Latest / The Kulturecast / The Hill (1965) — "We are all doing time, even the screws."

Transcript

The Hill (1965) — "We are all doing time, even the screws." · The Kulturecast

• 0:04
  Speaker 1: Weary way.
• 0:50
  Speaker 2: The hill Sean Connery bold, exciting explosive to see that hill, I.
• 1:00
  Speaker 1: Says, I came in.
• 1:01
  Speaker 3: We built its special two tons of sand and rock
• 1:03
  Speaker 3: them a lot of labor and sweating.
• 1:05
  Speaker 2: Start out eyes, not you, Roberts. You're going to continue downlink. Roberts,
• 1:11
  Speaker 2: Hello Sean Connery, as you have never seen him before?
• 1:16
  Speaker 2: On your feet? Have you written the Hill? A story
• 1:21
  Speaker 2: of men pushed to the breaking point and beyond? Both regulars?
• 1:25
  Speaker 4: Do you drop up dead?
• 1:26
  Speaker 5: Man and inspecting if your daughter?
• 1:28
  Speaker 2: Oh you quit a I quit the army And.
• 1:31
  Speaker 5: This is right, dick, a pretty justice.
• 1:34
  Speaker 4: You're going into the common inject flight this lag.
• 1:37
  Speaker 5: Unless you've got a top hat and a bone to
• 1:39
  Speaker 5: put through me nose.
• 1:41
  Speaker 6: Give this mediac out out there.
• 1:45
  Speaker 3: Any serious illnesses like what any recent incapacities?
• 1:50
  Speaker 1: Well, I wouldn't brag about it, Roberts.
• 1:53
  Speaker 2: In this place, it pays to give a plain answer
• 1:55
  Speaker 2: to a simple question.
• 1:57
  Speaker 1: And yes, where are you sending me? Yes?
• 2:02
  Speaker 2: That's fine? What kind of bloody food are you trying
• 2:13
  Speaker 2: to make a The complaint against Williams came from staff Harris.
• 2:16
  Speaker 1: Harris, what have you told him? I told him the truth?
• 2:19
  Speaker 3: But truth what the hell are you told him that, William,
• 2:22
  Speaker 3: that's me me who runs this place.
• 2:25
  Speaker 2: I made charge of Debra any outside, and then you'll
• 2:28
  Speaker 2: look after your department and I look after my don't
• 2:30
  Speaker 2: tie cat out of my owners.
• 2:32
  Speaker 4: I'm running this place. Yea running this place, burg William Dad,
• 3:13
  Speaker 4: Hello everyone, and welcome to the Culture Cast. I am
• 3:16
  Speaker 4: your host, Christashu, at least for the time being. That's
• 3:19
  Speaker 4: what I've been told to say. And I am joined
• 3:21
  Speaker 4: by my good friend. He put the Mike White in
• 3:24
  Speaker 4: Mike White March or May this year. I guess not March.
• 3:27
  Speaker 4: It's May, your friend of mine, the host of the
• 3:29
  Speaker 4: projection booth, Mike White.
• 3:31
  Speaker 5: Don't talk back it different colored, bastard.
• 3:35
  Speaker 4: Oh my god, good lord. I was really expecting to go.
• 3:38
  Speaker 4: You to go. No, you'll muck it up. No, y'all
• 3:42
  Speaker 4: muck it up. Oh dude.
• 3:44
  Speaker 5: I would just burn out the whole signal if I
• 3:46
  Speaker 5: did that, if I started screaming like Sean Connery.
• 3:49
  Speaker 4: Yeah, screaming like Sean Connery is a great name for
• 3:51
  Speaker 4: a song on this episode of the Culture Cast. If
• 3:53
  Speaker 4: you don't know what we're alluding to, we're gonna be
• 3:55
  Speaker 4: talking about the first film in Mike White may all
• 3:58
  Speaker 4: of the Well, I would say all the the films
• 4:00
  Speaker 4: of Sean Connery, because there's not enough time or energy
• 4:03
  Speaker 4: in the world for us to do that. Though I
• 4:05
  Speaker 4: don't know if it's a rather long list, but these
• 4:07
  Speaker 4: are the films of Sean Connery, as curated by the
• 4:10
  Speaker 4: projection booths Mike White. So, Mike, I'm curious before we
• 4:14
  Speaker 4: talk about the Hill, let's talk a little bit about
• 4:17
  Speaker 4: the month. What inspired you to pick the films that
• 4:20
  Speaker 4: you pick?
• 4:21
  Speaker 5: Well, these are all films that I've been wanting to see.
• 4:24
  Speaker 5: I think I've only seen one of them in the past,
• 4:27
  Speaker 5: which was the name of the Rose. If we're giving
• 4:31
  Speaker 5: spoilers as to what's coming up last month. Everything else
• 4:35
  Speaker 5: was stuff that I've been wanting to see for the
• 4:37
  Speaker 5: longest time, and I decided to use this opportunity to
• 4:41
  Speaker 5: sit down and talk with my Palchris and say, let's
• 4:44
  Speaker 5: look at some of these non bond films. We've talked
• 4:47
  Speaker 5: a lot about Connery as bond, Well, let's talk about
• 4:50
  Speaker 5: some of these non bond and hopefully we're getting some
• 4:54
  Speaker 5: cream of the crop. I, like I said, have not
• 4:57
  Speaker 5: seen them, but I've heard good things about these. This
• 5:00
  Speaker 5: first one, The Hill with from Sidney Lamett. I've heard
• 5:03
  Speaker 5: that it was great, and I've I need more Sidney
• 5:06
  Speaker 5: Lamet in my life because what I've seen of his usually,
• 5:10
  Speaker 5: I don't think I saw that one with Vin Diesel
• 5:13
  Speaker 5: that he did towards the end of his career. But
• 5:15
  Speaker 5: I've seen a lot of Lumett's and I've enjoyed every
• 5:18
  Speaker 5: single one that I have seen so far. So yeah,
• 5:21
  Speaker 5: very excited for these.
• 5:22
  Speaker 4: So, like Mike mentioned, on this episode, we're talking about
• 5:25
  Speaker 4: The Hill. On the next episode, we're talking about the
• 5:28
  Speaker 4: Anderson tapes. After that we're doing the Offense than like
• 5:31
  Speaker 4: Mike has already mentioned the name of the Rose, which yes,
• 5:33
  Speaker 4: we have covered in the past, but we'll be covering
• 5:35
  Speaker 4: it again like a decade almost a decade later. And
• 5:39
  Speaker 4: then to round out the month, we'll be talking about
• 5:41
  Speaker 4: wrong is Right? So yeah, not a single bond title. Uh,
• 5:45
  Speaker 4: the one I'm most disappointed by. And maybe I can
• 5:47
  Speaker 4: shanghai you to do a bonus episode before the end
• 5:50
  Speaker 4: of the month. Little League of Extraordinary Gentlemen, My dude,
• 5:54
  Speaker 4: you're fail. Mike's already left. I have to do this
• 5:57
  Speaker 4: podcast by myself now, Mike left because I I even
• 6:00
  Speaker 4: brought it up. I saw the thing in theaters. Man,
• 6:05
  Speaker 4: I did two.
• 6:06
  Speaker 5: I did two.
• 6:07
  Speaker 4: Yeah, so I would say that I, like yourself, I
• 6:10
  Speaker 4: have not seen any of these films, but looking into
• 6:13
  Speaker 4: them in kind of a cursory level ahead of time,
• 6:16
  Speaker 4: they all seem, like you said, good examples of Sean
• 6:19
  Speaker 4: Connery as an actor outside of the mainstream things that
• 6:23
  Speaker 4: he's known for. Namely, well, that's what I was gonna
• 6:26
  Speaker 4: say before we get into this movie, specifically in your
• 6:28
  Speaker 4: perception of things as a you know, as a film watcher,
• 6:31
  Speaker 4: as a movie podcaster, as someone who's appreciated film your
• 6:34
  Speaker 4: entire life, like I have, what is the most popular
• 6:37
  Speaker 4: thing Sean Connery is in. It's James Bond.
• 6:40
  Speaker 5: Right, it's gotta be yeah, I mean he was broadly right,
• 6:44
  Speaker 5: Oh yeah, yeah. Well and specifically never say never again.
• 6:48
  Speaker 4: So totally you only live twice when he's in yellow face.
• 6:54
  Speaker 4: For me, that's yes Sean Connery.
• 6:57
  Speaker 5: Yeah, you know, I mean other than Zardas, I.
• 7:00
  Speaker 4: Don't Red Outfit for me and that one.
• 7:03
  Speaker 5: Oh god, I love that movie. It's so so off,
• 7:07
  Speaker 5: but I just yeah, I appreciate that. Yeah, I mean,
• 7:10
  Speaker 5: even going back to his Well, it's interesting his top
• 7:13
  Speaker 5: four on IMDb. Number one is Doctor No. Number two
• 7:17
  Speaker 5: is The Untouchables, number three is The Rock, and number
• 7:20
  Speaker 5: four is the name of the Rose.
• 7:22
  Speaker 4: Interesting. Yeah, Indiana Jones is not on there.
• 7:24
  Speaker 5: Huh no, oh no, that might be one of his
• 7:27
  Speaker 5: more popular things, or even like, uh, what was it,
• 7:32
  Speaker 5: You're the Man now dog?
• 7:33
  Speaker 7: No?
• 7:34
  Speaker 4: Not finding Forrester, why dmn D man, Mike White, good
• 7:38
  Speaker 4: lord Man. A couple of people that heard that and
• 7:41
  Speaker 4: popped for that real hard.
• 7:44
  Speaker 5: I was a big fan of that sight me too.
• 7:46
  Speaker 4: The dramatic reading of things or the batman doing the
• 7:52
  Speaker 4: yeah hym ytmn D is a man you know, if you.
• 7:57
  Speaker 5: Don't know, you used to make some of this really
• 8:00
  Speaker 5: Oh yeah.
• 8:01
  Speaker 4: So good. You're the Man now dog? Yeah. That for
• 8:03
  Speaker 4: me is that's a that's a Sean Connery ism that
• 8:06
  Speaker 4: he's known for. I would say for me, like I
• 8:08
  Speaker 4: understand the James bond of it all, but and I
• 8:11
  Speaker 4: mean this genuinely for me, I think if Sean Connery
• 8:13
  Speaker 4: as James as Indiana Jones's dad, because I watched that
• 8:17
  Speaker 4: a lot more as a kid than I did any
• 8:19
  Speaker 4: of those Connery bonds. I was not a huge fan
• 8:22
  Speaker 4: of the Connery Bonds as a kid, because I think
• 8:24
  Speaker 4: this is understandable for someone who's like in their early
• 8:28
  Speaker 4: you know, like young young, like young adulthood or childhood.
• 8:31
  Speaker 4: Like those movies are kind of boring, you know, they're
• 8:34
  Speaker 4: not the most exciting or entertaining comparatively to like a
• 8:38
  Speaker 4: Live and Let Die or you know, the movie that
• 8:40
  Speaker 4: I would have seen originally initially gold and I like
• 8:44
  Speaker 4: Doctor No is no Golden and so I always think
• 8:47
  Speaker 4: of Sean Connery as as Indiana Jones's dad, Like I
• 8:50
  Speaker 4: didn't see.
• 8:51
  Speaker 5: There being a whole generation of people that that's their.
• 8:55
  Speaker 4: Biggest thing, and I think that they're Indiana Jones movie
• 8:58
  Speaker 4: is way better than it has any right to be
• 8:59
  Speaker 4: because of Sean Connery and Harrison Ford's chemistry. Yeah, I'm
• 9:04
  Speaker 4: saying in that movie, you know what I mean, they
• 9:07
  Speaker 4: don't really need one because they're so good. I get it.
• 9:09
  Speaker 4: I don't think it's that great of an Indiana Jones movie.
• 9:12
  Speaker 4: But in in fucking retrospect.
• 9:15
  Speaker 5: Oh yeah, to what we got after that?
• 9:17
  Speaker 4: Come on, man, Like, I know some people may not
• 9:20
  Speaker 4: think it's great, but you know, retroactively reappreciating it might
• 9:24
  Speaker 4: be a better way of looking at because four and
• 9:26
  Speaker 4: five shit the bed so hard. Yeah, but I mean
• 9:29
  Speaker 4: I get the James Bond of it all. But yeah,
• 9:31
  Speaker 4: for me, Sean Connery really like Indiana Jones's dad, and
• 9:35
  Speaker 4: then I would say probably then James Bond, and I
• 9:38
  Speaker 4: did see The Rock growing up, so like that that
• 9:41
  Speaker 4: might be my third point of reference.
• 9:42
  Speaker 5: Yeah for me, I mean, you know, he was always
• 9:46
  Speaker 5: a presence, you know, growing up, he was just always there.
• 9:50
  Speaker 5: And I obviously was not old enough to have experienced
• 9:56
  Speaker 5: him as Bond in the theater. Other than never say
• 9:59
  Speaker 5: never again, I'd mostly remember him from things like I
• 10:03
  Speaker 5: mean I saw The Untouchables when I was way too
• 10:05
  Speaker 5: young to see The Untouchables. I remember seeing you see.
• 10:08
  Speaker 4: It until two years ago with you and Father Malone,
• 10:11
  Speaker 4: Like I can't even use that as an example.
• 10:14
  Speaker 5: I love that movie. And then when it comes to
• 10:18
  Speaker 5: I mean really, we'll talk about this on the Anderson
• 10:20
  Speaker 5: Tapes episode. I remember that movie being on television a lot,
• 10:24
  Speaker 5: so I was pretty exposed to him that way. But
• 10:26
  Speaker 5: then the end, he was a presence. I mean, when
• 10:28
  Speaker 5: I was working at the movie theater, I remember Medicine
• 10:31
  Speaker 5: Man coming out, Like you said, Indiana Jones three. I
• 10:35
  Speaker 5: mean even things like just cause or as I would
• 10:38
  Speaker 5: like to say, just because and yeah, the Rock and
• 10:42
  Speaker 5: what was the one with him and Catherine Zeta Jones say,
• 10:47
  Speaker 5: Raman is that right? I mostly just remember her in
• 10:51
  Speaker 5: that movie, but I do remember his kind of modeled
• 10:54
  Speaker 5: skin that he had at that point in his life.
• 10:56
  Speaker 4: And you know, to be fair, I would say that,
• 10:58
  Speaker 4: you know that the maybe the measuring st and the
• 11:00
  Speaker 4: thing that I would insert into this conversation, not unseiously,
• 11:05
  Speaker 4: is Daryl Hammond's impersonation with Sean Connery on Celebrity Jeopardy.
