The Zombie Strains crew comes up against Dean Martin and Jerry Lewis in this remake of the delightful The Ghost Breakers (1940). George Marshal directed both the original and this 1950s update. The team was eager to explore the new horrors Marshall would concoct this time around, but we were unprepared for the terror of... Jerry Lewis’s performance. Scared Stiff may feature the least impressive zombie we've seen yet, but the Zombie Strains crew found a few gems--including the possible inspiration for the title of a 1980s horror-comedy favorite.

Show Notes:

List of films remade by the original director.

TRANSCRIPTS

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[SPEAKER_06]: No?

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[SPEAKER_06]: I think people like like that in pictures.

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[SPEAKER_06]: What do they call them?

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[SPEAKER_06]: zombie's or something?

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[SPEAKER_06]: zombie.

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[SPEAKER_06]: What’s a zombie?

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[SPEAKER_06]: Just what is a zombie?

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[SPEAKER_06]: Well, a zombie?

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[SPEAKER_06]: There's a... the bill is.

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[SPEAKER_06]: The living dead.

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[SPEAKER_06]: There's a living dead.

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[SPEAKER_03]: Here's the zombie.

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[SPEAKER_03]: Is a zombie?

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[SPEAKER_03]: Has no will on his own.

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[SPEAKER_03]: The zombie is a zombie's.

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[SPEAKER_03]: No armies could stand before the zombie or the zombie army.

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[SPEAKER_08]: Welcome to zombies strains the podcast where we watch all the zombie movies.

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[SPEAKER_08]: I'm John.

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[SPEAKER_08]: I'm Andy.

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[SPEAKER_08]: I'm Brad.

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[SPEAKER_08]: Hi, producer Brad.

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[SPEAKER_08]: Good to hear you voice.

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[SPEAKER_08]: It's uh, we're deep into the nineteen fifties.

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[SPEAKER_08]: And we're watching a movie called Scared Stiff starring Dean Martin and Jerry Lewis.

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[SPEAKER_08]: And I was hoping that this would be another exciting discovery of lost comic legends like Abbott and Costello.

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[SPEAKER_08]: And I don't remember the last time I was that wrong about something so.

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[SPEAKER_01]: Yeah, are you really tipping tip on our hand here at the outside?

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[SPEAKER_08]: Yeah, I'm sorry.

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[SPEAKER_08]: This is this is from nineteen fifty three.

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[SPEAKER_08]: They're both very young.

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[SPEAKER_08]: Uh, it's in black and white.

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[SPEAKER_08]: And I, you know, it's some, it was a bit of a struggle.

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[SPEAKER_08]: Let's just be honest.

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[SPEAKER_08]: Let's do a mental health check in.

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[SPEAKER_08]: Is everybody okay?

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[SPEAKER_08]: Let's start there.

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[SPEAKER_08]: Is everybody ready to continue?

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[SPEAKER_08]: Okay.

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[SPEAKER_01]: All right.

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[SPEAKER_01]: I need to warn you one of the audio clips I've picked out is of Jerry Lewis just doing his voice for about twenty seconds.

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[SPEAKER_01]: So I guess my challenge to you, John, is do you think you could do the rest of this episode in the voice that Jerry Lewis uses in the movie?

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[SPEAKER_01]: Well, I don't know.

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[SPEAKER_01]: I don't know.

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[SPEAKER_01]: I don't think it's Christopher Walken.

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[SPEAKER_01]: Can you do too?

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[SPEAKER_01]: No.

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[SPEAKER_08]: You're right.

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[SPEAKER_08]: That was Christopher Walken.

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[SPEAKER_01]: You weren't screaming.

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[SPEAKER_01]: There wasn't enough.

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[SPEAKER_08]: Yeah.

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[SPEAKER_08]: Pretty lady.

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[SPEAKER_08]: Why is my Jerry Lewis and like Christopher Walken?

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[SPEAKER_08]: Well, we've introduced the movie.

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[SPEAKER_08]: Do you want to give any trigger warnings aside from Jerry Lewis being inseparable before we get into the movie?

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[SPEAKER_01]: Sure.

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[SPEAKER_01]: So this movie, I think the main thing that stood out to me was what I think I think I would call it a pretty disrespectful portrayal, I guess, of Hispanic or Cuban culture and some of the scenes.

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[SPEAKER_01]: There is another issue related to Jerry Lewis's performance that I wouldn't call, you know, a content warning exactly, but it did affect my enjoyment of the film.

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[SPEAKER_01]: So if you could be patient, we'll get to that in just a minute.

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[SPEAKER_01]: Let's restart discussing the film other than that.

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[SPEAKER_01]: Pretty innocuous, you know, as far as content goes.

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[SPEAKER_08]: Yes, absolutely.

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[SPEAKER_08]: Okay.

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[SPEAKER_08]: Well, producer Brad, give us the straight dope on this film.

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[SPEAKER_09]: Scared stiff opened on April, seventeenth, nineteen, fifty-three.

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[SPEAKER_09]: Some of the big films from nineteen, fifty-three are from here to eternity.

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[SPEAKER_09]: Roman holiday, Peter Pan, House of Wax, and gentlemen prefer blondes.

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[SPEAKER_09]: The big horror movie of nineteen, fifty-three, was House of Wax starring Vincent Price.

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[SPEAKER_09]: Other horror films include Invaders from Mars, they came from outer space, and White Witch Doctor.

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[SPEAKER_09]: Several of the horror films were released in three days, so this is a time when three-D movies are starting to show up.

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[SPEAKER_01]: Oh, interesting.

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[SPEAKER_08]: Why couldn't that Vincent Price movie have had zombies in it?

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[SPEAKER_08]: That's my question.

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[SPEAKER_09]: It's a good question.

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[SPEAKER_09]: Is he in his ambie film?

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[SPEAKER_01]: Is that a movie?

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[SPEAKER_01]: Was there a Pierce Hilton remake of that movie?

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[SPEAKER_08]: I believe so.

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[SPEAKER_08]: Okay.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: Okay.

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[SPEAKER_08]: Okay.

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[UNKNOWN]: Okay.

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[SPEAKER_01]: Gary, I'm sorry about that.

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[SPEAKER_09]: That's right.

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[SPEAKER_09]: Scared stiff is the fourth adaptation of the nineteen o nine play the Ghostbreaker written by Paul Dickie and Charles Goddard.

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[SPEAKER_09]: Dickie by the way played football at the University of Michigan for fielding H shows.

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[SPEAKER_08]: I didn't know that.

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[SPEAKER_09]: He ended up dropping out because he got sick and he went off to become an actor and then a playwright.

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[SPEAKER_09]: The plot of the play has many of the same beats as both the nineteen forty the ghost breakers and scared stiff.

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[SPEAKER_09]: For example, all three start with a leading man hiding from the police in the hotel room and escaping an esteem or trunk.

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[SPEAKER_09]: The play is set at a castle in Spain with hidden treasures, secret rooms, and a villain hiding in a suit of armor.

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[SPEAKER_09]: Dickie and Goddard sold the play to Broadway producer Henry B. Harris, who ended up dying on the Titanic, having never produced it.

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[SPEAKER_08]: Why do we not get this fact toy during the Ghostbreakers?

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[SPEAKER_08]: That's absolutely brilliant.

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[SPEAKER_09]: I guess I didn't realize how important this film was going to be in zombie lore.

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[SPEAKER_09]: I'm still trying to figure out why some part of it.

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[SPEAKER_09]: We'll talk.

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[SPEAKER_09]: Yeah.

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[SPEAKER_09]: It was finally produced in Broadway and March third, nineteen, thirteen, and it ran for ten weeks.

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[SPEAKER_09]: The first film was a silent film from nineteen fourteen called the Ghostbreaker and starred H.B.

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[SPEAKER_09]: Warner, who was the original star of the play.

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[SPEAKER_09]: The second adaptation was in nineteen twenty two and was also called the Ghostbreaker.

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[SPEAKER_09]: And I think I found a couple of reasons for this.

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[SPEAKER_09]: I'll share what I found.

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[SPEAKER_09]: Many directors make a student film or low budget film that attracts interest and then gets financing to make a bigger version.

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[SPEAKER_09]: For example, George Lucas and THX one one three eight started as a student film and then was made into a theatrical film.

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[SPEAKER_09]: And then Sam Ramey did a cheap evil dad and got money to make a bigger budget version that he called evil dead too.

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[SPEAKER_08]: both of which I've seen, by the way, and love them both, but carry on.

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[SPEAKER_09]: Did you see the student version of THX?

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[SPEAKER_08]: No, I was talking about the evil dead.

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[SPEAKER_09]: We'll do student film podcast later.

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[SPEAKER_09]: Some directors feel contemporary audiences need to hear their message of the original film, and they remake it.

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[SPEAKER_09]: Cecil B. Demell made both in nineteen twenty-three and nineteen fifty-six versions of the ten commandments for this reason.

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[SPEAKER_09]: And we watched the nineteen nineteen silent films she'll cause by able gants, which was about World War one, and he remade it in nineteen thirty-eight in response to another World War.

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[SPEAKER_08]: That's right.

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[SPEAKER_09]: Another reason these remakes happen is American studios love a foreign film and hire the original director to make an English language version.

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[SPEAKER_09]: Yeah.

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[SPEAKER_09]: Francis Weber directed the French film, The Fugitives and the American remake, Three Fugitives with Dick Nolty and Martin Short.

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[SPEAKER_09]: George Sleuser directed the Nineteen-Eighty-eight Dutch film The Vanishing and the Nineteen-Eighty-Three American version starring the Jeff Bridges and Key for Sutherland.

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[SPEAKER_08]: You know what?

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[SPEAKER_08]: I remember watching The Dutch version and thinking it was great.

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[SPEAKER_09]: I remember watching the American.

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[SPEAKER_08]: All right.

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[SPEAKER_09]: And knowing there was another one out there.

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[SPEAKER_01]: I don't remember watching either.

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[SPEAKER_01]: I'm sorry.

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[SPEAKER_01]: That's okay.

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[SPEAKER_09]: Takashi Shimitsu directed the two thousand two Japanese film The Grudge and the American version with Sarah Michelle Galler.

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[SPEAKER_08]: Yeah, I didn't know that.

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[SPEAKER_09]: Now successful and powerful directors can remake an earlier film to improve upon the original.

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[SPEAKER_09]: Alfred Hitchcock remade the man who knew too much once in nineteen thirty four and again in nineteen fifty six.

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[SPEAKER_09]: And in an interview with Frank Swattroofo, Hitchcock is quoted, let's say the first version is the work of a talented amateur, and the second was made by a professional.

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[SPEAKER_01]: And John, you're always talking about how George Lucas really perfected Star Wars with the remastered versions, right?

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[SPEAKER_01]: I mean, you won't show them.

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[SPEAKER_08]: Yeah, I can't stop talking about my love of the nineteen nineties CGI in there.

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[SPEAKER_09]: Wouldn't it be nice if he actually just remade it as opposed to tinkering with the original?

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[SPEAKER_08]: Yes, actually.

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[SPEAKER_01]: It does raise some interesting questions.

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[SPEAKER_01]: I think Brad, did you see this trend like taper off because I guess you mentioned the grudge that was the nineties.

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[SPEAKER_01]: That's pretty recent, but it doesn't it doesn't feel like something I've seen too much in my life.

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[SPEAKER_09]: Well, another example is Damon Shazal Whiplash.

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[SPEAKER_09]: That started as a short film.

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[SPEAKER_09]: The short film was a scene and that scene was reshot and it's part of the film that he later made.

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[SPEAKER_08]: Interesting.

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[SPEAKER_09]: So that's in the last fifteen years.

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[SPEAKER_09]: So it does still happen.

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[SPEAKER_08]: interesting.

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[SPEAKER_08]: What is weird about this one is that it feels like such a beat for beat remake of the Ghostbreakers.

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[SPEAKER_08]: There's some scenes and lines that are literally identical that I found.

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[SPEAKER_08]: And to the disservice of this movie, because like, you know, at one point, they find a voodoo token, a wanga, a death of wanga in her state room, just like in the Ghostbreakers.

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[SPEAKER_01]: and she says but not that one and like her delivery is so is weaker than the original delivery and it just jumped right out of me but anyway and not just dialogue though i mean even some of the ways they had the actors move around like the scene where she's trying to hide the his scarf for the tie or something

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[SPEAKER_01]: And she is just mimicking the movements that Paula got her dead.

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[SPEAKER_01]: That was just very interesting to you.

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[SPEAKER_01]: Yeah, there was no reinterpretation of scenes.

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[SPEAKER_08]: And I feel like the scene where we're getting away ahead of ourselves.

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[SPEAKER_08]: But I feel like the scene in the castle at the end was literally the same set.

09:08.813 --> 09:17.060

[SPEAKER_09]: And what you're talking about is I think scared stiff falls under another category of remakes, which is a sturdy plot that can easily be reused and updated.

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[SPEAKER_09]: And the original director is still working and available.

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[SPEAKER_09]: And the fair to remember it's another example.

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[SPEAKER_09]: Leo McCary directed it in nineteen three nine and again in nineteen fifty seven and they used to exact same script.

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[SPEAKER_09]: Interesting.

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[SPEAKER_09]: Just a new cast.

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[SPEAKER_01]: Are you saying that Ghostbreakers didn't have a message so powerful and important for the world to hear that they just they that the directors filmmakers needed to get it out again to a new generation.

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[SPEAKER_08]: Yeah, you didn't name the other reason people do this which is money.

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[SPEAKER_08]: They're like a successful film can be remade as another successful film.

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[SPEAKER_09]: But I think bringing the director in is the same director is the catch.

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[SPEAKER_09]: Yeah.

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[SPEAKER_09]: Yeah.

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[SPEAKER_01]: Yeah.

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[SPEAKER_01]: That's really interesting.

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[SPEAKER_09]: So scared stiff stars Dean Martin and Jerry Lewis.

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[SPEAKER_09]: They debuted as a comedy duo in nightclubs in nineteen forty six.

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[SPEAKER_09]: And then scared stiff.

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[SPEAKER_09]: You can see example of their act when Dean is singing and Jerry plays the clumsy bus boy.

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[SPEAKER_08]: Yes.

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[SPEAKER_09]: They appeared in seventeen movies.

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[SPEAKER_09]: This is their ninth in nineteen fifty two.

