Latest / Frightmares / Ep. 382 - Godzilla (1954)

Transcript

Ep. 382 - Godzilla (1954) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 0:15
  Speaker 2: Ever have that one movie everyone assumes you've seen, but
• 0:18
  Speaker 2: you haven't? You know, the one, the classic, the cult favorite,
• 0:23
  Speaker 2: the how have you not seen that movie? Welcome to
• 0:27
  Speaker 2: the Shameless Picture Show. Twice a month, I sit down
• 0:30
  Speaker 2: with the guests who finally cross one of those films
• 0:32
  Speaker 2: off our shame lists. Sometimes it's their first watch and
• 0:36
  Speaker 2: sometimes it's mine, but sometimes it's new for both of us.
• 0:41
  Speaker 2: Then we die the characters, the craft, the cultural impact,
• 0:45
  Speaker 2: and whether it actually lives up to the hype, from
• 0:48
  Speaker 2: legendary classics to cult oddities to the films we somehow
• 0:52
  Speaker 2: missed along the way. Join us as we turn movie
• 0:55
  Speaker 2: shame into movie discussion. This is the Shameless Picture Show.
• 1:05
  Speaker 2: The following podcast will contain spoilers, tangents, hot takes, and
• 1:10
  Speaker 2: excessive foul language. Viewer discretion is advised. Enjoy the show.
• 1:57
  Speaker 3: Welcome back to Frightmar's podcast. I'm your host Austin and
• 2:00
  Speaker 3: joining me today for episode three eighty two is my
• 2:04
  Speaker 3: good friend Michael Ers.
• 2:06
  Speaker 2: Hello, I am beck back.
• 2:08
  Speaker 3: I know back quickly, quick turnaround on this one, because today,
• 2:13
  Speaker 3: on the first installment of Kai June destroy we're discussing
• 2:16
  Speaker 3: our essential pick, Godzilla from nineteen fifty four, a movie
• 2:20
  Speaker 3: that showcased a guy in a rubber suit and it
• 2:23
  Speaker 3: has forever been iconic. Let's see where this lands on
• 2:26
  Speaker 3: the nightmare index. All right, So first and foremost here
• 2:35
  Speaker 3: we got to talk about what we have recently watched.
• 2:38
  Speaker 3: So what have you got about the past week or so?
• 2:42
  Speaker 3: What have you been getting into here?
• 2:46
  Speaker 2: Well, let's take a look at the good old letter
• 2:48
  Speaker 2: boxed um. Well, first off, on the twenty fourth, we
• 2:55
  Speaker 2: went to Dubuqui, Wo to visit Amanda's mother and we
• 2:58
  Speaker 2: took her to go see The Sheep Detectives. And that
• 3:01
  Speaker 2: was a delightful fucking movie.
• 3:04
  Speaker 3: I love to hear it just unexpectedly good.
• 3:08
  Speaker 2: Yeah, like it's un actually it's unexpectedly great. Like I
• 3:13
  Speaker 2: went in with very little expectations. I was expecting a cute,
• 3:16
  Speaker 2: like who Done It? Movie with sheep? And while the
• 3:20
  Speaker 2: movie do you know what this movie's about?
• 3:22
  Speaker 3: I did breathe the synopsis after you had mentioned it,
• 3:24
  Speaker 3: and I was like, that does sound kind of silly.
• 3:27
  Speaker 2: But yeah, for those of listening at home, there's not
• 3:30
  Speaker 2: a horror movie. But oh, there's murder in the movie,
• 3:32
  Speaker 2: so you know, whatever.
• 3:34
  Speaker 3: Whatever.
• 3:35
  Speaker 2: Hugh Jackman plays a shepherd and he lives a nice,
• 3:40
  Speaker 2: simple life and every night he reads mystery detective novels
• 3:45
  Speaker 2: to his sheep. Well, one night he has found murdered
• 3:50
  Speaker 2: most foul and the sheep taken upon themselves to see
• 3:55
  Speaker 2: if they could they can solve the murder who killed
• 3:57
  Speaker 2: their shepherd and it it's really cute. But I was
• 4:02
  Speaker 2: not expecting like ruminations on faith and existential questions about life.
• 4:08
  Speaker 2: Oh okay, hold on, there's a review I want to
• 4:15
  Speaker 2: read for you real quick from person that I really
• 4:20
  Speaker 2: like their reviews. Justin the Liberty from Vinegar Syndrome said,
• 4:24
  Speaker 2: not me having an existential crisis during the talking sheep
• 4:27
  Speaker 2: who done it? Surprises the year so far, And that's
• 4:30
  Speaker 2: how I felt watching it. Was like, holy shit, I
• 4:33
  Speaker 2: was not expecting the feel things.
• 4:35
  Speaker 3: That's always that's always the best. It's like when you're
• 4:37
  Speaker 3: going into this movie, not expect you just like, turn
• 4:40
  Speaker 3: your brain off. This will be funny. You're like, oh god,
• 4:41
  Speaker 3: now I'm feeling how how did we get here? What's happening?
• 4:45
  Speaker 2: Yes? And then my surprise pick of the week, I
• 4:48
  Speaker 2: watched Sam Raimi's a Simple Plan. This is the movie
• 4:52
  Speaker 2: he did right after Quick in the Dead. He had
• 4:55
  Speaker 2: a three film run of a Simple Plan for Love
• 4:59
  Speaker 2: of the Game and The Gift, which are like three
• 5:02
  Speaker 2: dramas that he directed before he got the job for
• 5:05
  Speaker 2: Spider Man. And This movie stars Billy Bob Thornton and
• 5:08
  Speaker 2: Bill Paxton. It is an incredible movie about these Midwestern
• 5:13
  Speaker 2: just everyman who find four billion dollars in cash on
• 5:18
  Speaker 2: a downed airplane and try to see if they can
• 5:21
  Speaker 2: keep it without anyone finding the money.
• 5:24
  Speaker 3: This sounds really familiar. I feel like someone has brought
• 5:28
  Speaker 3: this up to me recently because that sounds extremely familiar.
• 5:31
  Speaker 2: What's it called again, It's called a Simple Plan.
• 5:34
  Speaker 3: That's yeah, that sounds similar. I mean, you had me
• 5:36
  Speaker 3: with Paxton and Billy Bob Thornton.
• 5:39
  Speaker 2: I was arguing, they're great. Billy Bob Thornton's especially like
• 5:42
  Speaker 2: Billy Bob Thornton is transcendent as this character. I forgot.
• 5:47
  Speaker 2: I was watching Billy Bob Thornton.
• 5:48
  Speaker 3: Wow, okay, all right to U two movies I gotta watch.
• 5:53
  Speaker 2: Now, And then I watched Scream seven. Fuck this fucking movie,
• 6:02
  Speaker 2: and you know me, I'm not normally this aggressive.
• 6:05
  Speaker 3: You haven't said that to me. When I told you
• 6:07
  Speaker 3: about it, I was like, it is fuck awful. And
• 6:08
  Speaker 3: You're like, whoa, You're never like that up like like
• 6:11
  Speaker 3: upfront about movies. I'm like, dude, it's bad. It's just it.
• 6:17
  Speaker 2: Kevin, Kevin Williamson. You know, I have a lot of
• 6:21
  Speaker 2: respect for this man. He's got a really interesting story
• 6:25
  Speaker 2: about how he kind of made it in Hollywood, you
• 6:28
  Speaker 2: know the I think his story is really interesting. He
• 6:31
  Speaker 2: made he wrote the he wrote, uh, Scream one, he
• 6:35
  Speaker 2: wrote all the screams. No, he wrote uh one, two
• 6:39
  Speaker 2: and four and seven. You know I love Scream one
• 6:43
  Speaker 2: and two. I even love Scream three. Uh. I know
• 6:45
  Speaker 2: what you did last Summer is a movie. And I'm
• 6:50
  Speaker 2: I'm unapologetically a big fan of Dawson's Creek, but god damn,
• 6:55
  Speaker 2: this movie is bad. Like, I don't I understand they
• 6:58
  Speaker 2: brought him on to write it. I don't know why
• 6:59
  Speaker 2: they brought him on the directed. He's only directed one
• 7:01
  Speaker 2: other fucking film before, And let's just give the fucking
• 7:05
  Speaker 2: franchise to this guy. Like, I get it, it's his franchise,
• 7:08
  Speaker 2: but like, I truly believe Wes Craven was the heart
• 7:12
  Speaker 2: of this fucking franchise, and had he not directed that
• 7:15
  Speaker 2: first movie, I don't know if it would be it
• 7:17
  Speaker 2: would have been what it is. This movie pissed me
• 7:19
  Speaker 2: off in every way, shape and shape or form. Like
• 7:22
  Speaker 2: it's one thing. So first off, they can't continue. So
• 7:26
  Speaker 2: let me just start off by saying, sorry, you've I've
• 7:28
  Speaker 2: opened up a fucking thing. I didn't like Scream five
• 7:32
  Speaker 2: and six. I thought they were fine. Okay, Okay, Scream
• 7:36
  Speaker 2: five just like, okay, we're just doing everything all over
• 7:38
  Speaker 2: again and we're exploring the same themes. At Scream four
• 7:40
  Speaker 2: I thought did better, well whatever, Okay, you know, I
• 7:44
  Speaker 2: didn't really have a deep connection to Marisa Barrera. Like
• 7:49
  Speaker 2: I didn't think she was good nor bad. She just
• 7:51
  Speaker 2: you know, she was fine, she was fine. I personally
• 7:53
  Speaker 2: am not a big Jena or take a person. I
• 7:55
  Speaker 2: just I just don't get her appeal very much.
• 7:58
  Speaker 3: She's oversaturated at this point, and yeah, she's just in everything.
• 8:03
  Speaker 2: Like the I actually thought bringing back like Dewey and
• 8:06
  Speaker 2: then that that worked pretty well for me. But I
• 8:09
  Speaker 2: just didn't care about this story because I just felt
• 8:12
  Speaker 2: like they were just doing everything that we did in
• 8:13
  Speaker 2: scream For and For almost pretending like Scream For didn't exist.
• 8:17
  Speaker 2: I liked Screamed six better, surprisingly, but it was did
• 8:22
  Speaker 2: really feel like it was missing the Nev Campbell of
• 8:24
  Speaker 2: it all. This one, they decided just to back up
• 8:26
  Speaker 2: the fucking brinkstruck to Nev Campbell's house and get her
• 8:29
  Speaker 2: and for some and anyone listening out there, if this
• 8:32
  Speaker 2: is spoiler territory, I don't give a shit, they brought
• 8:35
  Speaker 2: back Nev Campbell Cool Courtney Cox. I really thought she
• 8:38
  Speaker 2: died in the last film.
• 8:41
  Speaker 3: I thought she did too, and I was really expecting
• 8:42
  Speaker 3: her to die on this film. They're they're they're not
• 8:45
  Speaker 3: like you gotta kill off the main person at this point.
• 8:47
  Speaker 3: You can't just keep these people around forever. I mean,
• 8:49
  Speaker 3: nep Campbell, sure, but like I really thought Courtney Cox's
• 8:52
  Speaker 3: character was going. She also has no business being in
• 8:55
  Speaker 3: this movie. There's no reason for her to be here.
• 8:57
  Speaker 2: Yes, hold on, and I got it. I gotta read
• 9:00
  Speaker 2: something to you real quick because it made me laugh.
• 9:04
  Speaker 2: I remember googling was like, wait, how did how did
• 9:08
  Speaker 2: Gail Weathers survive Scream six? And it said, well, Gail
• 9:13
  Speaker 2: Weathers simply did not die in screaming Google. So I
• 9:21
  Speaker 2: and then like, this movie felt like it was actively commenting.
• 9:27
  Speaker 2: This movie felt like the horror film that the last
• 9:30
  Speaker 2: two Scream films were actively commenting on.
• 9:33
  Speaker 3: Scream has literally come full circle and is now stabbed.
• 9:38
  Speaker 2: Like, honestly, it's it's not like none of the kills
• 9:42
  Speaker 2: were really all that interesting or fun. And a film
• 9:46
  Speaker 2: critic I really like named Adam Naman this, this joke
• 9:49
  Speaker 2: is only gonna be funny for your Simpson's listeners out there.
• 9:52
  Speaker 2: He says, Williamson has gotten himself into the completely stranded.
• 9:56
  Speaker 2: Oh let's say it's Mo territory.
• 10:00
  Speaker 3: All right, for any Simpsons fans out there, I hope
• 10:02
  Speaker 3: you enjoyed that laugh.
• 10:04
  Speaker 2: Yeah. And then also just like this movie is it
• 10:09
  Speaker 2: feels like old Man's screaming at the clouds because it
• 10:11
  Speaker 2: just feels like Kevin Williamson knows that AI is a
• 10:15
  Speaker 2: hot button topic but doesn't really know how to discuss
• 10:19
  Speaker 2: it or include it in his film. And then I
• 10:22
  Speaker 2: just I need to talk about Matthew Willard. He's fucking
• 10:25
  Speaker 2: awful in this movie.
• 10:27
  Speaker 3: Yeah, He's not great, He's really not good. I love
• 10:30
  Speaker 3: Matthew Lillard like I love.