• 11:10
  Speaker 4: He was so ubiquitous that Daryl Hammond could do that imitation,
• 11:14
  Speaker 4: and that's one of I mean, like, that is not
• 11:16
  Speaker 4: Sean Connery. That is just Daryl Hammond doing a very
• 11:18
  Speaker 4: broad stereotype of him, like a caricature impersonation. But it
• 11:24
  Speaker 4: is one of the things I think of when I
• 11:25
  Speaker 4: think of Sean Connery g abs, and it has nothing
• 11:29
  Speaker 4: to do with Sean Connery. Sean Connery is kind of
• 11:32
  Speaker 4: a prickly individual. I mean, he talks about beating his
• 11:35
  Speaker 4: wife multiple times, and he doesn't.
• 11:37
  Speaker 5: Every woman should be slapped from time.
• 11:40
  Speaker 4: Yeah, like and there's no no repentance for it. But
• 11:44
  Speaker 4: you know, I never perceived him to be the outright
• 11:46
  Speaker 4: asshole the way Daryl Hammond characterizes him. But it's very funny.
• 11:50
  Speaker 5: Oh god, it's hilarious. You know, I forgot. I grew
• 11:53
  Speaker 5: up with him really watching Highlander, even watching sort of
• 11:57
  Speaker 5: The Valiant. I remember him in showing up in that,
• 12:00
  Speaker 5: and then Time Bandits. He was what was agamin mon
• 12:04
  Speaker 5: in Time Bandits and he was like the surrogate father
• 12:07
  Speaker 5: to Kevin, the main character, and he was like when
• 12:10
  Speaker 5: you meet him, you're just like, yeah, he should be
• 12:13
  Speaker 5: your dad, Like stick with this guy. He really knows
• 12:16
  Speaker 5: what's going on. He treats Kevin nicer than his parents,
• 12:19
  Speaker 5: nicer than anybody, and it's like kind of a real
• 12:23
  Speaker 5: missed opportunity. When they steal him away and take him
• 12:26
  Speaker 5: back through time again, it's like, oh no, he was
• 12:29
  Speaker 5: like the best father figure that you had. So yeah,
• 12:32
  Speaker 5: I definitely had a real affection for him growing up,
• 12:35
  Speaker 5: and then since then it's like, you know, it's funny
• 12:38
  Speaker 5: because I'm not picking movies that I love, like the
• 12:44
  Speaker 5: Man who would be King the Great Train Robbery Outland,
• 12:48
  Speaker 5: like he was knocking it out of the park. For
• 12:51
  Speaker 5: me anyway, at least in the seventies.
• 12:53
  Speaker 4: Well, and that's the thing for me as someone who's
• 12:56
  Speaker 4: in my mid thirties, because you and I are only separated,
• 12:58
  Speaker 4: and you know, I would say, I guess you could
• 13:02
  Speaker 4: be my dad in age wise, you'd be like a
• 13:05
  Speaker 4: younger but I think you and I are closer in
• 13:07
  Speaker 4: age is like an older brother younger brother situation. So
• 13:10
  Speaker 4: like I was never able to see those movies that
• 13:13
  Speaker 4: you saw because we're just a part in age enough.
• 13:16
  Speaker 4: I remember seeing the VHS for Outland at my grandparents'
• 13:19
  Speaker 4: house where I watched a lot of my movies growing up,
• 13:22
  Speaker 4: and it had a really large impression on my formative years.
• 13:25
  Speaker 4: I mean, my dad wrote it in my birthday card
• 13:27
  Speaker 4: this year. He wrote the birthday card had a VHS
• 13:30
  Speaker 4: tape on it because I used to go with my
• 13:32
  Speaker 4: grandfather all the time to Blockbuster and we would just
• 13:35
  Speaker 4: come back with all kinds of stuff, to the point
• 13:37
  Speaker 4: where we came back with movies that got turned off
• 13:39
  Speaker 4: five to ten minutes in, like Maul Rats. But the
• 13:45
  Speaker 4: Connery that I honestly remember now just taking a glance
• 13:48
  Speaker 4: at his list of the movies that I could have
• 13:51
  Speaker 4: seen in my childhood Dragon Heart, which I do remember
• 13:55
  Speaker 4: seeing as a kid, where what just does the voice
• 13:58
  Speaker 4: of the drag? Yeah, and then the other one and
• 14:00
  Speaker 4: you will laugh. And I am being dead fucking serious
• 14:04
  Speaker 4: when I say this. I watched The Avengers a lot
• 14:08
  Speaker 4: growing up, okay, VHS and DVD. I remember that's the
• 14:13
  Speaker 4: Sean Connery plays the villain who can control the web
• 14:16
  Speaker 4: the Winter. Yes, yeah, Winter with a Y. Yes, and
• 14:20
  Speaker 4: it's Ray Fines and it's Thurman.
• 14:23
  Speaker 5: Yeah.
• 14:23
  Speaker 4: Yeah, that's what I thought. I remember them in that movie.
• 14:27
  Speaker 5: I think you're right. Yeah, I remember them all dressed
• 14:29
  Speaker 5: as Teddy Bears, And I wondered which came first the
• 14:33
  Speaker 5: APHX twin video where they're all dressed to like Teddy
• 14:36
  Speaker 5: Bears or that.
• 14:37
  Speaker 4: I think James mc patrick McNee is in there, like.
• 14:40
  Speaker 5: Oh yeah, doing a little fan service there.
• 14:43
  Speaker 4: Yeah, Jim Broadbench is in there as well. Like I
• 14:46
  Speaker 4: watched that movie a lot, I haven't seen in a
• 14:47
  Speaker 4: really long time, honestly. I mean, I was joking about
• 14:50
  Speaker 4: leaving Extraordinary Gentleman as like a bonus episode, but I
• 14:52
  Speaker 4: would honestly might just do an Avengers episode by myself,
• 14:55
  Speaker 4: because I have not seen them since I was a kid.
• 14:57
  Speaker 4: I saw that a lot as well.
• 15:00
  Speaker 5: I think I rented that on VHS. Was that VHS?
• 15:03
  Speaker 5: Or would would that have been DVD?
• 15:05
  Speaker 4: It would have been right at the cusp It was
• 15:08
  Speaker 4: ninety eight, which is like what matrix is ninety nine? Yeah,
• 15:11
  Speaker 4: here's the matrix for you. This is for your birthday.
• 15:16
  Speaker 8: Yeah.
• 15:16
  Speaker 4: So all of this to say, uh s, I would say,
• 15:19
  Speaker 4: I mean to segue, I think easily into talking about
• 15:24
  Speaker 4: the Hill, the thing that always surprises me about Sean
• 15:27
  Speaker 4: Connor versus, and just to use Bond as the segue.
• 15:30
  Speaker 4: He's the only actor to play Bond to win an
• 15:33
  Speaker 4: Oscar Yes for a movie like you said, that is
• 15:37
  Speaker 4: really good. I didn't see it until much more recently
• 15:40
  Speaker 4: with The Untouchables, which is where he won for Best
• 15:43
  Speaker 4: Supporting Actor. But Sean Connery, I think is maybe and
• 15:46
  Speaker 4: I mean this maybe not controversial anymore, but he's the
• 15:49
  Speaker 4: only actor with a capitol A that's played James Bond.
• 15:52
  Speaker 4: Because he's a real actor. I would say, honor is.
• 15:55
  Speaker 4: He's the working man's actor. He's like a he's a
• 15:58
  Speaker 4: toned down Richard. He's a tone down Oliver read for me,
• 16:02
  Speaker 4: because you can see that in him as a person,
• 16:05
  Speaker 4: especially with like the women deserve a good slap and
• 16:07
  Speaker 4: just kind of he was prickly, but he is a
• 16:11
  Speaker 4: a working man, blue collar guy turned into you know,
• 16:15
  Speaker 4: and has real acting chops, And again, like, I think
• 16:19
  Speaker 4: that's interesting because it kind of gets lost in the
• 16:21
  Speaker 4: conversation about James Bond. I think only Connery could have
• 16:24
  Speaker 4: really brought the gravitas necessary to elevate Bond into something
• 16:29
  Speaker 4: worth like getting the Hooks into pop culture, because Connery
• 16:33
  Speaker 4: is such a convincing everyman, even though Bond is not
• 16:38
  Speaker 4: the everyman. Connery plays the everyman so well that you
• 16:43
  Speaker 4: want the every man you want to be. You want
• 16:45
  Speaker 4: the everyman to be James Bond, because we are, in
• 16:47
  Speaker 4: turn the everyman you know, and Daniel Craig just doesn't
• 16:50
  Speaker 4: doesn't ever feel like that. And with something like The Hill,
• 16:53
  Speaker 4: I get to see what I would perceive to be,
• 16:55
  Speaker 4: at least as as a film watcher and movie podcaster,
• 16:59
  Speaker 4: the first film I've ever seen where I'm like, holy shit,
• 17:02
  Speaker 4: Sean Connery just the guy was just an immensely talented actor. Naturally,
• 17:08
  Speaker 4: it doesn't feel at all like a puto.
• 17:10
  Speaker 5: No no, The performance he gives in this is remarkable
• 17:14
  Speaker 5: and it all adds up for me when it comes
• 17:16
  Speaker 5: to this film and you you have such an amazing
• 17:19
  Speaker 5: cast in this. It was so nice seeing part of me,
• 17:23
  Speaker 5: young Assy Davis in this. I've really, over the last
• 17:27
  Speaker 5: few years, have really started to fall in love with
• 17:29
  Speaker 5: Harry Andrews. He shows up in some interesting places. We
• 17:34
  Speaker 5: just watched Entertaining Mister Sloan a few months ago for
• 17:38
  Speaker 5: the Projection Booth and he is so good in that one.
• 17:43
  Speaker 5: And yeah, just like everybody is firing on all cylinders.
• 17:46
  Speaker 5: Great seeing Roy Kanear show up in this, and almost
• 17:50
  Speaker 5: the first time I see him, I'm just like, is
• 17:52
  Speaker 5: that for ucasaut? Dad? Like, is that really?
• 17:56
  Speaker 4: Am it?
• 17:57
  Speaker 5: Sure enough? Yeah, we just watched him and it wasn't
• 18:01
  Speaker 5: the seven percent solution I think it might have been.
• 18:04
  Speaker 5: Was it Sherlock Holmes's smarter brother. I don't remember he was.
• 18:07
  Speaker 5: He was a henchman in one of those.
• 18:09
  Speaker 4: It is.
• 18:11
  Speaker 5: Okay, he was really good in that, very very funny,
• 18:14
  Speaker 5: and this one he's so great. It's just so venal
• 18:18
  Speaker 5: and just such a little shit and you just want
• 18:20
  Speaker 5: to I don't know, boxes Ears. Most of the time,
• 18:23
  Speaker 5: I really feel like all of this goes together so well.
• 18:27
  Speaker 5: I was very shocked to read that there was a
• 18:30
  Speaker 5: version that we probably should have watched that was aired
• 18:33
  Speaker 5: on TNT. I think it was back in the late eighties,
• 18:37
  Speaker 5: a colorized version of this film, because I really think
• 18:40
  Speaker 5: that's what was missing from this movie, is you know,
• 18:42
  Speaker 5: the lush color photography.
• 18:44
  Speaker 4: Yeah, totally. I would go as far as to say
• 18:49
  Speaker 4: the one of the things about this film that I
• 18:52
  Speaker 4: really love is that it is a stage play.
• 18:55
  Speaker 5: It totally is.
• 18:55
  Speaker 4: It's a stage play, Like, this is a one stage play.
• 18:59
  Speaker 4: You need for setting to get this done. This would
• 19:03
  Speaker 4: be a very economical stage play. I'm actually surprised nobody
• 19:06
  Speaker 4: has done this recently in any sort of extended form.
• 19:09
  Speaker 4: Maybe we should, I don't know. Like it's one of
• 19:11
  Speaker 4: these things where when I was watching this, I was like,
• 19:13
  Speaker 4: this feels so insanely prescient and topical for the way
• 19:18
  Speaker 4: things are now and the kinds of people in the
• 19:21
  Speaker 4: world that we are dealing with. But for me, if
• 19:25
  Speaker 4: I were to watch a colorized version of this movie,
• 19:27
  Speaker 4: it would take away from the timeless nature of it.
• 19:29
  Speaker 4: There is something so timeless about black and white, and
• 19:33
  Speaker 4: I don't need to see the blush cinematography in a
• 19:36
  Speaker 4: film like this, because the starkness of the environment and
• 19:40
  Speaker 4: the starkness of the lighting and just the look of
• 19:43
  Speaker 4: everything helps add to the kind of overwhelmingly cynical and
• 19:48
  Speaker 4: I think, uh, I don't know, I wouldn't say disturbing,
• 19:52
  Speaker 4: but you know, disturbing nature of what the film is
• 19:55
  Speaker 4: even getting. Yeah, I mean again, like everybody's going to
• 19:57
  Speaker 4: come in at a different level on some of this,
• 19:59
  Speaker 4: but I I think, you know, ultimately, I think it
• 20:01
  Speaker 4: helps just the stark contrast of the lighting and the
• 20:04
  Speaker 4: black and white helps just further be more unsettling, more
• 20:08
  Speaker 4: off putting, and I think it works in the film's favor.
• 20:11
  Speaker 5: It's it's interesting to look at the cinematographer's body for work.
• 20:17
  Speaker 5: Reflections in a Golden Eye has some similarities with this.
• 20:21
  Speaker 5: I think that there was a version of that that
• 20:23
  Speaker 5: had like this yellow sheen on it. But yeah, like
• 20:28
  Speaker 5: looking at like, you know, he did Fiddler on the Roof,
• 20:30
  Speaker 5: he did Sleuth, he did the macotash Man, he did Scrooge,
• 20:34
  Speaker 5: he did The Man with the Golden Gun. So one
• 20:37
  Speaker 5: of the.
• 20:37
  Speaker 4: Last thing was also dark Crystal. So he's had a
• 20:39
  Speaker 4: very broad body of work.
• 20:41
  Speaker 5: Yeah, he worked with the Met a few times. I think,
• 20:44
  Speaker 5: didn't the Met actually do the Whiz? I'm pretty sure,
• 20:47
  Speaker 5: so he worked with him on that as well.
• 20:49
  Speaker 4: Yeah, you're right.
• 20:50
  Speaker 5: Yeah, and then he did the Man who would be
• 20:52
  Speaker 5: King who you know, we were just talking about that,
• 20:54
  Speaker 5: so yeah, great, great cinematography. I love just how stark
• 20:59
  Speaker 5: this thing is. All of the shots of the sky
• 21:02
  Speaker 5: where it just looks like the sky is just oppressive.