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[SPEAKER_09]: They signed a new contract that paid them a million dollars a year and required only one film a year.

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[SPEAKER_09]: Which was on the high end at the time.

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[SPEAKER_08]: That's crazy for nineteen fifties.

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[SPEAKER_01]: That is a great deal today.

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[SPEAKER_09]: But yeah, yeah, the language of what I found is this is it says they were paid.

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[SPEAKER_09]: So I'm assuming that they split that money.

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[SPEAKER_09]: No, it's not a million per.

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[SPEAKER_01]: I'd still take it.

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[SPEAKER_09]: Now their partnership was a short run.

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[SPEAKER_09]: It started in other films.

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[SPEAKER_09]: It was a short run of films.

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[SPEAKER_09]: They started in nineteen forty nine and ended in nineteen fifty six when the company duo broke up for me.

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[SPEAKER_08]: Sorry.

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[SPEAKER_09]: Well, both went solo.

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[SPEAKER_09]: Martin found success as both a night club at our tanner recording artists and actor of film and TV.

11:01.678 --> 11:05.020

[SPEAKER_09]: Lou is also released successful albums, but became a massive film star.

11:05.200 --> 11:11.183

[SPEAKER_09]: In nineteen fifty nine, he signed one of the richest film contracts of the time worth ten million dollars over seven years.

11:12.704 --> 11:17.487

[SPEAKER_09]: And he's also well known for his work with the muscular dystrophy telethon, which my wife worked on.

11:18.227 --> 11:21.549

[SPEAKER_08]: I was going to say I thought you worked on that one, but that you worked on a different telethon.

11:22.009 --> 11:25.171

[SPEAKER_09]: I worked on the John Ritter telethon for cerebral palsy and

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[SPEAKER_09]: Because of our work in Telethon, our mutual friend, Harvey said, Brad, this is Janet, she works in the Jerry Lewis-Telethon.

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[SPEAKER_09]: Janet, this is Brad, he works on the John Ritter-Telethon, and he walked away, and that's how we were introduced.

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[SPEAKER_08]: Nice.

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[SPEAKER_08]: That's amazing.

11:39.580 --> 11:44.862

[SPEAKER_09]: Carmen Miranda plays Carmelita, playing a version of herself, providing a few song and dance scenes in the movie.

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[SPEAKER_09]: This was her last film as she died shortly after.

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[SPEAKER_08]: Yeah, I read that at the age of forty six of a heart attack, which is terrible.

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[SPEAKER_08]: And just to comment here like like Carmen Miranda was kind of credited in a lot of ways with bringing sort of Latin culture to the United States in terms of making it popular.

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[SPEAKER_08]: If you if you can't picture her imagine somebody in sort of a rap dress with like a bowl of food on their head, that's Carmen Miranda and

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[SPEAKER_08]: I think some would argue that like you don't get dizzy or an as without Carmen Miranda, but we can talk about that more as we go through.

12:20.479 --> 12:22.881

[SPEAKER_09]: George Dolans played Mr. Cortega.

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[SPEAKER_09]: You recognize the name Dolans?

12:26.104 --> 12:27.105

[SPEAKER_09]: I do.

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[SPEAKER_09]: Where do I recognize it from?

12:28.447 --> 12:32.271

[SPEAKER_09]: His son is Mickey Dolans of the band and TV show The Monkeys.

12:32.411 --> 12:34.493

[SPEAKER_08]: Monkeys, the prefab for.

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[SPEAKER_09]: And Edith Head was the costume designer.

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[SPEAKER_09]: She also worked on the Ghost Breakers, and as we mentioned in that episode, she is one of the all-time greats in the costume world.

12:46.124 --> 12:57.716

[SPEAKER_09]: And as usual, reliable box office numbers aren't available for this era, but we can safely assume it did well, considering they were at their peak, and they made seven more movies together afterwards.

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[SPEAKER_08]: All right.

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[SPEAKER_08]: Well, Andy, I think we've stalled long enough.

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[SPEAKER_08]: Are you ready?

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[SPEAKER_01]: Yeah, do you want to talk about the historical context into which this film was dumped?

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[SPEAKER_08]: Let's do that.

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[SPEAKER_08]: So this is in nineteen fifty three and it's a little bit of an outlier.

13:13.089 --> 13:20.813

[SPEAKER_08]: So we released our episode in the nineteen fifties where we tried to cover sort of broad historical context in the nineteen fifties, but to be honest, there's a lot of things here.

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[SPEAKER_08]: We didn't talk about in the episode.

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[SPEAKER_08]: So

13:24.997 --> 13:31.339

[SPEAKER_08]: One thing is, it's still the space age, like man's space flight is close to becoming a reality.

13:31.839 --> 13:41.942

[SPEAKER_08]: In this year, the very first man plane broke Mach II, which is still a very fast speed for a man aircraft.

13:43.122 --> 13:45.303

[SPEAKER_08]: And a big thing here is this is set in Cuba.

13:46.805 --> 13:54.207

[SPEAKER_08]: Right at the time, Batista, who led Cuba before Fidel Castro, was in power.

13:54.447 --> 14:02.950

[SPEAKER_08]: He seized it in a coup the year before, and then shortly after this film, Fidel Castro overthrew him and began, well, he didn't overthrow him then, but he began.

14:02.990 --> 14:04.751

[SPEAKER_01]: He started his revolutions.

14:04.831 --> 14:05.211

[SPEAKER_08]: And at the time,

14:09.252 --> 14:10.834

[SPEAKER_08]: It was considered a hot tourist spot.

14:10.914 --> 14:24.845

[SPEAKER_08]: And what's interesting is, for example, if we, you know, just to tie this back to film history, in the godfather part two, there's a sort of early plot where the, where the brothers are opening casinos in Cuba, and then at some point everybody has to flee because of Castro.

14:25.766 --> 14:31.573

[SPEAKER_08]: overthrowing the government, but it was a huge celebrity hangout and night spot and just a place to go.

14:31.593 --> 14:33.315

[SPEAKER_08]: It was like Florida on steroids.

14:33.576 --> 14:36.179

[SPEAKER_08]: So I find that all interesting here.

14:36.199 --> 14:43.108

[SPEAKER_08]: It wasn't communist yet, which I think is a big point because we made a lot of hay about communism in that nineteen fifties episode.

14:43.436 --> 14:59.688

[SPEAKER_01]: It is interesting to just, I don't think this is a film that has a lot of connection to the zeitgeist, but it is interesting just to think about how it'd be pretty much the exact same film, Lee and's differently in nineteen forty, of course, in nineteen fifty three.

14:59.708 --> 15:01.390

[SPEAKER_01]: It's probably isn't really a movie we can

15:03.000 --> 15:14.028

[SPEAKER_01]: where we can clean a lot about that but maybe we'll get some more remakes like this that might be a little bit more open to you know just observing how their context changes the way you view them.

15:14.728 --> 15:21.633

[SPEAKER_08]: Yeah looking at our list like there's we're looking forward to a lot of aliens and rocket ships and atomic power and stuff and none of that is in this maybe.

15:22.489 --> 15:24.213

[SPEAKER_01]: Alright, thanks for that historical background, John.

15:24.794 --> 15:29.605

[SPEAKER_01]: Before we start talking about the film proper, let's take a quick look again at the poster for it.

15:29.746 --> 15:33.013

[SPEAKER_01]: John, could you describe for us the poster for scared stiff?

15:33.754 --> 15:36.696

[SPEAKER_08]: It's actually not bad, so it's an illustrated poster.

15:37.217 --> 15:46.504

[SPEAKER_08]: And what it features is it's got a picture at the top of a young looking Dean Martin and Jerry Lewis and their sort of screaming in fear.

15:46.544 --> 15:47.645

[SPEAKER_08]: There's sort of lit from beneath.

15:48.726 --> 15:53.030

[SPEAKER_08]: And then there's a picture of Common Miranda and Elizabeth Scott as Mary.

15:53.750 --> 16:14.477

[SPEAKER_01]: their picture to sort of at the bottom uh... and it has a picture of a ghost in the ghost arms are spread it's an illustrated ghost and inside of its arms are all the credits it promises a pretty good time i'd say it promises that let's go ahead and jump right and john do you want to give us a sort of the thirty second overview of this movie and

16:15.357 --> 16:16.318

[SPEAKER_01]: Let's remind our viewers.

16:16.338 --> 16:24.222

[SPEAKER_01]: This is a remake of Ghost The Ghost Breakers and it's pretty close remake as Brad was mentioning earlier.

16:24.382 --> 16:31.145

[SPEAKER_01]: So once you give us the rundown and then as we go through we'll kind of decide how much detail we do don't do or don't want to get into it.

16:31.205 --> 16:32.046

[SPEAKER_01]: Yeah, absolutely.

16:32.086 --> 16:35.468

[SPEAKER_08]: So it is a beat for beat remake, except for the differences.

16:36.728 --> 16:40.250

[SPEAKER_08]: Well, let me just give the plot and then we can talk about the differences we go.

16:40.270 --> 16:44.632

[SPEAKER_08]: Alright, so here's the sixty-second plot summary and then we can get into some of the weird details.

16:44.752 --> 16:48.494

[SPEAKER_08]: It is a beat for beat remake of the Ghost Breakers.

16:49.534 --> 16:56.238

[SPEAKER_08]: But it's different here is instead of the Valle, Alex, we have Myron, who's played by Jerry Lewis.

16:57.619 --> 17:02.264

[SPEAKER_08]: In any case, Dean Martin, Larry, and Myron, Jerry Lewis, are best friends.

17:02.344 --> 17:08.470

[SPEAKER_08]: They work at the same club and they get into trouble with a gangster, much like in the Ghost Breakers.

17:09.091 --> 17:19.182

[SPEAKER_08]: They go to the gangsters hotel to try to get out of trouble and accidentally fall into the plot where Mary has been inherited

17:20.283 --> 17:24.168

[SPEAKER_08]: a castle on an island called Lost Island, which is near Cuba.

17:24.869 --> 17:29.934

[SPEAKER_08]: She's going to move there and take possession of it, but people are trying to talk her out of it, or buy it from her.

17:30.775 --> 17:31.817

[SPEAKER_08]: Hijings ensued.

17:31.997 --> 17:37.543

[SPEAKER_08]: Dean Martin ends up trapped on the steamship headed to Cuba, because he gets locked in a trunk.

17:38.224 --> 17:39.104

[SPEAKER_08]: They go to Cuba.

17:39.765 --> 17:41.165

[SPEAKER_08]: They go to the lost island.

17:41.766 --> 17:45.167

[SPEAKER_08]: They uncover a plot, which was designed to scare them away.

17:45.227 --> 17:48.568

[SPEAKER_08]: Scooby-Doo style because there's valuable gold on the island.

17:49.249 --> 17:51.930

[SPEAKER_08]: And then they crack the plot, the end.

17:52.490 --> 17:54.731

[SPEAKER_08]: Did I miss any important plot points?

17:54.851 --> 17:55.591

[SPEAKER_08]: That was perfect.

17:55.952 --> 17:57.732

[SPEAKER_08]: You even included some unimportant ones.

17:59.633 --> 18:00.273

[SPEAKER_09]: I have one question.

18:00.314 --> 18:02.255

[SPEAKER_09]: You said hijinks ensued.

18:02.295 --> 18:03.295

[SPEAKER_09]: You did not say hilarious.

18:03.355 --> 18:04.196

[SPEAKER_08]: I sure didn't.

18:04.676 --> 18:05.496

[SPEAKER_08]: Very purposeful.

18:05.536 --> 18:06.877

[SPEAKER_08]: I did not say hilarious hijinks.

18:07.037 --> 18:09.478

[SPEAKER_08]: So yeah, let me just do my own.

18:09.498 --> 18:10.299

[SPEAKER_08]: Okay, let's get into it.

18:10.319 --> 18:16.062

[SPEAKER_08]: We've been teasing this movie and I and I I just really want to let's just start doing it.

18:16.502 --> 18:16.742

[SPEAKER_01]: Yes.

18:17.323 --> 18:17.583

[SPEAKER_01]: Okay.

18:17.743 --> 18:24.768

[SPEAKER_01]: So I think we can not spend too much time on this whole nightclub set up scene.

18:25.669 --> 18:28.931

[SPEAKER_01]: So listeners, I do want to say one thing though.

18:29.091 --> 18:30.632

[SPEAKER_08]: Can I say one thing as we get started?

18:30.672 --> 18:30.992

[SPEAKER_08]: Please.

18:31.693 --> 18:33.914

[SPEAKER_08]: You posted in our discord as we were watching this.

18:34.935 --> 18:38.758

[SPEAKER_08]: You said, man, spills spaghetti all over the place and on customers.

18:39.298 --> 18:41.380

[SPEAKER_08]: It's the least funny thing I've ever seen.

18:42.737 --> 18:46.740

[SPEAKER_08]: So, right after the game, you are exhausted by this film.

18:46.880 --> 18:52.605

[SPEAKER_08]: I want to say, like, I got to the spaghetti scene and I had a couple of good laughs early on.

18:53.025 --> 18:54.046

[SPEAKER_08]: Pratt falls and stuff.

18:54.687 --> 18:56.728

[SPEAKER_08]: But then, then I was exhausted.

18:56.788 --> 18:59.911

[SPEAKER_08]: So I think my exhaustion kicked in about three minutes after yours.

19:00.952 --> 19:01.832

[SPEAKER_01]: Yeah, well, that's it.

19:02.930 --> 19:08.132

[SPEAKER_01]: This, the centerpiece of this entire movie is Jerry Lewis's performance.

19:08.432 --> 19:08.652

[SPEAKER_08]: Yes.

19:09.092 --> 19:16.095

[SPEAKER_01]: And so you're enjoyment of this movie will depend entirely on a, how funny you find his, this type of comedy.

19:16.115 --> 19:23.957

[SPEAKER_01]: And b, just how much of it can you take because it's just relentless and exhausting as a good word.

19:24.017 --> 19:25.678

[SPEAKER_01]: It's not like it's never funny.

19:26.338 --> 19:30.322

[SPEAKER_01]: It's just, it's just a lot of it and it's a really abrasive type of humor.

19:30.402 --> 19:40.712

[SPEAKER_08]: So it is and he doesn't have the variety of moods and levels that like Lu Castello has, right?

