:52.409
of The Curse of Frankenstein, which still was

00:58:52.409 --> 00:58:56.150
Hammer's number one movie of the year. Subsequent

00:58:56.150 --> 00:58:58.590
reviews since then, over the last 70 or so years.

00:58:59.230 --> 00:59:00.989
Probably still a little bit mixed. Some were

00:59:00.989 --> 00:59:03.829
negative, calling the film ponderous or unexciting

00:59:03.829 --> 00:59:06.710
and disappointing in terms of, you know, actually

00:59:06.710 --> 00:59:09.550
seeing the Yeti creatures. Other critics, however,

00:59:09.690 --> 00:59:11.809
have lauded its eerie atmosphere and attempts

00:59:11.809 --> 00:59:14.869
at thematic depth. It's generally seen as minor

00:59:14.869 --> 00:59:18.329
Hammer horror, but is also on some lists of underrated

00:59:18.329 --> 00:59:21.190
Hammer horror films. So the critical reception

00:59:21.190 --> 00:59:22.929
kind of a little bit all over the place on this

00:59:22.929 --> 00:59:27.809
one. On that note, it's time for our sponsor

00:59:27.809 --> 00:59:30.849
break. Camp Kaiju is brought to you by Zach Linder

00:59:30.849 --> 00:59:33.030
and the Zach Pack, powered by Coldwell Banker

00:59:33.030 --> 00:59:35.170
Realty. Whether you're looking for your dream

00:59:35.170 --> 00:59:37.650
home, a savvy investment property, or expert

00:59:37.650 --> 00:59:40.010
guidance in home rehab and flipping, the Zach

00:59:40.010 --> 00:59:42.309
Pack has you covered. Check the link in the show

00:59:42.309 --> 00:59:45.889
notes for more information. In Minya's mailbox,

00:59:46.210 --> 00:59:52.809
we have a comment about Space Amoeba, the 60s

00:59:52.809 --> 00:59:56.030
Toho picture directed by Ashiro Honda, from a

00:59:56.030 --> 01:00:01.320
user called The Batra. on our YouTube. So, The

01:00:01.320 --> 01:00:05.059
Batra says, Space Amoeba is definitely a fun

01:00:05.059 --> 01:00:07.760
movie with nice location shooting. The actors

01:00:07.760 --> 01:00:09.860
all seem like they're having a good time and

01:00:09.860 --> 01:00:12.219
the monsters are pretty cool. Honda definitely

01:00:12.219 --> 01:00:14.780
seems to be at the top of his game with the directing.

01:00:14.960 --> 01:00:17.280
It's kind of unfortunate that the script for

01:00:17.280 --> 01:00:20.059
the movie is kind of lackluster. Space Amoeba

01:00:20.059 --> 01:00:22.619
really shows that the once marvelous Toho Fantasy

01:00:22.619 --> 01:00:25.820
Film Division had long become a factory, with

01:00:25.820 --> 01:00:29.099
Honda as its chief foreman. It will be nice seeing

01:00:29.099 --> 01:00:33.619
Hamibas show up again in Tokyo SOS and Gezora

01:00:33.619 --> 01:00:37.420
showing up in Final Wars. That's in reference

01:00:37.420 --> 01:00:42.599
to those two kaiju from Space Amoeba making some

01:00:42.599 --> 01:00:45.960
cameo appearances in these Godzilla films from

01:00:45.960 --> 01:00:50.260
the 2000s. And then The Bachelor concludes with,

01:00:50.400 --> 01:00:54.000
Also just saw The Man Who Knew Too Much with

01:00:54.000 --> 01:00:57.440
Mr. Laurie. Really liked him. He was a very good,

01:00:57.460 --> 01:01:01.400
cunning villain. Stop. Thank you, The Bachelor.

01:01:01.480 --> 01:01:04.559
I'll pass that message along to Mr. Laurie. And

01:01:04.559 --> 01:01:07.579
welcome thoughts on Space Amoeba 2 from 1970.

01:01:09.099 --> 01:01:11.199
I love that comment, and I love Space Amoeba.

01:01:11.280 --> 01:01:13.599
That's a really fun movie. I have more of a love

01:01:13.599 --> 01:01:15.639
-hate relationship with Peter Lorre, as you know,

01:01:15.699 --> 01:01:18.739
Vincent. It's a rocky relationship. Oh, I'm not

01:01:18.739 --> 01:01:20.159
even going to touch. I'm not even going to go

01:01:20.159 --> 01:01:22.460
there, man. He's in Borneo. He's doing his thing.

01:01:23.639 --> 01:01:27.079
Working remote. Working remote? Okay. We're all

01:01:27.079 --> 01:01:30.320
over the globe. Steffi's in Greece. Peter's in

01:01:30.320 --> 01:01:35.739
Southeast Asia. You'll be in Canada soon. Truly

01:01:35.739 --> 01:01:40.139
cosmopolitan. Yeah. Speaking of Peter in Southeast

01:01:40.139 --> 01:01:42.280
Asia, is there anything in Poverty Row Picture

01:01:42.280 --> 01:01:45.619
Show this week? Yes. Peter Lorre will be talking

01:01:45.619 --> 01:01:49.980
about a 1945 B -movie horror film called Fog

01:01:49.980 --> 01:01:55.639
Island, starring George Zuko and also... Lionel

01:01:55.639 --> 01:02:00.880
Atwell, very well -beloved actors of horror films

01:02:00.880 --> 01:02:03.820
from the 30s and 40s. So I have yet to see this

01:02:03.820 --> 01:02:07.300
movie, but I am looking forward to catching it.

01:02:08.599 --> 01:02:10.239
Awesome. Can't wait to hear what Peter has to

01:02:10.239 --> 01:02:24.780
say about it. I hope he's doing okay. Welcome

01:02:24.780 --> 01:02:28.199
to the Poverty Row Studios. On the other side

01:02:28.199 --> 01:02:30.900
of Hollywood, yes, where the stars were dimmer,

01:02:30.920 --> 01:02:34.539
the red carpet stripped with blood. Together,

01:02:34.820 --> 01:02:38.539
you and I will watch the best of the worst. Movies

01:02:38.539 --> 01:02:41.719
known for their limited budgets, outlandish concepts,

01:02:42.019 --> 01:02:45.139
and questionable performances, but with enough

01:02:45.139 --> 01:02:49.079
haunted houses, zombies, ape men, and devil bats

01:02:49.079 --> 01:02:52.820
to keep you up at night. This is the Poverty

01:02:52.820 --> 01:02:56.159
Row Picture Show, and I dare you to sleep through

01:02:56.159 --> 01:03:04.440
these nightmares. I am your host, Peter Lorre.

01:03:04.579 --> 01:03:07.219
You may know me from such razzle -dazzle pictures

01:03:07.219 --> 01:03:11.199
as Casablanca, The Maltese Falcon, and... The

01:03:11.199 --> 01:03:13.659
Muscle Beach Party, which is where I am headed

01:03:13.659 --> 01:03:18.400
after regaling you with my review of 1945's Fog

01:03:18.400 --> 01:03:24.139
Island. Yes, the film was produced by PRC, and

01:03:24.139 --> 01:03:27.380
it tells the mad, murderous tale of a recently

01:03:27.380 --> 01:03:30.079
released convict who was framed for the murder

01:03:30.079 --> 01:03:34.460
of his wife. Now he invites his double -crossing

01:03:34.460 --> 01:03:37.280
associates over to his foggy island home for

01:03:37.280 --> 01:03:42.289
a night of, well, murder. And unlike many poverty

01:03:42.289 --> 01:03:45.469
row pictures of late, the film actually stars,

01:03:45.630 --> 01:03:52.090
well, some stars. Behold, Lionel Atwill and George

01:03:52.090 --> 01:03:56.110
Zuko. Now, Atwill, for his part, had long been

01:03:56.110 --> 01:03:59.289
a mainstay of the Hollywood horror elite. He

01:03:59.289 --> 01:04:01.869
had appeared in several classics up until this

01:04:01.869 --> 01:04:05.269
point, such as Mystery of the Wax Museum, Dr.

01:04:05.489 --> 01:04:09.519
X, and as the... Wooden -armed police inspector

01:04:09.519 --> 01:04:12.039
and universal son of Frankenstein. Yes, that's

01:04:12.039 --> 01:04:15.340
right. The very inspector parodied by Mel Brooks

01:04:15.340 --> 01:04:18.079
in Young Frankenstein. Can you tell this might

01:04:18.079 --> 01:04:21.039
be a favorite film of mine? Anyways, by 1945,

01:04:21.639 --> 01:04:26.280
Atwell. Alas, his star had long waned following

01:04:26.280 --> 01:04:29.480
scandal and the waning popularity of fright films.