• 10:31
  Speaker 2: Matthew Lillard as well, and it just his performance is
• 10:35
  Speaker 2: fucking got awful.
• 10:37
  Speaker 3: It was. It just felt forced, it did. It really
• 10:40
  Speaker 3: felt forced. I wanted him to come back and be
• 10:42
  Speaker 3: the villain in five, just because like it doesn't make sense.
• 10:44
  Speaker 3: I don't give a shit like I wanted it in five.
• 10:46
  Speaker 3: And then they bring him back for seven and I'm like,
• 10:48
  Speaker 3: I legitimately don't care at this point anymore. I don't
• 10:50
  Speaker 3: fucking care.
• 10:52
  Speaker 2: Ethan Embery's just there, yeah, some reason, like it's this
• 10:55
  Speaker 2: is a god awful movie, and I'm not normally this.
• 11:00
  Speaker 2: But if there's anyone out there who's who's like, oh, yeah,
• 11:02
  Speaker 2: this movie will genuinely kicks ass, I feel for you.
• 11:06
  Speaker 3: Yeah, I do too.
• 11:07
  Speaker 2: You need more, You need more positive media in your life.
• 11:10
  Speaker 3: I did uh this. And this is exactly why I
• 11:13
  Speaker 3: stray away from negative reviews unless I unless right, unless
• 11:17
  Speaker 3: I'm send something, or unless I get a screener or
• 11:19
  Speaker 3: a movie or whatever, I stray away from this. And
• 11:22
  Speaker 3: I did this review saying all my problems, and I mean,
• 11:25
  Speaker 3: I got a lot of attention from it, but it's like,
• 11:28
  Speaker 3: I don't that's not the attention I want. I don't
• 11:29
  Speaker 3: want attention of people in my comments being like, oh, well,
• 11:32
  Speaker 3: you're wrong, this movie was great oah blah blah, Like
• 11:34
  Speaker 3: I don't want that attention, Like I got a lot
• 11:36
  Speaker 3: of traction from that video, but not in the ways
• 11:38
  Speaker 3: I wanted to. I could not. I couldn't believe how
• 11:41
  Speaker 3: many people like irritated with me saying that Scream was
• 11:43
  Speaker 3: a bad movie. It has. It literally has the worst
• 11:45
  Speaker 3: ratings of every screen movie in the franchise.
• 11:49
  Speaker 2: Actively the worst. This movie is objectively the worst of
• 11:52
  Speaker 2: the franchise. Yeah, and as I said, I'm not a
• 11:54
  Speaker 2: big fan of Scream five and six. I just feel
• 11:56
  Speaker 2: like they weren't necessary and they had nothing to say.
• 11:58
  Speaker 2: And maybe it would have felt differently if they could have
• 12:01
  Speaker 2: completed their story, but let's be real, I was not
• 12:03
  Speaker 2: that big and too Marissa Barrera being the fucking daughter
• 12:07
  Speaker 2: of Billy Loomis just that was also fucking stupid. Yeah,
• 12:11
  Speaker 2: but this movie was so bad it made me like
• 12:14
  Speaker 2: five and six more so.
• 12:16
  Speaker 3: If anything good came out of it, there's that, you know.
• 12:20
  Speaker 2: Yeah, all right, and then I'll wrap up my last
• 12:23
  Speaker 2: two pretty quickly. I took a man to the theater
• 12:25
  Speaker 2: and we watched Fern Gully the Last Rainforest.
• 12:28
  Speaker 3: Nice.
• 12:29
  Speaker 2: Yeah, they were showing the new four K restoration of
• 12:32
  Speaker 2: the film, and there's a Q and A with the
• 12:33
  Speaker 2: director afterwards, because apparently he lives in Milwaukee. Oh shit, Yeah,
• 12:38
  Speaker 2: I'm gonna get him on the podcast.
• 12:40
  Speaker 3: Amazing.
• 12:41
  Speaker 2: He used to do effects for Tron, and I've never
• 12:44
  Speaker 2: seen Tron, so we're gonna I pitched him. Let's talk
• 12:47
  Speaker 2: about Tron.
• 12:48
  Speaker 3: Oh that's amazing. Okay, and what else?
• 12:50
  Speaker 2: Yeah, and then I want this is a movie that
• 12:54
  Speaker 2: you liked that I did not. I watched Until Dawn.
• 12:59
  Speaker 3: Oh okay, I.
• 13:01
  Speaker 2: Love the Until Dawn video game. I love the Dark
• 13:04
  Speaker 2: Anthology video game Franchise's let's be real, there is there's
• 13:13
  Speaker 2: some fun stuff in this movie. There are some fun kills,
• 13:17
  Speaker 2: but ultimately it feels like Austin You've got You've been
• 13:21
  Speaker 2: to a lot of haunted house attractions. This movie feels
• 13:24
  Speaker 2: like a haunted house attraction in a movie, like you're
• 13:28
  Speaker 2: just going from different room to different room that don't
• 13:30
  Speaker 2: quite make sense, but they're trying to transition them all
• 13:33
  Speaker 2: the everyone just feels like they're wearing a costume. And no,
• 13:37
  Speaker 2: I don't know why. The When to Go look like
• 13:38
  Speaker 2: fucking evil dead demons. That's not what When to Go
• 13:41
  Speaker 2: We're supposed to look like. Like, don't get me wrong,
• 13:45
  Speaker 2: there's some fun stuff in here. The entire sequel. Once again,
• 13:48
  Speaker 2: spoiler for everyone who hasn't seen this movie. I don't
• 13:50
  Speaker 2: care if I'm spoiling shit for you. At this point,
• 13:54
  Speaker 2: the the bathroom scene where everyone's exploding was was the
• 13:59
  Speaker 2: best part part of the entire film.
• 14:01
  Speaker 3: That was great because I just reminded me of Ready
• 14:04
  Speaker 3: or Not. But that came out of nowhere, exploding people
• 14:08
  Speaker 3: just exploding for no reason.
• 14:09
  Speaker 2: It is great, It's really funny. But ultimately I just
• 14:13
  Speaker 2: really just did like it was a fun ride when
• 14:16
  Speaker 2: I was watching it, But it kind of feels like
• 14:19
  Speaker 2: eating popcorn where it didn't do much for me, Like
• 14:21
  Speaker 2: I was enjoying it well enough. But I'm never gonna
• 14:24
  Speaker 2: think about this movie again. And it actually makes me
• 14:26
  Speaker 2: question David F. Sandberg's career a little bit.
• 14:29
  Speaker 3: Hey, now, don't be, don't be. Wait a second. Now
• 14:32
  Speaker 3: he's done some great work. Don't let don't let what
• 14:35
  Speaker 3: has he done? He's done? And about creation? It's fine,
• 14:38
  Speaker 3: Oh okay, lights out.
• 14:40
  Speaker 2: It's okay, all right?
• 14:40
  Speaker 3: Then never mind?
• 14:41
  Speaker 2: Then I do. And I really did not like Shazam.
• 14:45
  Speaker 3: Oh yeah, see, I haven't seen those so.
• 14:47
  Speaker 2: Like it once again his entire Like, I feel bad.
• 14:50
  Speaker 2: I don't know. He seems like a really nice guy.
• 14:51
  Speaker 2: Listened to him by podcasts. All of his films have
• 14:53
  Speaker 2: been fine. Nothing he has made is like, I don't
• 14:56
  Speaker 2: think any of his films have above three stars. For me,
• 14:59
  Speaker 2: every one of his films is three stars are lower.
• 15:01
  Speaker 3: Okay, well then then that's that's the that makes sense.
• 15:05
  Speaker 3: I've watched a lot, but I'm only gonna focus on
• 15:08
  Speaker 3: two of them because they are my cult movie challenges.
• 15:10
  Speaker 3: I did see a new movie for this year called Heresy.
• 15:13
  Speaker 3: Don't let the twenty twenty four release date fool you.
• 15:17
  Speaker 3: It is a Dutch film and it wasn't released in
• 15:20
  Speaker 3: these states until mayfirst.
• 15:21
  Speaker 2: Tell me about this movie on shutter.
• 15:24
  Speaker 3: On shutter and fun fact, I am Dutch and the
• 15:26
  Speaker 3: only Dutch movie I've ever seen. I said I hadn't
• 15:28
  Speaker 3: seen a Dutch movie in my TikTok on this, but
• 15:30
  Speaker 3: I've seen one Dutch movie called Moloch, which was a masterpiece.
• 15:33
  Speaker 3: This one was also a masterpiece. Gave it a four
• 15:35
  Speaker 3: and a half. It was dripping with just religious paranoia,
• 15:40
  Speaker 3: and there's this like ethereal being in these in these
• 15:43
  Speaker 3: forbidden fucking so good. Four and a half.
• 15:46
  Speaker 2: Yeah, next time I get a shutter, I'm gonna have
• 15:49
  Speaker 2: to check that out.
• 15:49
  Speaker 3: And it's only sixty two minutes, so it's like a breeze.
• 15:55
  Speaker 2: We both love some fucking short ass.
• 15:59
  Speaker 3: Yeah they this movie wasts zero. If anything, I wanted
• 16:02
  Speaker 3: a little bit more, but that's not a problem. Watch
• 16:05
  Speaker 3: Kracking for this year. It was a fun creature feature.
• 16:08
  Speaker 3: Nothing groundbreaking, although I do like seeing a kracking because
• 16:13
  Speaker 3: I mean, outside of you know, parts of the Caribbean,
• 16:17
  Speaker 3: I don't think we've ever had a movie centered around
• 16:20
  Speaker 3: to Kracking. Three out of five. They had a lot
• 16:24
  Speaker 3: of weird exposition, some pacing issues, but then when the
• 16:28
  Speaker 3: monster is revealed, I was like, dast fucking sick. So
• 16:31
  Speaker 3: three out of five for that Saw Passenger. Finally, I
• 16:36
  Speaker 3: can't believe this movie has a two point three out
• 16:38
  Speaker 3: of five on letterbox. I get the lower issues. I
• 16:40
  Speaker 3: get that the Passenger isn't fully explained, totally get it.
• 16:45
  Speaker 3: Such creative jump scares, some of the best camera work
• 16:48
  Speaker 3: I've seen this year. Great premise, great setup, great ending.
• 16:51
  Speaker 3: Four stars. I don't, like, unapologetically love that movie.
• 16:55
  Speaker 2: This was called Passenger. I've seen people talking about this.
• 16:58
  Speaker 3: Yeah it's in theaters, and now I really I'm, you know,
• 17:01
  Speaker 3: apparently in the very small minority who loved it. But
• 17:03
  Speaker 3: I really enjoyed it. Here my two cult movie challenges
• 17:07
  Speaker 3: the Oily Maniac finally watched it Shaw Brothers week for
• 17:12
  Speaker 3: the cult movie challenge. A little too rape and sexploitationy
• 17:17
  Speaker 3: for me.
• 17:18
  Speaker 2: Yeah, that's always tough. When was this movie.
• 17:20
  Speaker 3: Made seventy six? So it's I mean, it's right in
• 17:23
  Speaker 3: that era.
• 17:23
  Speaker 2: It's funny. I have a general blanket rule when me
• 17:27
  Speaker 2: and Amanda watch something, to watch a genre film from
• 17:30
  Speaker 2: the seventies, and I was like, there is a higher
• 17:33
  Speaker 2: than a normal probability that there is going to be
• 17:37
  Speaker 2: some sort of sexual violence or assault in this film.
• 17:42
  Speaker 2: It's always a pleasant surprise when there's not, but I
• 17:45
  Speaker 2: always give her the blanket warning. It's like, this is
• 17:47
  Speaker 2: a move in the nineteen seventies, I do not know
• 17:49
  Speaker 2: what to expect out of this film. Same thing when
• 17:51
  Speaker 2: we watch a movie from like the thirties through like
• 17:55
  Speaker 2: pretty much nineties, like there's probably there could be some
• 17:58
  Speaker 2: this movie might be racist.
• 18:00
  Speaker 3: Racist, might be misogynistic.
• 18:04
  Speaker 2: Yeah so, but other than that.
• 18:06
  Speaker 3: It was fun. This obviously directly inspired The Greasy Strangler.
• 18:10
  Speaker 3: I mean, this guy literally gets drenched in oil, goes
• 18:14
  Speaker 3: out and kills people to get revenge. It's a lot
• 18:16
  Speaker 3: of fun, fun effects, fun monster three and a half stars.
• 18:20
  Speaker 3: I'm writing my review now on it. You can check
• 18:22
  Speaker 3: that out on letterbox. And then my other cult movie
• 18:25
  Speaker 3: challenge was USA Up All Night.
• 18:29
  Speaker 2: Or some shit. Oh that was USA Up All Night
• 18:33
  Speaker 2: was a show that was on. It was like a
• 18:35
  Speaker 2: Joe Bob Briggs type thing.
• 18:39
  Speaker 3: Okay, so I watched God Told Me To directed by
• 18:42
  Speaker 3: Larry Cohen. Oh, oh my god, what a fucking film, dude,
• 18:48
  Speaker 3: Holy shit, blew my dick off.
• 18:51
  Speaker 2: Well I love blew your dick off.
• 18:53
  Speaker 3: Blew my dick off, just straight off.