• 21:05
  Speaker 5: I mean, so much of this movie is oppressive, especially
• 21:08
  Speaker 5: when it comes to the hill. I love that we
• 21:10
  Speaker 5: start with the movie kind of already in progress in
• 21:13
  Speaker 5: media res, with the guy who's trying to make it
• 21:16
  Speaker 5: up the hill and then him falling down the rest
• 21:19
  Speaker 5: of the way, and it's just like, okay, boom, we're
• 21:21
  Speaker 5: into it. You know, let's get going here. We're yeah,
• 21:23
  Speaker 5: we'll save the opening credits for a little bit, but
• 21:26
  Speaker 5: we're gonna start with this right now.
• 21:27
  Speaker 4: Well, And I mean, I love, like you said, the
• 21:30
  Speaker 4: fact that the movie is just it's it. There's no like,
• 21:33
  Speaker 4: oh and that's what this is and that's what the Nope,
• 21:35
  Speaker 4: We're we're just right here, like we're we're right there
• 21:37
  Speaker 4: in it. And I think it helps add to a
• 21:40
  Speaker 4: level of disorientation with the audience, because that's the other thing,
• 21:44
  Speaker 4: Like it takes a while to not to figure out
• 21:46
  Speaker 4: what's going on here, but to understand exactly what the
• 21:49
  Speaker 4: stakes of what is going on here are because it's
• 21:52
  Speaker 4: not made imminentely clear. Once we you know, kind of
• 21:54
  Speaker 4: pick up, like you said, INDI in media res with things,
• 21:57
  Speaker 4: what the fuck is actually going on, it takes a
• 22:01
  Speaker 4: second to understand like, Okay, this is a place for
• 22:04
  Speaker 4: not deserters per se, but where you take people in
• 22:06
  Speaker 4: the military that are not living up to the rules
• 22:09
  Speaker 4: and regulations as they're written down, and we put them
• 22:13
  Speaker 4: in the middle of the desert. Okay, yeah, it almost
• 22:17
  Speaker 4: doesn't make any sense until we understand like the point
• 22:21
  Speaker 4: that there's a further point to why this is the
• 22:23
  Speaker 4: way that it is and the expectations. And I mean,
• 22:27
  Speaker 4: at one point in the movie, one of the characters
• 22:29
  Speaker 4: I forget which one says like, you know, this place
• 22:31
  Speaker 4: is as much for us as it is for the guards.
• 22:34
  Speaker 4: The guards are here too, They're stuck here, like these
• 22:38
  Speaker 4: guards are the complete fucks of their own like stripe
• 22:43
  Speaker 4: of things. And it's very interesting that like even when
• 22:46
  Speaker 4: the movie, the movie doesn't acknowledge that immediately, but just
• 22:50
  Speaker 4: like you said, the oppressive nature of where the film
• 22:53
  Speaker 4: is set gets that point across more or less immediately.
• 22:56
  Speaker 5: Well, it's pretty early in the movie that they're like
• 22:59
  Speaker 5: talking about the commandant of the whole camp, and you know,
• 23:04
  Speaker 5: we find out very quickly that Harry Andrews, even though
• 23:06
  Speaker 5: he acts like he's in charge, is not the man
• 23:09
  Speaker 5: in charge has cut to the CEO with this prostitute
• 23:14
  Speaker 5: obviously outside of the camp, probably like downtown Cairo kind
• 23:18
  Speaker 5: of thing. And it's like, all right, yeah, we're finding
• 23:21
  Speaker 5: out about this, and yeah, this guy, the Harry Andrews character,
• 23:24
  Speaker 5: is just such a little tyrant and we've seen this
• 23:28
  Speaker 5: type of character in films before. There was a lot
• 23:31
  Speaker 5: of feel for me watching this of a film that
• 23:34
  Speaker 5: would come I think two years later. I kept thinking
• 23:37
  Speaker 5: of cool Hand Luke and just this whole idea of
• 23:40
  Speaker 5: the you know, the guy who comes into this prison
• 23:43
  Speaker 5: camp and who I don't want to say he bucks authority,
• 23:47
  Speaker 5: because authority just immediately is like he's special. We need
• 23:51
  Speaker 5: to tear this motherfucker down, We need to make an
• 23:53
  Speaker 5: example of this guy. And then it's interesting that they
• 23:56
  Speaker 5: try to break them but they're not going to and
• 23:58
  Speaker 5: they end up breaking the wrong person. But yeah, they're
• 24:02
  Speaker 5: just like, oh, he he thinks he's special. We're going
• 24:05
  Speaker 5: to tear this motherfucker down. Whether it's even his fellow prisoners,
• 24:09
  Speaker 5: like the one guy who is just such a hard
• 24:11
  Speaker 5: ass and thinks that he knows best about everything and
• 24:15
  Speaker 5: it's like m m no, you uh, you don't know
• 24:17
  Speaker 5: what time it is, and them like us, you know,
• 24:21
  Speaker 5: a very smart move to have these five new prisoners
• 24:23
  Speaker 5: coming in because we learn the ropes with them, we
• 24:26
  Speaker 5: learn how this camp works. You know, we saw the
• 24:30
  Speaker 5: guy falling off of the or falling down the hill earlier.
• 24:33
  Speaker 5: We see the two guys who are getting out, and
• 24:35
  Speaker 5: it seems like they've got some okay camaraderie with the
• 24:39
  Speaker 5: with the Harry Anders guy. But you know, seeing these
• 24:43
  Speaker 5: five new prisoners and just the way you know they
• 24:46
  Speaker 5: are going right after Ossi Davis. I mean, it's this
• 24:49
  Speaker 5: whole idea of if you're different, if you're special at all,
• 24:53
  Speaker 5: we're gonna found you down into the ground, you know.
• 24:55
  Speaker 5: Or they're going to pick on Worry kinnear because he's fat.
• 24:57
  Speaker 5: They're gonna pick on Ossi Davis because he's black. They're
• 25:00
  Speaker 5: gonna pick on the one guy who's married but keep
• 25:03
  Speaker 5: insinuating that he's gay. I'm not sure where that's coming from,
• 25:07
  Speaker 5: but I guess they just like spot weakness. Like he
• 25:10
  Speaker 5: loves his wife. That's why he got into trouble was
• 25:13
  Speaker 5: because of what was that whole thing? He was head
• 25:17
  Speaker 5: of his wife's letters and stuff. Yeah, it's like all right, yeah,
• 25:20
  Speaker 5: not a really horrible crime, but he gets it the
• 25:23
  Speaker 5: worst of all of them.
• 25:24
  Speaker 4: It's very telling to me, and I think it's also
• 25:29
  Speaker 4: very kind of important to the narrative. Like you said
• 25:31
  Speaker 4: that the audience, the viewer, gets to experience how oppressive
• 25:38
  Speaker 4: this world is firsthand through the eyes of those characters.
• 25:42
  Speaker 4: Because I'm not saying it wouldn't have worked otherwise, but
• 25:44
  Speaker 4: I think what works about it for me is that
• 25:48
  Speaker 4: there are these moments where we get to see things
• 25:50
  Speaker 4: like through the eyes of the characters. I mean, there's
• 25:53
  Speaker 4: a point where one of the characters has a gas
• 25:56
  Speaker 4: mask put on and he's forced to run up potentilar hill.
• 26:00
  Speaker 4: We see that from the first person view, and it's
• 26:02
  Speaker 4: I mean, it's just it's out of control. I mean,
• 26:04
  Speaker 4: it's it's it's completely insane, and but it it helps
• 26:08
  Speaker 4: put you, as the audience in a place where there
• 26:11
  Speaker 4: is I think an immense amount of sympathy and empathy
• 26:14
  Speaker 4: for the main characters and the understandable lack of that
• 26:17
  Speaker 4: for the people in charge, because the people in charge
• 26:20
  Speaker 4: flaunt how terrible they are but refuse to own up
• 26:23
  Speaker 4: to it when presented with the evidence of their wrongdoing.
• 26:27
  Speaker 4: Does that sound like anything else?
• 26:29
  Speaker 5: Yeah, yeah, I kind of does. Yeah, just still andy.
• 26:32
  Speaker 4: It's ironic of a fucking name for a film.
• 26:37
  Speaker 5: Yes, yes, there is a lot of irony there. Yeah, yeah, it.
• 26:41
  Speaker 5: I mean, you know, I mentioned cool hand Luke. I'm
• 26:43
  Speaker 5: trying to remember the other film that this was really
• 26:46
  Speaker 5: reminding me of, which I think was an earlier one.
• 26:49
  Speaker 5: It'll come to me eventually, but it's just like, yeah,
• 26:51
  Speaker 5: like to see these relationships. I mean, another later one.
• 26:57
  Speaker 5: I kept thinking of the boot camp scene in Starship Troopers,
• 27:02
  Speaker 5: you know, just that whole like the yelling at people
• 27:05
  Speaker 5: and chasing after them and like beating on them and
• 27:08
  Speaker 5: all this kind of stuff, and and there it's just like,
• 27:11
  Speaker 5: I mean, it's Verhoven, so he's presenting it as comedy,
• 27:14
  Speaker 5: but then when you look at it, you're just like,
• 27:16
  Speaker 5: this is really fucking horrible. I mean when he throws
• 27:18
  Speaker 5: the when the zim throws the knife and it goes
• 27:21
  Speaker 5: right into Jake Busey's hand, it's just like, oh my god, Like,
• 27:24
  Speaker 5: this guy is fucking crazy. I could see Harry Andrews
• 27:27
  Speaker 5: doing the same thing if you could actually throw a knife.
• 27:30
  Speaker 4: Well, and like you said, the the kind of over
• 27:33
  Speaker 4: the top nature of the people in charge, I mean
• 27:37
  Speaker 4: in that film, it's the kind of CEOs in this film.
• 27:40
  Speaker 4: They're not CEOs per se, but they act like CEOs.
• 27:44
  Speaker 4: Like that's you know, that's because this is military, Because
• 27:49
  Speaker 4: this is you know, again a military prison run by
• 27:53
  Speaker 4: military commanders. We have you know, we have this like
• 27:57
  Speaker 4: there's a level of just like entitled assholary that you
• 28:02
  Speaker 4: wouldn't necessarily get otherwise with another kind of narrative. I mean,
• 28:07
  Speaker 4: you know, Sidley loo May, I think what's interesting is,
• 28:09
  Speaker 4: you know, twelve angry men obviously in this I feel
• 28:12
  Speaker 4: like are very of a piece with one another, and
• 28:16
  Speaker 4: in a way that it doesn't feel it doesn't feel
• 28:18
  Speaker 4: forced to make that connection. I think for me, what's
• 28:21
  Speaker 4: interesting is it it's tackling a similar thing, you know,
• 28:24
  Speaker 4: injustices within the system. I think Twelve Angry Men is
• 28:28
  Speaker 4: a little bit more hopeful than this movie.
• 28:30
  Speaker 5: Yeah oh yeah, yeah.
• 28:32
  Speaker 4: Me personally. But I think there's a level of like,
• 28:35
  Speaker 4: I think there's a level in that here. I just
• 28:37
  Speaker 4: don't think. I think that's not really the point of
• 28:39
  Speaker 4: what Ray Rigby is trying to get across.
• 28:43
  Speaker 5: Yeah, the shit. Oh first off, so I don't remember
• 28:47
  Speaker 5: who I was talking with, but I said, Sidney Lametz,
• 28:52
  Speaker 5: name the way that you just said it, Loomay, because
• 28:54
  Speaker 5: that's how it looks right being a man of the world. Squire.
• 28:58
  Speaker 5: You see that, and you're just like, yeah, I got
• 29:01
  Speaker 5: corrected hardcore by whoever it was. Was just like, no,
• 29:04
  Speaker 5: it's Lamett. I was just like, holy cows.
• 29:07
  Speaker 4: Was it by the ghost of Sydney Lumet?
• 29:10
  Speaker 5: It was somebody else. I think it was somebody that
• 29:12
  Speaker 5: worked with him. So I was just like, Okay, my Baron.
• 29:15
  Speaker 5: It wasn't Alan Baron, but they came on, came on
• 29:18
  Speaker 5: like a ton of bricks. So I remember what the
• 29:21
  Speaker 5: other movie was that it reminds me of, which is
• 29:23
  Speaker 5: Passive Glory, which is another thing where it's just like
• 29:26
  Speaker 5: I guess it was because the Hill and in that
• 29:28
  Speaker 5: movie they were also talking about the Ant Hill, and
• 29:30
  Speaker 5: in that it's the three prisoners you know that you've
• 29:33
  Speaker 5: got with uh, you know, Timothy Carey and and Kirk
• 29:37
  Speaker 5: Douglass and who's Joe the guy who was the bartender
• 29:42
  Speaker 5: in uh in the Shining and he was also the
• 29:47
  Speaker 5: guy who created the replicants and Blade Runner like those
• 29:52
  Speaker 5: three and then just all of the petty dictatorshipness of
• 29:56
  Speaker 5: George McCready in that film that. Yeah, it's just we've
• 30:00
  Speaker 5: seen this kind of stuff before where it's just like
• 30:02
  Speaker 5: these little guys who have a little bit of power
• 30:05
  Speaker 5: and they're just gonna make everybody's lives miserable. Very very
• 30:08
  Speaker 5: Stephen Miller.
• 30:09
  Speaker 4: I was gonna say, very Uh, what's the guy from
• 30:12
  Speaker 4: who's the guy from Ice that they ran out of Ice?
• 30:14
  Speaker 1: Oh?
• 30:15
  Speaker 5: Yeah, I can't remember that dude's name.
• 30:17
  Speaker 4: And he was but that was the other guy, Yeah,
• 30:20
  Speaker 4: the other other guy that got ran out of Face.
• 30:22
  Speaker 5: He was the guy who looked like he was drawn
• 30:24
  Speaker 5: by John k from Ren and Stimpy.
• 30:26
  Speaker 4: He looks like I wouldn't say short Hitler, yeah, but
• 30:29
  Speaker 4: maybe short Girbels.
• 30:31
  Speaker 5: Yeah, more of a short Gurupels. Yeah, short Gurbls. I
• 30:35
  Speaker 5: don't even know how tall Gurbels was, but yeah.
• 30:38
  Speaker 4: How tall was I love the Yeah, the like you said,
• 30:43
  Speaker 4: give a give a little man a little bit of
• 30:44
  Speaker 4: power in he'll try to act like a big man.
• 30:47
  Speaker 4: Like it's this is that, like this is a a
• 30:50
  Speaker 4: a intro not an introspection, but an inspection, a condemnation
• 30:55
  Speaker 4: of that kind of sentiment. And you know, yes, this
• 30:58
  Speaker 4: is a film that's set in the military, but you
• 31:01
  Speaker 4: could transpose this to any you know, anything, any sort
• 31:05
  Speaker 4: any sort of setting where there's a hierarchical expectation within it.