19:40.732 --> 19:44.535

[SPEAKER_08]: He seems to have one level which is eleven and he's doing it all the time.

19:45.316 --> 19:50.738

[SPEAKER_01]: So let's start there, John, would you mind describing Larry and Myron?

19:51.538 --> 19:59.841

[SPEAKER_01]: And these are our two protagonists, and they are also our straight man funny man comic duo.

20:00.261 --> 20:02.482

[SPEAKER_01]: Could you describe each of the two of them briefly?

20:02.542 --> 20:06.563

[SPEAKER_01]: And then let's just talk, what is the style of humor that this movie is going for?

20:06.743 --> 20:08.184

[SPEAKER_08]: So I want to say a few things.

20:08.224 --> 20:10.585

[SPEAKER_08]: Can I first just talk about Dean Martin for just a second?

20:12.378 --> 20:22.520

[SPEAKER_08]: As a Gen Xer, I remember Dean Martin from the seventies is like a bloated, leathery-skinned, over tan, chain-smoking, kind of disaster.

20:22.801 --> 20:31.723

[SPEAKER_08]: And it was really interesting to see him here in nineteen fifty-three, slim, young, his voice is literally beautiful when he sings in the numbers here.

20:32.143 --> 20:35.263

[SPEAKER_08]: And I don't think he smokes a cigarette in any scene in the movie.

20:35.423 --> 20:38.524

[SPEAKER_08]: It's like a different person from the one I grow watching.

20:38.604 --> 20:39.784

[SPEAKER_08]: Does this make any sense to you?

20:40.325 --> 20:41.805

[SPEAKER_08]: It's like young Elvis, kind of.

20:43.306 --> 21:04.883

[SPEAKER_08]: you know what I mean yeah yeah and what's uh what's Jerry Lewis like in contrast to that so Dean Martin is the swab divinera he sings the songs he always looks good in a suit and his friend Jerry Lewis named Myron is like a man child actually like here's the comparison I'll make it's like a mice and men

21:05.604 --> 21:10.566

[SPEAKER_08]: where Dean Martin is George and Jerry Lewis is Lenny.

21:10.746 --> 21:16.648

[SPEAKER_08]: Like, clearly, Dean has to take care of Lenny because he's always getting himself in, take care of Miron, because he's always getting himself in trouble.

21:16.908 --> 21:20.029

[SPEAKER_08]: And he's always just doing foolish things.

21:20.069 --> 21:21.330

[SPEAKER_08]: And he acts like a child.

21:21.370 --> 21:22.850

[SPEAKER_08]: He's talking in a baby voice.

21:23.430 --> 21:26.311

[SPEAKER_08]: And then he's exploding in terror all the time.

21:26.432 --> 21:29.072

[SPEAKER_08]: And he's running around and flopping around everywhere.

21:29.153 --> 21:31.373

[SPEAKER_08]: Like, I don't know how you feel about that description.

21:31.393 --> 21:33.194

[SPEAKER_08]: But that's what left to my mind.

21:33.555 --> 21:37.577

[SPEAKER_01]: No, so this is what I wanted to talk about when I said when we were talking about the content warnings.

21:37.597 --> 21:45.680

[SPEAKER_01]: There's something about his performance that it actively repelled me in this movie's opening stages.

21:45.900 --> 21:48.241

[SPEAKER_01]: And I guess I kind of warmed to it as it went on.

21:48.421 --> 21:49.102

[SPEAKER_01]: I'll just say this.

21:50.463 --> 22:09.181

[SPEAKER_01]: I'm glad you mentioned of my son men and the word man child because when you are doing this sort of like doofus comic character right there is a line between being like a thoughtless clumsy oh who doesn't do anything right

22:09.982 --> 22:12.483

[SPEAKER_01]: that's fine and funny to laugh at.

22:13.104 --> 22:21.107

[SPEAKER_01]: There is also a line you can drift to where it starts to feel like you are being asked to laugh at a person like with mental disabilities.

22:22.088 --> 22:22.708

[SPEAKER_01]: Does that make sense?

22:22.828 --> 22:23.949

[SPEAKER_01]: And it does.

22:24.309 --> 22:29.672

[SPEAKER_01]: The opening couple of minutes, Jerry Lewis is like performance of this character, Myron.

22:30.472 --> 22:33.454

[SPEAKER_01]: I was honestly, I found it upsetting.

22:33.834 --> 22:39.398

[SPEAKER_01]: Like it just really seemed like I was being asked to like laugh at the antics of a disabled person.

22:39.498 --> 22:39.799

[SPEAKER_00]: Yeah.

22:40.019 --> 22:40.819

[SPEAKER_01]: Really uncomfortable.

22:41.080 --> 22:41.420

[SPEAKER_01]: I agree.

22:41.440 --> 22:48.925

[SPEAKER_01]: It's only as the movie went on and I realized a little bit more like what kind of a routine he was doing.

22:48.985 --> 22:52.328

[SPEAKER_01]: But I just my initial reaction was so negative.

22:52.388 --> 22:57.351

[SPEAKER_01]: I had a very hard time getting to a point where I could enjoy this film.

22:57.411 --> 22:58.192

[SPEAKER_01]: What do you think about all that?

22:58.772 --> 22:59.273

[SPEAKER_08]: I agree.

22:59.413 --> 22:59.793

[SPEAKER_08]: And I think

23:01.199 --> 23:03.243

[SPEAKER_08]: I hate to do this because it's an unfair comparison.

23:03.363 --> 23:08.091

[SPEAKER_08]: Now, I think let me say, I think Jerry Lewis once he got older and was doing things like the Nutty Professor.

23:09.520 --> 23:16.884

[SPEAKER_08]: sort of invested in having a little bit of range in diversity in his performances, but we're not there yet in nineteen fifty three.

23:17.465 --> 23:18.746

[SPEAKER_08]: He is he's like.

23:19.906 --> 23:23.929

[SPEAKER_08]: He's like early early Jim Carrey where there's no subtlety at all.

23:24.049 --> 23:25.750

[SPEAKER_08]: It's just in your face all the time.

23:25.970 --> 23:27.251

[SPEAKER_08]: And like I said, it's exhausting.

23:27.591 --> 23:33.194

[SPEAKER_08]: But let's compare him to Lu Castella who in the last film we saw them in in nineteen forty eight is a total pro.

23:33.614 --> 23:37.517

[SPEAKER_08]: You know, a producer Brad comment that he was like a child in a man's body.

23:38.097 --> 23:40.758

[SPEAKER_08]: But sometimes he acted like an adult, right?

23:40.918 --> 23:43.318

[SPEAKER_08]: And would become childish when scared or something.

23:43.899 --> 23:47.240

[SPEAKER_09]: And he would look at the camera to let you know that he knew what we were thinking.

23:47.340 --> 23:48.000

[SPEAKER_09]: Exactly.

23:48.020 --> 23:48.820

[SPEAKER_09]: That he was in.

23:48.840 --> 23:49.100

[SPEAKER_08]: Yes.

23:49.320 --> 23:54.922

[SPEAKER_08]: And Jerry Lewis literally feels like he's playing somebody who is disabled and making fun of them.

23:55.182 --> 23:57.763

[SPEAKER_08]: Like he's emotionally a twelve-year-old.

23:57.883 --> 24:01.944

[SPEAKER_08]: He's physically unable to move through a room without collapsing everything in it.

24:02.004 --> 24:05.385

[SPEAKER_08]: Like, yeah, it was really awkward to my modern eyes.

24:05.485 --> 24:05.965

[SPEAKER_08]: I'll be honest.

24:06.005 --> 24:06.085

[SPEAKER_08]: Yeah.

24:06.865 --> 24:08.086

[SPEAKER_01]: So I just wanted to mention that.

24:08.626 --> 24:13.728

[SPEAKER_01]: I did get over it as the film went on because I don't think that's what he was going for.

24:13.748 --> 24:16.229

[SPEAKER_01]: I don't think the intention to read mean today.

24:16.269 --> 24:16.469

[SPEAKER_01]: Yeah.

24:17.589 --> 24:22.551

[SPEAKER_09]: Well, one question I have is, you know, this film is a pre-existing script as we talked about.

24:23.492 --> 24:25.312

[SPEAKER_09]: Adam Castell, most of their stuff was original.

24:25.352 --> 24:33.976

[SPEAKER_09]: They did bring their own bits into it as we saw, they brought one of the Martin Lewis bits into this, but for the most part, they're following a script that's decades old.

24:34.882 --> 24:41.586

[SPEAKER_09]: And I wonder if they're not able, and they brought, I'm going to tell you, this Norman fell is one of the guys brought in to write on this.

24:41.606 --> 24:42.687

[SPEAKER_09]: They did a digital dialogue.

24:42.747 --> 24:44.488

[SPEAKER_09]: I assume he was doing some humor.

24:45.228 --> 24:47.890

[SPEAKER_09]: But I wonder if this is not tailored enough for them.

24:48.310 --> 24:48.830

[SPEAKER_08]: I don't know.

24:49.250 --> 24:51.052

[SPEAKER_08]: It's nothing like the Ghostbaker's humor.

24:51.212 --> 24:54.093

[SPEAKER_08]: Like you described that Andy at the time is pattern, right?

24:54.153 --> 24:59.416

[SPEAKER_08]: Like let's fire off twenty jokes in a minute and three of them a land and we'll chuckle in smile.

24:59.877 --> 25:02.918

[SPEAKER_08]: That's not this, that's not what this movie's doing at all.

25:03.999 --> 25:07.904

[SPEAKER_01]: In a minute, I want us to, well, let's just, let's hear a bit of it now.

25:08.064 --> 25:10.367

[SPEAKER_01]: Yeah, this is from like midway through the movie.

25:11.107 --> 25:15.793

[SPEAKER_01]: It's just a short scene where you can hear Jerry Lewis doing his routine.

25:15.873 --> 25:23.522

[SPEAKER_01]: So listeners get ready for a subtle, understated, uh, wit here, brace yourselves, people.

25:24.055 --> 25:25.716

[SPEAKER_06]: And in the midst of anyone wait too long.

25:25.936 --> 25:28.557

[SPEAKER_06]: Here we go, right up there, Larry boy.

25:28.877 --> 25:29.838

[SPEAKER_06]: Come out, what do you say?

25:30.678 --> 25:34.260

[SPEAKER_06]: The men, the men, the men, Larry, the men's way.

25:34.540 --> 25:35.661

[SPEAKER_06]: We'll be right down, pal.

25:35.841 --> 25:37.041

[SPEAKER_06]: Larry, come on, let's go.

25:37.282 --> 25:38.682

[SPEAKER_06]: The man's not going to wait too long.

25:38.842 --> 25:41.984

[SPEAKER_06]: Come on, let's move.

25:42.324 --> 25:42.824

[SPEAKER_06]: Here we go.

25:44.505 --> 25:44.885

[SPEAKER_04]: Larry.

25:46.066 --> 25:49.748

[SPEAKER_08]: Does our use of the word exhausting now makes sense to everybody who's listening?

25:50.782 --> 25:52.884

[SPEAKER_01]: So listeners, this really is a film.

25:52.904 --> 25:55.105

[SPEAKER_01]: We are taking one for the team here.

25:56.887 --> 26:02.251

[SPEAKER_01]: If you found that enjoyable, I want you to just multiply that twenty seconds by two hours.

26:02.551 --> 26:05.373

[SPEAKER_01]: Yes, this long was this movie was like seven hours.

26:06.154 --> 26:06.374

[SPEAKER_01]: Yes.

26:06.714 --> 26:11.918

[SPEAKER_01]: So I know we need to get rolling and actually talking about the film, but I wanted to make one last comment about Jerry loses performance.

26:12.459 --> 26:16.362

[SPEAKER_01]: So I found that audio clip we just did exhausting to listen to.

26:18.454 --> 26:27.859

[SPEAKER_01]: There is one thing that I, when his humor worked, it was, in my opinion, when he, he has an incredible, manic physical presence.

26:28.559 --> 26:33.142

[SPEAKER_01]: He's always flailing around and contorting himself around and making goofy faces.

26:33.862 --> 26:41.987

[SPEAKER_01]: And most of that didn't really land for me, but the bits of comedy that did land were the ones when it was about his physical presence.

26:42.967 --> 26:49.716

[SPEAKER_01]: Um, and he really is everybody else is just moving in slow motion compared to this guy.

26:50.056 --> 26:50.276

[SPEAKER_01]: Yeah.

26:50.457 --> 26:54.341

[SPEAKER_01]: And there is a certain there is a certain enjoyment to it.

26:54.421 --> 26:59.087

[SPEAKER_08]: I would say I'm not going to go that far, but I hear what you're saying about that.

26:59.187 --> 26:59.528

[SPEAKER_01]: Okay.

27:00.028 --> 27:02.249

[SPEAKER_01]: All right, well, we've kind of beaten that horse, I think.

27:02.429 --> 27:04.350

[SPEAKER_01]: So let's move on to the story.

27:04.850 --> 27:10.292

[SPEAKER_01]: I'm just going to sum up this opening sequence, John, and then give you a chance to point out anything interesting, I missed.

27:11.033 --> 27:19.936

[SPEAKER_01]: Like the Ghostbreakers, we do not get to the, quote, zombie part until maybe twenty minutes before the end, the last twenty minutes of the movie.

27:21.797 --> 27:30.483

[SPEAKER_01]: So I don't know how much of this we want to do, but you mentioned earlier, I don't know if we called it out specifically, but this is a musical or at least a part musical.

27:30.603 --> 27:31.463

[SPEAKER_08]: We didn't mention that.

27:31.503 --> 27:41.650

[SPEAKER_08]: It's not a musical in the same sense that like Oklahoma is a musical where there are songs that the characters sing about their inner lives or that advance the plot.

27:42.250 --> 27:48.134

[SPEAKER_08]: What it is, it's a comedy that has some set-piece songs like you would see in a nightclub.

27:48.754 --> 27:59.526

[SPEAKER_08]: So, you know, Carmen Miranda's character, Carmelita, or Larry played by Dean Martin will do a song in a set song in a club that is entertaining.

27:59.926 --> 28:05.031

[SPEAKER_08]: And only one time does it sort of, is there a song that is like about the plot of the film?

28:05.612 --> 28:09.336

[SPEAKER_08]: So I wouldn't say it's strictly musical, but it's a movie that features musical numbers.