• 18:55
  Speaker 2: God Told Me To is a is fucking incredible. It
• 19:00
  Speaker 2: was the one God Told Me To and Q the
• 19:03
  Speaker 2: Winged Serpent are the one two punch that made me
• 19:05
  Speaker 2: realize that I fucking love Larry Cohen.
• 19:08
  Speaker 3: Yeah, Larry Cohen is a legend. This movie. I don't
• 19:12
  Speaker 3: want to get into too much of it because it's
• 19:15
  Speaker 3: the title is very It's like the theme of the movie,
• 19:18
  Speaker 3: but four and a half brilliant film. I love the
• 19:22
  Speaker 3: the ending is it's just it's so good, So I
• 19:24
  Speaker 3: don't want to speak too much on it writing my
• 19:26
  Speaker 3: review for that one now and then I'll end with
• 19:29
  Speaker 3: Voyage of the Rock Aliens, which is one of the
• 19:31
  Speaker 3: most greatest eighties movies of all fucking time.
• 19:34
  Speaker 2: I forgot you're watching, oh.
• 19:36
  Speaker 3: Like the greatest soundtrack just this comedy.
• 19:41
  Speaker 2: If this is any of your listeners first time listening
• 19:43
  Speaker 2: to me on an episode, this is more so what
• 19:45
  Speaker 2: I'm normally like. I'm not normally so agro like. It
• 19:48
  Speaker 2: wasn't normally like, Hey, I love movies.
• 19:52
  Speaker 3: Well, and we're gonna talk about a movie that I
• 19:54
  Speaker 3: know you love. So that's all I've watched. Definitely check
• 19:57
  Speaker 3: out A Void to the Rock Aliens if you love cheesy,
• 20:01
  Speaker 3: campy movies with just thumping soundtracks. It is such a
• 20:06
  Speaker 3: good soundtrack. You can watch it on two B. But
• 20:09
  Speaker 3: that's all I've watched this week. Caught up with the
• 20:11
  Speaker 3: cult movie challenge. Let's go into the body count here,
• 20:19
  Speaker 3: all right, where's my mouse there? It is? Come on
• 20:22
  Speaker 3: mouse fork with me here? All right? So this is
• 20:24
  Speaker 3: Godzilla from nineteen fifty four, released on April twenty seventh,
• 20:29
  Speaker 3: nineteen fifty six in the States, but retitled Sorry. Heavily
• 20:35
  Speaker 3: edited American americanized version titled Godzilla King of the Monsters.
• 20:41
  Speaker 3: The Japan release was not rated. There's no sex in nudity,
• 20:44
  Speaker 3: moderate violence and go or mild profanity, mild alcohol, drugs
• 20:48
  Speaker 3: and smoking, and severe fighting and ten scenes. I get
• 20:50
  Speaker 3: that for nineteen fifty for runtime of an hour and
• 20:53
  Speaker 3: thirty six minutes.
• 20:55
  Speaker 2: Some of the images are pretty frightening.
• 20:57
  Speaker 3: Pretty frightening is a horrorse i fi. I wasn't sure
• 21:02
  Speaker 3: how many of these Kaiju movies we were doing this
• 21:04
  Speaker 3: month were actually going to be horror, but this one
• 21:06
  Speaker 3: is directed by Ishiro Honda, who also dude. He directed
• 21:11
  Speaker 3: like thirty fucking Kaiju films. I only I, you know,
• 21:14
  Speaker 3: I do my Rule of three. He did Rodan as well.
• 21:17
  Speaker 3: He did mathra and he did King Kong versus Godzilla.
• 21:20
  Speaker 3: He's done a lot of Kaiju films written by Shigura Kayama,
• 21:24
  Speaker 3: who also wrote Half Human and Gigantis the Fire Monster,
• 21:28
  Speaker 3: also written by Takeo Murata. He wrote Godzilla Raids again,
• 21:33
  Speaker 3: Half Human and Gigantis the Fire Monster, and then Ishiro
• 21:37
  Speaker 3: Honda wrote this as well. Didn't write a lot of
• 21:40
  Speaker 3: the movies that he directed, but he did write The
• 21:42
  Speaker 3: War of the Gargantuas and Destroy All Monsters composed by
• 21:48
  Speaker 3: Ikira Ifukubu, who also composed King Kong Versus Godzilla, Mathra
• 21:54
  Speaker 3: Versus Godzilla, and Gadzura the Three Headed Monster. Cinematography by
• 21:59
  Speaker 3: Maseo to And despite his ninety seven credits, he did
• 22:02
  Speaker 3: not do one other Godzilla film, which I find crazy.
• 22:05
  Speaker 3: Edited by Kazuji Tira. This is the first editing credit
• 22:09
  Speaker 3: they have. They also did Godzilla Raids Again, Gigantis, the
• 22:13
  Speaker 3: Fire Monster, and Mathra starring Akira Takarata as Hidoto Ogata.
• 22:19
  Speaker 3: He is a one hundred and fifty nine credits. He
• 22:21
  Speaker 3: was also in Half Human, Matha Versus Godzilla and Invasion
• 22:24
  Speaker 3: of the Astro Monster.
• 22:26
  Speaker 2: That's my favorite of the Godzilla movies.
• 22:28
  Speaker 3: Invasion of the Astro Monster. Yes, yeah, I need to
• 22:31
  Speaker 3: see that one. It comes up a lot here in
• 22:33
  Speaker 3: the next few s, in the next few minutes, so
• 22:35
  Speaker 3: h I already cut it on my list. We've got
• 22:37
  Speaker 3: MoMA Coo Coachi as Imiko Yaman. She was also in
• 22:41
  Speaker 3: Half Human and Godzilla versus distoro Ya story. Okay, destroy Yeah,
• 22:47
  Speaker 3: there we go. We have Akihiko Hiradi as doctor Daisuku
• 22:52
  Speaker 3: Serazawa with one hundred and fifty nine credits. He was
• 22:55
  Speaker 3: also in rodin the h Man in Mathra, Takashi Shimura
• 22:59
  Speaker 3: as doctor Kyo hi Yaman he has three hundred and
• 23:03
  Speaker 3: fifty four credits, also in Godzilla Raids again, Gigantis the
• 23:07
  Speaker 3: fire Monster in Mathra. And then finally we have for
• 23:10
  Speaker 3: Yuki Murakama as Professor to Nabi. He was also in
• 23:14
  Speaker 3: rodin an Invasion of the Astro Monster. Budget of nine
• 23:18
  Speaker 3: hundred thousand dollars, which that's pretty high for nineteen fifty four.
• 23:22
  Speaker 3: I'd like to think.
• 23:24
  Speaker 2: Noil Curry Parker just burns that money. But yeah, shoots
• 23:27
  Speaker 2: a movie in a week.
• 23:28
  Speaker 3: Uh worldwide box office gross. I don't think this is accurate,
• 23:32
  Speaker 3: but it's five hundred and maybe it was? Was it
• 23:34
  Speaker 3: five hundred? It says five hundred ninety two point eight k.
• 23:37
  Speaker 3: But that doesn't make sense because they said that this
• 23:39
  Speaker 3: was I read that this was a success, So maybe
• 23:42
  Speaker 3: that was just in the Maybe that wasn't including the
• 23:46
  Speaker 3: international markets because this oh you know what, I know
• 23:49
  Speaker 3: what it is, because this isn't accounting for the Americanized version.
• 23:53
  Speaker 3: This is only account Yeah, so that's what that that's
• 23:55
  Speaker 3: what the that's what this is. It's only accounting for
• 23:58
  Speaker 3: this version, not the Americanized version, and then not the
• 24:02
  Speaker 3: Italian version from nineteen seventy seven that we talked about
• 24:06
  Speaker 3: on Contamination. Directed by Well, directed by Luigi Cazi. So
• 24:11
  Speaker 3: movie was filmed in to buy me Tokyo and to
• 24:15
  Speaker 3: host studios all in Japan. You can watch us on Cinemax,
• 24:18
  Speaker 3: the Criterion channel, HBO Max and plex. I can confirm
• 24:22
  Speaker 3: that HBO Max because just because I was curious, it
• 24:25
  Speaker 3: is the Criterion version. So that's fun. Movies that came
• 24:29
  Speaker 3: out around the same time. We have The Searchers, The Killing,
• 24:32
  Speaker 3: Invasion of the Body Snatchers, The Original, The Man Who
• 24:34
  Speaker 3: Knew Too Much, Forbidden Planet, and The King and I Yeah,
• 24:38
  Speaker 3: Good Year, goodyear. IMDb summary. After a dinosaur like beast
• 24:43
  Speaker 3: awoken from undersea hibernation by atomic bomb testing ravages Tokyo,
• 24:47
  Speaker 3: a scientist must decide if his similarly dangerous weapon should
• 24:51
  Speaker 3: be used to destroy it. Here comes your favorite sound.
• 24:53
  Speaker 3: Let's go into the AUTOPSI gross you all right? You're
• 25:01
  Speaker 3: a fan of this movie, You've seen this movie. What
• 25:03
  Speaker 3: are your overall thoughts for Godzilla in nineteen fifty four.
• 25:07
  Speaker 2: I think this movie is just absolutely incredible. Like so
• 25:14
  Speaker 2: it's a movie that when I probably first saw this
• 25:17
  Speaker 2: one and what's funny? Noough, So I'm gonna I'm gonna
• 25:21
  Speaker 2: take it back.
• 25:22
  Speaker 3: Let's go back, Let's go back.
• 25:23
  Speaker 2: Let's just go back in time to when I was single,
• 25:27
  Speaker 2: digits an age. Yeah, I had a friend down the
• 25:31
  Speaker 2: block who was a big fan of Godzilla. He's a
• 25:36
  Speaker 2: big fan of James Bond, which are two of the
• 25:39
  Speaker 2: things that are really coded into my DNA at this point,
• 25:45
  Speaker 2: and he's what got me into them. And big part
• 25:47
  Speaker 2: of that is because he used to have these tapes
• 25:49
  Speaker 2: his parents would tape off television or more than likely
• 25:52
  Speaker 2: they went down the Bucky super Video, got the you
• 25:55
  Speaker 2: got the movies and then just duped them way.
• 26:01
  Speaker 3: Yeah, I love it.
• 26:03
  Speaker 2: And they always had tapes that was always double features
• 26:06
  Speaker 2: of Gonzole with James Bond. Movies have a weird connection
• 26:12
  Speaker 2: with the two together. And I don't know if I
• 26:16
  Speaker 2: ever saw the original Japanese version until relatively recently. I
• 26:22
  Speaker 2: feel like I saw Godzil, King of Monsters growing up,
• 26:25
  Speaker 2: and I remember liking him, but honestly it was when
• 26:31
  Speaker 2: I don't know if I would have appreciated this film
• 26:33
  Speaker 2: fully when I was younger, because this is just an
• 26:36
  Speaker 2: incredible film. It's very different than the rest of the franchise,
• 26:39
  Speaker 2: which is probably why I might not have vibed with
• 26:41
  Speaker 2: it when I was younger, because I was used to,
• 26:43
  Speaker 2: you know, the version of Godzilla where he is the
• 26:46
  Speaker 2: protector of Japan, and this one he is he is
• 26:51
  Speaker 2: Japan's fucking terror. Yeah, but I absolutely love this movie.
• 26:58
  Speaker 2: I remember the effects that were done, e g. Super Yah.
• 27:01
  Speaker 2: He his work was really influential to me and made
• 27:05
  Speaker 2: me really just love this look of miniatures. And he
• 27:09
  Speaker 2: was one of the first people to do what's no
• 27:11
  Speaker 2: now Like I think he calls it like suit mation suittion. Yes,
• 27:15
  Speaker 2: where's people in these fucking suits destroying things? Uh. He
• 27:19
  Speaker 2: would later go on and make and make Ultraman, which
• 27:22
  Speaker 2: I'm a also a huge fan of. Okay, So yeah,
• 27:25
  Speaker 2: I just I love this movie and it's it's so
• 27:29
  Speaker 2: dour and it's surprising that it launched such a franchise
• 27:33
  Speaker 2: because you know, and Godzilla minus one is also a
• 27:37
  Speaker 2: dour movie, but that is a lot more fun than
• 27:39
  Speaker 2: this is. And that's not to say this is like
• 27:41
  Speaker 2: it's that's I'm not using it as a negative. It's
• 27:43
  Speaker 2: just a different way that they're presenting.
• 27:46
  Speaker 3: The contente Yeah. So this is my first time launching
• 27:50
  Speaker 3: the original Godzilla, and I'm not necessarily mixed on it.
• 27:55
  Speaker 3: I loved the movie, and this is one of those
• 27:59
  Speaker 3: times where it's like we're gonna have to talk about it,
• 28:02
  Speaker 3: you know, and get to the end, so I can
• 28:03
  Speaker 3: kind of hone in my rating here, But I mean
• 28:06
  Speaker 3: I was. I was absolutely impressed that this is, you know,
• 28:09
  Speaker 3: a seventy two year old movie, and the things they
• 28:11
  Speaker 3: were doing, the the the miniatures were great, the giant
• 28:17
  Speaker 3: river suit was great. The humanity aspect of it, where
• 28:21
  Speaker 3: it's really focused on what these people are going through.