• 31:09
  Speaker 4: You know, you give one person any modicum of power
• 31:12
  Speaker 4: and some people will just go completely apien.
• 31:14
  Speaker 8: Yeah.
• 31:15
  Speaker 5: I was reminded of the Stanford prison experiment while I
• 31:18
  Speaker 5: was watching this, just that whole idea of like, okay,
• 31:20
  Speaker 5: you tell these people their guards, you tell these people
• 31:22
  Speaker 5: they're prisoners, and watch how these people at our guards
• 31:25
  Speaker 5: just lose their shit and start to brebble in their power.
• 31:28
  Speaker 4: Right. It takes a lot of restraint and withholding oneself
• 31:33
  Speaker 4: emotionally to not become involved in them, which is why
• 31:38
  Speaker 4: finding people to do those jobs well is really hard,
• 31:42
  Speaker 4: because most people that want to have those kinds of
• 31:45
  Speaker 4: jobs do get off on telling other people what to
• 31:48
  Speaker 4: do and treating them like garbage.
• 31:50
  Speaker 5: Absolutely, yeah, I mean there are so many times where
• 31:53
  Speaker 5: it's just like why did you become a cop? Is
• 31:55
  Speaker 5: it because you want to protect and serve? Or is
• 31:57
  Speaker 5: it because you want to lord stuff over people?
• 32:00
  Speaker 4: And this movie is a really good I would say,
• 32:03
  Speaker 4: once again, you know, examination of what that looks like
• 32:08
  Speaker 4: in a military setting and the level to which people
• 32:11
  Speaker 4: will go to to treat people poorly, you know, I
• 32:15
  Speaker 4: mean I think about you know, just one thing in specific,
• 32:17
  Speaker 4: you know, them measuring out the food for no reason,
• 32:22
  Speaker 4: them forcing them to like run in place with their
• 32:24
  Speaker 4: food for no reason. I mean there's I mean, you know,
• 32:26
  Speaker 4: Sean Connery says it, I would say, kind of in
• 32:28
  Speaker 4: the climax of the film. It's just you know, like,
• 32:30
  Speaker 4: what are all these rules and regulations good for if
• 32:32
  Speaker 4: none of it really matters? And it's always in the
• 32:35
  Speaker 4: it's and it's all in the service of just like
• 32:37
  Speaker 4: making people feel awful, Like what is the point? And
• 32:41
  Speaker 4: it's just.
• 32:41
  Speaker 5: Wow, I have to break these people down so that
• 32:44
  Speaker 5: I can build them back up again.
• 32:46
  Speaker 4: Yeah, it's like break them down to what for what?
• 32:49
  Speaker 4: And why and.
• 32:50
  Speaker 5: Just all these little petty things just that like, oh, sorry,
• 32:54
  Speaker 5: we made you run up and down the hill a
• 32:56
  Speaker 5: few extra time, Sean Connery. So you know what, you
• 32:59
  Speaker 5: don't get to eat because we didn't let you go
• 33:01
  Speaker 5: out with the rest of the men who are spilling
• 33:04
  Speaker 5: their food everywhere because they have to run in place
• 33:07
  Speaker 5: and because they have to run down these steps to
• 33:09
  Speaker 5: you know, take their food back to their place to eat.
• 33:13
  Speaker 5: I'm surprined there's not a mess hole here that they
• 33:15
  Speaker 5: eat in their cells. But yeah, to your point about
• 33:18
  Speaker 5: this feeling very much like a stage play, here's your set.
• 33:21
  Speaker 5: You know, we were going to do most of this
• 33:23
  Speaker 5: stuff in this one location. I mean that's I think
• 33:27
  Speaker 5: what eighty percent, maybe seventy percent of the film takes
• 33:30
  Speaker 5: place in that cell, and the rest of it is
• 33:33
  Speaker 5: mostly outside and just under that blistering heat. And even
• 33:37
  Speaker 5: though this is black and white, you can just feel
• 33:40
  Speaker 5: the heat coming off of this thing, especially seeing all
• 33:44
  Speaker 5: of the sweat. Like the first time Conry takes off
• 33:47
  Speaker 5: as his hat and I was so curious because I'm like, Okay,
• 33:50
  Speaker 5: what's this hair going to look like in this movie?
• 33:52
  Speaker 5: When he takes off his hat, just drenched in sweat
• 33:55
  Speaker 5: and you just see it on all of these men's faces,
• 33:58
  Speaker 5: except oddly enough, Davis doesn't seem to sweat very much
• 34:02
  Speaker 5: at all.
• 34:02
  Speaker 4: Can I just say how much I love Ozzie Davis
• 34:04
  Speaker 4: in this movie.
• 34:04
  Speaker 5: He's so good, He is so good in this.
• 34:07
  Speaker 4: Yeah, I mean everybody is great in this really, I mean,
• 34:10
  Speaker 4: from the asshole guards in charge to the other asshole
• 34:15
  Speaker 4: prisoners that are in there with Connery, But I mean
• 34:18
  Speaker 4: Ossy Davis for me is the I mean, it's him
• 34:21
  Speaker 4: and Connery one A, one B and then probably Harry
• 34:24
  Speaker 4: Andrews one sea of like the best parts of this movie.
• 34:26
  Speaker 4: Ozzy Davis. He's just so good as an actor and
• 34:30
  Speaker 4: kind of feel bad because and you're gonna laugh. The
• 34:34
  Speaker 4: only other thing I think I've seen him in I've
• 34:36
  Speaker 4: seen things he's directed, obviously thanks to you. The only
• 34:39
  Speaker 4: other thing I've seen him in is as Black JFK
• 34:42
  Speaker 4: in Bubble Hotel.
• 34:43
  Speaker 5: Yeah, oh yeah, I'm so glad that he got that
• 34:46
  Speaker 5: role because he was so fucking good in that movie.
• 34:49
  Speaker 4: Oh God, it's like him, and I mean for someone
• 34:52
  Speaker 4: to upstage Bruce Campbell, Oh yeah, as Bruce Campbell's playing
• 34:56
  Speaker 4: Elvis in a role that I would say Bruce Campbell
• 34:58
  Speaker 4: is like made to play for him, to upstage Bruce Campbell. Yeah,
• 35:01
  Speaker 4: it's pretty impressive. Ozzie Davis is He's honestly, he's probably
• 35:05
  Speaker 4: the best part of Bubba, a movie that I think
• 35:07
  Speaker 4: kind of is good, but isn't. I think I've seen
• 35:10
  Speaker 4: it enough times now where I'm like, I have my
• 35:11
  Speaker 4: problems with this movie, namely like the third act.
• 35:14
  Speaker 5: Yeah, yeah, still last Fatu.
• 35:18
  Speaker 4: Yeah, yeah, we're still waiting for that sequel.
• 35:21
  Speaker 3: Hunt.
• 35:21
  Speaker 5: Yeah. I think I grew up mostly with him being
• 35:27
  Speaker 5: in Do the Right Thing, that him as the Mayor
• 35:30
  Speaker 5: and that one. But yeah, I know I've seen him
• 35:32
  Speaker 5: in just a ton of other films, maybe even like
• 35:36
  Speaker 5: Avenging Angel. He was in one of the Angel movies.
• 35:39
  Speaker 5: I don't know if you've ever seen any of those,
• 35:41
  Speaker 5: but yeah, and then he was, like you said, behind
• 35:44
  Speaker 5: the camera with a lot of movies that you know
• 35:48
  Speaker 5: are kind of my favorite things. So yeah, didn't he
• 35:51
  Speaker 5: do did he do both the Cotton Comes to Harlem
• 35:54
  Speaker 5: films or just the one? I think just the one?
• 35:56
  Speaker 4: It is the one? And then he also did Gordon's.
• 35:58
  Speaker 5: War right, and I think it's a Black Girl, So.
• 36:02
  Speaker 4: Yeah, he's harvest. I mean he did those four movies
• 36:06
  Speaker 4: seventy seventy two, seventy three and seventy three. He did
• 36:08
  Speaker 4: those four just like bang bang bang bang bang bang
• 36:11
  Speaker 4: bing bang bang bang bang bang bing bayebee. Yeah. Can
• 36:15
  Speaker 4: you imagine showing this movie now? Like can you? I mean, like,
• 36:19
  Speaker 4: the thing that's really funny about this movie is the
• 36:22
  Speaker 4: pression to nature of the way it shows people in
• 36:26
  Speaker 4: power abusing power. But then, I mean, look, people abusing
• 36:29
  Speaker 4: power is nothing.
• 36:30
  Speaker 1: No, no, my.
• 36:31
  Speaker 5: High school teacher that I loved the most, mister Minard,
• 36:35
  Speaker 5: you say absolute or what was it? Power corrupts and
• 36:38
  Speaker 5: absolute power corrupts absolutely, and it's just like, yeah, these
• 36:41
  Speaker 5: guys have no checks and balances. Dad's away. Dad is
• 36:45
  Speaker 5: literally out fucking around like with prostitutes. More power too on.
• 36:49
  Speaker 5: But he's just like yeah, all right. And then you've
• 36:51
  Speaker 5: got Harry Andrews just like jocking for that job, so
• 36:54
  Speaker 5: he's gonna do whatever. It can't approve. What a big
• 36:57
  Speaker 5: man he is. Oh, what a big man you are.
• 36:59
  Speaker 1: Let me buy you.
• 37:00
  Speaker 5: I could each other to chew it.
• 37:01
  Speaker 4: Yeah no, and that for me, you know, like I
• 37:04
  Speaker 4: think about the idea of you know, we have all
• 37:07
  Speaker 4: these like little men in charge because the big man
• 37:10
  Speaker 4: is away. You know. It's I mean, it reminds me
• 37:12
  Speaker 4: a little bit of a RoboCop in a way. Ronnie
• 37:15
  Speaker 4: Cox's character, who is you know, he's the one seemingly
• 37:18
  Speaker 4: in control of things and pushing the pushing the way
• 37:21
  Speaker 4: things are well, you know, the the old man, as
• 37:24
  Speaker 4: it were, is just away at the switch, you know,
• 37:26
  Speaker 4: and I I you know, when we when we look
• 37:28
  Speaker 4: at something like this and we see all these little
• 37:30
  Speaker 4: men in charge because the you know, the daddy is away.
• 37:33
  Speaker 4: It really it's such a it's such an interesting play
• 37:36
  Speaker 4: on things because with Connery's character refusing to back down it,
• 37:41
  Speaker 4: I mean, you know that it's gonna come to blows
• 37:43
  Speaker 4: eventually and that nothing good can come of this for
• 37:46
  Speaker 4: I mean, anybody involved, really. But the thing that is
• 37:48
  Speaker 4: so funny is we have these little men who are
• 37:52
  Speaker 4: so big until they're confronted with their own misdeeds and
• 37:57
  Speaker 4: then they just refuse to own up to it. And
• 38:00
  Speaker 4: that's the part that I think really is the topical
• 38:04
  Speaker 4: part here, because if you do bad shit and you
• 38:07
  Speaker 4: don't own up to it and you get caught doing it,
• 38:10
  Speaker 4: you should just fucking admit it and deal with the
• 38:13
  Speaker 4: consequences of your fucking actions.
• 38:16
  Speaker 5: Yeah, but they're rest of us. Do you know, they're
• 38:19
  Speaker 5: going to look for any excuse including oh, you know
• 38:24
  Speaker 5: this guy happened to die, didn't you say that he
• 38:27
  Speaker 5: was okay for this stuff? Yeah, let's let's do that.
• 38:29
  Speaker 5: Let's nuts omit all the torture and let's just talk about,
• 38:34
  Speaker 5: you know, how it was your fault. Doctor. I mean,
• 38:37
  Speaker 5: this is really, at the end of the day, it's
• 38:39
  Speaker 5: prison movie. So you've got a lot of the tropes
• 38:42
  Speaker 5: that we see in prison films, this whole idea of
• 38:45
  Speaker 5: the doctor being the only one who has any sort
• 38:48
  Speaker 5: of moral center and is he going to say and
• 38:52
  Speaker 5: do the right thing or is he not going to
• 38:54
  Speaker 5: say and do the right thing? And there's always that
• 38:56
  Speaker 5: eternal struggle, you know, And it seems like most the
• 39:00
  Speaker 5: time in prison films, it's like, Okay, where's the doctor
• 39:03
  Speaker 5: at what's that that compass for us? You know? Is
• 39:06
  Speaker 5: he in the the hip pocket of the warden or
• 39:10
  Speaker 5: is he not? You know, I'm surprised there wasn't a doctor.
• 39:13
  Speaker 5: Maybe there was, it's been a long time since I've
• 39:15
  Speaker 5: seen it, but there was no doctor character that I
• 39:17
  Speaker 5: remember in Shawshank, But you know, you're dealing with a
• 39:19
  Speaker 5: whole wow Clancy Brown both in Shawshank and Starship Troopers.
• 39:23
  Speaker 5: You're dealing with like a whole mountain of Clancy Browns.
• 39:25
  Speaker 5: When it comes to this, would you say to hill,
• 39:28
  Speaker 5: it could be a hill of Clancy Brown's, which is
• 39:30
  Speaker 5: not a hill I'm going to die on.
• 39:32
  Speaker 4: That's right.
• 39:32
  Speaker 5: Yeah, I'd love that. There's no music in this film,
• 39:36
  Speaker 5: or if it is, it's very minimal. I don't remember
• 39:39
  Speaker 5: one one beat of music. I just remember the ever
• 39:43
  Speaker 5: present noise of these guys just being drilled over and
• 39:48
  Speaker 5: over and over again. It's just constant in the background.
• 39:51
  Speaker 5: You just constantly hear these real search and just screaming
• 39:55
  Speaker 5: and yelling at these guys. And all you see in
• 39:58
  Speaker 5: the yard are all of these guys just standing in
• 40:02
  Speaker 5: place doing calisthenics, running here, running there. You know, like
• 40:05
  Speaker 5: every once in a while, I see like the guy
• 40:07
  Speaker 5: who's got a blackboard who's kind of teaching them things.
• 40:10
  Speaker 5: But for the most part, it's just physical activity all
• 40:14
  Speaker 5: the time. And that's all you hear is these guys
• 40:16
  Speaker 5: just screaming and carrying.