28:09.376 --> 28:09.737

[SPEAKER_08]: How about that?

28:10.352 --> 28:12.913

[SPEAKER_01]: This feels like a semi-first for us.

28:13.654 --> 28:19.997

[SPEAKER_01]: This is the first movie we've watched that had elements of a musical in the game.

28:20.457 --> 28:21.378

[SPEAKER_01]: So I just wanted to note that.

28:23.319 --> 28:29.842

[SPEAKER_01]: So yeah, the two of them get in trouble with the crime lord that owns the nightclub where they work.

28:30.102 --> 28:34.444

[SPEAKER_01]: And Ghostbreakers, I mean, the beats are similar to Ghostbreakers.

28:34.545 --> 28:36.746

[SPEAKER_01]: And Ghostbreakers, the crime lord got mad because

28:37.426 --> 28:52.118

[SPEAKER_01]: The protagonist was a radio host who is spreading gossip or negative news about the crime lord and this one the crime lord gets mad at them because the crime lord's girlfriend who is one of the dancing girls at the club.

28:52.578 --> 29:02.085

[SPEAKER_01]: Real basically flirts with all of the employees and then when the crime lord finds out, he executes the employee that she was flirting with.

29:02.145 --> 29:08.410

[SPEAKER_01]: I think this is unsustainable and he needs to look at the bigger, the real problem here.

29:09.330 --> 29:09.791

[SPEAKER_08]: I want to watch.

29:10.372 --> 29:12.135

[SPEAKER_08]: And this is our Insighting Incident, right?

29:12.675 --> 29:23.331

[SPEAKER_08]: The waiter who is flirting with Rosie gets carried off by gangsters in the middle of the shift and my run play by Jerry Lewis has to fill in as a waiter and that's when the disaster and start begins.

29:24.072 --> 29:30.234

[SPEAKER_01]: Yeah, so that's our first glimpse at how this movie is going to be happens.

29:30.254 --> 29:31.294

[SPEAKER_01]: There's an extended scene.

29:31.774 --> 29:41.536

[SPEAKER_01]: Myron who doesn't know anything about being a waiter is pressed into filling in for the waiter who has been called off by the crime boss.

29:42.196 --> 29:47.758

[SPEAKER_01]: He's got a big enormous plate of spaghetti which he throws all over the room and all over the patrons and

29:48.938 --> 29:56.900

[SPEAKER_01]: It ends with a pretty interminable song routine with the girlfriend.

29:57.080 --> 29:59.541

[SPEAKER_01]: And yeah, I don't think we need to go into it.

29:59.561 --> 30:03.521

[SPEAKER_08]: It's a long story of being a punch Jerry Lewis and have it be funny.

30:04.762 --> 30:05.002

[SPEAKER_01]: Yes.

30:05.762 --> 30:13.584

[SPEAKER_01]: The long in the short of it is the Myron and Larry both wind up over in the hotel where the crime lord is is set up and

30:15.155 --> 30:29.477

[SPEAKER_01]: through a, there's some other stuff that I'll get else circle back to here, but you know, through a series of shenanigans, Larry believes that he has shot and killed one of the crime lords, like minions.

30:29.861 --> 30:32.383

[SPEAKER_08]: Yeah, if you remember Ghostbreakers, it's the same thing.

30:32.964 --> 30:34.986

[SPEAKER_08]: He thinks he's in the hotel.

30:35.026 --> 30:39.530

[SPEAKER_08]: He's going to talk to the gangster and he's like, he accidentally shoots someone.

30:39.550 --> 30:41.973

[SPEAKER_08]: He doesn't think he shoots one of the crime lord's minions.

30:42.113 --> 30:50.901

[SPEAKER_08]: Just like in Ghostbreakers, he thinks he shoots Ramon, who is trying to give the truth of the plot to Mary, who is inherited the island.

30:51.923 --> 31:06.342

[SPEAKER_01]: Yeah, so the other person at this hotel is Mary, who is the romantic lead here, and she is on her way to Cuba to collect her inheritance of this castle on Lost Island.

31:07.223 --> 31:08.585

[SPEAKER_01]: And yeah, this it really.

31:09.406 --> 31:15.412

[SPEAKER_01]: John, you were not exaggerating when you said it was like a beat by beat remake of Ghostbakers because they use like the same jokes same joke.

31:15.532 --> 31:23.881

[SPEAKER_08]: She says nice night for a murder to like the lights go on the hotel and she says nice night for a murder to a hitman who says who told you about that it's the same joke.

31:24.542 --> 31:26.805

[SPEAKER_08]: But having seen Paulette got her do it.

31:27.005 --> 31:30.049

[SPEAKER_08]: Like the woman who plays who is Elizabeth.

31:30.269 --> 31:41.262

[SPEAKER_08]: Sorry, Elizabeth who plays Mary in this movie is not bad, but Paulette good or it is just better and and like it shows whenever she's sort of emulating those same lines.

31:41.302 --> 31:41.783

[SPEAKER_08]: You know what I mean?

31:42.410 --> 31:49.714

[SPEAKER_01]: Yeah, I've singled out Paula Goddard as one of my favorite hero protagonists from season one.

31:50.294 --> 31:55.816

[SPEAKER_01]: And so I was interested to see how this, this actress would pick up that role.

31:55.896 --> 32:01.599

[SPEAKER_01]: And she'd yeah, like you said, she does fine, but I do think that Paula Goddard's performance is stronger.

32:02.059 --> 32:03.840

[SPEAKER_08]: Can I hit you with a weird comparison?

32:03.960 --> 32:05.521

[SPEAKER_08]: It's mostly for producer Brad.

32:05.981 --> 32:08.042

[SPEAKER_08]: She looked like somebody was making me crazy.

32:08.062 --> 32:09.203

[SPEAKER_08]: You know, who she reminded me of?

32:10.200 --> 32:12.701

[SPEAKER_08]: I think it's Barbara Bach from space, nineteen ninety nine.

32:12.961 --> 32:13.501

[SPEAKER_09]: Uh, Bane.

32:13.861 --> 32:16.042

[SPEAKER_08]: Barbara Bane from space nineteen ninety nine.

32:16.222 --> 32:17.403

[SPEAKER_08]: Barbara Bach was a bond girl.

32:17.463 --> 32:17.823

[SPEAKER_08]: Never mind.

32:18.723 --> 32:19.524

[SPEAKER_09]: Box was a bond girl.

32:19.564 --> 32:20.784

[SPEAKER_09]: Catherine Bach is easy.

32:20.844 --> 32:21.044

[SPEAKER_08]: Right.

32:21.204 --> 32:21.404

[SPEAKER_08]: Okay.

32:21.424 --> 32:21.624

[SPEAKER_08]: Yes.

32:21.704 --> 32:21.884

[SPEAKER_08]: No.

32:22.145 --> 32:23.285

[SPEAKER_09]: And we made it to the Duke's house.

32:23.305 --> 32:23.625

[SPEAKER_08]: There we go.

32:23.665 --> 32:23.945

[SPEAKER_08]: We went.

32:24.165 --> 32:24.425

[SPEAKER_08]: Wow.

32:24.485 --> 32:28.227

[SPEAKER_08]: We went from Ghost Breakers to the Duke of Hazard in the four moves.

32:28.847 --> 32:29.207

[SPEAKER_08]: Uh, no.

32:30.148 --> 32:32.208

[SPEAKER_08]: Barbara Bane from space nineteen ninety nine.

32:32.468 --> 32:35.950

[SPEAKER_08]: Younger listeners won't know that reference, but she has those same kind of

32:37.550 --> 32:42.353

[SPEAKER_08]: Slavic features, but those compelling large eyes and short blonde hair.

32:42.473 --> 32:42.793

[SPEAKER_08]: I don't know.

32:42.833 --> 32:43.693

[SPEAKER_08]: That's who she reminded.

32:43.713 --> 32:45.054

[SPEAKER_01]: Yeah, she's a good.

32:45.234 --> 32:46.114

[SPEAKER_01]: She's a good protagonist.

32:46.134 --> 32:46.534

[SPEAKER_01]: She's fine.

32:48.015 --> 32:54.858

[SPEAKER_01]: So like in Ghostbreakers, Larry escapes both the police and the mob are now looking for him.

32:55.138 --> 32:56.599

[SPEAKER_01]: Yes, because they believe he's killed a man.

32:57.799 --> 32:58.460

[SPEAKER_01]: Mary has

32:59.480 --> 33:13.130

[SPEAKER_01]: Mary has been kind of, has been getting pressured by the, her family, a executor, or lawyer, or whatever, to not visit the island and to sell it to an unnamed person who likes to buy it.

33:13.210 --> 33:15.131

[SPEAKER_01]: So she's getting, he's trying to warn her off.

33:15.171 --> 33:17.233

[SPEAKER_01]: And the movie floats him.

33:17.313 --> 33:19.835

[SPEAKER_01]: I think Ghostbreakers did this too as, as the villain.

33:20.575 --> 33:27.020

[SPEAKER_01]: through the whole movie until you get to the very end where it turns out he actually is legitimately trying to protect her.

33:27.801 --> 33:28.882

[SPEAKER_01]: The villain is somewhat different.

33:28.902 --> 33:35.067

[SPEAKER_01]: So that's a little bit of a twist I guess, but let's hear him cautioning Mary away from the castle.

33:35.607 --> 33:36.768

[SPEAKER_02]: Now I can finish my pack.

33:37.349 --> 33:40.031

[SPEAKER_05]: Miss Carol, I urge you to accept the offer.

33:40.051 --> 33:43.213

[SPEAKER_05]: I've been authorized to make a fifty thousand dollars.

33:43.233 --> 33:44.054

[SPEAKER_05]: This is quite a bit of money.

33:45.135 --> 33:46.296

[SPEAKER_02]: It's such a strange offer.

33:47.677 --> 33:48.498

[SPEAKER_02]: The place is haunted.

33:49.782 --> 33:54.151

[SPEAKER_02]: Well, that's, and yet, somebody wants a fifty thousand dollars for you.

33:55.153 --> 33:56.696

[SPEAKER_02]: Who's making the offer Mr. Cortega?

33:58.339 --> 34:00.123

[SPEAKER_05]: I'm sorry, I can't tell you a bit.

34:00.717 --> 34:01.097

[SPEAKER_01]: All right.

34:01.157 --> 34:03.159

[SPEAKER_01]: So I like the way your character is written.

34:04.540 --> 34:05.882

[SPEAKER_01]: She's she's a good protagonist.

34:06.362 --> 34:18.413

[SPEAKER_01]: So Larry to escape the police and the mom again comes into her kind of forces his way into her hotel room and then hides there and he hides in her steamer trunk.

34:19.053 --> 34:22.116

[SPEAKER_01]: Yeah, that she's been packing because she's leaving for Cuba the next day.

34:23.377 --> 34:31.063

[SPEAKER_01]: And a lot of hijinks in Sue, I guess, but the scene ends with the trial areas hijinks?

34:31.123 --> 34:31.343

[SPEAKER_01]: No.

34:34.225 --> 34:39.389

[SPEAKER_01]: Listeners, you are free to watch this film and then write us and let us know how hilarious you found.

34:39.769 --> 34:50.837

[SPEAKER_08]: One of the things that he says here, which is more, you know, a lot of ways this movie is more explicit than the Ghostbreakers and just more direct, because he says to her, no human being who tried to stay the night.

34:51.477 --> 34:57.023

[SPEAKER_08]: has ever lived to see the sunrise in this castle, which raises the stakes a little bit.

34:57.984 --> 35:02.289

[SPEAKER_08]: And while does you want to talk about Myron having a conversation with himself in the mirror?

35:02.970 --> 35:09.697

[SPEAKER_01]: Well, that is, I mean, I think that is perhaps his most memorable comic routine in the movie.

35:09.817 --> 35:10.118

[SPEAKER_01]: Okay.

35:10.518 --> 35:10.678

[SPEAKER_01]: Yep.

35:12.240 --> 35:21.206

[SPEAKER_01]: There is an extended sequence where Miron is trying to talk himself to pump himself up to go in and save his friend Larry from the mobsters.

35:22.007 --> 35:29.972

[SPEAKER_01]: To do this, he sees himself in the mirror in a hallway in the hotel and then he has a conversation with himself.

35:31.193 --> 35:34.095

[SPEAKER_01]: where he does a bunch of different voices.

35:34.335 --> 35:38.417

[SPEAKER_01]: I have several notes about this speech and it goes on for like three hours.

35:39.217 --> 35:40.018

[SPEAKER_01]: Yeah, it's rough.

35:40.258 --> 35:54.205

[SPEAKER_01]: And it does like I will say it does feature his the whole extent of his routine because he's doing the voice doing the voices and he's doing a lot of physical comedy and faces and contorting around.

35:54.305 --> 35:55.945

[SPEAKER_01]: So like the music is good.

35:56.045 --> 35:57.146

[SPEAKER_01]: It's like it's the mugging.

35:57.366 --> 35:58.787

[SPEAKER_08]: His face mugging all the time.

35:59.362 --> 36:00.964

[SPEAKER_01]: But it's not all bad.

36:01.144 --> 36:06.670

[SPEAKER_01]: It's just, it's too much and the camera just sits there forever and the bit just goes on and on.

36:06.730 --> 36:14.117

[SPEAKER_01]: But it is a good, like, if you want to see, if you want to see his performance in microcosm, I think that scene is basically it.

36:14.218 --> 36:16.340

[SPEAKER_08]: So I have two notes on this scene.

36:16.400 --> 36:17.861

[SPEAKER_08]: So first of all, his gangster voice.

36:18.900 --> 36:23.281

[SPEAKER_08]: You know how we talked about how like the Ghost Breakers influenced Scooby-Doo in the future.

36:23.321 --> 36:24.062

[SPEAKER_08]: Yeah.

36:24.082 --> 36:25.102

[SPEAKER_08]: His gangster voice.

36:26.442 --> 36:29.823

[SPEAKER_08]: This is another one for my gen X, gen X homies out there.

36:30.343 --> 36:36.765

[SPEAKER_08]: His gangster voice sounds exactly like Peter Brady singing pork chops and apple shosh in that episode of the Brady bunch.

36:38.086 --> 36:39.586

[SPEAKER_08]: So yes, it's ridiculous.