• 28:24
  Speaker 3: It's it is a It is a very good movie,
• 28:28
  Speaker 3: and I don't really have many issues with it, honestly,
• 28:31
  Speaker 3: So it's probably gonna be close to a perfect rating.
• 28:34
  Speaker 3: But I just conversation, you know, especially since I don't
• 28:38
  Speaker 3: know much about the original guy I did. I did
• 28:40
  Speaker 3: do a lot of research though, and I have a
• 28:41
  Speaker 3: lot of fun stuff to talk about which is gonna
• 28:43
  Speaker 3: be uh, Because when I don't know stuff, I research
• 28:46
  Speaker 3: it and then I educate anybody who might not know.
• 28:49
  Speaker 2: So it's the way to do it, my friend.
• 28:51
  Speaker 3: So I did love this movie, and I would love
• 28:54
  Speaker 3: to start with the history of Kaiju since this is
• 28:59
  Speaker 3: the first episode, kind of get this out of the way.
• 29:02
  Speaker 3: But the term kaiju actually comes from Japanese culture, of course,
• 29:06
  Speaker 3: translates to strange, beast or monster. It is a combination
• 29:09
  Speaker 3: of two characters, Kai meaning strange and mysterious, and jew
• 29:14
  Speaker 3: meaning beast or animal. The term kaiju has been used
• 29:17
  Speaker 3: in Japanese culture for a long time to refer to
• 29:19
  Speaker 3: various mythological creatures, legendary monsters, and supernatural beings, but in
• 29:24
  Speaker 3: the context of cinema, kaiju specifically refers to giant monsters
• 29:28
  Speaker 3: that are prominent that are a prominent feature of Japanese
• 29:33
  Speaker 3: monster movies, particularly those of to Ho Studios, which is
• 29:37
  Speaker 3: famous for creating the iconic Kaiju, Godzilla, Mathra Rotan. So
• 29:42
  Speaker 3: this is where I learned a lot of stuff that
• 29:45
  Speaker 3: was very interesting to me. Obviously, I knew the impact
• 29:49
  Speaker 3: of World War two and what it had, but the
• 29:52
  Speaker 3: first giant monster movie is actually kind of debatable because
• 29:56
  Speaker 3: there's a nineteen twenty one animated short called The Pet
• 29:59
  Speaker 3: and there's a giant monster attacking in a city. And
• 30:03
  Speaker 3: then there's the nineteen twenty five silent film The Lost World,
• 30:06
  Speaker 3: which is a dinosaur being brought to the streets of London,
• 30:10
  Speaker 3: which inspired the creators to make King Kong in nineteen
• 30:13
  Speaker 3: thirty three. And then there were a few Japanese style
• 30:18
  Speaker 3: monster movies using suit mation in the early thirties. Y
• 30:23
  Speaker 3: see Kingu Kongu nineteen thirty three, The Great Buddha Arrival
• 30:27
  Speaker 3: nineteen thirty four, and the King Kong that appeared in
• 30:29
  Speaker 3: Eedo nineteen thirty eight. So those were like the first
• 30:32
  Speaker 3: early iterations of the I guess genre, if you want
• 30:36
  Speaker 3: to call it. But then everything shifts after World War II.
• 30:39
  Speaker 3: You know, the roots of the giant movie monsters go
• 30:42
  Speaker 3: from prehistoric monsters to monster stemming from animals which had
• 30:45
  Speaker 3: been exposed to radiation, much like Godzilla, and then mutated.
• 30:49
  Speaker 2: And it is also worth mentioning too that it became
• 30:51
  Speaker 2: kind of you know, obviously here in the States, we
• 30:54
  Speaker 2: didn't call them kaiju films, correct. We had our own
• 30:58
  Speaker 2: series of radioactive creatures, giant creatures, sometimes women who are
• 31:05
  Speaker 2: just giant and destroying.
• 31:06
  Speaker 3: Attack of the fifty foot woman. But this is probably
• 31:09
  Speaker 3: the most interesting part of my research that I found.
• 31:13
  Speaker 3: So One of the earliest prolific examples is Ray Bradbury's
• 31:17
  Speaker 3: short story published in the Saturday Evening Post June twenty third,
• 31:21
  Speaker 3: nineteen fifty one, called The Beast from twenty Thousand Fathoms.
• 31:25
  Speaker 3: It came to serve as the basis for the film
• 31:27
  Speaker 3: of the same name from nineteen fifty three, featuring a
• 31:31
  Speaker 3: fictional dinosaur called Rehtasaurus animated by Ray harry Hausen, which
• 31:37
  Speaker 3: is released from his frozen hybrid antic state by an
• 31:40
  Speaker 3: atomic bomb test within the Arctic Circle. And the American
• 31:43
  Speaker 3: movie was released in Japan in nineteen fifty four under
• 31:46
  Speaker 3: the title The Atomic Kaiju Appears, making this the first
• 31:50
  Speaker 3: use of the genre's name in a film, and it
• 31:54
  Speaker 3: is claimed to have inspired Godzilla in nineteen fifty four,
• 31:59
  Speaker 3: which blew my mind because I thought these giant monsters
• 32:03
  Speaker 3: were a wholly original Japanese idea. But like it seems
• 32:07
  Speaker 3: that someone from America inspired you know, to like someone
• 32:13
  Speaker 3: from to Ho student or you know, whoever created tell
• 32:15
  Speaker 3: studios to do their own and I thought that was backwards.
• 32:19
  Speaker 2: It's it's interesting, it's very interesting. If you ever get
• 32:24
  Speaker 2: around to waunching the documentary series I told you about
• 32:29
  Speaker 2: the story of Film and Odyssey. It's the first couple
• 32:32
  Speaker 2: episodes are about like, I don't think you even get
• 32:35
  Speaker 2: into the sound era until episode four, and it's talking
• 32:38
  Speaker 2: about the creation of film. And so for those of
• 32:42
  Speaker 2: you who may or may not know, film was, for
• 32:45
  Speaker 2: all intents and purposes created in France by the Loomier brothers. Uh.
• 32:49
  Speaker 2: They're the ones who are also created as having some
• 32:51
  Speaker 2: of the first recognizable movies of all time. And France
• 32:57
  Speaker 2: was a pretty influential place for cinema because you had
• 33:00
  Speaker 2: the Louis Brothers, you had Georgian Milia, more filmmakers I
• 33:04
  Speaker 2: can't even think of right now. And then eventually it
• 33:08
  Speaker 2: did make its way to the United States with Thomas Edison.
• 33:15
  Speaker 2: He had a lot of experiments that he was doing
• 33:20
  Speaker 2: with film. And what's truly interesting about it, though, and
• 33:24
  Speaker 2: you'll find this out when you launch this is not
• 33:27
  Speaker 2: even like a look how importantly are type of way.
• 33:30
  Speaker 2: There was a as Hollywood started taking over or it
• 33:34
  Speaker 2: started becoming a thing, and then you had the silent films,
• 33:37
  Speaker 2: because the beautiful thing about silent film is no one
• 33:39
  Speaker 2: knew where most of the stuff was coming from. When
• 33:43
  Speaker 2: names like Buster Keaton and Charlie Chaplin and these silent
• 33:45
  Speaker 2: filmmakers were really taking off, they were inspiring people from
• 33:49
  Speaker 2: all around the world. So there is a trend of
• 33:54
  Speaker 2: American films inspiring foreign film. But then just in the
• 33:59
  Speaker 2: same way, the things that they were doing in Japan
• 34:02
  Speaker 2: was also influencing American filmmakers. Like it's not uncommon to
• 34:07
  Speaker 2: see a Western that's taking themes and plot lines from
• 34:12
  Speaker 2: some of the Japanese samurai films that Kurzawo was making.
• 34:19
  Speaker 2: So there is like or the French New Wave was
• 34:22
  Speaker 2: all about how these French filmmakers were influenced off of
• 34:25
  Speaker 2: American cinema. So yeah, there's it's it's like this interesting symbiosis. Yeah,
• 34:32
  Speaker 2: going on. Sorry that was a little bit of a tangent.
• 34:35
  Speaker 3: No no, but that's it fit perfectly just because I,
• 34:38
  Speaker 3: you know, usually it's the other way around. We do
• 34:40
  Speaker 3: the remakes of all these foreign films, but I found
• 34:44
  Speaker 3: it interesting. So in nineteen fifty four, Tanaka, a producer
• 34:47
  Speaker 3: for Toho Studios in Tokyo needed a film to release
• 34:50
  Speaker 3: after his previous project was halted. Seeing how well the
• 34:53
  Speaker 3: Hollywood giant monster movie genre films King Kong and the
• 34:57
  Speaker 3: Beasts from twenty Thousand Fathoms and done in the Japanese
• 35:00
  Speaker 3: box offices, and himself a fan of these, he set
• 35:03
  Speaker 3: out to create a new movie based on them, and
• 35:05
  Speaker 3: created Godzilla. He aimed to combine Hollywood giant monster movies
• 35:09
  Speaker 3: with re emerged Japanese fears of atomic weapons that arose
• 35:13
  Speaker 3: from the March nineteen fifty four Castle Bravo nuclear testing incident,
• 35:17
  Speaker 3: which resulted in the spread of radioactive fallout over the
• 35:20
  Speaker 3: vast area of the Pacific Ocean, including Japanese. I can't
• 35:25
  Speaker 3: pronounce this one Japanese diigo fuku youurra muru fishing boat.
• 35:30
  Speaker 3: Sorry if I I.
• 35:31
  Speaker 2: Think it's like the Oh God there was. Its name
• 35:35
  Speaker 2: is something like Lucky Dragen numbers yeah, so translated yes
• 35:40
  Speaker 2: that ooh. And on the Criterion disc that you watch,
• 35:43
  Speaker 2: there is an animated comic that runs through the history
• 35:46
  Speaker 2: of that boat because it is important to the story. Cut.
• 35:49
  Speaker 3: I assume that's on the Blu Ray then, because I
• 35:50
  Speaker 3: saw no special features in the.
• 35:53
  Speaker 2: Four k Yeah, okay, I think it's on the Blue
• 35:56
  Speaker 2: rais okay.
• 35:57
  Speaker 3: So with this history of mine, Sanaka Patin together created
• 36:00
  Speaker 3: the concept of a giant radioactive creature merging from the
• 36:03
  Speaker 3: depths of the ocean, and this would become Godzilla. And
• 36:08
  Speaker 3: of course there's these there's these eras of the Godzilla movies.
• 36:12
  Speaker 3: Since we are in what is the Showa era, I
• 36:15
  Speaker 3: will cover that one now, and then when we get
• 36:17
  Speaker 3: into other eras during the month, I will cover those then.
• 36:20
  Speaker 3: So this is the era that we're in. Is the
• 36:23
  Speaker 3: Showa era. It is from nineteen fifty four to nineteen
• 36:26
  Speaker 3: seventy five. It's a kind of a dark Cold War allegory,
• 36:30
  Speaker 3: transitioning into Camp be Fun, kid Ford, the Superheroes. I say,
• 36:35
  Speaker 3: the death of it. But the series was placed on
• 36:37
  Speaker 3: hiatus again after the box office failure of Terror of
• 36:40
  Speaker 3: Mega Godzilla in nineteen seventy five, and despite several attempts
• 36:44
  Speaker 3: by Tohoe to continue the series, another Godzilla film would
• 36:47
  Speaker 3: not be introduced until nine years later in nineteen eighty four.
• 36:50
  Speaker 3: Thus began what would later be known as the is
• 36:54
  Speaker 3: it heize heisee heiser I say, I say, I.
• 36:57
  Speaker 2: Always pronounced it. Yeah, it is worth mentioning in case
• 37:00
  Speaker 2: anyone out there who was listening and has heard these
• 37:03
  Speaker 2: terms like the highst era of the Showa era and like,
• 37:05
  Speaker 2: what the fuck does that mean? That is that relates
• 37:08
  Speaker 2: to Japanese history, and it relates to which emperor was
• 37:12
  Speaker 2: ruling Japan at the time. So yes, Shoa era has
• 37:16
  Speaker 2: to do with Emperor Shoa, which she I think he
• 37:18
  Speaker 2: was like from the twenties to like the late eighties.
• 37:21
  Speaker 2: I don't remember the exact dates.
• 37:23
  Speaker 3: And it's funny because I just thought those were the
• 37:25
  Speaker 3: studios involved. No, it's Toho is done basically, they're the
• 37:29
  Speaker 3: ones in charge of it. So that's where we're in
• 37:31
  Speaker 3: right now. We are in the show era, and you
• 37:34
  Speaker 3: know the nineteen fifty four gup till it starts that off.
• 37:37
  Speaker 3: So let's let's get into the to the to the
• 37:39
  Speaker 3: movie here, because I love love how this wastes no time.
• 37:43
  Speaker 3: This movie gets right into it. I mean, these guys
• 37:45
  Speaker 3: are out at sea, there's no storm, there's no ships,
• 37:48
  Speaker 3: it's just calm water, and then everybody fucking explodes into
• 37:51
  Speaker 3: this flash of light and then another ship disappears with
• 37:54
  Speaker 3: no explanation, no clue what's going on, and you have
• 37:57
  Speaker 3: to remember this is nineteen fifty four. Nobody knew what
• 38:00
  Speaker 3: the fuck of Godzilla was yet well exactly.