• 40:18
  Speaker 4: On and to what end, right, right, like it's It's
• 40:21
  Speaker 4: one of those things where when you think about people
• 40:24
  Speaker 4: that act poorly or act badly, it's like, you know,
• 40:26
  Speaker 4: you could just be normal, you could just stop, you
• 40:30
  Speaker 4: could just make things not be this way, because you're
• 40:33
  Speaker 4: choosing to make things this way as it is. I mean,
• 40:35
  Speaker 4: Harry Andrews character, like why is he doing I mean
• 40:38
  Speaker 4: we know why he's doing this. I mean I'm not
• 40:41
  Speaker 4: asking like why is he doing this? But like, at
• 40:43
  Speaker 4: the core of it, why don't you just be Why
• 40:46
  Speaker 4: do you feel the need to be constantly on and
• 40:48
  Speaker 4: refuse to be off in any capacity? And it's like, dude,
• 40:52
  Speaker 4: just you almost wanted to just grab him by his
• 40:53
  Speaker 4: shoulders and be like, chill the fuck out, Like what
• 40:55
  Speaker 4: is the point of running these guys ragged? I don't
• 40:58
  Speaker 4: They're already locked up. These guys are being treated worse
• 41:01
  Speaker 4: than prisoners are. It is a prison movie, like you said,
• 41:04
  Speaker 4: but shit in prison movies, they're not being done any
• 41:07
  Speaker 4: of this. This is like next level.
• 41:10
  Speaker 5: Oh yeah, yeah. I don't know how Rasa Kanf would
• 41:13
  Speaker 5: run his prison in jailor, but I think he has
• 41:16
  Speaker 5: much more of a better relationship with its men.
• 41:20
  Speaker 4: Invoking there where's the where's the Bollywood remake of the Hill? Man? Uh,
• 41:26
  Speaker 4: don't put it past them dancing up and down the hill, singing,
• 41:29
  Speaker 4: singing at the top of the hill. Talk about the
• 41:31
  Speaker 4: hill for a minute. That the hill, the actual through
• 41:34
  Speaker 4: your lar hill, the titular hill through your lens. What
• 41:38
  Speaker 4: is your perception of the meaning of the hill or
• 41:41
  Speaker 4: the symbolism of the hill?
• 41:43
  Speaker 5: I mean, for me, kind of going back to uh
• 41:47
  Speaker 5: Paths of Glory, you know, the thing that they're trying
• 41:49
  Speaker 5: to capture in that movie is a thing that they
• 41:52
  Speaker 5: call the ant hill, and it's this whole like if
• 41:54
  Speaker 5: we go up this hill, we're gonna get slaughtered. And
• 41:58
  Speaker 5: for me, this is just this and also kind of
• 42:01
  Speaker 5: going back to the whole idea of cool hand luke,
• 42:04
  Speaker 5: that whole sequence of what's my dirt doing in Boss
• 42:08
  Speaker 5: so and So's hole? And then what's all my what's
• 42:12
  Speaker 5: you know? Why is all this here? Like just keep
• 42:16
  Speaker 5: opening up holes and filling them with dirt and then
• 42:19
  Speaker 5: dig another hole and then fill that one with dirt.
• 42:22
  Speaker 5: I mean, this is just this exercise and futility to
• 42:25
  Speaker 5: have these guys just running up and down this hill
• 42:28
  Speaker 5: all day long. I mean, it's it's a torture device.
• 42:31
  Speaker 5: For me, it's just them going up and down. And
• 42:34
  Speaker 5: then I think that the actual way that the hill
• 42:37
  Speaker 5: looks with all those white stones on the side, Yes,
• 42:40
  Speaker 5: I know they're stones, but it might as well be skulls, right.
• 42:43
  Speaker 8: Yeah.
• 42:43
  Speaker 5: The one really telling moment for me is when you
• 42:46
  Speaker 5: get the three guards coming up over the hill and
• 42:49
  Speaker 5: it's just like, you guys are having too much fun.
• 42:52
  Speaker 5: You know, you're you're not being drilled properly. So here
• 42:57
  Speaker 5: we come, and we're going to set your minds right boys.
• 42:59
  Speaker 4: For me, it exemplifies the ultimate Sissiphian task. I mean,
• 43:04
  Speaker 4: you know, Sean Connery's character is the one who runs
• 43:07
  Speaker 4: up and down it with the most speed in ferocity,
• 43:10
  Speaker 4: which is why they try to break him the hardest,
• 43:12
  Speaker 4: because anyone who's physically fit to the level of Connery's
• 43:17
  Speaker 4: physical fitness in this film can get up and down
• 43:19
  Speaker 4: the hill easily. But it's that juxtaposition of Connery with
• 43:22
  Speaker 4: an old guy, a fat guy, a guy who, like
• 43:26
  Speaker 4: you said, is being painted as like effeminate or more
• 43:30
  Speaker 4: in touch with his feelings and emotions, which you know,
• 43:32
  Speaker 4: as we all know, is gay, the gayest of gay.
• 43:38
  Speaker 4: And then yeah, we have a character who's black, which
• 43:40
  Speaker 4: is you know, for this film at this time, that's
• 43:44
  Speaker 4: a difference enough, right, Like you know, they they drop
• 43:48
  Speaker 4: the N bomb several times in this movie, and I think,
• 43:51
  Speaker 4: I mean it's used to rather dramatic effect. I mean,
• 43:53
  Speaker 4: this is you know, you know, Quentin Tarantino could take
• 43:56
  Speaker 4: a couple of notes as to how to use that
• 43:57
  Speaker 4: word to give it some emphasis without forcing it into
• 44:00
  Speaker 4: every other fucking sentence in every scene, Like it's used
• 44:03
  Speaker 4: here in a way that really emphasizes how awful the
• 44:08
  Speaker 4: situation is for anyone that isn't just a physically fit,
• 44:12
  Speaker 4: white looking and presenting man like the guards, because that's
• 44:16
  Speaker 4: the other thing. All the guards look, even though we
• 44:19
  Speaker 4: see them out of their uniforms several times, I mean
• 44:21
  Speaker 4: we see we see Williams running up and down that
• 44:23
  Speaker 4: hill or attempting to. I mean, he can't even do it,
• 44:26
  Speaker 4: and he's not even in his fucking outfit and he
• 44:28
  Speaker 4: can't do it, like and.
• 44:29
  Speaker 5: He does have his kid on his back.
• 44:31
  Speaker 4: Yeah, you know, it just it's interesting that the expectation is,
• 44:35
  Speaker 4: you know, it's like the Hitler youth, right, like, blonde haired,
• 44:37
  Speaker 4: blue eyes, physically fit, like you know, there's not that
• 44:40
  Speaker 4: they don't have any of the the I don't say
• 44:43
  Speaker 4: any of that in this movie, but they kind of
• 44:45
  Speaker 4: do when they address Aussie Davis's character.
• 44:47
  Speaker 5: Mm hm, and also making this set during World War
• 44:52
  Speaker 5: Two and having Assie Davis be like, I'm a subject
• 44:56
  Speaker 5: of the King, just like you are. You know, I'm
• 44:58
  Speaker 5: a British subject and they just basically laugh at them.
• 45:02
  Speaker 5: They're just like, oh, look at this black bastard trying
• 45:05
  Speaker 5: to say that he's British just like us, you know
• 45:06
  Speaker 5: what a piece of shit. And this being released in
• 45:10
  Speaker 5: what sixty five, I mean, there's this is the the
• 45:15
  Speaker 5: I can't say it's the end of colonialism, but there's
• 45:17
  Speaker 5: a lot of shit going on in the world right
• 45:19
  Speaker 5: now around colonialism. In sixty five, I mean, this is
• 45:23
  Speaker 5: you know, all the Congo crisis is still going on.
• 45:26
  Speaker 5: So many problems are happening in Africa with former colonial
• 45:31
  Speaker 5: powers either on purpose leaving or being forced to leave
• 45:37
  Speaker 5: their colonies either in Africa South America, Like there's a
• 45:42
  Speaker 5: major sea change happening here. So it really makes a
• 45:45
  Speaker 5: big difference with him being what from the West Indies
• 45:48
  Speaker 5: and you know, saying I'm a citizen just like you are,
• 45:51
  Speaker 5: and them just not taking him seriously.
• 45:54
  Speaker 4: Right, which is crazy because they're all in It's like
• 45:57
  Speaker 4: it's again like look at all, Like the rats are
• 45:59
  Speaker 4: all pointing at the one rat with mange, Like you're
• 46:02
  Speaker 4: all that's in a fucking rat, like in a rat
• 46:04
  Speaker 4: bucket together, Like where's no special anything about anybody? This
• 46:08
  Speaker 4: is like for all intents and purposes, they're all in
• 46:10
  Speaker 4: the same boat together, like there should be no like
• 46:13
  Speaker 4: I don't know, there should be no difference between any
• 46:15
  Speaker 4: of them, you know, but when the guards single them
• 46:18
  Speaker 4: out one by one, because that seemingly is the guard's
• 46:20
  Speaker 4: only job.
• 46:22
  Speaker 5: Exactly, well he I love the part where Rossi Davis
• 46:26
  Speaker 5: is just like, what do you expect me to you know,
• 46:28
  Speaker 5: have a bone in my nose, you know, like this
• 46:31
  Speaker 5: is how you think we dress anyway, and he just
• 46:33
  Speaker 5: strips off all of his clothes. I mean it kind
• 46:36
  Speaker 5: of reminds me of a chef from Apocalypse Now after
• 46:40
  Speaker 5: the tiger incident incident. I think he strips himself too
• 46:43
  Speaker 5: after that. And you know, madness is a major part
• 46:47
  Speaker 5: of this thing, with the one character who loses a shit,
• 46:51
  Speaker 5: you know, and like just you know, you've got Roy
• 46:54
  Speaker 5: Kneer starting to give some orders and you see just
• 46:58
  Speaker 5: how brain dead the one he is, the quote unquote
• 47:01
  Speaker 5: effeminate guy is, and he's just like, okay, yeah, no,
• 47:04
  Speaker 5: he's just starts he's so trained to listen to orders,
• 47:08
  Speaker 5: even Roy Kineer just saying bullshit out loud. He starts
• 47:12
  Speaker 5: following those orders, and they just get the biggest hoot
• 47:14
  Speaker 5: out of it. I mean, it's one of the biggest
• 47:16
  Speaker 5: tragedies that I can think of.
• 47:17
  Speaker 4: It's just these.
• 47:18
  Speaker 5: Guys just hooting and holler and watching this guy who's
• 47:21
  Speaker 5: basically lost his mind at this point, and they just
• 47:24
  Speaker 5: think it's a joke, and what do you know, next
• 47:26
  Speaker 5: thing you know, he keels over dead and that becomes it.
• 47:30
  Speaker 5: I can't say it's the inciting incident, but I mean
• 47:32
  Speaker 5: that's like the big change of the film is after
• 47:36
  Speaker 5: he dies, it's just like, well, fuck, that's a real thing.
• 47:40
  Speaker 5: A man just lost his life in the quote unquote
• 47:43
  Speaker 5: care of these sadistic guards. And then it's all about, well, shit,
• 47:47
  Speaker 5: now we've got to cover our tracks.
• 47:49
  Speaker 4: I was gonna say, with the with the Sean Connery
• 47:51
  Speaker 4: of it all, we never see Connery in that seat.
• 47:54
  Speaker 5: No, he's there though, right, he is there.
• 47:56
  Speaker 4: Because he he runs up to uh, he runs up
• 48:00
  Speaker 4: to him. He's the one who takes Stevens's pulse to
• 48:02
  Speaker 4: see that he's dead.
• 48:04
  Speaker 5: Right, Yeah, but.
• 48:05
  Speaker 4: Yeah, no, like, I don't I don't remember seeing him
• 48:08
  Speaker 4: egging him on.
• 48:09
  Speaker 5: No, I don't either. You don't get a close above
• 48:12
  Speaker 5: him laughing at that point.
• 48:13
  Speaker 4: No, no, it's it's really I mean, and you know,
• 48:15
  Speaker 4: I think, you know, for me, Roy Kanear is like
• 48:18
  Speaker 4: the worst of the people there. Like he's obviously you know,
• 48:21
  Speaker 4: the the McGrath character is almost guard adjacent. You know,
• 48:25
  Speaker 4: he's trying to be a hard ass. But by the
• 48:28
  Speaker 4: end of the film, even he realizes, like the don't
• 48:30
  Speaker 4: give a fuck about you, even if you're trying to
• 48:32
  Speaker 4: present yourself as someone who understands what they did was wrong,
• 48:35
  Speaker 4: and they're having to be like, you know, sorry, and
• 48:38
  Speaker 4: you know, like, you know, show that they understand what
• 48:40
  Speaker 4: they did, like even they don't fucking care about you, dude, Like,
• 48:43
  Speaker 4: and I love that he even he realizes that by
• 48:45
  Speaker 4: the end of the movie. But man, Roy Kanear I
• 48:48
  Speaker 4: think plays one of the most weasily snively shithead characters
• 48:52
  Speaker 4: I've seen in a film in a very long.
• 48:53
  Speaker 5: Yeah, he does such a great chat with it. You
• 48:56
  Speaker 5: just for all of the hatred I have Harry Andrews
• 49:01
  Speaker 5: and the guards, Kenear just like, oh, you piece of shit,
• 49:06
  Speaker 5: you are just the worst. And it's not to the
• 49:09
  Speaker 5: point where I laugh at him when he's just like,
• 49:11
  Speaker 5: I'm fat, I can't do this, I can't do this.
• 49:13
  Speaker 5: It's but I'm just like, okay. Kind of reminds me
• 49:16
  Speaker 5: of a private pile from a Full Metal Jacket, where
• 49:19
  Speaker 5: it's just like, you know, oh, we see weakness in
• 49:21
  Speaker 5: this guy. He's heavy, so we're gonna go right after him.
• 49:24
  Speaker 5: You know, We're gonna check his foot locker for donuts
• 49:27
  Speaker 5: those kind of things. But I mean it's funny because
• 49:30
  Speaker 5: he's kind of a mix of the two characters. He's
• 49:33
  Speaker 5: it's kind of the Roy Kaneer build, you know. And
• 49:36
  Speaker 5: I know he was not fat very much at all
• 49:40
  Speaker 5: in uh Full Metal Jacket. I mean, Benafrio is just
• 49:43
  Speaker 5: a little heavy in that, but he's heavier than the
• 49:45
  Speaker 5: rest of the people in the squad. But then the
• 49:48
  Speaker 5: whole thing, you know, when the when the sergeant comes
• 49:51
  Speaker 5: up to him, when when I'm just looking right now
• 49:54
  Speaker 5: at our the army, when our the army comes up
• 49:56
  Speaker 5: to him and he says, because his name is Lawrence,
• 49:59
  Speaker 5: He's like Lawrence Lawrence of Arabia, are you Are you
• 50:02
  Speaker 5: a Peter Puffer?