36:39.606 --> 36:41.006

[SPEAKER_08]: And then I had another note here.

36:41.026 --> 36:45.188

[SPEAKER_08]: Have you, have you ever heard of the the Phantom Edit?

36:46.148 --> 36:46.328

[SPEAKER_08]: Andy?

36:48.208 --> 36:59.475

[SPEAKER_08]: It's an enemy of the Phantom Menace, where somebody has taken out, basically, Jar Jar Binks and made it a more serious movie about, I wanted the Lewis at it for this point.

36:59.635 --> 37:05.659

[SPEAKER_08]: I was ready for a version of this movie without Jerry Lewis in it and by this point, I'm sorry.

37:06.019 --> 37:07.800

[SPEAKER_08]: He's killing me, so yeah.

37:08.461 --> 37:09.241

[SPEAKER_01]: It's just endless.

37:09.601 --> 37:15.005

[SPEAKER_01]: When we talk about things happening that sound like normal plot things, you just have to remember that Jerry Lewis is

37:15.905 --> 37:20.548

[SPEAKER_01]: flailing around and screaming in the background of every single scene.

37:20.688 --> 37:22.749

[SPEAKER_08]: Yeah, having said that there are a couple of nice bits here.

37:22.789 --> 37:32.234

[SPEAKER_08]: There's one great shot where one of the gangsters is sort of bearing down on Larry and you cut to Larry looking at the so the shot is

37:33.083 --> 37:39.405

[SPEAKER_08]: The camera moving towards Larry as he is scared of this gangster from the gangster's perspective.

37:40.045 --> 37:47.728

[SPEAKER_08]: And it was almost like a handheld shot zooming in on Larry, like it was surprisingly effective and strangely like a strangely creative shot in the middle of this film.

37:48.833 --> 38:00.801

[SPEAKER_01]: So I am no, I am no cinematography or filming expert, but I actually did notice a couple of times when the camera work was, it seemed like a slightly above average.

38:01.361 --> 38:01.581

[SPEAKER_01]: Yes.

38:02.682 --> 38:04.623

[SPEAKER_01]: Okay, let's, let's move on.

38:04.963 --> 38:06.604

[SPEAKER_01]: So that's the first act of this film.

38:06.704 --> 38:10.827

[SPEAKER_01]: It ends with them all, so Larry's in the trunk.

38:11.367 --> 38:12.468

[SPEAKER_01]: It gets taken over to the boat.

38:12.528 --> 38:15.050

[SPEAKER_01]: There is a truly endless

38:15.950 --> 38:20.973

[SPEAKER_01]: scene on the dock yard where a drunk like in Ghostbreakers a drunk person.

38:20.993 --> 38:26.977

[SPEAKER_01]: It's, I don't even, it's too dumb to describe it.

38:26.997 --> 38:27.757

[SPEAKER_01]: It's Ghost forever.

38:27.777 --> 38:33.841

[SPEAKER_01]: I, my only note is at what point, so there's a drunk person in the scene.

38:33.921 --> 38:37.783

[SPEAKER_01]: And at what point do drunk people stop being portrayed this way?

38:37.923 --> 38:39.805

[SPEAKER_01]: You know, like it's this very old timey

38:40.545 --> 38:58.833

[SPEAKER_01]: like a drunk this drunk guy like a lot of drunk people in these movies is like he's happy he's slurring his words he's I mean in my personal experience with drunk people I find them in sufferable to be around but this is like yeah I don't know

38:59.653 --> 39:03.115

[SPEAKER_01]: We stopped portraying drunkenness in film this way at some point.

39:03.716 --> 39:07.758

[SPEAKER_08]: Yes, it's just a comedy is another comedy slapstick bit.

39:08.559 --> 39:12.701

[SPEAKER_08]: My only note here is by the time we head to Cuba and head to Cuba, I made a note.

39:13.462 --> 39:15.823

[SPEAKER_08]: This took longer than it did in Ghostbreakers.

39:15.883 --> 39:17.364

[SPEAKER_01]: Yes, I really sang that thing.

39:17.484 --> 39:19.226

[SPEAKER_01]: You have the exact same note.

39:20.106 --> 39:28.009

[SPEAKER_01]: And then this scene on the boat goes so long, but there is one great thing on the boat that I think we have to talk about.

39:28.329 --> 39:35.171

[SPEAKER_01]: Well, I can't even think about what that was, but let, please, as soon as we get to it, jump out and say, okay, so.

39:36.965 --> 39:38.266

[SPEAKER_01]: So they're on the boat to Cuba.

39:38.786 --> 39:44.028

[SPEAKER_01]: There's just a succession of encounters and conversations.

39:44.689 --> 39:46.650

[SPEAKER_01]: Mary gets a threatening note.

39:47.150 --> 39:47.470

[SPEAKER_01]: Yeah.

39:47.490 --> 39:48.751

[SPEAKER_01]: She gets a threatening note.

39:48.811 --> 39:48.971

[SPEAKER_01]: Yep.

39:49.231 --> 39:52.753

[SPEAKER_01]: Someone makes an attempt to kill her by dropping a plant on her.

39:53.713 --> 39:58.097

[SPEAKER_01]: So the conversations she has is kind of reinforced what we already know.

39:59.218 --> 40:02.080

[SPEAKER_01]: Somebody she's under pressure to sell to sell.

40:03.201 --> 40:13.851

[SPEAKER_01]: She meets a friend of hers named is it Toby Tony it's Tony who we will learn is the real villain here, but he's just like in Ghostbreak.

40:13.971 --> 40:15.892

[SPEAKER_01]: Yep, he's portrayed here as a good friend.

40:17.113 --> 40:22.338

[SPEAKER_01]: And in one of the conversations with, I think, the executive.

40:22.458 --> 40:26.061

[SPEAKER_01]: We do get our first mention of the word zombie.

40:26.181 --> 40:30.525

[SPEAKER_01]: And we hear a little bit more about what type of zombie this film might have.

40:30.685 --> 40:35.649

[SPEAKER_01]: So producer Brad, why don't you run that audio clip for?

40:35.669 --> 40:39.112

[SPEAKER_07]: Hey, Mary, what does that mean?

40:39.392 --> 40:39.712

[SPEAKER_07]: What?

40:39.812 --> 40:40.973

[SPEAKER_03]: Who said anything about a zombie?

40:41.654 --> 40:42.895

[SPEAKER_07]: Oh, I always thought it was a drink.

40:43.463 --> 40:46.824

[SPEAKER_07]: That fella Quarpega, he says it's an old dead guy, over on the island.

40:47.024 --> 40:47.844

[SPEAKER_07]: And he works like this.

40:47.884 --> 40:58.347

[SPEAKER_03]: MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM

41:13.467 --> 41:15.208

[SPEAKER_03]: because a zombie has no will of its own.

41:16.209 --> 41:24.096

[SPEAKER_03]: Every once in a while you see him walking about with dead eyes, blindly following orders, not knowing what they do and not caring.

41:25.257 --> 41:26.098

[SPEAKER_07]: It's like husband.

41:26.918 --> 41:34.325

[SPEAKER_01]: So in this movie called scared stiff, this is, you know, the first time we've gotten a coherent look at what might be waiting for them on this island.

41:34.525 --> 41:38.808

[SPEAKER_01]: Yes, it's a pretty standard type of zombie.

41:38.848 --> 41:41.591

[SPEAKER_01]: We've heard a lot about in these films, I would say.

41:42.297 --> 41:46.519

[SPEAKER_09]: So standard, it sounds like the exact same words for identical.

41:46.699 --> 41:47.279

[SPEAKER_01]: Yes.

41:47.899 --> 41:59.024

[SPEAKER_01]: So and around the time that we learned this about the zombie, this is when Mary finds a death wanga in her room on the boat.

41:59.864 --> 42:03.726

[SPEAKER_01]: And it's all seeming, I guess pretty menacing.

42:04.266 --> 42:04.606

[SPEAKER_01]: Yeah.

42:04.807 --> 42:07.709

[SPEAKER_01]: We also get one other, I guess, remarkable moment.

42:07.769 --> 42:09.891

[SPEAKER_01]: And I think this is what John has been waiting to talk about.

42:09.951 --> 42:10.792

[SPEAKER_01]: So what is, what is that?

42:10.832 --> 42:12.213

[SPEAKER_08]: Well, there's a couple of things I want to talk about.

42:12.233 --> 42:19.860

[SPEAKER_08]: So first of all, on the boat, they also somehow Larry, Dean Martin, has been hired after stealing away on the boat.

42:19.900 --> 42:21.661

[SPEAKER_08]: He got hired to be the singer at dinner.

42:21.862 --> 42:23.263

[SPEAKER_08]: So he follows it.

42:23.323 --> 42:26.105

[SPEAKER_08]: So Carmen Miranda does a spicy song.

42:27.507 --> 42:51.667

[SPEAKER_08]: followed by which is bizarre because her sort of assist her her I don't know what her duet partner is a man wearing bongo drums on his hips and he like spins around and part of the song is her like hitting the bongo drums it's very strange so then Larry Dean Martin and Mary had out to the deck and they're talking about lost island and they're kind of falling for each other

42:52.688 --> 42:54.469

[SPEAKER_08]: and several notes about this.

42:54.589 --> 43:04.916

[SPEAKER_08]: Like I made that joke about the Lewis Cut earlier, but like when there's like a few minutes here where Jerry Lewis isn't here and I'm like, oh, like I was so relieved.

43:05.376 --> 43:07.517

[SPEAKER_08]: But but there's something I actually want to make a point.

43:07.557 --> 43:09.619

[SPEAKER_08]: We talked in our fifties episode about sort of

43:10.319 --> 43:14.721

[SPEAKER_08]: You know, the concept of the teenagers and maybe sort of a slightly looser moral strictures.

43:15.042 --> 43:18.624

[SPEAKER_08]: And, and this is our first really romantic couple.

43:19.084 --> 43:23.106

[SPEAKER_08]: There's now their merry-dorn gauge that sort of engages in a deep, passionate kiss.

43:23.847 --> 43:25.127

[SPEAKER_08]: And I don't think we've seen that before.

43:25.187 --> 43:29.810

[SPEAKER_08]: So this is part of that sort of fifties loosening up a little bit, which happens on this thing.

43:30.290 --> 43:30.850

[SPEAKER_08]: Interesting.

43:30.910 --> 43:31.111

[SPEAKER_01]: Yeah.

43:31.351 --> 43:32.091

[SPEAKER_01]: That's a good point, John.

43:32.211 --> 43:32.411

[SPEAKER_08]: Yeah.

43:32.832 --> 43:33.032

[SPEAKER_08]: But.

43:33.812 --> 43:39.059

[SPEAKER_08]: The important thing here is, well, two things happen to Larry and Mary, whether out in the deck.

43:39.079 --> 43:45.647

[SPEAKER_08]: The first one is somebody tries to kill Mary by dropping a bucket of sand on her just like in the Ghostbreakers.

43:47.065 --> 43:52.628

[SPEAKER_08]: But then the sort of assistant comes out to try to talk her and is selling it again.

43:53.309 --> 44:03.575

[SPEAKER_08]: Dean Martin is hiding and he comes out and gives a similar speech to Bob Hopes on the deck where he says he's a ghost breaker, but that's not what Dean Martin says.

44:03.675 --> 44:07.157

[SPEAKER_08]: What he says is, well, Mr. Good day.

44:08.198 --> 44:09.038

[SPEAKER_04]: I've heard about you.

44:09.058 --> 44:11.640

[SPEAKER_04]: Oh, have you been in Nevada before?

44:12.100 --> 44:14.401

[SPEAKER_04]: No, first trip, major trip.

44:14.941 --> 44:15.622

[SPEAKER_04]: Not exactly.

44:16.391 --> 44:18.674

[SPEAKER_04]: Are you interested in some tobacco plantation?

44:19.074 --> 44:20.135

[SPEAKER_04]: Well, I'll save you a lot of time.

44:20.195 --> 44:21.096

[SPEAKER_04]: I'm Ghost Buster.

44:21.176 --> 44:24.060

[SPEAKER_04]: Look what?

44:24.300 --> 44:27.383

[SPEAKER_04]: Well, you've heard of Chuss Busters and Bronco Busters and Gang Busters.

44:27.403 --> 44:28.565

[SPEAKER_04]: Blamer Ghost Buster.

44:29.426 --> 44:30.387

[SPEAKER_04]: So watch it Buster.

44:31.188 --> 44:33.570

[SPEAKER_04]: I hope you're still feel as comical when you come off the island.

44:34.071 --> 44:34.752

[SPEAKER_04]: Good night, Miss Carol.

44:36.148 --> 44:37.709

[SPEAKER_08]: So two things there.

44:37.949 --> 44:39.651

[SPEAKER_08]: Yeah, he's his ghostbuster.

44:40.291 --> 44:41.012

[SPEAKER_08]: That's amazing.

44:41.332 --> 44:43.654

[SPEAKER_08]: But second thing is, it's actually kind of a clever line.

44:44.114 --> 44:54.082

[SPEAKER_08]: And without, without my run there to step all over everything, we get to see a little bit of, of Dean Martin's own sort of easy charm there.

44:54.222 --> 44:54.443

[SPEAKER_01]: Yeah.

44:54.463 --> 44:59.206

[SPEAKER_01]: So I know Dan Akroyd sights the ghost breakers as an inspiration for Ghostbusters.

44:59.266 --> 45:02.909

[SPEAKER_01]: Do you think he, this is where he got the phrase Ghostbusters?

45:04.029 --> 45:04.610

[SPEAKER_01]: He must have.

45:04.670 --> 45:09.934

[SPEAKER_09]: He cited this era of filmmaking the comedy in the horror, so I would assume he saw this as well.

45:09.954 --> 45:14.337

[SPEAKER_08]: Yeah, maybe he just cited Ghost Breakers because it's the first one and was the inspiration.

45:14.377 --> 45:19.221

[SPEAKER_08]: In fact, they're the better movie, but the word Ghostbuster is right here in nineteen fifty three.

45:19.421 --> 45:23.104

[SPEAKER_08]: So thirty one years later, we have a movie with that title.

45:23.264 --> 45:29.088

[SPEAKER_01]: So I noted here, it's at around at this time, the boat actually arrives at Cuba.