• 38:03
  Speaker 2: It's best to try to watch an easier said than done,
• 38:05
  Speaker 2: but it is best to try to watch this movie
• 38:08
  Speaker 2: by forgetting everything you know about Godzilla.
• 38:11
  Speaker 3: Well, and that's what I found interesting because even though
• 38:14
  Speaker 3: I obviously know about Godzilla, it didn't take away from
• 38:18
  Speaker 3: the tension or the mystery for me at all, and
• 38:21
  Speaker 3: like it really didn't, which I find fascinating because I
• 38:25
  Speaker 3: think it still works seventy years later.
• 38:27
  Speaker 2: And really take their time to even show us Godzilla
• 38:32
  Speaker 2: for the first time.
• 38:33
  Speaker 3: I mean, yeah, you do get Godzilla his like his
• 38:37
  Speaker 3: head like peeking over the hill at about twenty two
• 38:40
  Speaker 3: minutes in, but then after that it takes a long
• 38:43
  Speaker 3: time to see him fully formed coming out of the ocean,
• 38:47
  Speaker 3: because other shots are him just kind of popping out
• 38:49
  Speaker 3: of the ocean. But the movie doesn't waste any time.
• 38:52
  Speaker 3: It gets right into it, and I really really love that.
• 38:56
  Speaker 3: For an hour and thirty six minute movie, I figured
• 38:59
  Speaker 3: there would be a lot of it exposition, a lot
• 39:01
  Speaker 3: of build up, but the bagc thing on this is
• 39:03
  Speaker 3: weirdly good just because of how they reveal the monster
• 39:06
  Speaker 3: throughout the movie and how the people that are seeing
• 39:09
  Speaker 3: this monster are reacting too. Sad monster. It's very well paced.
• 39:14
  Speaker 2: Yeah, it's it does something interesting too, because it's almost
• 39:17
  Speaker 2: it does this micro becomes macro type of deal where
• 39:23
  Speaker 2: we start off on this.
• 39:24
  Speaker 3: Small village Odo Island.
• 39:28
  Speaker 2: Yeah, Oto Island. We start off on this small island.
• 39:30
  Speaker 2: And what is interesting too, especially because what just Japanese
• 39:34
  Speaker 2: culture is, like you know, up until like helicopters and
• 39:38
  Speaker 2: cars show like you don't even you don't even one
• 39:40
  Speaker 2: hundred percent know when this film takes place, because like
• 39:42
  Speaker 2: people are still dressed in a very traditional like what
• 39:45
  Speaker 2: you'd expect to see out of like classical like Japanese cinema.
• 39:50
  Speaker 2: It starts off in this small little thing and the
• 39:55
  Speaker 2: what I also love and god Zilla minus one brought
• 39:58
  Speaker 2: this back where there was almost like this folklore element
• 40:01
  Speaker 2: to it where it's like they knew what Godzilla. They
• 40:04
  Speaker 2: have a creature known as Godzilla in their folklore on
• 40:08
  Speaker 2: this island, and since they don't know what else to
• 40:10
  Speaker 2: call this thing, that's just what they refer to it as.
• 40:14
  Speaker 2: And at first, it's like you feel like, oh, this
• 40:16
  Speaker 2: is gonna be a really small little thing, but then
• 40:20
  Speaker 2: as the Japanese government gets involved, it starts becoming more widespread,
• 40:24
  Speaker 2: and I think that's just a really interesting way. It
• 40:26
  Speaker 2: feels like a really small personal story at the beginning,
• 40:29
  Speaker 2: even though it's about a giant monster, and then it
• 40:34
  Speaker 2: becomes something bigger.
• 40:35
  Speaker 3: And what I really love about Godzilla mine is One
• 40:37
  Speaker 3: is that they use Odo Island in the beginning of
• 40:40
  Speaker 3: the film, which is really cool. But yeah, so you
• 40:43
  Speaker 3: have Odo Island and there's there's this one guy, the
• 40:46
  Speaker 3: one single solitary guy on the island, who was like,
• 40:49
  Speaker 3: it's Godzilla, and I was like, wait a second, Godzilla
• 40:52
  Speaker 3: already exists in this universe, because it's it's really just
• 40:56
  Speaker 3: more of like a legend at this point.
• 40:59
  Speaker 2: But then and that's what god z oemen as One
• 41:01
  Speaker 2: also does.
• 41:02
  Speaker 3: Yeah, and I love that because according to the island legend,
• 41:04
  Speaker 3: whenever the fish started, you know, Godzilla would eat all
• 41:07
  Speaker 3: the fish, and then after all the fish disappeared, they
• 41:09
  Speaker 3: would like send off this young woman on in a
• 41:12
  Speaker 3: raft to like, you know, appease the gods or whatever.
• 41:17
  Speaker 3: And I thought that was so interesting. So before he
• 41:19
  Speaker 3: became like this scientific mystery. He was folklore, he was
• 41:22
  Speaker 3: a monster, he was a warning like pass down through generations,
• 41:26
  Speaker 3: and no one believed this guy on the island until
• 41:29
  Speaker 3: they had a reason to believe him because he's now
• 41:32
  Speaker 3: showing up. So I just didn't I didn't expect that,
• 41:36
  Speaker 3: and it added to such a really deep layer for me, like, Oh,
• 41:40
  Speaker 3: how they're telling the story is so much different than
• 41:43
  Speaker 3: I thought. I didn't think anybody knew what Godzilla was.
• 41:46
  Speaker 3: I thought everybody would be experiencing this for the first time.
• 41:49
  Speaker 3: And while that is the case for most of Tokyo,
• 41:51
  Speaker 3: it is not the case for Odo Island and the
• 41:54
  Speaker 3: guy who was adamant about Godzilla being a thing. It's
• 41:57
  Speaker 3: just an incredible effective piece of world building because it
• 42:00
  Speaker 3: makes Godzilla immediately just feel ancient, which I think is
• 42:04
  Speaker 3: the intention here. So I thought that was great.
• 42:08
  Speaker 2: It's beautifully done in that way. And yeah, I just
• 42:12
  Speaker 2: I the setup for this film is so interesting, and
• 42:15
  Speaker 2: like I said, they give you little brief looks and
• 42:18
  Speaker 2: glances at Godzilla, but we don't get like the full
• 42:21
  Speaker 2: on Godzilla's shit until like later on in the film,
• 42:24
  Speaker 2: and I think it's a really smart way to do it. Also,
• 42:27
  Speaker 2: if you don't mind me throwing out a very nerdy
• 42:30
  Speaker 2: little reference for the maybe like three listeners who might get.
• 42:34
  Speaker 3: This, please do so.
• 42:35
  Speaker 2: There's a scene in this film where there's these these
• 42:39
  Speaker 2: two men who are on top of a mountain and
• 42:40
  Speaker 2: I think they're like I think it was near the beginning,
• 42:43
  Speaker 2: really close to the beginning of the film, and one
• 42:45
  Speaker 2: of them is screaming. You know, they're screaming because there's
• 42:48
  Speaker 2: people in the water. You remember, really at the beginning,
• 42:50
  Speaker 2: like right at the beginning of Odell Island, and he
• 42:54
  Speaker 2: they can't speak Japanese, but he says something that like, uh,
• 42:57
  Speaker 2: he's screaming like it, And I was like, why is this?
• 43:00
  Speaker 2: I'm familiar? Why do I know this? For all of
• 43:03
  Speaker 2: you professional wrestling fans. For some reason, the pro wrestler
• 43:07
  Speaker 2: Scottie too Hot, he had a single, his theme song
• 43:10
  Speaker 2: when he was a singles wrestler, samples a little bit
• 43:13
  Speaker 2: of one of those old men yelling and I don't
• 43:17
  Speaker 2: know why, but it's in there. That's incredible.
• 43:21
  Speaker 3: Why did you do that? I don't know, it's just
• 43:23
  Speaker 3: in there.
• 43:24
  Speaker 2: You want me to play play it for you?
• 43:26
  Speaker 3: I kind of want to hear it. Yeah, if you
• 43:28
  Speaker 3: can if you can pull pull that up and play it.
• 43:31
  Speaker 3: I'd love to hear it.
• 43:44
  Speaker 2: Screaming at the beginning.
• 43:45
  Speaker 3: Of God's hilarious. Okay, it's there.
• 43:49
  Speaker 2: I have no idea.
• 43:51
  Speaker 3: Sometimes you don't even you don't need an explanation. It's
• 43:54
  Speaker 3: just it's just meant to be. I love that.
• 43:58
  Speaker 2: Thirty seven seconds into the Sky single theme, not when
• 44:02
  Speaker 2: he was part of Too Cool, but when he was
• 44:04
  Speaker 2: just Sky Too Hot, he as a singles wrestler.
• 44:06
  Speaker 3: Wow, I love it. All right. So we've talked about
• 44:09
  Speaker 3: the brief appearances in the beginning, you know, I mean,
• 44:13
  Speaker 3: I feel like a lot of monster movies from the
• 44:15
  Speaker 3: era might have might have stretched the reveal out a
• 44:18
  Speaker 3: little bit longer. But I mean, you know, you know,
• 44:21
  Speaker 3: the next thirty minutes are spent teasing footprints and shadows
• 44:24
  Speaker 3: and all this stuff with Godzilla, and then you know,
• 44:28
  Speaker 3: they also waste little time explaining what's going on. The
• 44:31
  Speaker 3: repeated H bomb testing has driven this ancient creature from
• 44:34
  Speaker 3: his sanctuary. His body has been altered, he emits radiation.
• 44:38
  Speaker 3: They estimate him to be one hundred and sixty five
• 44:41
  Speaker 3: feet tall, which is really cool. And now humanity suddenly
• 44:44
  Speaker 3: finds itself dealing with a force it created technically but
• 44:48
  Speaker 3: like cannot control because he's not really invading humanity just
• 44:53
  Speaker 3: kind of woke him up and pissed him off, and
• 44:54
  Speaker 3: now he's kind of out for blood. Yeah, you know,
• 44:58
  Speaker 3: like all those fucking h I'm testing. So it's like,
• 45:01
  Speaker 3: you know, I couldn't imagine being a prehistoric monster taking
• 45:05
  Speaker 3: an app and suddenly, you know, someone starts testing nuclear
• 45:08
  Speaker 3: weapons in your backyard. I'd be pretty pissed as well too.
• 45:11
  Speaker 3: So once the film establishes that, it begins exploring a
• 45:16
  Speaker 3: pretty interesting conflict, you know, science versus destruction. Everybody in
• 45:20
  Speaker 3: the film wants to kill this thing, and which is understandable.
• 45:24
  Speaker 3: You know, he's leveling cities. I get it, But I
• 45:25
  Speaker 3: love Professor. I think his name was a Professor Yamane.
• 45:30
  Speaker 3: He takes a completely different position. He's like, we need
• 45:32
  Speaker 3: to study this. He finds it fast, you know, he
• 45:35
  Speaker 3: finds him fascinating, and the film doesn't really portray him
• 45:38
  Speaker 3: as foolish or evil. He's he just sees Godzilla as
• 45:42
  Speaker 3: this scientific miracle and he's like the.
• 45:44
  Speaker 2: Believe he says somewhere in the movie, it's like, you know,
• 45:46
  Speaker 2: here's a creature that was able to survive nuclear radiation.
• 45:51
  Speaker 2: Why wouldn't we want to test that and figure out
• 45:54
  Speaker 2: how we can protect ourselves?
• 45:56
  Speaker 3: Yeah, something along those lines. Yeah, it's like, this is
• 45:59
  Speaker 3: like a scientific and nominally, you know, it's a creature
• 46:02
  Speaker 3: that survives something humanity assume nothing could so to him,
• 46:07
  Speaker 3: it's not a monster. It is a once in a
• 46:09
  Speaker 3: lifetime discovery. And honestly, he's not wrong. And I think
• 46:13
  Speaker 3: the film creates a pretty new like a nuanced debate,
• 46:16
  Speaker 3: surprisingly nuanced debate, because yes, Godzilla is dangerous, but he's
• 46:21
  Speaker 3: you know, he hit, but destroying him also means destroying knowledge.
• 46:24
  Speaker 3: So it's like, what do we do here?
• 46:26
  Speaker 2: Yeah, and like you said, he's not evil, he's just
• 46:29
  Speaker 2: a creature reacting.
• 46:31
  Speaker 3: Yeah, he is a creator.
• 46:32
  Speaker 2: He's not intentionally going after Tokyo. He just Tokyo's just
• 46:36
  Speaker 2: in his fucking path exactly.
• 46:38
  Speaker 3: It is his path of destruction.
• 46:40
  Speaker 2: And probably, you know, if he's destroying things, it's because
• 46:42
  Speaker 2: he's frustrated. He's probably scared, uh, pissed off, like hey
• 46:46
  Speaker 2: it's my dog, Bubby, like it's vinny. It's that's just
• 46:49
  Speaker 2: how he reacts. Yeah, I also need to point out
• 46:53
  Speaker 2: not that We're just gonna keep talking about god z
• 46:55
  Speaker 2: Oill Minus one. I do. I do love how much
• 46:58
  Speaker 2: of how many visual references there are to this original
• 47:01
  Speaker 2: Godzilla in minus one, like that scene of Godzill holding
• 47:04
  Speaker 2: the train in his mouth and show yes, we are
• 47:08
  Speaker 2: very clearly pulling from this movie.