• 50:03
  Speaker 2: You know?
• 50:04
  Speaker 5: And he just starts like questioning as sexuality, you know,
• 50:07
  Speaker 5: and it's like, all right, so he's being labeled with
• 50:09
  Speaker 5: that or painted with that same brush, and again like
• 50:13
  Speaker 5: you are the outsider, you know, we don't want you,
• 50:16
  Speaker 5: and he becomes the object of derision for the entire squad.
• 50:19
  Speaker 5: He's the guy that they code red.
• 50:21
  Speaker 4: And again I to your point about kind of the
• 50:24
  Speaker 4: characters and what they're doing and how they're being portrayed,
• 50:27
  Speaker 4: and the way that they're being taken advantage of because
• 50:29
  Speaker 4: of their weaknesses. I do love that, you know, we
• 50:32
  Speaker 4: because we only have one character who externally presents as
• 50:36
  Speaker 4: someone that they can gang up on, you know, all
• 50:40
  Speaker 4: the other ones they have to have a varying degree
• 50:42
  Speaker 4: or variety of things that are I would say believable
• 50:46
  Speaker 4: as reasons to be you know, kind of antagonized. Further,
• 50:50
  Speaker 4: but I do love that we then get the Sean Connery,
• 50:53
  Speaker 4: who is just the one that they cannot break no
• 50:55
  Speaker 4: matter how hard they try, and that for me, I
• 50:58
  Speaker 4: think is it's and I don't know if you would
• 51:00
  Speaker 4: agree like that characterization is a slippery slope to go down,
• 51:04
  Speaker 4: because it almost if you do not hit that characterization correctly,
• 51:09
  Speaker 4: that character will be very flat. And I don't find
• 51:12
  Speaker 4: his character to be flat at all in this movie.
• 51:14
  Speaker 4: But it could have been. It really could have been,
• 51:16
  Speaker 4: because he is expected to be like, yes, we're experiencing
• 51:20
  Speaker 4: this through the eyes of all the characters, but ultimately
• 51:22
  Speaker 4: we are experiencing it through the eyes of Sean Connery's character.
• 51:25
  Speaker 4: And because that's the case, it almost might have led
• 51:28
  Speaker 4: to an under characterization of his character. But I don't
• 51:31
  Speaker 4: think that's here. I think he actually has a fair
• 51:33
  Speaker 4: amount of kind of autonomy as a character, and I
• 51:37
  Speaker 4: think he takes Sean Connery takes the role some very
• 51:39
  Speaker 4: interesting place.
• 51:40
  Speaker 5: Yeah, well, he his position in whatever unit or whatever
• 51:45
  Speaker 5: he is set apart because of him being in a
• 51:48
  Speaker 5: more superior place. You know, he's probably the highest ranking
• 51:52
  Speaker 5: of all these guys. He might even rank higher than
• 51:55
  Speaker 5: these guards. I'm not sure he might even rank higher
• 51:58
  Speaker 5: than Harry Andrews. I don't know, but it's it's and
• 52:01
  Speaker 5: I kind of sometimes wish I knew the military ranks
• 52:03
  Speaker 5: a little bit more. And I know that even in
• 52:05
  Speaker 5: the trivia there's like, oh, this person's from this type
• 52:08
  Speaker 5: of unit, this person's from this type unit. That still
• 52:11
  Speaker 5: doesn't make a whole lot of sense for me, but yeah,
• 52:13
  Speaker 5: like him, he's put into this position of being almost
• 52:17
  Speaker 5: like a father figure to them when they you know,
• 52:20
  Speaker 5: when the one guy is starting to really lose a shit,
• 52:22
  Speaker 5: he like comes to Connery and it's just like, oh,
• 52:24
  Speaker 5: you know, this is going on, and he's starting to
• 52:27
  Speaker 5: break down in front of Connery and then yeah, you
• 52:29
  Speaker 5: get those great close ups of Connery's face. I mean,
• 52:32
  Speaker 5: this movie, and that's the one thing I like about
• 52:34
  Speaker 5: Lamett so much is that he knows the power of
• 52:38
  Speaker 5: the close up. You know, there are some just amazing
• 52:41
  Speaker 5: close ups in Twelve Angry Men. You know, I think
• 52:43
  Speaker 5: of the old Man, you know, and I mean that
• 52:46
  Speaker 5: whole movie is just faces. You know, It's like, you've
• 52:49
  Speaker 5: got these twelve guys around this table. How are you
• 52:52
  Speaker 5: going to make this thing interesting for an hour and
• 52:55
  Speaker 5: a half. You know, he sure knows how to do it,
• 52:57
  Speaker 5: and he knows how to use a moving camera, knows
• 53:00
  Speaker 5: when to you know, I have the still camera as well,
• 53:03
  Speaker 5: but there's a lot of camera moves in these little spaces,
• 53:06
  Speaker 5: and they do a really good job of knowing when
• 53:09
  Speaker 5: to break from that and cut to a close up.
• 53:11
  Speaker 5: And you've got these great faces with all of these actors.
• 53:14
  Speaker 5: I mean, Harry Andrews's face. I love that big chin
• 53:17
  Speaker 5: he's got and everything. But those amazing close ups of
• 53:21
  Speaker 5: Connery and Connory is just so god damn handsome in
• 53:24
  Speaker 5: this movie.
• 53:24
  Speaker 4: He is that. You know, I'm not gonna say Connory
• 53:27
  Speaker 4: wasn't when he got older.
• 53:29
  Speaker 5: But no, he was still a very handsome man, but
• 53:31
  Speaker 5: young cut with.
• 53:33
  Speaker 4: The hair like oh yeah, and the mustache and the
• 53:36
  Speaker 4: just yeah, yeah. He is such a good looking guy.
• 53:41
  Speaker 4: Like it's one of those things where you look at
• 53:42
  Speaker 4: him and you're like, man, you don't belong in this setting,
• 53:45
  Speaker 4: just based on the look of it alone. But then
• 53:47
  Speaker 4: when he opens his mouth and you hear him talk,
• 53:49
  Speaker 4: like no, he totally does. Like he he looks. His
• 53:53
  Speaker 4: look is one thing, but his like presence is another.
• 53:56
  Speaker 4: The gruffness that he has, the kind of I don't know,
• 53:58
  Speaker 4: unyielding right like righteous indignation that he has because it
• 54:03
  Speaker 4: is righteous indignation. Oh yeah, it just it comes through
• 54:05
  Speaker 4: because Connery has such, like you said, such a good face,
• 54:08
  Speaker 4: just such a good face.
• 54:09
  Speaker 6: Mm hmm.
• 54:10
  Speaker 5: Yeah. And I think the death of the the one
• 54:13
  Speaker 5: soldier happens just about at the midpoint of the movie,
• 54:16
  Speaker 5: and then it becomes like I said, that whole okay,
• 54:19
  Speaker 5: how are we going to cover this up? Who are
• 54:21
  Speaker 5: we going to put the plane on? You know that
• 54:23
  Speaker 5: they have to go to that setting outside of the
• 54:26
  Speaker 5: camp where you have that woman belly dancing, and then
• 54:29
  Speaker 5: it's like, oh, hey, commandant, you know somebody died at
• 54:34
  Speaker 5: the camp. You know you might want to get back
• 54:36
  Speaker 5: there eventually, and he's just such a useless fuck.
• 54:39
  Speaker 4: Yeah. Well I do love you know, because, like you said,
• 54:42
  Speaker 4: we have one of the characters die and his death
• 54:45
  Speaker 4: ends up being the kind of the overwhelming inciting incident,
• 54:48
  Speaker 4: and then you know, it ends up bleeding too. And
• 54:51
  Speaker 4: I think this is I mean again, like this is
• 54:52
  Speaker 4: not going to be like a shocking opinion. But I
• 54:55
  Speaker 4: think the best scene in the movie obviously is where
• 54:59
  Speaker 4: it's I would say it's like Sparta Kiss adjacent really,
• 55:03
  Speaker 4: where we have all the prisoners banging on the walls
• 55:05
  Speaker 4: with their canteens and their dinner plates, you know, saying
• 55:09
  Speaker 4: the name of Stevens, who is the guy who obviously
• 55:11
  Speaker 4: he's the one who dies at the hands of the guards,
• 55:14
  Speaker 4: and so we have we have all of them advocating
• 55:18
  Speaker 4: for him because there is it is clear that you know,
• 55:21
  Speaker 4: the information has gone out and been disseminated through the
• 55:23
  Speaker 4: barracks that you know, the guards killed one of the prisoners,
• 55:28
  Speaker 4: and the prisoners don't want to stand for it. Now
• 55:32
  Speaker 4: almost nobody sticks up for what actually happened, but the
• 55:35
  Speaker 4: people that were in the cell do because they're the
• 55:38
  Speaker 4: ones who know. Everybody else is just kind of getting
• 55:40
  Speaker 4: the message out there. But for me, that scene is
• 55:43
  Speaker 4: immensely impactful and really kind of arresting in the way
• 55:46
  Speaker 4: that it's shot.
• 55:47
  Speaker 5: Oh yeah, yes, yeah, and again like going around and
• 55:52
  Speaker 5: you get like it's like a medium close up where
• 55:56
  Speaker 5: you've got people behind our main character. They're all doing
• 56:01
  Speaker 5: the chanting and then just seeing the different ways that
• 56:05
  Speaker 5: our who is it at that point, our four main
• 56:07
  Speaker 5: guys are reacting to the other people's chanting his name
• 56:11
  Speaker 5: and seeing their looks. I mean, Roy Kaneer looks like
• 56:14
  Speaker 5: he's like going out of his fucking mind when he's
• 56:16
  Speaker 5: going Steve and Stevens. I'm just like, you're one of
• 56:19
  Speaker 5: the worst ones. You're you're the one who basically laughed
• 56:22
  Speaker 5: the loudest when this guy passed away, Like you could
• 56:25
  Speaker 5: be considered to partially to blame for this stuff.
• 56:28
  Speaker 4: Well, he's what it gave those initial orders. Yeah exactly, Yeah,
• 56:32
  Speaker 4: so he is partially.
• 56:33
  Speaker 5: And you see those guys coming in with the fucking
• 56:35
  Speaker 5: fire hoses, and you're just like, these guards are not
• 56:38
  Speaker 5: playing around. Something bad is going to happen. I'm surprised
• 56:41
  Speaker 5: that it doesn't end in a fucking prison riot.
• 56:44
  Speaker 4: Well, and I think it's also a testament to the
• 56:47
  Speaker 4: level of control that the guards have over most of
• 56:51
  Speaker 4: the populace, probably to the level that they're broken. That
• 56:54
  Speaker 4: isn't one because they are very much by everything that happened.
• 56:57
  Speaker 5: Absolutely, yeah, no, I'm nobody for him at the end,
• 57:01
  Speaker 5: and nobody says fucking shit when they're like, when they
• 57:04
  Speaker 5: should have their moment of let's riot, it becomes no, no, yeah,
• 57:09
  Speaker 5: we'll go back to ourselves. It's okay.
• 57:11
  Speaker 4: Thank you commandant for giving us, you know, the barest
• 57:14
  Speaker 4: of bare minimum.
• 57:14
  Speaker 5: Mm hmm exactly.
• 57:16
  Speaker 4: I love that, you know, And because we have Williams
• 57:19
  Speaker 4: who is the guard that's effectively the one in charge
• 57:21
  Speaker 4: of doing most of the terrible stuff, and then Harry
• 57:23
  Speaker 4: Andrews is just the one kind of reinforcing that it's
• 57:26
  Speaker 4: a good thing. I do love that A lot of
• 57:28
  Speaker 4: why Williams does what he does is because of him
• 57:32
  Speaker 4: trying to get a promotion. So it's like, the the
• 57:35
  Speaker 4: lack of humanity that you are kind of projecting is
• 57:39
  Speaker 4: because of your wanting to get ahead and exist within
• 57:43
  Speaker 4: the system. And you know what you want is, you know,
• 57:47
  Speaker 4: to get ahead in the world. So you're just going
• 57:49
  Speaker 4: to completely dehumanize your fellow man. And it's like, to
• 57:52
  Speaker 4: what end? Is that really a good idea?
• 57:55
  Speaker 1: Right?
• 57:55
  Speaker 4: Right? Yeah?
• 57:56
  Speaker 5: I mean it reminds me of working a nine to
• 57:58
  Speaker 5: five job where you're just like like, this is all
• 58:01
  Speaker 5: just pretend. You know, why why are we playing these
• 58:04
  Speaker 5: roles here? You know, it's just it's like what you
• 58:08
  Speaker 5: just get along to get along? Like why why do
• 58:11
  Speaker 5: you feel like this? I mean, why do you feel
• 58:13
  Speaker 5: like these jobs are that important? You know, we're not
• 58:16
  Speaker 5: hearing cancer, we're not discovering alien life, we're not finding
• 58:20
  Speaker 5: new cures for uh, for autism or anything. We're just
• 58:24
  Speaker 5: pushing around pixels on pages and stuff. And I'm sure
• 58:27
  Speaker 5: that most of the people that are listening to this like,
• 58:29
  Speaker 5: look at your job, is it really important? And you
• 58:32
  Speaker 5: look at this and it's just like solid. So much
• 58:34
  Speaker 5: of this is just pomp and circumstance. It's guys who agree,
• 58:37
  Speaker 5: we are all in this fighting unit, and we just
• 58:41
  Speaker 5: all have to do whatever these people tell us. You know,
• 58:44
  Speaker 5: these these guards, these officers, you know, the whole, the whole,
• 58:49
  Speaker 5: the whole systems out of order.
• 58:50
  Speaker 4: You know, it's not you that's out of order, it's
• 58:53
  Speaker 4: the system.
• 58:54
  Speaker 5: It's the systems out of order. And I think that's
• 58:56
  Speaker 5: a lot of what I mean. I don't know every
• 58:59
  Speaker 5: film that Sidney Lamett directed, but I know the ones
• 59:03
  Speaker 5: that I connect with a lot are the ones where
• 59:06
  Speaker 5: he's you know, questioning that type of authority, Like I mean,
• 59:11
  Speaker 5: just to see some of the stuff where you're just like, really,
• 59:14
  Speaker 5: he's uh okay, okay. I didn't realize, Chris, that we
• 59:18
  Speaker 5: are going to be covering multiple laments. I didn't realize
• 59:22
  Speaker 5: that he did the Anderson tapes and the offense. So
• 59:24
  Speaker 5: that's kind of funny, like three out of four or
• 59:27
  Speaker 5: three out of five movies, we're talking about this month.
• 59:29
  Speaker 5: Are all Sidney Lamett films with Conery? I guess they
• 59:33
  Speaker 5: got along pretty well.