01:04:29.820 --> 01:04:33.599
Nevertheless, he is a welcomed illumination in

01:04:33.599 --> 01:04:37.260
the murky fog of this island. Now joining him,

01:04:37.559 --> 01:04:40.500
In this misty mansion of death is George Zuko.

01:04:40.800 --> 01:04:43.280
Listeners, I have mentioned this man many a time

01:04:43.280 --> 01:04:45.440
on the Poverty Row Picture Show, but I have not

01:04:45.440 --> 01:04:49.079
given him his just desserts. Along with a multitude

01:04:49.079 --> 01:04:52.119
of B -movie horrors, Zuko's best -known credits

01:04:52.119 --> 01:04:55.300
are in the Universal Mommy Pictures of the 1940s.

01:04:55.820 --> 01:04:59.940
Then, in about minute eight of Fog Island, yes,

01:05:00.039 --> 01:05:03.619
he actually picks his nose. Now that, ladies

01:05:03.619 --> 01:05:06.739
and gentlemen, is the mark of a true screen presence.

01:05:07.800 --> 01:05:10.400
Directing these monkeys at this circus is the

01:05:10.400 --> 01:05:13.519
journeyman director, Terry O. Morse. Yes, perhaps

01:05:13.519 --> 01:05:17.639
that name rings the dinosaur dinner bell because

01:05:17.639 --> 01:05:19.980
it was Morse who directed the Americanization

01:05:19.980 --> 01:05:23.900
of Gojira. His film, of course, is known as Godzilla

01:05:23.900 --> 01:05:26.260
King of the Monsters, and it was released in

01:05:26.260 --> 01:05:31.199
1956, a smash of titanic proportions. Now say

01:05:31.199 --> 01:05:33.539
what you will about the slicing and dicing of

01:05:33.539 --> 01:05:36.920
his Shiro Honda's 54 classic, but the Hollywood

01:05:36.920 --> 01:05:41.300
version propelled the famous kaiju into American

01:05:41.300 --> 01:05:45.219
pop culture. So, Mr. Terry O'Morse, we salute

01:05:45.219 --> 01:05:50.579
you. Now, Fog Island is no Godzilla. It is slowly

01:05:50.579 --> 01:05:53.659
paced and it creaks with melodramatic intrigue.

01:05:53.659 --> 01:05:57.389
However, there is a climactic... mass drowning

01:05:57.389 --> 01:05:59.989
in a basement torture chamber that would make

01:05:59.989 --> 01:06:05.030
the Phantom of the Opera proud. Now, on that

01:06:05.030 --> 01:06:07.690
note, yes, I do have a muscle beach party to

01:06:07.690 --> 01:06:10.510
get to with Lenore. Listeners, we'll catch you

01:06:10.510 --> 01:06:13.650
next time for, hey, what a quinky dink, The Phantom

01:06:13.650 --> 01:06:20.130
Speaks. Oh, yes, Lenore, how do you like this

01:06:20.130 --> 01:06:23.329
little one piece of mind that I am wearing? Oh,

01:06:23.349 --> 01:06:25.409
yes, well, I like the stripes and the little

01:06:25.409 --> 01:06:44.030
stars that you embroidered on the... From the

01:06:44.030 --> 01:06:46.929
beginning of his time on Earth, man has always

01:06:46.929 --> 01:06:51.050
been fascinated by monsters, real or imagined.

01:06:52.010 --> 01:06:54.869
One enduring modern legend tells of creatures

01:06:54.869 --> 01:06:58.289
similar to man walking upright, covered with

01:06:58.289 --> 01:07:02.349
hair, beast -like in character. Many believe

01:07:02.349 --> 01:07:05.289
they are real and exist today in the remote corners

01:07:05.289 --> 01:07:08.309
of the world where they have been driven by encroaching

01:07:08.309 --> 01:07:13.929
civilization. They were first known as the Abominable

01:07:13.929 --> 01:07:23.380
Snowmen. Lost Civilizations. extraterrestrials,

01:07:23.380 --> 01:07:28.480
myths and monsters, missing persons, magic and

01:07:28.480 --> 01:07:32.760
witchcraft, unexplained phenomena. In search

01:07:32.760 --> 01:07:35.139
of cameras are traveling the world, seeking out

01:07:35.139 --> 01:07:38.599
these great mysteries. This program was the result

01:07:38.599 --> 01:07:41.780
of the work of scientists, researchers, and a

01:07:41.780 --> 01:08:25.699
group of highly skilled technicians. Once a normal,

01:08:25.800 --> 01:08:28.340
voluptuously beautiful woman, she drove into

01:08:28.340 --> 01:08:31.399
a nightmare of horror and saw descending from

01:08:31.399 --> 01:08:35.020
the sky a titanic monster whose fearsome touch

01:08:35.020 --> 01:08:43.659
became a frightful curse. You think I'm drunk,

01:08:43.680 --> 01:08:47.420
don't you? All of you! I'm not drunk! I'm not!

01:08:47.579 --> 01:08:50.340
You've got to believe me. It was right the moment...

01:08:52.970 --> 01:08:55.590
Once she's in the booby hatch, throw the key

01:08:55.590 --> 01:09:03.649
away. That'll put you in the driver's seat. You'd

01:09:03.649 --> 01:09:08.750
make a wild driver, Harry. For 50 million bucks.

01:09:11.109 --> 01:09:14.010
What she saw was beyond belief until others,

01:09:14.069 --> 01:09:17.329
too, faced its hideous, uncontrollable menace.

01:09:23.819 --> 01:09:26.960
Attack of the 50 -foot woman, incredibly huge,

01:09:27.260 --> 01:09:30.640
with incredible desires for love and vengeance.

01:09:38.699 --> 01:09:51.020
All right, back to the abominable snowman. Lost

01:09:51.020 --> 01:09:53.250
my train of thought there for a second. I would

01:09:53.250 --> 01:09:54.829
say the movie has a little bit more thematic

01:09:54.829 --> 01:09:57.069
depth than I expected it to have, which is obviously

01:09:57.069 --> 01:10:00.970
a good thing. I mean, this movie has a lot on

01:10:00.970 --> 01:10:06.270
its mind. I jotted down some notes around the

01:10:06.270 --> 01:10:09.829
pursuit of knowledge and science versus superstition.

01:10:10.270 --> 01:10:15.890
The Tibetans here, they practice this kind of

01:10:15.890 --> 01:10:19.210
mysticism, the lama. What do they talk about?

01:10:19.840 --> 01:10:23.899
It's not telepathy, but it's the ability to connect

01:10:23.899 --> 01:10:28.739
or see things or people many miles away through

01:10:28.739 --> 01:10:32.039
your mind's eye. I forget the term for that,

01:10:32.199 --> 01:10:35.539
but that's touched on. And you have the scientists,

01:10:35.859 --> 01:10:38.119
the British scientists in this great British

01:10:38.119 --> 01:10:41.659
tradition of we're here for science and pish

01:10:41.659 --> 01:10:46.000
posh on your local superstitions. So I saw that

01:10:46.000 --> 01:10:49.670
dynamic really at play in this movie. Totally

01:10:49.670 --> 01:10:52.590
agree. Yeah. And I think, you know, some of the

01:10:52.590 --> 01:10:55.090
characters, especially Tom Friend, seem very

01:10:55.090 --> 01:10:57.189
callous and rude and condescending towards the

01:10:57.189 --> 01:10:59.430
Tibetan characters. And for a while I was like,

01:10:59.470 --> 01:11:02.010
is this also how the movie feels? Or are we supposed

01:11:02.010 --> 01:11:04.489
to like, is this a critical portrayal? You know,

01:11:04.529 --> 01:11:07.390
that's kind of a fine line sometimes. But I think

01:11:07.390 --> 01:11:09.390
it is. I think we're meant to think that these

01:11:09.390 --> 01:11:12.699
British and American characters are. not treating

01:11:12.699 --> 01:11:15.260
the Tibetans very well. I think it is critically

01:11:15.260 --> 01:11:17.579
portrayed. And I think part of it is exactly

01:11:17.579 --> 01:11:19.659
what you were talking about, Vincent, like the

01:11:19.659 --> 01:11:21.720
characters who live there in Tibet, like have

01:11:21.720 --> 01:11:24.460
a more intimate connection with the natural world

01:11:24.460 --> 01:11:27.140
around them. Whereas, you know, I mean, even

01:11:27.140 --> 01:11:29.020
Peter Cushing's character, who's like relatively

01:11:29.020 --> 01:11:31.979
benevolent and like wants to respect the people

01:11:31.979 --> 01:11:34.079
there. It's still, he wants to get something

01:11:34.079 --> 01:11:37.039
out of it. He wants to get like scientific knowledge.