• 47:12
  Speaker 3: And now that I've seen the original, I plan to
• 47:15
  Speaker 3: as soon as I can watch Godzilla Minus one again
• 47:17
  Speaker 3: because I love that movie and see how much I
• 47:20
  Speaker 3: recognize now from from the original. So yeah, there's a
• 47:24
  Speaker 3: lot of layers going to this movie that I didn't
• 47:26
  Speaker 3: I didn't expect. It's one of the first examples of
• 47:29
  Speaker 3: the franchise, asking whether humanity is instinct to detroit destroy
• 47:33
  Speaker 3: something frightening might prevent us from understanding it. And it's
• 47:37
  Speaker 3: a very very interesting point that they use. And you know,
• 47:42
  Speaker 3: of course, eventually that debate becomes irrelevant because you know,
• 47:44
  Speaker 3: Godzilla decides Tokyo looks extremely flammable, and I really think
• 47:50
  Speaker 3: that third act is where that's where this movie really shines,
• 47:55
  Speaker 3: because the devastation he is causing on Tokyo is is insane.
• 48:01
  Speaker 3: I mean, there's fire everywhere, and I found it interesting
• 48:05
  Speaker 3: because he does breathe fire in this, but you know,
• 48:07
  Speaker 3: it's nineteen fifty four, it's probably a little harder to do,
• 48:10
  Speaker 3: so it's more kind of like a mist. But once
• 48:12
  Speaker 3: that mist hits something, it catches on fire.
• 48:15
  Speaker 2: I think it's supposed to be like a new like
• 48:17
  Speaker 2: a radiation blast. And I loved that even in this
• 48:21
  Speaker 2: old one. Canonically his spines light up before he blasts anything,
• 48:25
  Speaker 2: which is just shit, really cool.
• 48:27
  Speaker 3: Did they light up? Oh my god, I must have
• 48:31
  Speaker 3: missed that.
• 48:31
  Speaker 2: Okay, I will say it's a little hard to see
• 48:34
  Speaker 2: just because it's you know, dark design, and probably how
• 48:38
  Speaker 2: they used to do things like that was they had
• 48:40
  Speaker 2: to film it and then they had to since they
• 48:44
  Speaker 2: had to take another piece of film paint on top
• 48:49
  Speaker 2: of it. Yeah, and then print it twice. So sometimes
• 48:52
  Speaker 2: they can get a little moneyed.
• 48:53
  Speaker 3: Yeah, Okay, so I guess I miss that. But and
• 48:57
  Speaker 3: it's interesting, right because it's exciting for us as the viewer,
• 49:00
  Speaker 3: it's kind of watching this this destruction, but for the
• 49:03
  Speaker 3: people there, it's not exciting. It's not triumphant. It isn't
• 49:06
  Speaker 3: some spectacle. It's horrifying. I mean, buildings are collapsing, fires
• 49:10
  Speaker 3: are spreading, Families are becoming separated, children are crying, people
• 49:15
  Speaker 3: are dying, hospitals are overflowing. I really love how much
• 49:19
  Speaker 3: they focused on the human impact that Godzilla is affecting,
• 49:25
  Speaker 3: because that's what separates this one from many that come later,
• 49:29
  Speaker 3: because a lot of them, especially the Monster Verse ones, right,
• 49:33
  Speaker 3: everyone complained that Godzilla King of Monsters focused too much
• 49:36
  Speaker 3: on the humans. Oh no, no, no, sorry, Godzilla's twenty fourteen.
• 49:39
  Speaker 3: They were like, there's too many humans, not enough Godzillas.
• 49:42
  Speaker 3: So they're like, all right, fine, fucking King of Monsters,
• 49:44
  Speaker 3: here's seventeen Godzilla Monster.
• 49:47
  Speaker 2: I've had the same Yeah.
• 49:49
  Speaker 3: Like there's too many monsters, there's not enough humans, like
• 49:51
  Speaker 3: no one's ever fucking happy. But this one, I feel
• 49:54
  Speaker 3: is very equal. I feel like this one's very equal.
• 49:58
  Speaker 3: Where it focuses on Godzilla, they don't overuse him and
• 50:01
  Speaker 3: make him less effective, but they also make sure to
• 50:04
  Speaker 3: focus on different people in this story and how they're
• 50:07
  Speaker 3: being affected by him. And because I think the movie
• 50:11
  Speaker 3: makes it makes you want to feel the loss and
• 50:14
  Speaker 3: the helplessness, like the overwhelming realization that humanity cannot stop
• 50:19
  Speaker 3: what is happening until we get that third act reveal,
• 50:22
  Speaker 3: which is really cool. From how do You the doctor.
• 50:26
  Speaker 3: How do you say his name against Sarah's Sarah Azawa
• 50:29
  Speaker 3: Sarah great name. But before we get there, I mean,
• 50:34
  Speaker 3: we got to talk about the effects. We kind of
• 50:36
  Speaker 3: touched on them earlier. But the miniatures, let's be honest, everybody,
• 50:41
  Speaker 3: like you know, everybody knows it's a guy in a
• 50:43
  Speaker 3: rubber soup who cares. The miniature work is fantastic for
• 50:46
  Speaker 3: a movie that's seventy years old. The scale achieved here
• 50:49
  Speaker 3: is genuinely impressive. The city feels tangible, the destruction feels physical.
• 50:55
  Speaker 3: Like I was so blown away by how just real
• 50:58
  Speaker 3: this felt. It's so good.
• 51:00
  Speaker 2: It's so different than say something like King Kong, which
• 51:03
  Speaker 2: I love the original King Kong, And it has some
• 51:06
  Speaker 2: surprisingly good stop motion effects for the time period. Yeah,
• 51:12
  Speaker 2: it's all stop motion. Got the King Kong is all
• 51:15
  Speaker 2: entirely a stop motion creature.
• 51:17
  Speaker 3: I know they avoided that in this. I can't remember
• 51:19
  Speaker 3: the reason. I might have trivia on it, but they
• 51:21
  Speaker 3: avoided the stop motion in this because I think they
• 51:23
  Speaker 3: said it was just gonna cost too much something like that.
• 51:27
  Speaker 2: But like, what this also did is this created a
• 51:30
  Speaker 2: whole other, essentially genre of itself called tokusatsu which is
• 51:37
  Speaker 2: a tell film and television that uses heavy practical special effects,
• 51:44
  Speaker 2: so it's not always intent necessarily about giant monsters, but
• 51:48
  Speaker 2: like like Ultraman would fit into that. Okay, God's own
• 51:52
  Speaker 2: Gamera obviously Common Rider Super Sentai, which is what Power
• 51:59
  Speaker 2: Rangers is eventually is based on Pall Range. Is what
• 52:03
  Speaker 2: they used to do. They used to get footage from
• 52:05
  Speaker 2: Japan from this TV show called Super Sentai, take all
• 52:09
  Speaker 2: the action sequences and then just insert their owns essentially
• 52:12
  Speaker 2: what they do Godzilla the King of monstersized version uh,
• 52:18
  Speaker 2: and and just use all of their monster fighting and
• 52:22
  Speaker 2: everything so that you know, he e g. Super rii uh,
• 52:26
  Speaker 2: who is the effects guy in this movie, is iconic
• 52:30
  Speaker 2: for that reason. He just really made a career off
• 52:34
  Speaker 2: of this and it was a really just fascinating effects
• 52:38
  Speaker 2: artist and one that like he's very popular in Japan,
• 52:43
  Speaker 2: but he's not known over here in the way that
• 52:46
  Speaker 2: say like a Tom Sabeni or like Canby effects are.
• 52:49
  Speaker 2: And I think he's even you know, he's incredibly iconic because.
• 52:54
  Speaker 3: He might even beat me, be more prolific than some
• 52:57
  Speaker 3: of the people we have over here. Well well, and
• 53:00
  Speaker 3: to your point, I mean, you can feel the craftsmanship here,
• 53:03
  Speaker 3: and I think that train sequence is a great example.
• 53:05
  Speaker 3: Watching Godzilla collide with the train combines miniatures with live
• 53:10
  Speaker 3: action inserts beautifully, like there's panic inside the train that
• 53:14
  Speaker 3: sells the human perspective, and then the miniatures like kind
• 53:17
  Speaker 3: of sell the scale. I did think he was gonna
• 53:20
  Speaker 3: crunch the train, but I was like, I wasn't mad
• 53:23
  Speaker 3: when he didn't, because I was like, it's nineteen fifty four,
• 53:25
  Speaker 3: I can't expect greatness.
• 53:27
  Speaker 2: Yeah, but most of the time when I'm watching this film,
• 53:29
  Speaker 2: I'm like, I'm impressed they're able to accomplish any of
• 53:31
  Speaker 2: this in nineteen fifty four exactly.
• 53:33
  Speaker 3: That's what I kept hearkening back to when I was
• 53:35
  Speaker 3: watching this, like, oh that was underwhelming. Hey, it's nineteen
• 53:38
  Speaker 3: fifty four. This is wildly impressive for the time. So that, yeah,
• 53:44
  Speaker 3: I love that train sequence. I thought that was really
• 53:47
  Speaker 3: good and I do remember that and Godzilla Minus one.
• 53:51
  Speaker 3: There's also that sequence to when there's someone in the
• 53:54
  Speaker 3: in the train on Tokyo talking about like, oh God,
• 53:57
  Speaker 3: now you know we've had all these problems and now
• 53:59
  Speaker 3: this thing could be headed this way. What would happen
• 54:02
  Speaker 3: if it took over Tokyo and then you know, we
• 54:04
  Speaker 3: all see what happens when it takes over Tokyo, but
• 54:08
  Speaker 3: on the effects, and you know, not one of the
• 54:13
  Speaker 3: times practical effects. Everybody go on the practical themselves themselves.
• 54:16
  Speaker 3: I love Godzillas. It's a design that still works. Again,
• 54:20
  Speaker 3: it's a guy in a giant rubber suit who cares.
• 54:24
  Speaker 3: There's a reason I think this version became immortal. You
• 54:27
  Speaker 3: have these jagged dorsal plates, this heavy posture, massive tail.
• 54:31
  Speaker 3: Everything about him feels powerful and what's.
• 54:34
  Speaker 2: Surprised texture to a suit as well.
• 54:37
  Speaker 3: There's a lot of texture in his suit.
• 54:39
  Speaker 2: And they're also really smart with how much they show
• 54:42
  Speaker 2: him like he's even when he's fulling framed, they do
• 54:45
  Speaker 2: a great job of lighting him so he still feels
• 54:47
  Speaker 2: mysterious and dark and you can't always quite get a
• 54:50
  Speaker 2: good look at him.
• 54:51
  Speaker 3: I think the best scene that that you know, that
• 54:55
  Speaker 3: goes about what you're talking about is when he's coming
• 54:58
  Speaker 3: up to the beach and they set up that elect
• 55:00
  Speaker 3: fence because really, only like his face and chests are lit,
• 55:04
  Speaker 3: everything else is pretty dark, and then they flip on
• 55:06
  Speaker 3: the switch to those electric fences and he's just like
• 55:08
  Speaker 3: a fuck all these fences. That was a great scene,
• 55:11
  Speaker 3: and they're also shooting all of these bombs and guns
• 55:14
  Speaker 3: at him. I thought that was great. And for some reason,
• 55:18
  Speaker 3: I thought, I don't know, you know, I've never seen
• 55:20
  Speaker 3: the movie, but there's there's the iconic Godzilla roar that
• 55:23
  Speaker 3: we hear. It's very distinct, and I thought that was
• 55:26
  Speaker 3: going to be the only one that they used. But
• 55:28
  Speaker 3: there was actually some pretty good variation in the in
• 55:31
  Speaker 3: the roar itself. They had a few different kind of
• 55:34
  Speaker 3: sounds that he would admit, and I was like, Oh,
• 55:36
  Speaker 3: it's not just the same because the same thing over
• 55:38
  Speaker 3: and over and over. I like how varied it felt.
• 55:42
  Speaker 3: I wasn't expecting that. I thought it would be the same,
• 55:45
  Speaker 3: you know, everybody, and I'll if I can, I'm sure
• 55:47
  Speaker 3: I can find the sound effect, I'll throw it in here.
• 55:53
  Speaker 3: And I figured it was going to be all that.
• 55:55
  Speaker 3: But it's not like just the same stock sound someone's
• 55:58
  Speaker 3: hitting the button on. It feels like there's an emotion
• 56:01
  Speaker 3: to it rather than just oh, this is a stock sound.
• 56:06
  Speaker 2: Like.
• 56:06
  Speaker 3: I was impressed by by that a lot more than
• 56:09
  Speaker 3: maybe I should be. I don't know, but I really
• 56:12
  Speaker 3: love the roar that he had going on. It was
• 56:15
  Speaker 3: pretty fucking iconic for nineteen fifty four.