45:29.388 --> 45:31.710

[SPEAKER_01]: And so my notes excitedly, I jot it down.

45:31.750 --> 45:32.331

[SPEAKER_01]: Yes, they're

45:33.031 --> 45:47.414

[SPEAKER_01]: Yes, you have a terminal boat sequence is done, but nope, they like, they park off of Cuba and then we get like twenty more minutes of conversations in the boats and one, I guess I'll say a remarkable song in dance routine.

45:49.455 --> 45:53.956

[SPEAKER_08]: I wrote, so there's a couple of songs here, but at one point they do a song called the enchiladas song.

45:54.516 --> 45:58.977

[SPEAKER_08]: Yeah, where Carmen Miranda comes out and cooks enchiladas and there's a whole thing about enchiladas.

46:00.117 --> 46:04.440

[SPEAKER_08]: And my note here is, let me quote this, like, I can't even.

46:09.123 --> 46:09.743

[SPEAKER_01]: It's forever.

46:10.664 --> 46:17.088

[SPEAKER_01]: I centerpiece of this is that Miron like dresses up as Carmen Miranda and comes out and does

46:17.868 --> 46:34.840

[SPEAKER_08]: This very long, yeah, he's my main carming along to a record, which is Carmen Miranda and stops and he's dressed garrishly as Carmen Miranda with like the big fruit headdress and the giant heels and I just

46:35.680 --> 46:40.603

[SPEAKER_08]: This was another scene that felt to me like you felt early in the movie where we're making fun of a disabled person.

46:40.623 --> 46:43.544

[SPEAKER_08]: Like, I don't know why he thinks this is funny.

46:43.924 --> 46:44.885

[SPEAKER_08]: It was just killing me.

46:45.185 --> 46:45.345

[SPEAKER_08]: Yeah.

46:45.365 --> 46:45.585

[SPEAKER_08]: Yeah.

46:46.466 --> 46:48.487

[SPEAKER_08]: So I guess drag was big in the fifties.

46:48.587 --> 46:54.510

[SPEAKER_08]: Like, this is when Milton Bro would come out and just wear a dress until jokes and like, like, it's not that drag can't be funny.

46:54.570 --> 46:57.851

[SPEAKER_08]: It can be, but like, in this context, it just so weird.

46:58.131 --> 46:58.532

[SPEAKER_08]: I don't know.

46:58.552 --> 46:58.792

[SPEAKER_08]: Yeah.

46:59.212 --> 47:02.334

[SPEAKER_09]: Well, I think it's interesting that obviously they were successful.

47:02.414 --> 47:03.894

[SPEAKER_09]: So audience, like, sounds true.

47:04.295 --> 47:04.455

[SPEAKER_09]: But

47:05.155 --> 47:15.323

[SPEAKER_09]: critics, the New York Times says that Lewis performs his impersonation of her, which they said he has done before, and they say, and it isn't good.

47:15.563 --> 47:16.924

[SPEAKER_08]: Yeah, you know what it's funny.

47:17.324 --> 47:18.325

[SPEAKER_08]: You know what I'm reminded of?

47:18.645 --> 47:30.415

[SPEAKER_08]: Also, this sort of kicks me back to Jim Carrey again, after he did Ace Ventura, Roger Ebert, the film critic hated the first movie, and he specifically hated when

47:31.175 --> 47:33.516

[SPEAKER_08]: when he would bend over and talk with his butt.

47:33.996 --> 47:38.159

[SPEAKER_08]: So when they meant to make the sequel, he specifically was like, Roger, you're brahated that.

47:38.179 --> 47:40.099

[SPEAKER_08]: So make sure we include a lot more butt talking.

47:40.580 --> 47:45.662

[SPEAKER_08]: And I feel like that's what this common Miranda impression is like, how can we make this as horrible as possible?

47:46.042 --> 47:46.222

[SPEAKER_08]: Yeah.

47:46.523 --> 47:56.407

[SPEAKER_01]: So they finally arrive at Los Island and as in Ghostbreakers, the are heroes head over to explore the castle on the island in two separate groups.

47:56.748 --> 47:56.908

[SPEAKER_01]: So

47:57.668 --> 48:01.750

[SPEAKER_01]: Myron and Larry take a rowboat and go over to the castle.

48:02.770 --> 48:10.834

[SPEAKER_01]: And I think even more than Ghostbreakers, it's like super haunted house horror movie.

48:11.114 --> 48:14.776

[SPEAKER_01]: It's like the creepy jungle with lots of weird animal noises.

48:14.876 --> 48:21.139

[SPEAKER_08]: Yeah, I made a note about the swamp sound effects being so over the top as they want towards the castle like goodness.

48:22.019 --> 48:23.460

[SPEAKER_08]: Nobody could sleep on this island.

48:23.800 --> 48:24.961

[SPEAKER_08]: No wonder everybody's so zombie.

48:25.776 --> 48:29.278

[SPEAKER_01]: Myron and Larry go in, they spot the woman mentioned earlier.

48:29.318 --> 48:30.259

[SPEAKER_01]: We heard the audio clip.

48:30.279 --> 48:34.882

[SPEAKER_01]: There is a woman who lives on this island who is who supposedly has a zombie son.

48:35.242 --> 48:41.446

[SPEAKER_01]: I didn't know whether to laugh or wet, but they literally just see the woman like walking into her hut.

48:41.747 --> 48:41.967

[SPEAKER_01]: Yes.

48:42.007 --> 48:52.494

[SPEAKER_01]: And then they have this extended sequence where they repeatedly state that this woman is scaring them and it's no, she's she's a normal looking person and she's just going into her

48:52.934 --> 49:00.058

[SPEAKER_08]: Yeah, we've taken a step backwards and zombie make up in this movie like her and her son her son will get there in a second.

49:00.198 --> 49:07.022

[SPEAKER_08]: He just looks like a overweight unshaving guy with messy hair like yes, he doesn't want to get that X or anything.

49:07.243 --> 49:07.923

[SPEAKER_01]: Yeah, I want

49:08.343 --> 49:09.684

[SPEAKER_01]: Yeah, so let's just talk about it now.

49:09.864 --> 49:20.850

[SPEAKER_01]: So although Larry and Miran spend quite a bit of time bumbling around in this Scooby-Doo style haunted mansion, yes, and Mary shows up separately.

49:21.330 --> 49:24.331

[SPEAKER_01]: Were you also watching to see how her hair would survive?

49:25.172 --> 49:28.734

[SPEAKER_08]: As she was pulling off the swimming gap, I was like, what's it going to be, Mary?

49:28.774 --> 49:29.534

[SPEAKER_08]: Can you pull it off?

49:29.554 --> 49:31.135

[SPEAKER_08]: Yeah, I'm like, Janet, Janet, good old.

49:31.555 --> 49:32.776

[SPEAKER_01]: Yeah.

49:33.296 --> 49:35.177

[SPEAKER_01]: So Mary arrives at the island too.

49:35.258 --> 49:40.161

[SPEAKER_01]: And when Mary arrives, the, for reasons I don't, I don't understand.

49:40.261 --> 49:43.683

[SPEAKER_01]: But like the woman goes and basically wakes up her zombie son.

49:43.923 --> 49:47.706

[SPEAKER_01]: And then the zombies kind of chases Mary through the castle.

49:47.806 --> 49:49.607

[SPEAKER_01]: John, you already did a little bit.

49:49.647 --> 49:51.328

[SPEAKER_01]: But so this is our zombie.

49:51.508 --> 49:54.430

[SPEAKER_01]: This is why we're watching this movie and this podcast.

49:54.490 --> 49:54.790

[SPEAKER_01]: Yes.

49:54.870 --> 49:57.072

[SPEAKER_01]: So John, tell us about this zombie.

49:57.412 --> 49:59.493

[SPEAKER_08]: He's just like he's big.

50:00.334 --> 50:01.154

[SPEAKER_08]: He shuffles.

50:01.954 --> 50:03.735

[SPEAKER_08]: He makes a chain rattling sound though.

50:03.755 --> 50:05.935

[SPEAKER_08]: I don't see any chains around his ankles.

50:06.115 --> 50:06.475

[SPEAKER_08]: There were.

50:07.215 --> 50:07.496

[SPEAKER_08]: Okay.

50:07.636 --> 50:07.916

[SPEAKER_08]: All right.

50:07.936 --> 50:08.676

[SPEAKER_08]: There was there.

50:09.076 --> 50:09.216

[SPEAKER_08]: Yeah.

50:09.236 --> 50:10.316

[SPEAKER_08]: He just kind of bucked tooth.

50:10.376 --> 50:18.278

[SPEAKER_08]: He actually looks like he just kind of looks like a redneck with messy hair like he doesn't he doesn't project.

50:18.678 --> 50:23.079

[SPEAKER_08]: You know, they sort of talked up the zombie is being like to somebody brought back to life by a voodoo priest.

50:23.759 --> 50:25.199

[SPEAKER_08]: I don't get that vibe at all.

50:25.359 --> 50:28.200

[SPEAKER_08]: He just seems like somebody who's drunk or tired.

50:28.600 --> 50:35.727

[SPEAKER_01]: You know, I mean, it's not that I had super high expectations, but I was really shocked at how much they just didn't even try with the zombie.

50:35.767 --> 50:36.067

[SPEAKER_01]: Yeah.

50:36.267 --> 50:36.548

[SPEAKER_01]: Yeah.

50:36.728 --> 50:39.270

[SPEAKER_01]: It looks, it doesn't look like a zombie.

50:39.310 --> 50:46.077

[SPEAKER_01]: Like there's nothing about it that suggests undead or, I mean, he walks slow, I guess.

50:46.337 --> 50:46.617

[SPEAKER_01]: Yeah.

50:46.977 --> 50:50.220

[SPEAKER_01]: It's why later when he gets in a fight with

50:50.901 --> 51:06.064

[SPEAKER_01]: Miran and Larry he's like fighting at like kind of normal speed so I mean he's just like a person I mean which I guess is a type of zombie I guess we have seen there are zombies we have been told that are

51:06.825 --> 51:09.627

[SPEAKER_01]: They may even just be still alive people.

51:10.007 --> 51:15.711

[SPEAKER_01]: Yeah, but it was like they didn't try it all like they put makeup on them to make them look creepy.

51:15.851 --> 51:25.878

[SPEAKER_08]: Yeah, the zombie in this the first earlier version of this movie from thirteen years ago was much more convincing and scary and just sort of more everything than they sabias for sure.

51:25.978 --> 51:30.779

[SPEAKER_01]: Yeah, at one point, Mary, you know, when she first sees the zombie, she just lets out this huge scream.

51:30.899 --> 51:33.420

[SPEAKER_01]: And it's like, he just looks like a person.

51:33.640 --> 51:37.181

[SPEAKER_09]: Like, yeah, I mean, I just have his pants were tattered.

51:38.081 --> 51:38.801

[SPEAKER_01]: They were tattered.

51:38.841 --> 51:39.241

[SPEAKER_01]: You're right.

51:39.261 --> 51:39.621

[SPEAKER_01]: Okay.

51:39.701 --> 51:40.061

[SPEAKER_01]: You're right.

51:40.081 --> 51:43.462

[SPEAKER_01]: There's that masterful like costume to settle.

51:43.542 --> 51:46.923

[SPEAKER_01]: There's the good costume designer, the high point of this film, I believe.

51:47.642 --> 51:55.992

[SPEAKER_01]: So I don't know what other details we need to get through because this sequence from here follows all of the beats that Ghost Breakers did.

51:56.232 --> 52:01.398

[SPEAKER_01]: Yeah, we do get like a special effect where they see a ghost who is a like translucent.

52:02.000 --> 52:06.881

[SPEAKER_08]: Yeah, this time, I guess, one difference in Ghostbreakers and Ghostbreakers, they just observe the Ghost, then it goes away.

52:06.921 --> 52:07.962

[SPEAKER_08]: This time, they try to catch it.

52:08.342 --> 52:09.362

[SPEAKER_08]: And it runs away from them.

52:09.662 --> 52:09.842

[SPEAKER_01]: Yeah.

52:10.122 --> 52:17.344

[SPEAKER_01]: Oh, they, they like, they flank it and then run towards each other and predictably, and then they like crash into each other.

52:17.404 --> 52:18.445

[SPEAKER_01]: And then they run into each other.

52:18.625 --> 52:18.805

[SPEAKER_01]: Yeah.

52:18.885 --> 52:21.145

[SPEAKER_01]: I mean, it's, it's super funny.

52:21.185 --> 52:22.906

[SPEAKER_01]: Would you describe it as really hilarious?

52:23.166 --> 52:24.406

[SPEAKER_01]: I, I would not, Andy.

52:24.486 --> 52:24.726

[SPEAKER_01]: I think.

52:25.987 --> 52:26.307

[SPEAKER_01]: Okay.

52:28.107 --> 52:30.208

[SPEAKER_01]: So we do get a little bit more zombie action.

52:30.888 --> 52:38.772

[SPEAKER_01]: As in Ghostbreakers, the zombie inexplicably takes the time to climb into a suit of like full plate armor.

52:38.932 --> 52:39.192

[SPEAKER_01]: Right.

52:39.672 --> 52:40.913

[SPEAKER_01]: And it does attack them.

52:41.793 --> 52:45.595

[SPEAKER_01]: There's a lot of Prattfalls and the sort.

52:46.595 --> 52:47.315

[SPEAKER_01]: Uh, it does attack them.

52:47.355 --> 52:47.916

[SPEAKER_01]: They fight it.

52:47.996 --> 52:54.659

[SPEAKER_01]: And this is where I said, a zombie, if you watch the fight scene, I mean, he's not, he's just fighting like wrestling like a normal person.

52:54.959 --> 52:55.159

[SPEAKER_01]: Yes.

52:55.199 --> 52:55.379

[SPEAKER_01]: Yeah.

52:56.019 --> 53:07.244

[SPEAKER_01]: But they, they imprisoned it and then, um, oh, well, Mary, as in Ghostbreakers uses the same strategy to kind of distract the zombie by dressing up as her ancestor.

53:07.284 --> 53:10.986

[SPEAKER_01]: There's a big beautiful painting of her ancestor hanging in the castle.

53:11.266 --> 53:15.788

[SPEAKER_09]: By the way, the castle that entryway with the front door has always been there.

53:16.328 --> 53:20.473

[SPEAKER_09]: It looks like it's identified in the same as the first movie.