01:11:37.180 --> 01:11:39.439
There's even dialogue with the Lama at the monastery

01:11:39.439 --> 01:11:42.399
about that a little bit. So, you know, like the

01:11:42.399 --> 01:11:44.300
outsiders definitely have a different relationship

01:11:44.300 --> 01:11:46.840
with this world than the Tibetans do, which is

01:11:46.840 --> 01:11:50.020
not surprising. So I think like some of the maybe

01:11:50.020 --> 01:11:52.720
questionable like things that the characters

01:11:52.720 --> 01:11:55.000
say in this movie seems to me like intentionally

01:11:55.000 --> 01:11:57.119
critical of like these attitudes that they bring

01:11:57.119 --> 01:12:00.039
in, you know? And it comes full circle at the

01:12:00.039 --> 01:12:04.239
end when Peter Cushing comes face to face with

01:12:04.239 --> 01:12:08.279
the Yeti. And it's almost like he comes face

01:12:08.279 --> 01:12:12.289
to face with... like these greater forces of,

01:12:12.369 --> 01:12:16.909
of nature that his, that is quote unquote, sensible

01:12:16.909 --> 01:12:22.409
scientific mind can't comprehend. And the last

01:12:22.409 --> 01:12:25.270
shot you see of him is in the mountains, just

01:12:25.270 --> 01:12:28.710
looking wild and, and kind of mad. Like he's

01:12:28.710 --> 01:12:33.430
gone out of his mind confronting these, like

01:12:33.430 --> 01:12:36.390
I said, these, these. forces of nature that are

01:12:36.390 --> 01:12:39.229
beyond comprehension, beyond scientific rationale.

01:12:40.050 --> 01:12:42.970
So it does come full circle. Yeah. And I love

01:12:42.970 --> 01:12:46.229
so much that then he wants to join in, in the

01:12:46.229 --> 01:12:50.250
secret and the mysticism. And like that for me

01:12:50.250 --> 01:12:53.449
is like that crowding moment of the film of like,

01:12:53.529 --> 01:12:56.369
Oh, that's like, it's just so great to believe

01:12:56.369 --> 01:12:59.010
in something. And then it's even greater to believe

01:12:59.010 --> 01:13:02.409
that other people now are protecting that secret.

01:13:03.340 --> 01:13:07.640
you know and that that there are whole worlds

01:13:07.640 --> 01:13:10.739
where people which is very indiana jones 3 i

01:13:10.739 --> 01:13:13.659
guess are like trying to keep it like under wraps

01:13:13.659 --> 01:13:19.800
but yeah i just like that's so With Kong, it

01:13:19.800 --> 01:13:22.699
was about going and catching the great beast

01:13:22.699 --> 01:13:25.460
and bringing him to New York City and all of

01:13:25.460 --> 01:13:29.199
that stuff where Peter Cushing's character really

01:13:29.199 --> 01:13:33.340
then finally coming to understand of some things

01:13:33.340 --> 01:13:36.899
in this beautiful world should just be left untouched

01:13:36.899 --> 01:13:40.659
and some mysteries should just keep there. And

01:13:40.659 --> 01:13:43.640
I think that's a nice part of the film. I agree.

01:13:44.000 --> 01:13:48.699
I don't want to get too off on this. But I think

01:13:48.699 --> 01:13:52.260
in our in our 21st century, I think I'm speaking

01:13:52.260 --> 01:13:55.039
for myself, but I think I get overwhelmed so

01:13:55.039 --> 01:13:59.439
much by like we got to know everything. And science

01:13:59.439 --> 01:14:02.140
has touched every facets of our lives for good.

01:14:02.319 --> 01:14:05.140
Like I'm not knocking science, but it's just

01:14:05.140 --> 01:14:08.119
who I am. I like to keep things a mystery sometimes

01:14:08.119 --> 01:14:11.039
just for, you know, I think life is a little

01:14:11.039 --> 01:14:14.439
more interesting when you when when you can't

01:14:14.439 --> 01:14:17.739
look up the answer on your phone. And I'm like,

01:14:17.840 --> 01:14:20.640
maybe maybe we could just talk about it. And

01:14:20.640 --> 01:14:22.779
then if we don't come to an answer, that's OK.

01:14:23.260 --> 01:14:25.380
It's, you know, kind of like the left brain versus

01:14:25.380 --> 01:14:27.340
right brain thing. And I think probably all three

01:14:27.340 --> 01:14:29.659
of us are more on the left brain side, like preferring

01:14:29.659 --> 01:14:32.000
that sense of like artistic expression and like

01:14:32.000 --> 01:14:34.420
mystery and just kind of like maybe there aren't

01:14:34.420 --> 01:14:36.439
answers to some things. And then the right brain

01:14:36.439 --> 01:14:38.199
people, we need them, too. We need engineers.

01:14:38.300 --> 01:14:41.479
We need scientists, obviously. But I like I like

01:14:41.479 --> 01:14:43.119
the left brain people. I feel like this is my

01:14:43.119 --> 01:14:46.829
community, you know. Right -brained people have

01:14:46.829 --> 01:14:50.229
just stopped listening to the show now. Yeah,

01:14:50.310 --> 01:14:54.250
please come back. We need you. We love you. Screw

01:14:54.250 --> 01:14:56.050
you, scientists. That's basically what I'm trying

01:14:56.050 --> 01:15:01.449
to say. Just kidding, of course. You know, like,

01:15:01.569 --> 01:15:05.149
I guess I heard the debate if it is, can it be

01:15:05.149 --> 01:15:07.689
counted as a classic monster movie? And I'd be

01:15:07.689 --> 01:15:10.890
curious to hear your guys' thoughts on that,

01:15:10.930 --> 01:15:15.300
too. You know, in a lot of ways, actually, the

01:15:15.300 --> 01:15:18.960
setup, the first attack, the first sighting,

01:15:18.960 --> 01:15:22.699
which comes at 50 minutes into the film, would

01:15:22.699 --> 01:15:28.020
say it's a classic monster movie format. Yeah,

01:15:28.020 --> 01:15:31.939
and... This idea of the telepathy and really

01:15:31.939 --> 01:15:35.239
playing with the characters' minds and this whole

01:15:35.239 --> 01:15:39.039
thing about, are they going crazy? Is there anything

01:15:39.039 --> 01:15:42.020
actually happening to them? I think that's super

01:15:42.020 --> 01:15:44.859
interesting. If you remember, there was the Simpsons

01:15:44.859 --> 01:15:48.119
episode where Mr. Burns and Homer are caught

01:15:48.119 --> 01:15:52.300
in the cabin on a snowy hill, and they also start

01:15:52.300 --> 01:15:55.300
kind of losing their minds. I guess there's something

01:15:55.300 --> 01:16:01.060
to that here. not like quite sure i think that

01:16:01.060 --> 01:16:05.520
yeah again it just adds i think to the very coolness

01:16:05.520 --> 01:16:08.640
of this monster and you know why are we not buying

01:16:08.640 --> 01:16:14.539
abominable snowman figures i have so many monster

01:16:14.539 --> 01:16:17.060
figures but i have never seen an option to buy

01:16:17.060 --> 01:16:19.699
one of that and why is that why is this film

01:16:19.699 --> 01:16:22.420
also considered to be like a lower hammer film

01:16:22.420 --> 01:16:26.579
you know in in all of it and Yeah. Just interesting.

01:16:26.640 --> 01:16:30.020
So Fred Johnson, who is the face of the Yeti,

01:16:30.060 --> 01:16:35.479
he actually is in the Abbott and Costello meet

01:16:35.479 --> 01:16:39.460
the mummy. He's in the, like one of the open,

01:16:39.539 --> 01:16:42.319
one of the beginning scenes as a juggler. Okay.

01:16:42.359 --> 01:16:44.619
So he's not like a well -known like guy, but

01:16:44.619 --> 01:16:47.100
he's like, Oh, he's kind of like a monster movie

01:16:47.100 --> 01:16:50.510
guy. Yeah. But yeah, what do you guys think?

01:16:50.649 --> 01:16:54.810
Why isn't this kind of noted historically as

01:16:54.810 --> 01:16:59.350
a monster that we still talk about? You guys

01:16:59.350 --> 01:17:02.729
have seen almost every movie ever done and you

01:17:02.729 --> 01:17:05.310
hadn't seen it, right? I wasn't even aware of

01:17:05.310 --> 01:17:07.689
it. I can offer some thoughts based on that,

01:17:07.770 --> 01:17:11.149
based on my freshness to the film. And this will

01:17:11.149 --> 01:17:13.210
get into my kind of personal review a little

01:17:13.210 --> 01:17:17.800
bit. So I won't repeat myself later. I feel like

01:17:17.800 --> 01:17:21.300
the movie – I feel like the approach to the movie

01:17:21.300 --> 01:17:26.920
is, as critics have noted, very ponderous. And

01:17:26.920 --> 01:17:31.979
I think that is the primary intention of this

01:17:31.979 --> 01:17:36.380
script is to ponder, to think the what -ifs,

01:17:36.439 --> 01:17:40.180
to have these debates and these arguments around

01:17:40.180 --> 01:17:44.319
science and superstition and our place in the

01:17:44.319 --> 01:17:50.909
world. And the role of exploration. I think that

01:17:50.909 --> 01:17:55.329
that is also maybe too much of the focus. I found

01:17:55.329 --> 01:18:00.210
the movie to be too slow of a burn. I kept expecting

01:18:00.210 --> 01:18:04.189
it to get to some action. And I don't need action.