• 56:18
  Speaker 2: From what I've read, how they created that that iconic
• 56:22
  Speaker 2: round sound was According to this art interview for MPR,
• 56:29
  Speaker 2: they said it was actually a double bass string that
• 56:32
  Speaker 2: they and they used a weather glove coated in pine
• 56:35
  Speaker 2: tar resin to create friction and they'd rub it against
• 56:38
  Speaker 2: the string of the double bass to create that sound.
• 56:40
  Speaker 3: That is interesting and that's what I love about movies
• 56:43
  Speaker 3: from you know, I mean such an early time period
• 56:47
  Speaker 3: because they had to be so creative, like we don't
• 56:49
  Speaker 3: just have a stock library sound, you know, like they
• 56:53
  Speaker 3: like we do now. They had to come up with
• 56:54
  Speaker 3: this organically, and it's it's very interesting that people are
• 56:59
  Speaker 3: just like fucking on, like, oh we did this. How
• 57:02
  Speaker 3: did you get to the point where you were using
• 57:03
  Speaker 3: pine tar and a bass dream? I don't know, but
• 57:06
  Speaker 3: we got it.
• 57:06
  Speaker 2: And this is if you want a it's it's a fan.
• 57:10
  Speaker 2: If anyone out there has the Star Wars box set,
• 57:16
  Speaker 2: the blu ray that came out part of me years ago.
• 57:19
  Speaker 2: Cover of it has like Anakin on on the cover
• 57:22
  Speaker 2: and has like Darth Vader shadow behind him. It's like
• 57:24
  Speaker 2: the iconic box that there's actually a lot of great
• 57:28
  Speaker 2: special features on there with Ben Burt talk, who's their
• 57:31
  Speaker 2: sound designer, who talks about how they created a lot
• 57:34
  Speaker 2: of the iconic sounds in Star Wars, and it's similar
• 57:38
  Speaker 2: concept where they're just they're just putting a bunch of
• 57:41
  Speaker 2: weird sounds together and seeing what it sounds like. Like
• 57:44
  Speaker 2: the sound of the Wookies is like a couple of
• 57:47
  Speaker 2: animals mixed together and then they just like pitch like
• 57:50
  Speaker 2: pitch shifted. And it has nothing to do with Godzilla.
• 57:53
  Speaker 2: But if you're interested in the world to sound in
• 57:56
  Speaker 2: movies that you love, that's a good thing that check out.
• 57:59
  Speaker 3: I'm gonna have to see if I have that or
• 58:01
  Speaker 3: find it, because I really want to know how they
• 58:03
  Speaker 3: made go for the Bulbo's uh pod Racer, because that or.
• 58:09
  Speaker 2: The if I feel like every I feel like Ben
• 58:12
  Speaker 2: Bert's on every single Star Wars commentary track, I wouldn't
• 58:15
  Speaker 2: be surprised if he just talks about it, perfect sary track.
• 58:18
  Speaker 3: Perfect. So even the we mentioned the atomic breath, it
• 58:23
  Speaker 3: is obviously less refined than later versions, but you know
• 58:27
  Speaker 3: it's more so pretty cool, more radioactive myss than anything.
• 58:30
  Speaker 3: It's not a focus I.
• 58:32
  Speaker 2: Would not be surprised that there was if there wasn't
• 58:34
  Speaker 2: a conversation where being like, can we put a flamethrower
• 58:39
  Speaker 2: in this suit? Well, the suit's rubber, Yeah, probably shouldn't.
• 58:42
  Speaker 2: That's made of cardboard, Okay, probably should do that.
• 58:46
  Speaker 3: But it is you know, there's something about it that's unnatural,
• 58:49
  Speaker 3: Like it's toxic. It shouldn't exist, and boy does. He
• 58:53
  Speaker 3: said a lot of ship on fire, a lot of ship.
• 58:57
  Speaker 3: So I was really confused at first though, because when
• 58:59
  Speaker 3: he went the going back to that beach scene I
• 59:01
  Speaker 3: was talking about when he when he's you know, coming
• 59:03
  Speaker 3: on the beach and destroying all those electric fences, he
• 59:05
  Speaker 3: blows the mist at the metal things and they kind
• 59:08
  Speaker 3: of just bend and I was like are they At
• 59:12
  Speaker 3: first I thought they were freezing, and then they bent
• 59:15
  Speaker 3: over and I was like, okay, I guess I guess
• 59:17
  Speaker 3: that is fire or radioactive something.
• 59:19
  Speaker 2: I was trying to figure out how they did that
• 59:21
  Speaker 2: because that's such a cool effect.
• 59:23
  Speaker 3: It was a cool effect. That's really cool. There's only
• 59:28
  Speaker 3: like what was the there's like one oh yeah, there
• 59:32
  Speaker 3: was really only like one thing. It's not that it
• 59:34
  Speaker 3: didn't work for me, but I was like, what was
• 59:36
  Speaker 3: this for and it's a train. Weirdly enough, as much
• 59:38
  Speaker 3: as I like the train sequence, it was kind of
• 59:40
  Speaker 3: strange because he comes ashore, wrecks a train, destroys the bridge,
• 59:44
  Speaker 3: and then leaves. It's like something on a something on
• 59:47
  Speaker 3: a to do list like destroy train check, got bridge check,
• 59:51
  Speaker 3: return to ocean check. I was like that was that
• 59:55
  Speaker 3: was just a little strange. I just like, Okay, are
• 59:57
  Speaker 3: we done here? I guess maybe the a show of force, maybe,
• 1:00:02
  Speaker 3: you know, to show him what what he's capable of.
• 1:00:05
  Speaker 3: But other than that, I mean, that's really the only
• 1:00:08
  Speaker 3: thing I had to a quote unquote issue with because
• 1:00:12
  Speaker 3: the Oxygen Destroyer was honestly man when she got told
• 1:00:17
  Speaker 3: that secret and she was like, I'm gonna keep this secret,
• 1:00:20
  Speaker 3: and then you actually get to know what that secret
• 1:00:22
  Speaker 3: was about the Oxygen Destroyer and how he discovered this
• 1:00:25
  Speaker 3: secret weapon of like taking out all the oxygen of
• 1:00:28
  Speaker 3: water and everything and it dies. I was legitimately blown
• 1:00:33
  Speaker 3: back in my seat. I was like, WHOA, that was
• 1:00:36
  Speaker 3: an incredibly cool reveal. Never never saw that coming at all.
• 1:00:41
  Speaker 2: Yeah, yeah, I really like the human characters in this
• 1:00:44
  Speaker 2: movie quite a bit, Like, yeah, like there is a
• 1:00:47
  Speaker 2: bit of a love triangle going on because Emiko is
• 1:00:53
  Speaker 2: in love with Yamine even though she's like engage to
• 1:01:01
  Speaker 2: sarah Zawa, right, or it's both in a relation, they don't.
• 1:01:05
  Speaker 2: I feel like they kind of say it without saying
• 1:01:07
  Speaker 2: it because I feel like that, you know, it's the fifties,
• 1:01:09
  Speaker 2: and I feel like they don't want to be like
• 1:01:11
  Speaker 2: they're having.
• 1:01:11
  Speaker 3: An affair, right, yeah, let's let's just kind of not address.
• 1:01:17
  Speaker 2: But like sarah Zawa seems far more invested in his
• 1:01:21
  Speaker 2: work and really rock in a killer eye patch, so
• 1:01:25
  Speaker 2: he's just you know, but I also appreciate that, like
• 1:01:29
  Speaker 2: they could have went the melodramatic way and been like
• 1:01:31
  Speaker 2: what are you doing to my woman and shit like that,
• 1:01:34
  Speaker 2: and it's not like they are still like, Okay, we
• 1:01:36
  Speaker 2: need to do we need to work together for this
• 1:01:39
  Speaker 2: common cause. And like you said when you mentioned doctor Yamane,
• 1:01:45
  Speaker 2: when he was like, you know, like we need to
• 1:01:49
  Speaker 2: study this thing. I love that they all have these
• 1:01:51
  Speaker 2: different perspectives. And I also love that sarah Zawa had
• 1:01:55
  Speaker 2: this whole thing where he he didn't want his weapon
• 1:01:59
  Speaker 2: to into the wrong hands, so you know, he destroys
• 1:02:05
  Speaker 2: all his notes and he ends up taking himself out
• 1:02:08
  Speaker 2: with the oxygen destroyer, so that way no one can
• 1:02:10
  Speaker 2: try to recreate this work. And it's you know, once
• 1:02:14
  Speaker 2: again going back to Godzilla minus one, it feels very
• 1:02:16
  Speaker 2: similar to are we characters in that film. His you know,
• 1:02:21
  Speaker 2: whole journey of realizing and being comfortable with the idea
• 1:02:26
  Speaker 2: that he might have to take his own life to
• 1:02:28
  Speaker 2: destroy this thing. And that made it that was really
• 1:02:32
  Speaker 2: interesting because, like I said, Sarah's I was not just
• 1:02:34
  Speaker 2: taking his life just to destroy God's will, but it's
• 1:02:36
  Speaker 2: also so that way no one else can try to
• 1:02:38
  Speaker 2: recreate what he did. It feels very like Oppenheimer coded
• 1:02:42
  Speaker 2: in that way.
• 1:02:43
  Speaker 3: Yeah, I really love that too, because he also burned,
• 1:02:47
  Speaker 3: you know, he takes his the plans or however he
• 1:02:50
  Speaker 3: made it, throws it in the fire, and I like that.
• 1:02:53
  Speaker 3: I really enjoyed that aspect of it because he was
• 1:02:55
  Speaker 3: smart enough to realize that in the wrong hands, this
• 1:02:59
  Speaker 3: can do a lot of damage and devastation.
• 1:03:01
  Speaker 2: Actually, if they're strong enough to destroy a monster like this,
• 1:03:04
  Speaker 2: it's the only hop skipping to jump from being like, well,
• 1:03:06
  Speaker 2: how do we use these destroyer enemies exactly?
• 1:03:08
  Speaker 3: So that was a great plot point that I also enjoyed.
• 1:03:11
  Speaker 3: There was just so many plot points that came up
• 1:03:14
  Speaker 3: and plot devices that they use that I felt were
• 1:03:16
  Speaker 3: just incredibly impressive for the time and how they fit
• 1:03:20
  Speaker 3: them into the story worked. None of it felt far fetched,
• 1:03:23
  Speaker 3: none of it felt like they were reaching. It all
• 1:03:26
  Speaker 3: felt pretty grounded. You know, I don't know how realistic
• 1:03:31
  Speaker 3: the oxygen thing is. Whatever, it's the science Yeah, it's
• 1:03:36
  Speaker 3: a science fiction movie. We don't like. It doesn't have
• 1:03:38
  Speaker 3: we're also finding a giant, radioactive fucking lizard whatever, so
• 1:03:43
  Speaker 3: it doesn't have to be that realistic.
• 1:03:44
  Speaker 2: But it was trialodyte to its fucking footprints.
• 1:03:49
  Speaker 3: I love how they did find how they did find those,
• 1:03:52
  Speaker 3: and they were like, oh, this is a species of
• 1:03:54
  Speaker 3: that's died millions of years ago, because you know, he's
• 1:03:57
  Speaker 3: supposed to be at this point, they're making Godzilla out
• 1:04:01
  Speaker 3: to be this, you know, ancient, million year old creature,
• 1:04:03
  Speaker 3: which is which is also which is pretty cool. But
• 1:04:05
  Speaker 3: I think that's one of the smartest pieces of writing
• 1:04:07
  Speaker 3: in the entire film, is that whole sequence where they
• 1:04:10
  Speaker 3: go to the flashback of her getting the secret and
• 1:04:12
  Speaker 3: then they flash you know, flash back to the curt
• 1:04:15
  Speaker 3: you know, of the present time, where he's telling them,
• 1:04:17
  Speaker 3: and then they have that whole back and forth of
• 1:04:20
  Speaker 3: wanting to use it, not wanting to use it, and
• 1:04:22
  Speaker 3: then they eventually do use it, and you know, the ending.
• 1:04:26
  Speaker 3: It works, and I understand why it's important, but it
• 1:04:29
  Speaker 3: just felt a little abrupt to me because the build
• 1:04:32
  Speaker 3: up to Godzilla's destruction is phenomenal, the sacrifice is meaningful,
• 1:04:36
  Speaker 3: and the themes are powerful, but the actual defeat itself
• 1:04:40
  Speaker 3: felt a little quicker than expected to me. But it's
• 1:04:44
  Speaker 3: not like I'm gonna like rate it less because of that.
• 1:04:47
  Speaker 2: I also wonder too, it's just how storytelling has changed,
• 1:04:51
  Speaker 2: because you know, you look at any like screenwriting book,
• 1:04:56
  Speaker 2: the third act is always the shortest, like it's it's
• 1:04:58
  Speaker 2: you know, you're not really well supposed to like overstay,
• 1:05:01
  Speaker 2: you're welcome, and so yeah, I think it's And then
• 1:05:05
  Speaker 2: also just these effects probably cost so much. They're like,
• 1:05:07
  Speaker 2: we gotta fucking just tighten this shit up.
• 1:05:10
  Speaker 3: We gotta just end this. So yeah, it's not something
• 1:05:12
  Speaker 3: that took away from the movie. I just I was
• 1:05:15
  Speaker 3: slightly underwhelmed. But then again I had to remind myself,
• 1:05:18
  Speaker 3: like this is nineteen fifty four, Like I.