• 59:34
  Speaker 4: Yeah, and it would seem rather uh, rather well, if
• 59:39
  Speaker 4: there's if there's three more. Yeah, it's too bad you
• 59:42
  Speaker 4: didn't pick Darby O'Gill in The Little People.
• 59:44
  Speaker 5: Well, you know, I felt that Conery just got too
• 59:49
  Speaker 5: too much on his high horse after doing that one,
• 59:51
  Speaker 5: and he's just he would throw that around all the
• 59:53
  Speaker 5: time and be like, oh, you want to tell me
• 59:56
  Speaker 5: how to act? I was in Darby O'Gill and The
• 59:58
  Speaker 5: Little People, how about you? You know, suck on my
• 1:00:00
  Speaker 5: left one.
• 1:00:01
  Speaker 4: That's where he got off on his high horse was dark.
• 1:00:04
  Speaker 5: Oh yeah, exactly. That just made a monster out of
• 1:00:07
  Speaker 5: that guy.
• 1:00:08
  Speaker 4: Oh that's amazing. I love that Little Men Getting Power
• 1:00:13
  Speaker 4: is exactly It yields exactly what one would expect. And
• 1:00:17
  Speaker 4: I love that that is the point of this movie.
• 1:00:20
  Speaker 4: And I love that we get Connery playing against type
• 1:00:22
  Speaker 4: as not the one in charge, not the one in power.
• 1:00:26
  Speaker 4: And you know, I wanted to ask you about the
• 1:00:28
  Speaker 4: end of the movie, Like the end of the movie
• 1:00:29
  Speaker 4: is just oh god, whoof man?
• 1:00:32
  Speaker 5: Like even down.
• 1:00:35
  Speaker 4: Right, it's such a it's not a down it is
• 1:00:37
  Speaker 4: a downer, but it's not a downer like they get
• 1:00:40
  Speaker 4: what they deserve in the end, but to what end? Right?
• 1:00:43
  Speaker 4: At what cost?
• 1:00:45
  Speaker 6: Yeah?
• 1:00:45
  Speaker 5: Yeah, exactly. I mean, because the system is not going
• 1:00:48
  Speaker 5: to change, they're giving up the whole thing of changing
• 1:00:52
  Speaker 5: the system by taking the law into their own hands.
• 1:00:56
  Speaker 5: But at the same time, I'm just like, would anybody
• 1:00:59
  Speaker 5: have getten gotten sent up for this? Would anybody be
• 1:01:03
  Speaker 5: court martialed for this? I would hope so, But the
• 1:01:06
  Speaker 5: way that things work, I don't think so, you know,
• 1:01:09
  Speaker 5: I think it's what you're talking about earlier. As far
• 1:01:10
  Speaker 5: as the bad guys keep getting away with it. I mean,
• 1:01:13
  Speaker 5: we're living in a society of Rollo Tamasis right now.
• 1:01:15
  Speaker 5: They're always getting away with stuff, and you're just like,
• 1:01:18
  Speaker 5: how is that? Like, you might as well just do
• 1:01:21
  Speaker 5: these crimes on TV and broad daylight in front of everybody.
• 1:01:26
  Speaker 5: You know, you could. You could walk up and kill
• 1:01:28
  Speaker 5: somebody on Fifth Avenue and you would get away with it.
• 1:01:30
  Speaker 5: And that's the world we're livinging, and that's the world
• 1:01:33
  Speaker 5: that this is showing us as well. I mean, I'm
• 1:01:35
  Speaker 5: surprised that this is a sixty five film because this
• 1:01:37
  Speaker 5: feels like a seventies film, just with the cynicism of
• 1:01:41
  Speaker 5: the end of this movie.
• 1:01:42
  Speaker 4: And that final shot is so cynical. It's just, you know,
• 1:01:46
  Speaker 4: dab Sean Connery make it all the way to the
• 1:01:48
  Speaker 4: final frames of the movie and be able to I
• 1:01:51
  Speaker 4: would say, stay on his high horse, as it were,
• 1:01:54
  Speaker 4: and all the way to the end of the movie
• 1:01:56
  Speaker 4: he's on his high horse, and then these other two
• 1:01:58
  Speaker 4: guys muck it up, as it were. I find it
• 1:02:01
  Speaker 4: very interesting because he is able to stay relatively unscathed
• 1:02:05
  Speaker 4: in terms of his morals throughout the entire film. Sean
• 1:02:08
  Speaker 4: Connery does, which shows, like even to the point where
• 1:02:11
  Speaker 4: his foot is broken and they are ignoring what he
• 1:02:15
  Speaker 4: is saying, like even then, he doesn't, he doesn't break.
• 1:02:20
  Speaker 4: He is morally righteous and good throughout the entire film,
• 1:02:23
  Speaker 4: even in the waning moments where Williams is more than
• 1:02:26
  Speaker 4: likely going to kill him. Is what it feels, which
• 1:02:29
  Speaker 4: is why Williams ends up dying. I'm assuming they kill him.
• 1:02:34
  Speaker 5: That's what I think too. I think it's mob justice
• 1:02:36
  Speaker 5: at the end.
• 1:02:37
  Speaker 4: Yeah, right, So I'm curious, and I think you've already
• 1:02:41
  Speaker 4: or you know, kind of answered this a little bit.
• 1:02:43
  Speaker 4: It's justified right, Oh for me, yes, same same, Like
• 1:02:46
  Speaker 4: the system was never going to change. And I'm not
• 1:02:49
  Speaker 4: saying that this kind of thing is always justified, but
• 1:02:51
  Speaker 4: in this specific scenario where it is clear that like
• 1:02:55
  Speaker 4: the inmates are not running the asylum, the monsters are
• 1:02:58
  Speaker 4: running the asylum, and somehow the inmates look better than
• 1:03:01
  Speaker 4: the monsters, there will never be any sort of justice,
• 1:03:04
  Speaker 4: as it were, because those who can meter out real
• 1:03:07
  Speaker 4: justice either cannot, are unable to, or just don't care enough.
• 1:03:12
  Speaker 4: And so the people that are in those positions are
• 1:03:14
  Speaker 4: metering out their own version of brutal like military kind
• 1:03:19
  Speaker 4: of like unjustifiably transgressive violence towards other members of the military.
• 1:03:24
  Speaker 4: Like That's the other thing that's very ironic, right, is
• 1:03:26
  Speaker 4: these are all military, right, and the men that are
• 1:03:29
  Speaker 4: there who have been put there to be in charge
• 1:03:31
  Speaker 4: of these people, because they too are also terrible people,
• 1:03:35
  Speaker 4: they can't see that, but the men who are there can.
• 1:03:38
  Speaker 4: And that's the ironic part.
• 1:03:40
  Speaker 5: Right, right, Yeah, like you said, or like the movie said,
• 1:03:43
  Speaker 5: you know, it's the screws are doing the time, just
• 1:03:46
  Speaker 5: like these guys.
• 1:03:47
  Speaker 4: Are, right, and they just don't understand that.
• 1:03:50
  Speaker 5: What's the whole thing, there's a thing Harry Andrews says
• 1:03:52
  Speaker 5: about was it the when Connery asked for a transfer
• 1:03:57
  Speaker 5: to Egypt, is that when the fighting was getting heavier
• 1:04:00
  Speaker 5: in England. I think it almost sounds like he's trying
• 1:04:03
  Speaker 5: to say that Connery's character is a coward, which I
• 1:04:06
  Speaker 5: think is absolutely diametrically opposed to the truth.
• 1:04:09
  Speaker 4: Right. I mean, it takes a lot to do what
• 1:04:11
  Speaker 4: Connory does in this movie. I think Connory is anything
• 1:04:14
  Speaker 4: but a coward.
• 1:04:15
  Speaker 5: Oh god, yeah, he man, And there are moments, you
• 1:04:19
  Speaker 5: know where you see he's quiet in a lot of
• 1:04:22
  Speaker 5: this movie. But when he loses it, Yes, Connor's very
• 1:04:26
  Speaker 5: you know, he's kind of just like, okay, you know,
• 1:04:28
  Speaker 5: this is what we're gonna do. You know, pretty pretty plain,
• 1:04:32
  Speaker 5: you know when it comes to the stuff. But when
• 1:04:33
  Speaker 5: he loses a shit against Harry Andrews like a hour
• 1:04:37
  Speaker 5: and a half into the movie and just is going
• 1:04:39
  Speaker 5: off on him, it's one of the best performances. I mean,
• 1:04:42
  Speaker 5: it's right up there with the end of him with
• 1:04:44
  Speaker 5: him screaming you muck it up. But like just these
• 1:04:47
  Speaker 5: guys going back and forth. It's so good, to the
• 1:04:51
  Speaker 5: point where that noise I was talking about with all
• 1:04:54
  Speaker 5: those guys thrilling. They all fucking stop. There's not a
• 1:04:57
  Speaker 5: you know, you could hear a pin drop, there's no noise,
• 1:05:01
  Speaker 5: and all those drills are gone at that moment.
• 1:05:04
  Speaker 4: No, And I was gonna say, you know, like to
• 1:05:06
  Speaker 4: your point, like that scene with Connery where he finally
• 1:05:10
  Speaker 4: loses it is it is. It's so good. I don't
• 1:05:14
  Speaker 4: understand why Connery and you know, again like not to
• 1:05:17
  Speaker 4: use like the Oscars as any sort of indication for anything.
• 1:05:21
  Speaker 4: But he didn't even get nominated for this movie, which
• 1:05:24
  Speaker 4: is this.
• 1:05:24
  Speaker 5: Movie didn't get that many good reviews. People didn't like this.
• 1:05:28
  Speaker 4: No, it sure did. And as the scene is playing
• 1:05:31
  Speaker 4: in the background, Connery does laugh. In the scene where
• 1:05:34
  Speaker 4: Stevens dies, there are shots of him on the Okay,
• 1:05:37
  Speaker 4: so there is that moment of like because I misremembered
• 1:05:41
  Speaker 4: it as well, like it wouldn't track with the character.
• 1:05:43
  Speaker 4: But I would say, in the defense of the character,
• 1:05:45
  Speaker 4: like you do see that moment where they're all throwing
• 1:05:48
  Speaker 4: dirt at one another on the hill, which is objectively
• 1:05:50
  Speaker 4: not a fun thing to be doing. But I think
• 1:05:53
  Speaker 4: taking solace in those small moments, I think is maybe
• 1:05:56
  Speaker 4: what the film's trying to get across and it obviously
• 1:05:58
  Speaker 4: just goes way too far.
• 1:06:01
  Speaker 5: Yeah, I mean, looking at varieties review, harsh, sadistic and
• 1:06:06
  Speaker 5: brutal entertainment, superbly acted by an all male cast and
• 1:06:09
  Speaker 5: made without any concession to official them Sendney the Mets.
• 1:06:12
  Speaker 5: Force full and authoritative, authoritative direction gives added power to
• 1:06:17
  Speaker 5: the production. I mean, yeah, the critics liked it, but
• 1:06:20
  Speaker 5: apparently just the audiences didn't really go for it. Is
• 1:06:24
  Speaker 5: it got it fun of bafter awards or nominations, But yeah,
• 1:06:28
  Speaker 5: just apparently it didn't hit well with the public. And
• 1:06:30
  Speaker 5: I guess I can see why, just because it's unpleasant
• 1:06:34
  Speaker 5: to think about, and especially unpleasant when you're thinking about,
• 1:06:37
  Speaker 5: like you said, these are soldiers torturing soldiers. It's not
• 1:06:41
  Speaker 5: like these are you know, what we're going to see
• 1:06:44
  Speaker 5: in the eighties where it's like, oh, let's live out
• 1:06:47
  Speaker 5: our Vietnam fantasies and let's have Rambo go in and
• 1:06:51
  Speaker 5: rescue all these POWs from these brutal, you know, Vietnamese guards.
• 1:06:56
  Speaker 5: Like there's no other ring here of these guards. These
• 1:06:59
  Speaker 5: guards are the same type as the prisoners, other than
• 1:07:03
  Speaker 5: Assie Davis who gets that single single dot of treatment.
• 1:07:06
  Speaker 5: But yeah, it's like, Okay, that's why they're looking for anything,
• 1:07:10
  Speaker 5: because these are just white guys with other white guys
• 1:07:12
  Speaker 5: for the most part, soldiers with soldiers, So they're going
• 1:07:15
  Speaker 5: to look for whatever those differences are, just like you know,
• 1:07:18
  Speaker 5: are the army has to have, like every person in
• 1:07:23
  Speaker 5: full metal jacket. He's always just like, okay, you know,
• 1:07:25
  Speaker 5: your nickname is this, and your nickname is that. He's
• 1:07:28
  Speaker 5: always going to try to find those weaknesses and start to,
• 1:07:31
  Speaker 5: you know, pick on those people. I mean, don't forget Sorr,
• 1:07:34
  Speaker 5: just snow or Private Snowball. You know, as soon as
• 1:07:37
  Speaker 5: he sees one black guy, he's just like, okay, yeah,
• 1:07:40
  Speaker 5: your name's Private Snowball. And he always has to like
• 1:07:43
  Speaker 5: whatever those weaknesses are, you know. I I'm surprised that
• 1:07:47
  Speaker 5: there isn't even more brutality when it comes to these
• 1:07:50
  Speaker 5: assholes that are running this camp.
• 1:07:51
  Speaker 4: Well, and that's the other thing I was going to say, like,
• 1:07:54
  Speaker 4: I actually appreciate that the film shows some restraint because
• 1:07:58
  Speaker 4: I don't really need the film to push the level
• 1:08:02
  Speaker 4: of violence or kind of brutality any more than it
• 1:08:05
  Speaker 4: already does, because the oppressive heat and where they are
• 1:08:09
  Speaker 4: does a good enough job of adding to it without
• 1:08:11
  Speaker 4: them needing to have people being beaten to death and
• 1:08:14
  Speaker 4: bludgeoned and you know, bloodied and you know, gored, Like
• 1:08:17
  Speaker 4: I don't need to see any of that, because like
• 1:08:19
  Speaker 4: the setting that they're in adds enough of that without it.
• 1:08:22
  Speaker 4: It's you know, it's all yeah, that passive level of
• 1:08:24
  Speaker 4: being fucked up that I don't doesn't need to add
• 1:08:27
  Speaker 4: to it. Like there's there's no adding necessary.
• 1:08:30
  Speaker 5: Right right exactly. Yeah, you really feel just how this
• 1:08:35
  Speaker 5: atmosphere is, like I said, with all that sweat and everything,
• 1:08:38
  Speaker 5: and then to find out that they shot this what
• 1:08:40
  Speaker 5: was it that was one hundred and fourteen degrees. It
• 1:08:44
  Speaker 5: was a lot of days that they were shooting this thing.