01:18:04.609 --> 01:18:07.170
This movie could have worked for me just as it

01:18:07.170 --> 01:18:10.670
was. But I think if you're going to lean so heavy

01:18:10.670 --> 01:18:14.960
into philosophizing. then you need to temper

01:18:14.960 --> 01:18:19.279
it with a little bit more overt thrills. And

01:18:19.279 --> 01:18:22.380
we get that in some points, but not enough for

01:18:22.380 --> 01:18:24.899
me in the beginning to really hold my attention.

01:18:25.220 --> 01:18:28.720
Yeah, and I would agree with that. I think, yeah,

01:18:28.779 --> 01:18:31.239
it's hard to like find that perfect balance between

01:18:31.239 --> 01:18:35.180
like suggesting the presence of something. paranormal

01:18:35.180 --> 01:18:37.479
or supernatural or whatever but also focusing

01:18:37.479 --> 01:18:39.699
on the human characters and some of the ideas

01:18:39.699 --> 01:18:42.420
like pushing them forward and i to me like this

01:18:42.420 --> 01:18:45.060
movie doesn't totally find that balance like

01:18:45.060 --> 01:18:47.640
i think earlier on there should be more suggestions

01:18:47.640 --> 01:18:50.300
of something is wrong there's something out there

01:18:50.300 --> 01:18:52.920
in the wilderness you know so yeah i would agree

01:18:52.920 --> 01:18:55.899
with everything that vincent said but it is interesting

01:18:55.899 --> 01:18:58.020
like why has the abominable snowman not really

01:18:58.020 --> 01:19:01.130
become like a prominent monster like figure in

01:19:01.130 --> 01:19:03.369
our like cultural imagination to the same extent

01:19:03.369 --> 01:19:05.050
that like dracula frankenstein and the mummy

01:19:05.050 --> 01:19:07.510
has and i guess i don't know the answer to that

01:19:07.510 --> 01:19:10.789
i maybe simply because like in cinematic history

01:19:10.789 --> 01:19:12.729
there haven't been a lot of great like representations

01:19:12.729 --> 01:19:15.210
of it you know or even in like literary history

01:19:15.210 --> 01:19:17.979
as far as i know So yeah, like I think this is

01:19:17.979 --> 01:19:19.979
in a way a classic monster movie in the sense

01:19:19.979 --> 01:19:22.380
of like, it hits all the beats, even like the

01:19:22.380 --> 01:19:25.739
very common theme of like, man is the true monster.

01:19:25.779 --> 01:19:27.560
You know, this movie, it certainly has that as

01:19:27.560 --> 01:19:30.199
well. But is it a classic in terms of like, like

01:19:30.199 --> 01:19:33.159
a personal favorite or even like beloved by general

01:19:33.159 --> 01:19:36.699
fans? Probably not, unfortunately. But that's,

01:19:36.699 --> 01:19:38.779
you know, some people love it. And that's the

01:19:38.779 --> 01:19:40.439
beauty of subjective opinion, obviously, which

01:19:40.439 --> 01:19:42.739
we'll get into in just a second here. And I will

01:19:42.739 --> 01:19:45.439
add then, Matt, what you brought up. Like, you're

01:19:45.439 --> 01:19:47.859
comparing it to Dracula and Frankenstein on all

01:19:47.859 --> 01:19:51.000
these. In this movie, The Abominable Snowman,

01:19:51.140 --> 01:19:54.460
I'm just talking about, like, visually, the monster

01:19:54.460 --> 01:19:57.039
design and the fact that we only see the monster

01:19:57.039 --> 01:19:59.539
right at the last, you know, five minutes of

01:19:59.539 --> 01:20:03.199
the movie. Steffi, why don't you have a figure

01:20:03.199 --> 01:20:05.880
of this monster? Because we don't really see

01:20:05.880 --> 01:20:10.579
it. So, like, can you put that on a poster? Can

01:20:10.579 --> 01:20:13.310
you put that on merchandise? It doesn't... The

01:20:13.310 --> 01:20:15.930
way it is created isn't, I don't think lends

01:20:15.930 --> 01:20:19.970
itself easily to that aspect of monster movie

01:20:19.970 --> 01:20:22.930
fandom, but it's an interesting looking monster.

01:20:23.409 --> 01:20:26.890
I would have liked to have seen more of it. Yeah.

01:20:27.029 --> 01:20:30.350
Yeah. I wonder if maybe a small part of it too

01:20:30.350 --> 01:20:32.189
is that like the point of the movie for the most

01:20:32.189 --> 01:20:34.670
part thematically is that like the Yetis are

01:20:34.670 --> 01:20:38.449
gentle and wise and like, you know, good. They're

01:20:38.449 --> 01:20:41.390
like not evil at all. And I feel like the fascination

01:20:41.390 --> 01:20:43.890
with monsters is that it allows people to like

01:20:43.890 --> 01:20:45.869
get in touch with their dark side a little bit

01:20:45.869 --> 01:20:48.489
and the violence and the evil of humanity, like

01:20:48.489 --> 01:20:50.229
that other sort of dark side of human nature

01:20:50.229 --> 01:20:52.109
or whatever, you know? So for a monster, that's

01:20:52.109 --> 01:20:53.989
really not that at all. Like it's just a good

01:20:53.989 --> 01:20:56.930
like thing, you know? Maybe there's not really

01:20:56.930 --> 01:20:59.279
a lot of like... Fascination with that, you know?

01:21:00.340 --> 01:21:04.430
Yet. Maybe now we'll turn a new page. Yeah, exactly.

01:21:04.789 --> 01:21:07.930
Everyone will check it out. Yeah. Originally,

01:21:08.130 --> 01:21:10.569
too, it's not because I was also thinking, oh,

01:21:10.590 --> 01:21:14.210
maybe it's because it's a Western -like idea

01:21:14.210 --> 01:21:17.630
of a monster, right, in the Himalayas, this,

01:21:17.770 --> 01:21:20.649
like, foreign world. But actually, the Sherpas

01:21:20.649 --> 01:21:24.569
originally were the ones to claim that this monster

01:21:24.569 --> 01:21:27.689
existed. So it was the Tibetan people itself.

01:21:27.750 --> 01:21:31.060
It's a local lore that did. It'd get exported

01:21:31.060 --> 01:21:34.399
to the outside world. So I find that interesting.

01:21:34.619 --> 01:21:37.840
It is like a local tale. I found some interesting

01:21:37.840 --> 01:21:42.119
names that they used to refer to it in Tibetan.

01:21:42.579 --> 01:21:46.079
They would, which they silly would translate

01:21:46.079 --> 01:21:50.920
to the filthy snowman. So people would say like,

01:21:51.079 --> 01:21:53.560
oh, don't go over there. The filthy snowman's

01:21:53.560 --> 01:21:57.010
going to get you. Well, there was one more. Oh,

01:21:57.069 --> 01:22:01.189
yeah. The Stinky Bear. Not sure why someone smelled

01:22:01.189 --> 01:22:04.550
it, but yeah, it's an interesting. And there's

01:22:04.550 --> 01:22:08.229
a great documentary narrated by Leonard Nimoy

01:22:08.229 --> 01:22:11.569
on YouTube about the quest for the Abominable

01:22:11.569 --> 01:22:14.590
Snowman, which is just sort of the historical

01:22:14.590 --> 01:22:16.869
searching for it. So yeah, if you're interested

01:22:16.869 --> 01:22:20.930
in that backstory, check that out. It's pretty

01:22:20.930 --> 01:22:24.210
good. Is that called In Search Of? Yes, that's

01:22:24.210 --> 01:22:27.960
right. Yeah. I have two source books that I was

01:22:27.960 --> 01:22:31.659
pulling information from. And I have other cryptozoology

01:22:31.659 --> 01:22:36.739
books on my shelf. That's great. Yeah. That was

01:22:36.739 --> 01:22:40.039
a thing I was really into when I was a kid. Yeah,

01:22:40.039 --> 01:22:42.939
you'll have to send that to me. I'd love to read

01:22:42.939 --> 01:22:46.060
it and just know about it. I didn't know about

01:22:46.060 --> 01:22:48.279
the Mothman. I was reading about it today, too.