53:20.773 --> 53:27.741

[SPEAKER_08]: I like I can't believe it's possible money to reproduce it like that seems like not something worth doing it.

53:27.861 --> 53:28.842

[SPEAKER_08]: It has to be the same.

53:29.062 --> 53:31.045

[SPEAKER_09]: I don't I don't know if they would have captured it, but maybe the

53:32.447 --> 53:36.309

[SPEAKER_09]: The first one may not have been a result to that, maybe it's a set that gets repurposed all the time.

53:36.489 --> 53:37.490

[SPEAKER_08]: Yeah, I don't know.

53:37.950 --> 53:39.511

[SPEAKER_08]: It could be used for a throne room.

53:39.571 --> 53:41.391

[SPEAKER_08]: It's got that big dais at the landing.

53:41.431 --> 53:42.092

[SPEAKER_08]: Like I don't know.

53:42.372 --> 53:44.853

[SPEAKER_09]: Or the director is just really comfortable with that layout.

53:48.795 --> 53:54.581

[SPEAKER_01]: So, can I, so I'm just going to sum it up, you know, they explore around.

53:55.061 --> 54:01.146

[SPEAKER_01]: They solve this puzzle that involves playing specific notes on this organ that is inexplicably in the crypt.

54:01.507 --> 54:01.747

[SPEAKER_01]: Right.

54:02.127 --> 54:06.912

[SPEAKER_01]: And they find that there is a mine underneath the castle.

54:06.932 --> 54:08.293

[SPEAKER_01]: It's gold this time.

54:08.333 --> 54:09.834

[SPEAKER_08]: It was silver and gold not silver.

54:09.854 --> 54:12.036

[SPEAKER_01]: It's gold exactly the upgrade.

54:12.056 --> 54:12.216

[SPEAKER_01]: Yep.

54:13.457 --> 54:26.923

[SPEAKER_01]: and they find this is where we learn that Cortega the creepy lawyer is not really the villain he was now they find his him dying he's been stabbed by the real villain who is Tony yes

54:30.544 --> 54:35.749

[SPEAKER_01]: So as in Ghostbreakers, Miron in Ghostbreakers, it was Alex, I think.

54:36.149 --> 54:37.791

[SPEAKER_01]: But Miron saves the day.

54:37.811 --> 54:44.277

[SPEAKER_01]: He is poking around on that organ and opening trap doors and secret passages.

54:44.958 --> 54:50.102

[SPEAKER_01]: And he accidentally opens a trap door underneath the feet of the bad guy who plummets to his death.

54:50.803 --> 54:51.604

[SPEAKER_01]: The day is saved.

54:52.345 --> 54:55.829

[SPEAKER_01]: Larry and Mary decide to get that they're going to get married.

54:56.529 --> 55:03.697

[SPEAKER_01]: It's a very romantic and sweet and then there is this movie ends with a sequence I didn't understand.

55:03.717 --> 55:06.300

[SPEAKER_01]: So I'm hoping one of you two did.

55:06.815 --> 55:20.127

[SPEAKER_08]: well yeah so so at the end this little mini trap door falls open and Jerry Lewis looks through it in screams and run away runs away and then Dean Martin looks through it in screams and runs away and then we see what's in there

55:21.003 --> 55:29.325

[SPEAKER_08]: And what's in there are Bob Hope and Bing Crosby would like their head stuck through the wall and underneath them it like these dangling skeletons.

55:30.185 --> 55:33.906

[SPEAKER_08]: And that kind of understood why Bob Hope was there because he was in Ghostbreakers.

55:34.707 --> 55:36.547

[SPEAKER_08]: I don't know why Bing Crosby is there.

55:36.627 --> 55:42.109

[SPEAKER_09]: So Bob Hope and Bing Crosby that a series of films together like Road to Rio Road to Bali.

55:42.709 --> 55:42.969

[SPEAKER_09]: Okay.

55:42.989 --> 55:44.409

[SPEAKER_09]: So they were a pair and they did a lot.

55:44.469 --> 55:47.310

[SPEAKER_09]: And so this is just a cameo because Bob had been in the first one.

55:48.019 --> 55:57.264

[SPEAKER_09]: And I think the better description is, their heads are poking through the wall, but it's made to look like their heads are joined to the skeletons because the skeletons are missing a skull.

55:57.304 --> 55:58.505

[SPEAKER_09]: So it's their skeleton.

55:59.285 --> 56:03.068

[SPEAKER_01]: Yes, like there's a truly bizarre moment.

56:03.408 --> 56:04.308

[SPEAKER_01]: Can I say that?

56:04.508 --> 56:07.370

[SPEAKER_01]: I think it only works in the cultural context.

56:07.430 --> 56:07.690

[SPEAKER_09]: Yeah.

56:08.491 --> 56:13.573

[SPEAKER_01]: So the three of the three heroes then run out and we get credits, but I just want to call it one or two things first.

56:14.254 --> 56:15.775

[SPEAKER_01]: This was the most convincing

56:16.515 --> 56:27.038

[SPEAKER_01]: bit of acting was them running out of the castle because they are like tripping over each other and like the actors are really pushing each other and stumbling over each other.

56:27.098 --> 56:27.378

[SPEAKER_00]: Yeah.

56:27.738 --> 56:36.381

[SPEAKER_01]: Like you know sometimes in movies people people are running away from like something that's about a kill him but they appear to be moving it like a light jog or something and this one there.

56:38.041 --> 56:41.182

[SPEAKER_01]: The actors are booking their way out of the house over there.

56:41.282 --> 56:44.723

[SPEAKER_09]: So fast that it looked like they knocked over Mary and fell on top of her.

56:45.103 --> 56:46.864

[SPEAKER_01]: Yeah, that's what I was thinking.

56:46.884 --> 56:49.885

[SPEAKER_01]: Like they completely, they completely bowl her over.

56:50.125 --> 56:54.686

[SPEAKER_01]: And yeah, that's what I mean when I say this really convincing.

56:55.966 --> 57:00.268

[SPEAKER_01]: And secondly, so this ends, I think this is our second movie that has a little bit of

57:01.348 --> 57:03.049

[SPEAKER_01]: Like fourth wall breaking at the end.

57:03.569 --> 57:03.729

[SPEAKER_01]: Yeah.

57:03.769 --> 57:05.310

[SPEAKER_01]: We had one movie.

57:05.350 --> 57:07.151

[SPEAKER_01]: Maybe you guys can't remind me what it was.

57:07.551 --> 57:08.471

[SPEAKER_01]: Maybe it was food.

57:08.511 --> 57:08.852

[SPEAKER_01]: It was food.

57:08.872 --> 57:12.653

[SPEAKER_01]: It was it voodoo man where the door swings closed and it says.

57:12.673 --> 57:15.535

[SPEAKER_08]: No, no, that was revenge of the zone.

57:15.555 --> 57:16.755

[SPEAKER_01]: Yeah, that was revenge of the zombies.

57:16.775 --> 57:16.935

[SPEAKER_01]: Yep.

57:17.316 --> 57:24.879

[SPEAKER_01]: In this one, our three heroes run out of the castle, but then they turned around, poke their heads back through the door and all shout in unison.

57:25.319 --> 57:26.360

[SPEAKER_01]: Well, that's the end.

57:26.700 --> 57:26.980

[SPEAKER_01]: Yes.

57:27.060 --> 57:28.441

[SPEAKER_01]: And then roll credits.

57:28.861 --> 57:29.101

[SPEAKER_08]: Yes.

57:30.082 --> 57:30.342

[SPEAKER_01]: Okay.

57:30.483 --> 57:33.846

[SPEAKER_01]: So that is a wrap on scared stiff.

57:34.106 --> 57:34.586

[SPEAKER_01]: We made it.

57:35.187 --> 57:35.587

[SPEAKER_01]: We made it.

57:36.848 --> 57:40.372

[SPEAKER_01]: Thank you for joining for bearing this burden with us listeners.

57:40.472 --> 57:40.772

[SPEAKER_00]: Yes.

57:40.872 --> 57:41.072

[SPEAKER_00]: Yes.

57:41.693 --> 57:45.436

[SPEAKER_01]: So John, we've been talking about scared stiff for what feels like a very long time.

57:45.456 --> 57:47.578

[SPEAKER_01]: So let's let's move right into our wrap up.

57:48.319 --> 57:50.161

[SPEAKER_01]: John, I'm going to go through our discussion questions.

57:50.521 --> 57:50.781

[SPEAKER_01]: All right.

57:52.022 --> 57:54.484

[SPEAKER_01]: Is there a hero party in scared stuff?

57:54.884 --> 57:59.407

[SPEAKER_08]: Yeah, we've got Martin and Lewis and Mary the same party from Ghostbreaker.

57:59.427 --> 58:02.229

[SPEAKER_08]: So yes, how does the party do?

58:02.649 --> 58:04.170

[SPEAKER_01]: Who survives and how many?

58:04.411 --> 58:05.371

[SPEAKER_08]: Well, they all survive.

58:05.531 --> 58:14.877

[SPEAKER_08]: The only one who eats it is Tony the villain who we assume dies at the bottom of a trapdoor we never see and Cortega the lawyer dies

58:15.918 --> 58:23.165

[SPEAKER_01]: Can I mention, I should have mentioned this earlier, but you don't want to make favorite things in these movies is used the word robot.

58:23.725 --> 58:27.549

[SPEAKER_01]: Did you notice that there's a character named Ramon in this?

58:27.649 --> 58:30.772

[SPEAKER_01]: And did you notice that Mary pronounces his name Raymond?

58:31.352 --> 58:32.473

[SPEAKER_09]: No, we did.

58:33.314 --> 58:34.976

[SPEAKER_09]: They did the same in the Ghostbreakers.

58:35.616 --> 58:36.557

[SPEAKER_09]: It just did they really?

58:36.577 --> 58:36.697

[SPEAKER_01]: Yeah.

58:36.837 --> 58:37.138

[SPEAKER_01]: Okay.

58:37.158 --> 58:38.038

[SPEAKER_01]: So that was intentional.

58:38.719 --> 58:39.059

[SPEAKER_01]: Okay.

58:39.720 --> 58:41.782

[SPEAKER_01]: I don't know what they're going for there, but

58:43.149 --> 58:45.974

[SPEAKER_01]: Okay, John, is there a zombie hoard in this movie?

58:46.394 --> 58:50.161

[SPEAKER_08]: No, there's a very lame zombie in this movie.

58:50.867 --> 58:53.949

[SPEAKER_01]: How are zombies destroyed killed or defeated in this movie?

58:54.229 --> 58:55.509

[SPEAKER_08]: They're just locked in rooms.

58:56.410 --> 58:57.090

[SPEAKER_01]: Yep.

58:58.631 --> 59:00.492

[SPEAKER_01]: They seem to have the strength of a regular person.

59:00.652 --> 59:04.454

[SPEAKER_08]: Yeah, I don't know exactly why zombies are so scary.

59:05.314 --> 59:05.754

[SPEAKER_08]: Quite yet.

59:07.255 --> 59:08.796

[SPEAKER_01]: Is the world threatened in this movie?

59:09.416 --> 59:09.997

[SPEAKER_08]: It is not.

59:10.277 --> 59:13.919

[SPEAKER_08]: I feel like this again is just a little corner of the world where they're having their own drama.

59:15.339 --> 59:15.519

[SPEAKER_08]: Yeah.

59:16.280 --> 59:18.781

[SPEAKER_01]: What kind of zombie strain are we dealing with here?

59:19.028 --> 59:28.092

[SPEAKER_08]: So they say pretty explicitly, it's a, it's a reanimated corpse that can, that is reanimated living dead, who's raised by a voodoo priest.

59:28.112 --> 59:31.413

[SPEAKER_08]: So we're dealing with voodoo style reanimated zombies.

59:31.553 --> 59:38.416

[SPEAKER_01]: Yeah, they have no will of their own, or condemn to follow the orders they are given by their master, right?

59:39.436 --> 59:40.336

[SPEAKER_01]: Okay.

59:40.977 --> 59:44.618

[SPEAKER_01]: Are there any new strains or zombie firsts in this movie?

59:45.358 --> 59:46.299

[SPEAKER_01]: I can't think of one.

59:46.419 --> 59:46.759

[SPEAKER_01]: Can you?

59:47.839 --> 59:57.863

[SPEAKER_01]: The only thing I would advance is a first is maybe maybe maybe maybe maybe we could call this our first like zombie quasi musical.

59:58.804 --> 59:59.484

[SPEAKER_08]: I guess you're right.

59:59.664 --> 01:00:00.584

[SPEAKER_08]: We'll run into more.

01:00:01.205 --> 01:00:02.345

[SPEAKER_01]: Yeah.

01:00:02.485 --> 01:00:03.045

[SPEAKER_08]: It's our first.

01:00:03.405 --> 01:00:06.687

[SPEAKER_08]: I think it's our first move with musical numbers in it for sure.

01:00:06.747 --> 01:00:06.947

[SPEAKER_08]: Yeah.

01:00:08.408 --> 01:00:11.270

[SPEAKER_01]: Yeah, at least longer than like a quick bit.

01:00:11.630 --> 01:00:12.230

[SPEAKER_01]: Right.

01:00:12.330 --> 01:00:12.831

[SPEAKER_01]: A full song.

01:00:13.351 --> 01:00:16.933

[SPEAKER_08]: Yeah, there's multiple set piece songs in this.

01:00:17.613 --> 01:00:21.956

[SPEAKER_08]: They have nothing to do with the plot, but they're to entertain as if we were in a nightclub basically.

01:00:21.976 --> 01:00:22.196

[SPEAKER_01]: Yeah.

01:00:22.296 --> 01:00:22.456

[SPEAKER_01]: Yeah.

01:00:22.716 --> 01:00:24.898

[SPEAKER_01]: If there is there is one, I think you mentioned you're right.

01:00:24.918 --> 01:00:25.238

[SPEAKER_01]: That's right.

01:00:25.318 --> 01:00:27.619

[SPEAKER_01]: On this day conversation.

01:00:27.899 --> 01:00:32.322

[SPEAKER_08]: Yeah, but how he loves Mary and that is sort of in context of the scene.

01:00:32.542 --> 01:00:32.742

[SPEAKER_08]: Yes.