• 1:08:47
  Speaker 5: They had to truck in all this water for this
• 1:08:49
  Speaker 5: stuff because the people were passing out all over the place.
• 1:08:52
  Speaker 5: I mean, the making of this movie sounds tortuous itself.
• 1:08:55
  Speaker 4: Right. Well, that's the thing. You know, you can't fake
• 1:08:58
  Speaker 4: this environment. You know, either are there or you're not.
• 1:09:01
  Speaker 4: So it's clear that they were there, right Like, it's
• 1:09:04
  Speaker 4: that is clear that they were there.
• 1:09:06
  Speaker 5: Oh yeah, and it.
• 1:09:08
  Speaker 4: Looks at and I think the film benefits from actually
• 1:09:11
  Speaker 4: shooting on a location like this one because it, oh,
• 1:09:15
  Speaker 4: you know, everything about it just works really well.
• 1:09:17
  Speaker 5: In some of these shots. I mean right at the
• 1:09:19
  Speaker 5: beginning when we're you know, like showing the guys who
• 1:09:23
  Speaker 5: are leaving the camp, and there's a shot I don't know,
• 1:09:26
  Speaker 5: I mean, obviously it couldn't have been a drone shot
• 1:09:28
  Speaker 5: at that time. I don't think it's a crane and
• 1:09:31
  Speaker 5: I don't know if it's a helicopter, but like the
• 1:09:33
  Speaker 5: camera moves outside of the camp for a little bit
• 1:09:35
  Speaker 5: from a high place. I'm just like, Okay, in twenty six,
• 1:09:40
  Speaker 5: that would be a drone shot. I don't know how
• 1:09:42
  Speaker 5: you did that, but it was really good to set
• 1:09:44
  Speaker 5: this place in a particular area and just show how
• 1:09:49
  Speaker 5: desolate things are.
• 1:09:50
  Speaker 4: Yeah, I mean it's you know, it's it's sweaty, it's dirty,
• 1:09:54
  Speaker 4: it's gross, and it adds such a unique quality and
• 1:09:59
  Speaker 4: field to the movie that is unreplicatable if you're just
• 1:10:02
  Speaker 4: not there. And I think it adds to you know,
• 1:10:04
  Speaker 4: like the helplessness of the characters is just further personified
• 1:10:08
  Speaker 4: by having them be in such a you know, inhospitable place,
• 1:10:12
  Speaker 4: Like what do you do if you escape? Nothing? Like
• 1:10:14
  Speaker 4: you can't even get away if you get Away. No,
• 1:10:16
  Speaker 4: you can't have it.
• 1:10:18
  Speaker 5: Is twenty miles of denult directions.
• 1:10:21
  Speaker 4: Right, you'll probably drink this oil before you decide to
• 1:10:24
  Speaker 4: kill yourself.
• 1:10:24
  Speaker 5: Okay, you went there. I was doing Bealloch from Reganda's
• 1:10:28
  Speaker 5: Lost Art.
• 1:10:28
  Speaker 4: I was doing a bond adjacency.
• 1:10:30
  Speaker 5: Yes, no, I like that. I like it.
• 1:10:34
  Speaker 4: I really like this movie. This is a really strong
• 1:10:37
  Speaker 4: start to the month. Mike.
• 1:10:38
  Speaker 5: Yeah, yeah, I'm really glad to be doing this with
• 1:10:41
  Speaker 5: you because, Yeah, although I take it back, I have
• 1:10:45
  Speaker 5: seen the Anderson tapes. I have seen in the Name
• 1:10:47
  Speaker 5: of the Rose. It's been decades probably for both of them.
• 1:10:51
  Speaker 5: But some of these other ones, like the Offense, I've
• 1:10:53
  Speaker 5: never seen in my life. So another Lament, another Connery,
• 1:10:57
  Speaker 5: bring it on, man, I'm ready.
• 1:10:59
  Speaker 4: Well on that note, yeah, let's let's take a break
• 1:11:02
  Speaker 4: and we'll play a preview for the next Culture cast
• 1:11:06
  Speaker 4: of Mike White.
• 1:11:06
  Speaker 6: Mate.
• 1:11:30
  Speaker 1: Hi, I'm Susan and I'm Sharon and where are the
• 1:11:33
  Speaker 1: hosts of Eighties tv Ladies. Check us out wherever you
• 1:11:37
  Speaker 1: find your favorite podcasts.
• 1:11:38
  Speaker 4: And please like and follow us on Facebook, Instagram, and Twitter.
• 1:11:43
  Speaker 5: At Eighties tv Ladies, you.
• 1:11:45
  Speaker 4: Can find interviews and exclusive behind the scenes content on
• 1:11:48
  Speaker 4: all of your favorite eighties TV ladies.
• 1:11:51
  Speaker 5: Eighties TV Ladies is the place to go.
• 1:11:53
  Speaker 7: Please join us, Hi.
• 1:11:59
  Speaker 5: This is Age from Noise Junkies, and this.
• 1:12:01
  Speaker 7: Is Father Them Alone from Dark Destinations.
• 1:12:04
  Speaker 5: Please join us as we examine one of the greatest
• 1:12:06
  Speaker 5: sitcoms in television history.
• 1:12:09
  Speaker 4: Taxi on Night Mister Walters a taxi podcast.
• 1:12:13
  Speaker 7: Good night, mister Walters, Good evening, and welcome to Night's Gallery.
• 1:12:22
  Speaker 7: Thank you, Rod, and I want to welcome everyone to
• 1:12:24
  Speaker 7: Midnight Viewing, where once a month we talk all about
• 1:12:27
  Speaker 7: your follow up to The Twilight Zone, Rod Serling's Night Gallery.
• 1:12:31
  Speaker 3: They say it's Rod to Ling's Nightgoing, and it isn't
• 1:12:33
  Speaker 3: really Rod to Las Night Gallery.
• 1:12:34
  Speaker 1: It's somebody else's.
• 1:12:35
  Speaker 7: Oh we know, we talk about it a lot. Your
• 1:12:38
  Speaker 7: curators at Midnight Viewing are the Projection Boots, Mike White.
• 1:12:41
  Speaker 3: What can happen to human beings when trust is wiped
• 1:12:44
  Speaker 3: out by suspicion.
• 1:12:45
  Speaker 7: And culture casts, Chris Stashuo.
• 1:12:47
  Speaker 3: Small boy Incased in the Crystal Ball, and I'm Father
• 1:12:51
  Speaker 3: Alone the kind of thing that usually infests nightmares.
• 1:12:54
  Speaker 7: Join us monthly at Midnight Viewing the Night Gallery Podcast
• 1:12:57
  Speaker 7: at Weirdingway Media dot com.
• 1:12:59
  Speaker 1: Doesn't belong to me.
• 1:13:00
  Speaker 3: I have no proprietary interest in that at all.
• 1:13:29
  Speaker 8: Three thirty four pm. I'm gonna procride meal location House,
• 1:13:35
  Speaker 8: Internal Security Committee Surveillance AD two seven one T forty one.
• 1:13:50
  Speaker 3: I'm trying to revenue service surveillance hid Angelo case six
• 1:13:54
  Speaker 3: four two d Z seven one three.
• 1:13:57
  Speaker 1: Someone is listening.
• 1:14:01
  Speaker 3: Someone is watching Everlease of balance July sixteenth, four forty
• 1:14:24
  Speaker 3: five pm.
• 1:14:26
  Speaker 1: What sort of people live in Oh?
• 1:14:27
  Speaker 8: We have a variety.
• 1:14:29
  Speaker 4: There's uh a fag decorator upstairs and.
• 1:14:32
  Speaker 8: A doctor downstairs, all though they say he's an abortionist.
• 1:14:35
  Speaker 6: They're all loaded rash.
• 1:14:38
  Speaker 1: You know what I'm gonna do? I know the back
• 1:14:41
  Speaker 1: up a moving vamily. Then it's still that cuts out
• 1:14:43
  Speaker 1: of the whole place. I need you to bridge some
• 1:14:46
  Speaker 1: burglar alarms, open doors, cut some telephone circuits.
• 1:14:50
  Speaker 2: I got a job, laid out beat, a good driver
• 1:14:52
  Speaker 2: with a cool head.
• 1:14:54
  Speaker 1: I want schedules of services. I want hours and names
• 1:14:57
  Speaker 1: of me, Storm and Janety who works.
• 1:15:01
  Speaker 2: Come to take it at your halls and not a
• 1:15:04
  Speaker 2: moment too soon. What do you think?
• 1:15:11
  Speaker 1: I think that's stings? What are we screwing around.
• 1:15:13
  Speaker 2: With stuff like this?
• 1:15:15
  Speaker 3: Even if he scores it's less than one week's taking
• 1:15:18
  Speaker 3: our worst horse groom. Someone is listening or someone is watching.
• 1:15:25
  Speaker 1: This guy's moving a muscle. It's got every move laid out.
• 1:15:28
  Speaker 2: It's like a military operation.
• 1:15:31
  Speaker 4: Oh you okay to do.
• 1:15:34
  Speaker 5: I'll give you the money, but the finance we want
• 1:15:37
  Speaker 5: sixty four.
• 1:15:39
  Speaker 3: Everyone knows it's an improbable crime. Yet Duke Anderson may
• 1:15:47
  Speaker 3: pull off the impossible.
• 1:15:50
  Speaker 4: Yes, what the hell is?
• 1:15:53
  Speaker 6: How do I over.
• 1:15:57
  Speaker 4: It?
• 1:15:58
  Speaker 6: Bother me?
• 1:16:13
  Speaker 3: The best seller that bugged the world of crime unreels
• 1:16:16
  Speaker 3: its power on the screen.
• 1:16:25
  Speaker 4: So that's right. On the next Culture cast of Mike
• 1:16:26
  Speaker 4: White May, we're gonna be talking about the the Anderson tapes,
• 1:16:29
  Speaker 4: which which Mike just kind of mentioned offhand. So it'll
• 1:16:31
  Speaker 4: be another Connery movie, which you know, so far, so good.
• 1:16:36
  Speaker 5: One down, we'll see where we go from here.
• 1:16:38
  Speaker 4: Yeah, like you said, another Siddley, Loomy or Lumette. Excuse
• 1:16:42
  Speaker 4: me all the one person who corrected Mike the one time. Yeah,
• 1:16:46
  Speaker 4: give Mike like PTSD because of it.
• 1:16:50
  Speaker 5: I mean it should be pronounced loo May. Come on,
• 1:16:53
  Speaker 5: he looks like the May.
• 1:16:54
  Speaker 4: Yeah, it looks like lu May. Sounds like lou May.
• 1:16:57
  Speaker 4: Spelled like lou May. It should be loo May, but
• 1:16:59
  Speaker 4: it's Lumette. Yeah, but yeah, another Connery, another Lumet, So
• 1:17:02
  Speaker 4: it's interesting. It's almost like a Connerylumet month, almost not
• 1:17:06
  Speaker 4: all the way but almost no close close. So yeah,
• 1:17:10
  Speaker 4: until then, Mike, where can people find you and the
• 1:17:13
  Speaker 4: things that you work on?
• 1:17:14
  Speaker 5: Well, pretty much everything that I do is available at
• 1:17:16
  Speaker 5: Weirdingwaymedia dot com, which is maybe where you downloaded this from.
• 1:17:20
  Speaker 5: And no matter where you downloaded or from, thank you
• 1:17:23
  Speaker 5: and thanks for listening to this, and yeah, come on
• 1:17:25
  Speaker 5: over and check out some of the other shows that
• 1:17:27
  Speaker 5: we work on. Chris and I are on a bunch
• 1:17:30
  Speaker 5: of shows, and we've got a whole bunch of friends
• 1:17:32
  Speaker 5: that aren't on our shows that we really like to
• 1:17:34
  Speaker 5: talk about.
• 1:17:35
  Speaker 4: How about you, Chris, No, like you just said, Weirdingwaymedia
• 1:17:38
  Speaker 4: dot com. That's where you can go to find this
• 1:17:39
  Speaker 4: show and all the other shows. So yeah, head on
• 1:17:42
  Speaker 4: over there and give it a listen, give it a look.
• 1:17:44
  Speaker 4: There are some of our podcasts around YouTube as well,
• 1:17:47
  Speaker 4: but everything can be found at weirdingwaymedia dot com other
• 1:17:50
  Speaker 4: than ranking on Bond, which it's in its waning moments.
• 1:17:53
  Speaker 4: Speaking of James Bond, we covered the Connery movies years
• 1:17:57
  Speaker 4: ago at this point, but all of those episodes can
• 1:18:00
  Speaker 4: be found on our patreons. Mine is patreon dot com
• 1:18:03
  Speaker 4: slash Culturecast, Mike's is patreon dot com slash the Projection Booth,
• 1:18:06
  Speaker 4: and those episodes are there and they will always be
• 1:18:09
  Speaker 4: there if you want to listen to them us talking
• 1:18:11
  Speaker 4: about Bond. But yeah, that's the only thing that can't
• 1:18:14
  Speaker 4: be found at weirdingwaymedia dot com. So like, rate and
• 1:18:17
  Speaker 4: review this show on iTunes or Spotify, which is where
• 1:18:19
  Speaker 4: you should be getting it if you're not. And uh yeah,
• 1:18:22
  Speaker 4: come on back for the next episode where we talk
• 1:18:24
  Speaker 4: about the Anderson and Mike thank you so much for
• 1:18:26
  Speaker 4: joining me for this month and programming the films. And
• 1:18:29
  Speaker 4: you know, I don't know if they're going to be
• 1:18:30
  Speaker 4: as good as those Japanese new wave films, but or
• 1:18:32
  Speaker 4: those Francis Weber films and their remakes, some of their
• 1:18:36
  Speaker 4: insufferable respect to you know, got it?
• 1:18:38
  Speaker 5: You know, well the originals were good, right, the originals
• 1:18:41
  Speaker 5: were good?
• 1:18:41
  Speaker 4: I mean yes, but you know, then subjecting ourselves to
• 1:18:44
  Speaker 4: all those English remakes with Martin Short, just like anytime
• 1:18:47
  Speaker 4: I see Martin Short now, I'm just like, uh, yeah, yeah,
• 1:18:53
  Speaker 4: but yeah, come on back for the next episode where
• 1:18:55
  Speaker 4: we talk about se Andersons by.
• 1:19:02
  Speaker 1: The basis for the bass.
• 1:19:07
  Speaker 6: For the bass people, the Boss competents in the bins
• 1:19:16
  Speaker 6: from the Boss stupids for the books, for