01:22:48.359 --> 01:22:50.779
I was like, oh, there's so many cool untapped

01:22:50.779 --> 01:22:54.199
monsters here. We got whole franchises to build.

01:22:54.619 --> 01:22:58.000
Yeah. Let's start making those instead of Dracula

01:22:58.000 --> 01:23:02.359
for the 500th time. Honestly, on film, I don't

01:23:02.359 --> 01:23:06.720
think the Yeti has a rich or extensive pedigree.

01:23:08.100 --> 01:23:10.979
This is the only one I know of. I did want to

01:23:10.979 --> 01:23:12.859
mention real quick, the only other Abominable

01:23:12.859 --> 01:23:14.880
Snowman I can think of in movies is in Monsters,

01:23:14.880 --> 01:23:17.239
Inc., a movie that I really love. And the Yeti

01:23:17.239 --> 01:23:19.359
there is also really kind and generous and fun

01:23:19.359 --> 01:23:20.960
to be around. So maybe that's a running theme.

01:23:21.260 --> 01:23:27.840
Welcome to the Himalayas. Yeah, exactly. Love

01:23:27.840 --> 01:23:31.180
that movie. Which we should talk about sometime.

01:23:31.359 --> 01:23:35.029
We should. But yeah, back to the Abominable Snowman.

01:23:35.210 --> 01:23:37.470
Starting with the good category, obviously we've

01:23:37.470 --> 01:23:40.729
talked about a lot of good stuff. I think Forrest

01:23:40.729 --> 01:23:44.510
Tucker's death at the end where the camera sort

01:23:44.510 --> 01:23:48.010
of gives him this space and slowly as he's like

01:23:48.010 --> 01:23:51.130
lurching to his final moments of life and he's

01:23:51.130 --> 01:23:54.029
looking up and realizing this is it out of all

01:23:54.029 --> 01:23:57.960
my... stupid life. This is now over. I think

01:23:57.960 --> 01:24:00.380
that's kind of a nice moment that he played really

01:24:00.380 --> 01:24:02.359
well. He's a good, I think he's a good actor.

01:24:02.439 --> 01:24:04.619
And I thought that, you know, he could have done

01:24:04.619 --> 01:24:07.500
a, Oh, like something like that, but he just

01:24:07.500 --> 01:24:10.699
looks death in the face, you know, as, as he

01:24:10.699 --> 01:24:14.500
accepted it as he was, you know, caused it himself,

01:24:14.840 --> 01:24:18.819
basically. That's a highlight. And then Peter

01:24:18.819 --> 01:24:22.319
Cushing's makeup where he kind of looks like

01:24:22.319 --> 01:24:24.640
Jack Nicholson at the end of The Shining when

01:24:24.640 --> 01:24:27.300
he's frozen. I don't know what they did to him,

01:24:27.380 --> 01:24:31.260
but I just feel like they look really similar

01:24:31.260 --> 01:24:34.560
in that scene. I don't know if Kubrick took that

01:24:34.560 --> 01:24:38.920
or that's just default frozen, I'm frozen in

01:24:38.920 --> 01:24:40.960
snow makeup, but I thought that looked pretty

01:24:40.960 --> 01:24:48.390
cool. I made the same connection. That's great.

01:24:48.590 --> 01:24:52.250
Vincent, what's in your good category? Yes to

01:24:52.250 --> 01:24:55.569
Forrest Tucker's death. I think he reacts the

01:24:55.569 --> 01:24:58.489
way realistically you would, just kind of frozen

01:24:58.489 --> 01:25:02.550
with fear and just like, okay. But that shot,

01:25:02.609 --> 01:25:06.210
the way his face is framed looking up is then

01:25:06.210 --> 01:25:09.430
mirrored in Peter Cushing when he's looking up

01:25:09.430 --> 01:25:12.520
at the Yeti. It's like the same. blocking and

01:25:12.520 --> 01:25:16.500
the same framing i just was i caught that mirroring

01:25:16.500 --> 01:25:22.220
effect there's a shot of forest tucker's buddy

01:25:22.220 --> 01:25:26.479
who gets he has a heart attack and he dies and

01:25:26.479 --> 01:25:30.680
he's like a really gung -ho hunter trapper but

01:25:30.680 --> 01:25:34.460
there's a brief shot of his dead body and his

01:25:34.460 --> 01:25:39.619
face is frozen in this petrified scream and the

01:25:39.619 --> 01:25:42.560
way he's shadowed That was a very gripping shot.

01:25:44.060 --> 01:25:46.399
Yeah, I think there are some individual shots

01:25:46.399 --> 01:25:49.960
in this film that are really effective. The Yeti's

01:25:49.960 --> 01:25:54.300
arm, like they shoot at the monster and the creature

01:25:54.300 --> 01:25:56.760
just leaves this dismembered arm on the snow.

01:25:57.079 --> 01:26:00.060
That was a very effective prop. Very unsettling.

01:26:00.079 --> 01:26:03.880
The score I want to shout out. I really thought

01:26:03.880 --> 01:26:06.420
achieved a level of eeriness and atmosphere.

01:26:08.130 --> 01:26:10.350
Yeah, I think all the technical components of

01:26:10.350 --> 01:26:14.510
this movie are spot on. Agreed. Yeah, I think

01:26:14.510 --> 01:26:17.390
I would. Yeah. In the good category, I would

01:26:17.390 --> 01:26:19.729
say the visual style for sure. I like how there

01:26:19.729 --> 01:26:22.390
are a lot of longer takes and like the camera

01:26:22.390 --> 01:26:24.250
sort of there are a lot of tracking shots, but

01:26:24.250 --> 01:26:25.630
they don't really like call attention to themselves.

01:26:25.689 --> 01:26:28.189
It's like a conversation will go on for a while

01:26:28.189 --> 01:26:29.890
and the camera will start with a certain composition

01:26:29.890 --> 01:26:33.199
and then like readjust to like, you know. change

01:26:33.199 --> 01:26:34.840
the frame and bring in more characters and change,

01:26:34.899 --> 01:26:36.399
like take a different view of the setting and

01:26:36.399 --> 01:26:38.800
all that. So I love that visual style. And I

01:26:38.800 --> 01:26:41.260
think guest and Arthur Grant, I think is the

01:26:41.260 --> 01:26:42.920
cinematographer do a really good job with that.

01:26:43.359 --> 01:26:45.819
And I do appreciate that the movie does have

01:26:45.819 --> 01:26:48.500
ideas on its mind. You know, it's not just a

01:26:48.500 --> 01:26:50.500
monster movie. I mean, we love monster movies,

01:26:50.539 --> 01:26:53.460
of course, but it's like, you know, It's a familiar

01:26:53.460 --> 01:26:56.039
theme, like the monstrosity of man and, like,

01:26:56.039 --> 01:26:58.060
these different cultural divides. Like, it's

01:26:58.060 --> 01:27:01.020
not especially groundbreaking. But I am pleased

01:27:01.020 --> 01:27:03.039
that the movie is trying to, like, discuss those

01:27:03.039 --> 01:27:08.119
things and set up those contrasts. Yeah. But

01:27:08.119 --> 01:27:10.899
moving on to the bad category, Vincent, maybe

01:27:10.899 --> 01:27:12.659
we'll turn to you first and we'll kind of go

01:27:12.659 --> 01:27:14.340
in the opposite order so we can end with Steffi

01:27:14.340 --> 01:27:16.760
in this case. Okay, okay. I'll try to keep it

01:27:16.760 --> 01:27:23.729
brief. Three main points. a structural standpoint

01:27:23.729 --> 01:27:26.710
and knowing that this is based off of a play,

01:27:26.829 --> 01:27:29.890
a stage play, some of these critiques make more

01:27:29.890 --> 01:27:32.470
sense. Maybe it works best on stage. Doesn't

01:27:32.470 --> 01:27:36.810
translate to film as well as much. So I would

01:27:36.810 --> 01:27:40.529
have liked to have seen more. I would have liked

01:27:40.529 --> 01:27:43.350
to have established the threat of nature and

01:27:43.350 --> 01:27:46.550
the elements earlier in the film. They do a little

01:27:46.550 --> 01:27:48.770
foreshadowing, for example, of the avalanche,

01:27:48.789 --> 01:27:52.140
but I'm like, what if, what if they had a, a

01:27:52.140 --> 01:27:54.859
red shirt in their party who dies in that moment.