01:00:32.942 --> 01:00:39.906

[SPEAKER_01]: And actually at the very beginning of the movie, Larry and Myron when we're first meeting them, they have a conversation in the form of a song.

01:00:40.006 --> 01:00:40.566

[SPEAKER_08]: That's right.

01:00:40.627 --> 01:00:41.007

[SPEAKER_08]: That's right.

01:00:41.087 --> 01:00:41.647

[SPEAKER_08]: Yeah.

01:00:42.307 --> 01:00:42.548

[SPEAKER_01]: Okay.

01:00:43.668 --> 01:00:46.370

[SPEAKER_01]: That's a little tenuous, though, be yeah.

01:00:46.850 --> 01:00:47.070

[SPEAKER_01]: Okay.

01:00:47.710 --> 01:00:52.093

[SPEAKER_01]: How many of your pillars are we going to find in scared stiff John?

01:00:52.113 --> 01:00:53.874

[SPEAKER_08]: I think the answer is zero.

01:00:54.929 --> 01:00:55.189

[SPEAKER_01]: Okay.

01:00:55.429 --> 01:00:56.550

[SPEAKER_01]: Well, let me run through them real quick.

01:00:56.570 --> 01:00:57.550

[SPEAKER_01]: Yeah.

01:00:57.710 --> 01:00:58.851

[SPEAKER_01]: First pillar is apocalypse.

01:00:58.911 --> 01:01:00.132

[SPEAKER_01]: There's no such thing here.

01:01:00.272 --> 01:01:00.452

[SPEAKER_01]: No.

01:01:01.452 --> 01:01:02.413

[SPEAKER_01]: No contagion.

01:01:02.693 --> 01:01:02.873

[SPEAKER_01]: Nope.

01:01:03.753 --> 01:01:04.774

[SPEAKER_01]: Tough moral choices.

01:01:05.194 --> 01:01:07.735

[SPEAKER_08]: Not not a one as far as I could tell.

01:01:08.155 --> 01:01:08.335

[SPEAKER_08]: Yeah.

01:01:08.415 --> 01:01:16.059

[SPEAKER_01]: I mean, the only kind of, yeah, I mean, Mary chooses kind of to not sell the house and that doesn't feel like a moral dress.

01:01:16.359 --> 01:01:16.799

[SPEAKER_01]: Not really.

01:01:18.300 --> 01:01:19.981

[SPEAKER_01]: And loved one's turning against you?

01:01:21.362 --> 01:01:28.947

[SPEAKER_08]: Not only is you considered Jerry Lewis's performance as an affront to all humanity, you can't consider it loved one.

01:01:28.987 --> 01:01:32.249

[SPEAKER_01]: I mean, technically Tony is friends with Mary.

01:01:32.429 --> 01:01:32.729

[SPEAKER_01]: Yes.

01:01:32.870 --> 01:01:36.952

[SPEAKER_01]: Yes, I guess that's not, but that's not what we're after here.

01:01:37.412 --> 01:01:37.673

[SPEAKER_01]: Yeah.

01:01:38.133 --> 01:01:42.376

[SPEAKER_01]: John, would you and I survive in the zombie world of scared states?

01:01:42.616 --> 01:01:43.256

[SPEAKER_08]: I think so.

01:01:43.476 --> 01:01:44.357

[SPEAKER_08]: I'd like to think so.

01:01:45.490 --> 01:01:49.092

[SPEAKER_08]: I don't, if my real cow would be, we have to be able to survive any.

01:01:49.672 --> 01:01:53.914

[SPEAKER_01]: Yeah, the most threatening thing in the film is, baby, the mobsters at the beginning.

01:01:53.954 --> 01:01:59.916

[SPEAKER_01]: This wouldn't be the first film where what would get me would be the organized crime, not any of the supernatural elements.

01:01:59.996 --> 01:02:06.459

[SPEAKER_08]: You know, what's interesting about this is the main heavy for the mobsters is this really tall skinny guy.

01:02:06.940 --> 01:02:09.921

[SPEAKER_08]: And Dean Martin's suit is cut to make him look really skinny.

01:02:10.441 --> 01:02:14.163

[SPEAKER_08]: In the Ghost Breakers and in our, for nineteen, forty movies, the gangsters,

01:02:14.863 --> 01:02:22.889

[SPEAKER_08]: where these big burly got like sheldon Leonard like these sort of burly guys and and skinny is in in this in this era.

01:02:23.429 --> 01:02:25.851

[SPEAKER_09]: So gangsters name is shorty shorty.

01:02:26.011 --> 01:02:26.171

[SPEAKER_01]: Yep.

01:02:27.103 --> 01:02:35.932

[SPEAKER_01]: All right, John, would you recommend this movie in general or to our specific zombie fan listeners?

01:02:36.753 --> 01:02:45.422

[SPEAKER_08]: No, and no, because you could get everything you got from this movie from the Ghostbreakers, which though I think we had some cripples with was we felt was entertaining at least.

01:02:46.243 --> 01:02:46.663

[SPEAKER_08]: How about you?

01:02:46.764 --> 01:02:47.124

[SPEAKER_08]: I'd agree.

01:02:47.544 --> 01:02:50.006

[SPEAKER_01]: And so we have a new question we're asking in season two.

01:02:50.827 --> 01:02:55.031

[SPEAKER_01]: John, is this a zombie movie or is it a movie with a zombie?

01:02:55.071 --> 01:02:56.632

[SPEAKER_01]: I think it's a movie with a zombie.

01:02:57.052 --> 01:02:57.613

[SPEAKER_01]: I think you're right.

01:02:57.633 --> 01:02:59.254

[SPEAKER_01]: Yeah, and I agree with you at all that.

01:02:59.274 --> 01:03:02.277

[SPEAKER_01]: That's, but what if you want to see this, just go watch those breakers.

01:03:02.317 --> 01:03:03.438

[SPEAKER_01]: It's significantly better.

01:03:03.698 --> 01:03:07.982

[SPEAKER_08]: Did you feel like like I mentioned the sort of more aggressive romance here?

01:03:08.002 --> 01:03:11.045

[SPEAKER_08]: Did you notice any sort of more modern, nineteen, fifties stuff here?

01:03:11.065 --> 01:03:16.490

[SPEAKER_08]: I didn't say anything else, but I wanted to say if anything, you know, set up your radio.

01:03:16.510 --> 01:03:22.116

[SPEAKER_01]: So I did notice kind of the slightly increased like sexuality on the boat.

01:03:22.576 --> 01:03:25.079

[SPEAKER_01]: There was a scene where like he was

01:03:26.540 --> 01:03:55.286

[SPEAKER_01]: there was a scene where he was walking her back to her room and in like a modern movie he would have I think been invited in or something but in this one they they kiss again but but I do I it was noticeable that there is a little bit more forward sexuality in this one yeah we have the dancer at the beginning who kissed the waiter who was then summoned to the gangster for kissing her she then kisses Dean Martin and then she goes to kiss Jerry Lewis too

01:03:55.906 --> 01:03:58.613

[SPEAKER_08]: I think we've got, yeah, women are more aggressive, right?

01:03:58.653 --> 01:04:04.869

[SPEAKER_08]: They can say what they want here, which is kind of new for, which is culturally new for the movies we've been watching.

01:04:05.597 --> 01:04:05.757

[SPEAKER_01]: Yeah.

01:04:06.177 --> 01:04:06.737

[SPEAKER_01]: So, okay.

01:04:06.817 --> 01:04:06.998

[SPEAKER_01]: Yeah.

01:04:07.078 --> 01:04:07.638

[SPEAKER_01]: We can give it that.

01:04:08.078 --> 01:04:10.219

[SPEAKER_01]: But that's all I'm really going to give this film.

01:04:10.799 --> 01:04:11.239

[SPEAKER_01]: Sorry to say.

01:04:12.180 --> 01:04:12.440

[SPEAKER_01]: Okay.

01:04:12.620 --> 01:04:14.340

[SPEAKER_01]: It's time for the scariest part of the episode.

01:04:14.560 --> 01:04:18.822

[SPEAKER_01]: It's when producer Brad reveals to us where we are headed next.

01:04:19.942 --> 01:04:20.363

[SPEAKER_09]: Okay.

01:04:20.643 --> 01:04:21.003

[SPEAKER_09]: I'm ready.

01:04:22.043 --> 01:04:23.904

[SPEAKER_09]: And it's a change from what our schedule says.

01:04:24.564 --> 01:04:29.306

[SPEAKER_09]: Because in researching this one, I stumbled on a movie that came out at the end of nineteen fifty three.

01:04:29.526 --> 01:04:31.627

[SPEAKER_01]: You're really setting this up to be great.

01:04:31.787 --> 01:04:34.368

[SPEAKER_09]: And it's our first movie from Mexico.

01:04:35.384 --> 01:04:35.544

[SPEAKER_01]: No.

01:04:36.244 --> 01:04:39.306

[SPEAKER_09]: Oh, and won't through a recessed title.

01:04:39.706 --> 01:04:42.607

[SPEAKER_09]: The American title is the revived monster.

01:04:43.127 --> 01:04:43.487

[SPEAKER_08]: Yes.

01:04:44.508 --> 01:04:44.888

[SPEAKER_08]: Whoa.

01:04:45.548 --> 01:04:46.268

[SPEAKER_08]: What is this?

01:04:46.789 --> 01:04:47.129

[SPEAKER_01]: Okay.

01:04:47.149 --> 01:04:49.010

[SPEAKER_01]: Well, this is this is something new.

01:04:49.350 --> 01:04:49.710

[SPEAKER_01]: Yeah.

01:04:50.830 --> 01:04:51.130

[SPEAKER_01]: All right.

01:04:51.191 --> 01:04:56.733

[SPEAKER_01]: So we have a really kind of surreal grotesque movie poster here.

01:04:56.753 --> 01:04:58.413

[SPEAKER_01]: Yeah.

01:04:58.433 --> 01:05:01.755

[SPEAKER_01]: A very deformed looking Frankensteinish

01:05:03.136 --> 01:05:05.799

[SPEAKER_01]: It looks like a elephant man.

01:05:06.300 --> 01:05:06.900

[SPEAKER_01]: Yeah.

01:05:08.101 --> 01:05:13.868

[SPEAKER_01]: And some skulls and other creepy imagery and a mesmerized looking woman.

01:05:13.908 --> 01:05:19.594

[SPEAKER_01]: I don't know if she is like controlling the monster or has been hypnotized by it.

01:05:21.295 --> 01:05:23.637

[SPEAKER_01]: And then I gothic castle in the background.

01:05:24.317 --> 01:05:34.864

[SPEAKER_08]: I find this poster, and then the, then the element monster rule, Resetzotado is in this sort of spiky red font with yellow outlining.

01:05:35.044 --> 01:05:38.446

[SPEAKER_08]: I find this poster intriguing Andy, how do you feel about it?

01:05:39.206 --> 01:05:42.970

[SPEAKER_01]: Yes, what is that underneath the title says like Dr. Crime and Dr. Crimin?

01:05:43.111 --> 01:05:43.631

[SPEAKER_01]: I don't know.

01:05:43.651 --> 01:05:52.141

[SPEAKER_08]: Yeah, it's all in Spanish and it doesn't say anything about what the movie is about.

01:05:53.155 --> 01:05:55.977

[SPEAKER_08]: We're just sort of guessing from the pictures.

01:05:56.778 --> 01:05:57.078

[SPEAKER_01]: Okay.

01:05:57.538 --> 01:05:59.560

[SPEAKER_01]: Well, that this will be something new for us.

01:05:59.620 --> 01:06:02.863

[SPEAKER_01]: Well, this will be our first non-English film.

01:06:03.103 --> 01:06:03.383

[SPEAKER_01]: Oh, no.

01:06:03.643 --> 01:06:06.325

[SPEAKER_01]: Well, Jacuz, if you, yes, you have friends in French.

01:06:06.465 --> 01:06:07.546

[SPEAKER_01]: Yeah, title cards.

01:06:07.586 --> 01:06:09.147

[SPEAKER_01]: But since then, all in English.

01:06:09.768 --> 01:06:11.649

[SPEAKER_01]: How did you find this film, producer Brad?

01:06:11.749 --> 01:06:15.232

[SPEAKER_09]: When I was looking at the horror films from nineteen fifty three, this was listed.

01:06:16.433 --> 01:06:18.535

[SPEAKER_09]: And I read the description and I said, we should watch it.

01:06:19.345 --> 01:06:26.533

[SPEAKER_08]: You know, I had on my, I've had on my radar that Santa versus the zombies movie sort of as our first Mexican movie, and I was very excited.

01:06:26.633 --> 01:06:30.978

[SPEAKER_08]: So we moved up the timetable on sort of international films.

01:06:31.098 --> 01:06:32.120

[SPEAKER_08]: So I'm kind of excited.

01:06:32.720 --> 01:06:32.960

[SPEAKER_08]: All right.

01:06:32.981 --> 01:06:34.222

[SPEAKER_01]: Well, this should be fun.

01:06:35.423 --> 01:06:39.848

[SPEAKER_01]: I mean, can it be worse than an hour and forty seven minutes of Jerry Lewis screaming?

01:06:40.650 --> 01:06:45.217

[SPEAKER_08]: I mean, the sad truth is it could be, but at least this one will be maybe surprising and something we haven't seen before.

01:06:46.598 --> 01:06:46.879

[SPEAKER_01]: Okay.

01:06:47.600 --> 01:06:47.940

[SPEAKER_08]: All right.

01:06:47.960 --> 01:06:49.162

[SPEAKER_08]: Well, thanks, everybody, for listening.

01:06:49.683 --> 01:06:50.544

[SPEAKER_08]: We'll see you next episode.

01:06:50.584 --> 01:06:53.628

[SPEAKER_08]: And please remember to rate us in your podcast, Apple Choice.

01:06:53.708 --> 01:06:54.570

[SPEAKER_08]: It really helps us out.

01:06:56.115 --> 01:06:57.815

[SPEAKER_08]: You've been listening to zombie strains.

01:06:58.316 --> 01:07:01.616

[SPEAKER_08]: We'll be back next episode to talk about another zombie movie.

01:07:02.056 --> 01:07:06.818

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01:07:07.338 --> 01:07:11.159

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01:07:11.979 --> 01:07:14.540

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01:07:15.220 --> 01:07:15.880

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