01:27:55.319 --> 01:27:58.420
Easy way to establish some stakes. Like, oh,

01:27:58.520 --> 01:28:01.239
you really can get killed in this world. Okay,

01:28:01.300 --> 01:28:06.199
then moving on to number two, I think the subplot

01:28:06.199 --> 01:28:11.039
with Helen Rawlinson, Dr. Rawlinson's wife, and

01:28:11.039 --> 01:28:14.300
Foxy. I like that there's a subplot. However,

01:28:14.560 --> 01:28:17.920
I don't feel like the subplot really added anything

01:28:17.920 --> 01:28:22.210
to the borrowed momentum of the movie. Every

01:28:22.210 --> 01:28:25.590
time we cut to Mrs. Rolison, it was, is my husband

01:28:25.590 --> 01:28:28.689
okay? Is my husband okay? And like we alluded

01:28:28.689 --> 01:28:31.050
to earlier, I think what if there was like a

01:28:31.050 --> 01:28:34.149
little romantic intrigue? What if she was in

01:28:34.149 --> 01:28:36.270
danger from the Sherpas, which would have been

01:28:36.270 --> 01:28:39.510
problematic, but it would have added something,

01:28:39.729 --> 01:28:43.270
some peril, some sense of danger to her story

01:28:43.270 --> 01:28:47.229
that I think the movie could have used. Oh, I

01:28:47.229 --> 01:28:49.470
think the movie could have used some comedic

01:28:49.470 --> 01:28:52.640
relief. This is a very serious movie, which I

01:28:52.640 --> 01:28:56.399
don't mind. But maybe a comic relief character

01:28:56.399 --> 01:29:00.039
in some small way could have added a little bit.

01:29:00.699 --> 01:29:06.420
And then finally, I'll say, oh, the madness.

01:29:06.579 --> 01:29:09.279
So I keep going like they use by the end. Our

01:29:09.279 --> 01:29:11.500
characters are hearing voices in their minds,

01:29:11.699 --> 01:29:15.319
which is such a great conceit, especially on

01:29:15.319 --> 01:29:19.260
stage and in the movies. And yet. I've seen the

01:29:19.260 --> 01:29:23.140
conceit of madness on film, like maybe The Shining,

01:29:23.239 --> 01:29:27.319
for example, used to greater effect. I think

01:29:27.319 --> 01:29:29.939
the direction could have been bolder. The editing

01:29:29.939 --> 01:29:32.779
could have been bolder to really drive home the

01:29:32.779 --> 01:29:36.779
insanity. As it stands, I'm like, I see what

01:29:36.779 --> 01:29:39.359
you're doing, but I'm a little underwhelmed by

01:29:39.359 --> 01:29:42.699
the insanity of these characters. Yeah, I think

01:29:42.699 --> 01:29:45.380
that's all fair. I'll just add like one thing

01:29:45.380 --> 01:29:46.779
real quick and then we'll turn to you, Steffi.

01:29:46.819 --> 01:29:48.720
But I would agree with that, Vincent. I think

01:29:48.720 --> 01:29:53.000
ultimately it is sort of unexciting. I would

01:29:53.000 --> 01:29:55.140
just use the word boring for like, you know,

01:29:55.140 --> 01:29:58.239
probably the first 45 minutes or so. I think

01:29:58.239 --> 01:30:00.060
like a lot of that is due to a sense of repetition,

01:30:00.319 --> 01:30:02.479
you know, like Vincent, you talked about the

01:30:02.479 --> 01:30:04.899
scenes cutting back to Helen and Foxy and how

01:30:04.899 --> 01:30:07.079
they don't really add anything, but also several

01:30:07.079 --> 01:30:09.300
of the conversations between Dr. Wollison and

01:30:09.300 --> 01:30:13.000
friend and Ed. are kind of the same thing over

01:30:13.000 --> 01:30:14.859
and over again, like establishing their kind

01:30:14.859 --> 01:30:17.680
of different motivations for finding the Yeti.

01:30:18.060 --> 01:30:22.439
And, you know, it's like. Ed's kind of like gung

01:30:22.439 --> 01:30:24.920
-ho nature. You said that before, Vincent. And

01:30:24.920 --> 01:30:27.520
Tom Friend is kind of like self -serving interest.

01:30:27.739 --> 01:30:29.699
And then Peter Cushing is in it for the sake

01:30:29.699 --> 01:30:31.479
of science. Like those conversations are kind

01:30:31.479 --> 01:30:33.539
of had over and over again in the movie. And

01:30:33.539 --> 01:30:35.640
it's like, it's already relatively short at 90

01:30:35.640 --> 01:30:37.659
minutes, but like you could have cut out some

01:30:37.659 --> 01:30:40.119
of those scenes and made it like 75 minutes and

01:30:40.119 --> 01:30:41.260
it would have been a little tighter, you know?

01:30:41.520 --> 01:30:44.680
So unfortunately, just a little, a little unexciting

01:30:44.680 --> 01:30:46.979
for me for most of its running time. I also feel

01:30:46.979 --> 01:30:49.000
like I'm kind of okay with the slow burn, but

01:30:49.000 --> 01:30:52.539
I could have used more. in this case. So we're

01:30:52.539 --> 01:30:54.399
being a little hard on it, but Steffi, is there

01:30:54.399 --> 01:30:57.060
any other bad stuff that you saw? Well, they're

01:30:57.060 --> 01:31:00.699
really good points for sure. And yeah, I think

01:31:00.699 --> 01:31:02.920
the only other thing that they could have explored

01:31:02.920 --> 01:31:06.140
is maybe something with the llama. So like the

01:31:06.140 --> 01:31:08.619
llama, like he's like, no, there's nothing up

01:31:08.619 --> 01:31:10.960
there. Then they're like, okay, we're going to

01:31:10.960 --> 01:31:13.859
go then. And he's like, okay. And I don't know,

01:31:13.859 --> 01:31:16.600
they maybe could have. Develop something like

01:31:16.600 --> 01:31:19.159
more interesting because then also too, when

01:31:19.159 --> 01:31:22.140
Helen's like, when to go find the llama, suddenly

01:31:22.140 --> 01:31:25.699
she's sort of like tackled and like, you know,

01:31:25.699 --> 01:31:29.520
like the llama could have had some kind of interesting

01:31:29.520 --> 01:31:33.039
play in it, but you know, underdeveloped of course,

01:31:33.140 --> 01:31:36.460
but yeah. Yeah. I think like your points are

01:31:36.460 --> 01:31:41.779
really fair about the film and yeah, I, I think,

01:31:41.779 --> 01:31:45.420
but. Just to end on a positive note, like looking

01:31:45.420 --> 01:31:49.239
at what they did and seeing, you don't see many

01:31:49.239 --> 01:31:51.619
films like that of that era. you know, like that

01:31:51.619 --> 01:31:54.779
it's a visually striking enough film that you're,

01:31:54.779 --> 01:31:57.439
you really are like kind of swept away. And,

01:31:57.479 --> 01:31:59.779
and I really have to like praise that and to

01:31:59.779 --> 01:32:02.180
imagine never climbed a mountain in my life,

01:32:02.220 --> 01:32:04.840
but maybe, you know, if you are climbing a snowy

01:32:04.840 --> 01:32:09.460
mountain, it's slow and, you know, a cold burn.

01:32:10.199 --> 01:32:12.659
Yeah. Like that. Maybe that's what they were

01:32:12.659 --> 01:32:16.279
trying to go forward to is yeah. To mirror that

01:32:16.279 --> 01:32:19.199
atmosphere and to, and then to kind of slowly

01:32:19.199 --> 01:32:22.340
get caught. claustrophobic in that space yeah

01:32:22.340 --> 01:32:25.140
just an idea but and i agree i think it is a

01:32:25.140 --> 01:32:28.199
choice so i mean val guest is a talented director

01:32:28.199 --> 01:32:31.199
i mean everyone involved are making their choices

01:32:31.199 --> 01:32:34.020
so whether or not it's your cup of tea that's

01:32:34.020 --> 01:32:36.619
one thing but i do respect the choices like you

01:32:36.619 --> 01:32:39.319
said this commitment to the to the environment

01:32:39.319 --> 01:32:43.220
so maybe we're we're really in that realism i

01:32:43.220 --> 01:32:45.500
do want to watch this again i will say like i

01:32:45.500 --> 01:32:48.159
you know it's not the first movie from this era

01:32:48.159 --> 01:32:51.229
where I was a little underwhelmed, but upon further

01:32:51.229 --> 01:32:54.609
watches, I really start to see it on different

01:32:54.609 --> 01:32:59.250
levels. And it's like, yeah, you know what? Everything's

01:32:59.250 --> 01:33:02.369
happening between the lines. We don't need a

01:33:02.369 --> 01:33:05.630
thrilling set piece because, again, everything

01:33:05.630 --> 01:33:09.329
is happening a little more on a subtle level.

01:33:09.800 --> 01:33:11.159
And I think you have really good points, Steffi,

01:33:11.180 --> 01:33:13.180
that like you really do feel the endless climb

01:33:13.180 --> 01:33:15.720
up the mountain, like all these shots of them

01:33:15.720 --> 01:33:18.060
just like trudging through the snow. You know,

01:33:18.060 --> 01:33:19.520
some maybe a couple of times I was like, all

01:33:19.520 --> 01:33:21.079
right, we get it already. But at the same time,

01:33:21.140 --> 01:33:23.800
it's like you feel how difficult that would be,

01:33:23.819 --> 01:33:27.840
you know? Yeah. So that's a good point. We do

01:33:27.840 --> 01:33:29.760
always try to shout out like one or two of our

01:33:29.760 --> 01:33:32.399
favorite campy moments in the film as well. Very

01:33:32.399 --> 01:33:35.140
briefly, I'll say that I always love. Especially

01:33:35.140 --> 01:33:36.960
in old, well, not just in older movies, but like

01:33:36.960 --> 01:33:39.119
whenever somebody falls off a cliff and then

01:33:39.119 --> 01:33:40.840
there's a cut to something else and it's very

01:33:40.840 --> 01:33:43.500
obviously a dummy. This movie has a really good

01:33:43.500 --> 01:33:45.180
example of that with one character who falls

01:33:45.180 --> 01:33:47.659
off a cliff. And then there's, yeah, there's

01:33:47.659 --> 01:33:50.300
a cut that made me laugh out loud. I guess we

01:33:50.300 --> 01:33:53.000
mentioned the hand. Yeah, the hand, which was

01:33:53.000 --> 01:33:56.359
like comically large, right? I wasn't just seeing,

01:33:56.420 --> 01:33:58.859
miss seeing that. Like it was bigger than the

01:33:58.859 --> 01:34:01.979
rifles. Like they were little rifles used to

01:34:01.979 --> 01:34:05.680
convey the giantness of the hand. But also, we

01:34:05.680 --> 01:34:08.279
talked about how long it takes to climb up this

01:34:08.279 --> 01:34:11.840
mountain. In reverse, how quickly it takes to

01:34:11.840 --> 01:34:14.279
descend the mountain. Because there's that night,

01:34:14.399 --> 01:34:17.579
which is a great set piece. I don't want listeners

01:34:17.579 --> 01:34:19.479
to think that there's no action in this movie.

01:34:19.539 --> 01:34:22.779
Because when there is action, it's really good.

01:34:23.220 --> 01:34:26.699
So there's this night attack on the tent. And

01:34:26.699 --> 01:34:28.800
everyone's running around in chaos, firing their

01:34:28.800 --> 01:34:33.720
guns. And the Sherpa, he sees the hand. And he

01:34:33.720 --> 01:34:36.079
loses it. He hightails it down the mountain so

01:34:36.079 --> 01:34:40.399
fast. And then I thought he was dead. Like I

01:34:40.399 --> 01:34:41.720
thought he was going to be lost in the wilderness.

01:34:41.819 --> 01:34:44.079
But then he shows up in camp again in the village.

01:34:44.420 --> 01:34:46.020
And they're like, yeah, he got down here in like

01:34:46.020 --> 01:34:54.739
three hours. Wow. He do a shortcut. Yeah. He's

01:34:54.739 --> 01:35:00.020
rolling down the mountain. I love that. Yeah.

01:35:00.489 --> 01:35:02.729
Steffi, we have a pretty broad definition of

01:35:02.729 --> 01:35:04.909
camp on this show, but was there anything that

01:35:04.909 --> 01:35:07.029
stuck out to you, like silly or campy in that

01:35:07.029 --> 01:35:10.390
category? I mean, the choice that Forrest Tucker's

01:35:10.390 --> 01:35:13.829
character, whatever scandal he was involved in

01:35:13.829 --> 01:35:16.590
before, he decides to rename himself Friend.

01:35:16.970 --> 01:35:22.130
And so having Peter Cushing call, Friend, Friend,

01:35:22.329 --> 01:35:25.590
Friend, and then it's like the Friend explores

01:35:25.590 --> 01:35:30.199
on all of his stuff. I just thought that was

01:35:30.199 --> 01:35:33.659
kind of an odd, distracting choice. I thought

01:35:33.659 --> 01:35:41.279
the same thing. Friend! Tom Goodguy. Yeah. Yeah,

01:35:42.800 --> 01:35:44.880
for a character who's not especially likable,

01:35:44.939 --> 01:35:50.239
you know? Right. A little ridiculous. Yeah. Awesome.

01:35:50.279 --> 01:35:53.039
Well, we have arrived at the end of our episode.

01:35:53.220 --> 01:35:55.680
This is the point of every episode where we give

01:35:55.680 --> 01:35:58.739
the film a rating. As always, we have four ratings

01:35:58.739 --> 01:36:01.640
on Camp Kaiju. Our highest rating, it's a timeless

01:36:01.640 --> 01:36:03.760
classic. It definitely stands the test of time.

01:36:04.100 --> 01:36:06.260
Number two, there may be some antiquated moments,

01:36:06.380 --> 01:36:08.420
but overall it's great. It stands the test of

01:36:08.420 --> 01:36:10.960
time. Number three, it may be historically significant

01:36:10.960 --> 01:36:13.300
or just fun, but it does not stand the test of

01:36:13.300 --> 01:36:16.640
time. And our lowest rating, it's not worth revisiting.

01:36:16.739 --> 01:36:18.899
It definitely does not stand the test of time.

01:36:19.470 --> 01:36:21.810
For me, I'm going to go just like slightly on

01:36:21.810 --> 01:36:25.170
the negative side. I do think this movie, not

01:36:25.170 --> 01:36:26.949
especially fun, although it has its interesting

01:36:26.949 --> 01:36:28.850
moments and like it does have an eerie atmosphere

01:36:28.850 --> 01:36:31.869
at times. I admire some of the things it's trying

01:36:31.869 --> 01:36:34.550
to do. But for me, it probably does not stand

01:36:34.550 --> 01:36:36.390
the test of time. I think there are probably

01:36:36.390 --> 01:36:39.449
other Hammer horror movies, even other underrated

01:36:39.449 --> 01:36:42.649
ones, especially those that I'll, you know, maybe

01:36:42.649 --> 01:36:45.739
prefer over time. And perhaps I'll watch this

01:36:45.739 --> 01:36:47.520
again and have a better opinion the next time

01:36:47.520 --> 01:36:49.819
around. But for me on this first rewatch, I was

01:36:49.819 --> 01:36:52.079
a little bit disappointed and felt that it did

01:36:52.079 --> 01:36:55.720
move a little too slow for its own good. Vincent,

01:36:55.840 --> 01:36:57.859
I'll turn it over to you. Thanks, Matt. And well

01:36:57.859 --> 01:37:02.460
said. Yeah, my first inclination was towards

01:37:02.460 --> 01:37:05.960
that rating as well. However, in the midst of

01:37:05.960 --> 01:37:08.939
our conversation, I think I'm going to stay on

01:37:08.939 --> 01:37:11.359
the slightly positive side. And I'm going to

01:37:11.359 --> 01:37:15.899
say that... There are some dated elements in

01:37:15.899 --> 01:37:19.359
character. Maybe it is a little too slow moving

01:37:19.359 --> 01:37:24.159
for its own good, but I think the visual style

01:37:24.159 --> 01:37:26.939
stands the test of time. I think those set pieces,

01:37:27.199 --> 01:37:30.439
while few and far between, no, actually a better

01:37:30.439 --> 01:37:32.739
set is while they're saved for the end, like

01:37:32.739 --> 01:37:36.359
the last 20 minutes is all action. That action

01:37:36.359 --> 01:37:42.470
is done compellingly enough. For me to want to

01:37:42.470 --> 01:37:44.470
go back and watch this movie. So I think it does

01:37:44.470 --> 01:37:47.390
stand the test of time in a lot of ways. Not

01:37:47.390 --> 01:37:50.609
so much in some ways, but stands the test of

01:37:50.609 --> 01:37:55.890
time. Nice. Nice. So I don't know if this classifies

01:37:55.890 --> 01:37:58.149
as stand the test of time because historically

01:37:58.149 --> 01:38:03.430
it is exactly like a perfect movie. Like, so

01:38:03.430 --> 01:38:08.430
if you watch it as. A 1957, like, reflection

01:38:08.430 --> 01:38:10.689
on society and what was happening at the time

01:38:10.689 --> 01:38:13.869
and, you know, all the things in the world. That,

01:38:14.090 --> 01:38:17.569
to me, is a perfect capsule, actually. And even

01:38:17.569 --> 01:38:22.180
the slowness of it, actually, to me. So for me,

01:38:22.199 --> 01:38:24.500
I feel like it does stand the test of time because

01:38:24.500 --> 01:38:27.899
it's such a special reflection of knowing that

01:38:27.899 --> 01:38:30.119
there was explorers going up the mountains at

01:38:30.119 --> 01:38:31.979
those times, you know, looking for it. There

01:38:31.979 --> 01:38:34.560
was this thing with the Americans and the Brits,

01:38:34.600 --> 01:38:37.539
you know, kind of, I guess we're allies after

01:38:37.539 --> 01:38:41.529
all that stuff. You know, there's... That kind

01:38:41.529 --> 01:38:45.329
of tension and that sort of mysticism that was

01:38:45.329 --> 01:38:48.569
starting to kind of be removed, I think, as science

01:38:48.569 --> 01:38:51.170
started to evolve more in the 60s and we were,

01:38:51.250 --> 01:38:53.130
you know, the moon landing and all this stuff

01:38:53.130 --> 01:38:56.930
that came after it. I think that there's something

01:38:56.930 --> 01:39:00.090
really beautiful in kind of capturing the way

01:39:00.090 --> 01:39:03.310
that the other times were. So I would say. I'm

01:39:03.310 --> 01:39:05.869
the highest. I still really love this movie.

01:39:06.289 --> 01:39:08.810
Yeah, I think it's just totally special, totally

01:39:08.810 --> 01:39:12.109
different. I know the slow burn with all of us

01:39:12.109 --> 01:39:14.689
drives us crazy the way we're all wired now.

01:39:15.149 --> 01:39:17.430
And yeah, I guess critics at the time, too, were

01:39:17.430 --> 01:39:19.289
also saying it was slow. So think about it. It

01:39:19.289 --> 01:39:22.470
was even slow for them in the 50s. It's crazy.

01:39:23.050 --> 01:39:30.899
But yeah, there's a charm to it. So I'm all for

01:39:30.899 --> 01:39:34.460
the best rating for this one. Right on. That's

01:39:34.460 --> 01:39:37.500
great. Yeah, I love that. And the historical

01:39:37.500 --> 01:39:40.140
context is very important, and that's a good

01:39:40.140 --> 01:39:41.720
point, so thank you for bringing that up. But

01:39:41.720 --> 01:39:45.180
I love the array of reactions we had to it, you

01:39:45.180 --> 01:39:47.840
know? Anybody out there that's seen The Abominable

01:39:47.840 --> 01:39:50.619
Snowman, let us know what you think, or other

01:39:50.619 --> 01:39:53.659
Hammer Horror movies, for that matter. Steffi,

01:39:53.720 --> 01:39:55.600
thank you again for joining us today. It was

01:39:55.600 --> 01:39:57.760
so wonderful to meet you and talk with you. Thank

01:39:57.760 --> 01:40:00.670
you, guys. Yeah, absolutely. We will like put

01:40:00.670 --> 01:40:02.869
your handle, your Instagram handle in the show

01:40:02.869 --> 01:40:05.590
notes. And hopefully we'll have you on the show

01:40:05.590 --> 01:40:06.989
again at some point in the future. But thank

01:40:06.989 --> 01:40:09.989
you again. I would love that. Thanks. Total pleasure.

01:40:10.189 --> 01:40:13.989
Thank you. Yeah, the honor was ours. If you want

01:40:13.989 --> 01:40:17.649
to say any last words about what you got going

01:40:17.649 --> 01:40:20.069
on, if there's anything you want people to follow

01:40:20.069 --> 01:40:22.949
or check out with your professional work, you

01:40:22.949 --> 01:40:24.609
can have the floor for a minute if you want.

01:40:25.260 --> 01:40:27.619
Oh, sure. Yeah. If you're into like monster history

01:40:27.619 --> 01:40:31.300
and very small doses, you can subscribe to my

01:40:31.300 --> 01:40:34.739
YouTube channel. It's at Steffi Deodora. And

01:40:34.739 --> 01:40:38.020
that's also on Instagram. I post a new monster

01:40:38.020 --> 01:40:42.079
movie minute every Monday. And yeah, that's so

01:40:42.079 --> 01:40:44.520
spoiler alert. I do show kind of my favorite

01:40:44.520 --> 01:40:46.680
parts of the movie to show you that you need

01:40:46.680 --> 01:40:49.600
to see the movie. But then I also go into a lot

01:40:49.600 --> 01:40:51.520
of history and stuff like that. So that's up

01:40:51.520 --> 01:40:54.020
your alley. Follow me on Instagram. Yeah. Or

01:40:54.020 --> 01:40:57.800
on YouTube. Amazing. Again, such a pleasure.

01:40:58.020 --> 01:41:00.500
We'll let you get out of here, but we hope to

01:41:00.500 --> 01:41:03.199
have you back. Thanks for hanging out with us,

01:41:03.239 --> 01:41:05.260
friends. Please rate and review the show and

01:41:05.260 --> 01:41:08.819
follow us on Patreon .com slash Camp Kaiju for

01:41:08.819 --> 01:41:11.239
additional videos, reviews, merchandise, and

01:41:11.239 --> 01:41:14.199
more. Other ways to get in touch, CampKaiju at

01:41:14.199 --> 01:41:18.180
gmail .com, CampKaijuPodcast .com, Instagram,

01:41:18.300 --> 01:41:24.470
and our voicemail number at 612 -470 -2612. Camp

01:41:24.470 --> 01:41:26.609
Kaiju was recorded in Minneapolis, St. Paul with

01:41:26.609 --> 01:41:29.470
Menia's Mailbox Music by Ben Cook -Felts. Thanks,

01:41:29.529 --> 01:41:33.329
friends. And until next time, stay campy. Camp

01:41:33.329 --> 01:41:34.909
Kaiju is brought to you by Zack Linder and the

01:41:34.909 --> 01:41:37.149
Zack Pack, powered by Coldwell Banker Realty.

01:41:37.409 --> 01:41:39.210
Whether you're looking for your dream home, a

01:41:39.210 --> 01:41:41.170
savvy investment property, or expert guidance

01:41:41.170 --> 01:41:43.569
in home rehab and flipping, the Zack Pack has

01:41:43.569 --> 01:41:45.470
you covered. Check the link in the show notes

01:41:45.470 --> 01:41:49.270
for more information. Thanks, and catch us next

01:41:49.270 --> 01:41:53.079
time for Blacktula. Yeah. Can't wait. That's

01:41:53.079 --> 01:41:59.220
going to be a fun episode. We have great stars

01:41:59.220 --> 01:42:02.239
of all these serves. You can really spare them.

01:42:02.300 --> 01:42:05.439
Take what you wish now. Then you will have every

01:42:05.439 --> 01:42:10.500
species. Species? Species. It's a long time since

01:42:10.500 --> 01:42:12.880
I have studied your language. The Research Foundation

01:42:12.880 --> 01:42:16.640
will be greatly in your debt, sir. Mr. Fox, you

01:42:16.640 --> 01:42:20.260
do not drink your tea? Oh, I do. Well, I mean,

01:42:20.279 --> 01:42:23.729
I will. Actually, I think I'll go and collect

01:42:23.729 --> 01:42:27.350
some jars to put these in. It will be cold. Well,

01:42:27.369 --> 01:42:31.409
really, I quite like it cold. One more thing,

01:42:31.430 --> 01:42:35.550
dear campers in this world of uncertainty. I

01:42:35.550 --> 01:42:39.670
just want to acknowledge the death of Alex Preddy

01:42:39.670 --> 01:42:43.489
at the hands of ICE agents. That has happened

01:42:43.489 --> 01:42:48.829
in the time from recording to release. So Minneapolis,

01:42:49.270 --> 01:42:52.859
again, we're with you. Whole world. Think of

01:42:52.859 --> 01:42:58.560
Minneapolis and may you always stand for what

01:42:58.560 --> 01:43:02.220
is right. So Alex Preddy, Rene Good, rest in

01:43:02.220 --> 01:43:06.159
power. Everyone out there, stay campy and stay

01:43:06.159 --> 01:43:08.640
strong. And if you ever wonder what the word

01:43:08.640 --> 01:43:14.319
mensch means, well, maybe my favorite non -monster

01:43:14.319 --> 01:43:17.460
movie, Billy Wilder's The Apartment, may shed

01:43:17.460 --> 01:43:21.060
some light on that beautiful word that we...

01:43:21.710 --> 01:43:24.590
all ought to think about more and more every

01:43:24.590 --> 01:43:29.430
day. So I'll leave you with that. Be a mensch.

01:43:29.649 --> 01:43:33.090
Why don't you grow up, Baxter? Be a mensch. You

01:43:33.090 --> 01:43:35.689
know what that means? I'm not sure. A mensch,

01:43:35.750 --> 01:43:36.390
a human being.