• 1:05:21
  Speaker 2: Kind of had a similar moment because like my Blu
• 1:05:24
  Speaker 2: ray player that I watch has the time on the
• 1:05:27
  Speaker 2: front of the thing, so which I can always see, like, oh,
• 1:05:30
  Speaker 2: I'm ten minutes and I'm fifteen minutes in.
• 1:05:31
  Speaker 3: Whatever, gotcha?
• 1:05:33
  Speaker 2: I knew this movie was an hour and thirty five minutes,
• 1:05:36
  Speaker 2: and I feel like we're like an hour twenty hour
• 1:05:38
  Speaker 2: twenty five and I was like, we only got ten
• 1:05:40
  Speaker 2: minutes left, Guys, like, what are we gonna do here?
• 1:05:42
  Speaker 2: And I've seen this movie before and I just couldn't
• 1:05:45
  Speaker 2: remember that they just did it. It was such a
• 1:05:47
  Speaker 2: quick little thing.
• 1:05:48
  Speaker 3: Yeah, it was a pretty quick ending, and you know,
• 1:05:50
  Speaker 3: it's it's not like it's a big deal. I feel
• 1:05:53
  Speaker 3: like it does fit in with the story, even if
• 1:05:55
  Speaker 3: it's slightly less exciting. But yeah, I mean, I is
• 1:06:00
  Speaker 3: truly impressed with this movie. I mean with the ratings.
• 1:06:03
  Speaker 3: Going into this, I knew I would like it. I
• 1:06:05
  Speaker 3: didn't feel like this is one of those times where
• 1:06:07
  Speaker 3: people were just gassing this movie up because it's the
• 1:06:10
  Speaker 3: original and nothing's gonna compare it. I think it does
• 1:06:13
  Speaker 3: have the highest rating of all of them, probably, but
• 1:06:16
  Speaker 3: uh maybe not God's Eli minus one. I think God's
• 1:06:19
  Speaker 3: Eli minus one has like over A four because that
• 1:06:21
  Speaker 3: movie is just so good. But this movie really surprised me,
• 1:06:25
  Speaker 3: which is which is good, because I had a feeling,
• 1:06:28
  Speaker 3: you know, sometimes you get feelings going into movies. I
• 1:06:31
  Speaker 3: had a feeling I might be underwhelmed by the I'm
• 1:06:34
  Speaker 3: underwhelmed by this, like I want to like this movie,
• 1:06:36
  Speaker 3: and I ended up really loving it. And of course,
• 1:06:39
  Speaker 3: at this point in time I have I do feel
• 1:06:41
  Speaker 3: like I've honed in on my rating for this movie
• 1:06:45
  Speaker 3: because I can see myself returning to this time and
• 1:06:47
  Speaker 3: time again, because I really really enjoyed just basically every aspect.
• 1:06:52
  Speaker 3: Like I said, I had really two small problems, and
• 1:06:54
  Speaker 3: they're not even problems that are big enough to dock
• 1:06:58
  Speaker 3: the movie any points here. You know, it's it's just
• 1:07:02
  Speaker 3: my own like, oh, I wish this was a little
• 1:07:03
  Speaker 3: bit better, But you know, you have to remind yourself,
• 1:07:05
  Speaker 3: this is seventy seventy two year old movie, so you
• 1:07:09
  Speaker 3: got to give them a little slack in certain instances here.
• 1:07:15
  Speaker 2: And it will be interesting too if at the point
• 1:07:17
  Speaker 2: you go back and rewatch Garret Edwards twenty fourteen, Godzilla,
• 1:07:22
  Speaker 2: because I think he does a really interesting jo. I
• 1:07:24
  Speaker 2: don't think that movie works as well as this, but
• 1:07:28
  Speaker 2: it is kind of interesting to see how he tries
• 1:07:32
  Speaker 2: to keep that really micro like scale, like because usually
• 1:07:37
  Speaker 2: we only see we only see Godzilla from like the
• 1:07:40
  Speaker 2: perspective of the people on the ground or from a
• 1:07:42
  Speaker 2: distance like He's It's not like some of the later
• 1:07:45
  Speaker 2: ones where we're like following Godzilla. He is meant to
• 1:07:48
  Speaker 2: feel like a force of nature in that film, and
• 1:07:52
  Speaker 2: best of my memory, it has been will since I've
• 1:07:54
  Speaker 2: watched rewatched it, but I think he does it pretty well.
• 1:07:58
  Speaker 2: It reminds me kind of like the way that we
• 1:08:00
  Speaker 2: saw the Monster in clover Field, where we only got
• 1:08:02
  Speaker 2: glimpses of it.
• 1:08:04
  Speaker 3: Yeah, okay, and I am saving shin Godzilla because I
• 1:08:07
  Speaker 3: still haven't seen that one, and i've heard it is
• 1:08:10
  Speaker 3: very good. So I plan to kind of work my
• 1:08:13
  Speaker 3: way through some of the well known titles of Kaiju
• 1:08:17
  Speaker 3: because I've seen a few here and there, but I
• 1:08:19
  Speaker 3: really haven't dived into them. I've got like four or
• 1:08:22
  Speaker 3: five double features that I bought specifically for this month
• 1:08:26
  Speaker 3: that I'm just gonna kind of watch throughout and just
• 1:08:28
  Speaker 3: get get a feel for them. But I'm also gonna
• 1:08:30
  Speaker 3: watch movies that I haven't seen kind of revisit the
• 1:08:32
  Speaker 3: monster verse and stuff like that. But my final thoughts here,
• 1:08:37
  Speaker 3: Godzilla is not just the beginning of a franchise. I
• 1:08:40
  Speaker 3: also think it's the beginning of an icon.
• 1:08:42
  Speaker 2: You know.
• 1:08:43
  Speaker 3: It's a film that uses a giant monster, uses giant
• 1:08:47
  Speaker 3: monster destruction to tell a story about trauma, responsibility, and
• 1:08:50
  Speaker 3: the consequences of technological arrogance. The effects are still impressive,
• 1:08:55
  Speaker 3: the mystery works, the themes remain powerful, and Godzilla remains
• 1:08:59
  Speaker 3: one of the great creatures ever to be put on film.
• 1:09:03
  Speaker 3: Uh final final thoughts from you on Godzilla here before
• 1:09:06
  Speaker 3: we move on.
• 1:09:08
  Speaker 2: I think Godzilla is an incredible film. And if there's
• 1:09:13
  Speaker 2: people out there who aren't necessarily sold on the franchise
• 1:09:16
  Speaker 2: because they've seen some of the goofy or things that
• 1:09:18
  Speaker 2: would happen with the franchise later on, because Gonzolla does
• 1:09:20
  Speaker 2: eventually does become kind of a kid's property, and while
• 1:09:24
  Speaker 2: I love those as well, if I highly recommend you
• 1:09:28
  Speaker 2: check this out, and if there if you are new
• 1:09:31
  Speaker 2: to the Godzilla world because of Godzilla minus wanted just
• 1:09:36
  Speaker 2: the absolute success of that, I do recommend going back
• 1:09:39
  Speaker 2: and checking this film out because kind of referencing a
• 1:09:44
  Speaker 2: rant that Austin was making earlier, where there's there's always
• 1:09:47
  Speaker 2: this interesting what's the word I'm looking for divert split
• 1:09:54
  Speaker 2: between Godzilla fans echotomy?
• 1:09:56
  Speaker 3: Is that it?
• 1:09:57
  Speaker 2: Yeah, maybe, yeah, there's a split between Godzilla fans where
• 1:10:00
  Speaker 2: they are like and Star Wars fans where they're always like,
• 1:10:04
  Speaker 2: this is what Godzilla should be. No, this is what
• 1:10:06
  Speaker 2: Godzilla should be. Yes, funny enough. I think they're all right,
• 1:10:10
  Speaker 2: They're all correct, you know. For people who want a
• 1:10:14
  Speaker 2: more serious minded Godzilla like you have in this original film,
• 1:10:17
  Speaker 2: there are films that give you that. But then if
• 1:10:19
  Speaker 2: you want something a little bit more silly, like Son
• 1:10:23
  Speaker 2: of Godzilla or All Monsters Attack, you have that as well.
• 1:10:29
  Speaker 2: And I do think the Monster Verse are kind of
• 1:10:30
  Speaker 2: giving us some of that sillier elements as well. So
• 1:10:35
  Speaker 2: there's something to love for everyone in the world of Godzilla,
• 1:10:38
  Speaker 2: and Godzilla is here to be loved.
• 1:10:40
  Speaker 3: I agree with all of that. So yeah, there it
• 1:10:44
  Speaker 3: is Godzilla from nineteen fifty four. Let's go to the
• 1:10:47
  Speaker 3: final cut, all right, So you actually already brought up
• 1:10:52
  Speaker 3: this trivia, So kudos to you about the animal roars,
• 1:10:57
  Speaker 3: the yeah, rubbing coarse vein resin coded their glove up
• 1:11:00
  Speaker 3: and down the strings of a contra bass Yeah. One
• 1:11:03
  Speaker 3: of the most famous legends regarding the production of this film,
• 1:11:07
  Speaker 3: as director Ishiro Honda and special effects director I. G.
• 1:11:11
  Speaker 3: Subaraya on the observation deck of one of Tokyo's buildings.
• 1:11:15
  Speaker 3: They were planning Godzilla's path of destruction when visitors were
• 1:11:18
  Speaker 3: on the deck overheard their conversation and became concerned. The
• 1:11:22
  Speaker 3: pair was stopped by authorities and questioned. The film's opening
• 1:11:27
  Speaker 3: scene was inspired by their real life. Oh there you go,
• 1:11:29
  Speaker 3: Lucky Dragon number five. That's what it was. You mentioned
• 1:11:33
  Speaker 3: that in the beginning. You gave me that name in
• 1:11:34
  Speaker 3: the beginning where the crew and the catch of a
• 1:11:37
  Speaker 3: Japanese fitching book intaminated by radio active fallout from the
• 1:11:40
  Speaker 3: United States Castle Bravo hydrogen bomb test. This event generated
• 1:11:45
  Speaker 3: much controversy in Japan, especially after the death of these
• 1:11:47
  Speaker 3: ships radio man Kubayama Akecha and then two fun fun
• 1:11:52
  Speaker 3: little facts about two directors. Director la George Lucas cites
• 1:11:57
  Speaker 3: this film's miniatures as an inspiration for his Special Effect
• 1:12:00
  Speaker 3: and these Star Wars films. And director John Carpenter is
• 1:12:04
  Speaker 3: a fan of this film and has said, I first
• 1:12:06
  Speaker 3: saw Godzilla in nineteen fifty six, at the tender age
• 1:12:08
  Speaker 3: of eight. Something about the film filled me with somber dread,
• 1:12:12
  Speaker 3: not the monster destroying Tokyo, but the overall tone and
• 1:12:14
  Speaker 3: underlying sadness, a sense of grief and horror. Japan is
• 1:12:17
  Speaker 3: the only nation to suffer atomic bombs dropped on two
• 1:12:20
  Speaker 3: of its cities, and Godzilla gave powerful expression to this
• 1:12:23
  Speaker 3: emotion ambience disguise as a giant monster movie. So look
• 1:12:27
  Speaker 3: at you, John Carpenter goofs.
• 1:12:30
  Speaker 2: A few times. He has something nice to say, right,
• 1:12:32
  Speaker 2: one of the few.
• 1:12:33
  Speaker 3: Yeah, because he's he's a he's a curmudginy. But I
• 1:12:35
  Speaker 3: get it.
• 1:12:35
  Speaker 2: You know. He also sit home, watch basketball and play fucking.
• 1:12:38
  Speaker 3: Video play freaking video games.
• 1:12:40
  Speaker 2: Maybe go on tour and play some music once in
• 1:12:42
  Speaker 2: a while.
• 1:12:43
  Speaker 3: I do need to see him live.
• 1:12:44
  Speaker 2: Still, Oh, it's it's worth it.
• 1:12:47
  Speaker 3: So there are some petty goofs, some funny goofs, and
• 1:12:52
  Speaker 3: then one accurate goof So I got a mix here,
• 1:12:54
  Speaker 3: I got a really good mix here. A machine or
• 1:12:57
  Speaker 3: device that is made to destroy the free oxygen, since
• 1:13:00
  Speaker 3: water is eighty eight percent oxygen by volume, would just
• 1:13:03
  Speaker 3: leave its marine life inhabitants suffocated not disintegrated into skeletons.
• 1:13:08
  Speaker 3: And since Godzilla can breathe underwater, all he would have
• 1:13:11
  Speaker 3: to do is hold his breath and swim to the surface,
• 1:13:13
  Speaker 3: which obviously with obvious unfortunate consequences for the ship above.
• 1:13:18
  Speaker 3: Two that are just funny. In one scene in the film,
• 1:13:21
  Speaker 3: the Godzilla suit has actually set fire due to the
• 1:13:23
  Speaker 3: pyrotechnics used in it. Before the scene ends, the actor
• 1:13:26
  Speaker 3: inside the suit is seen waving his arm around trying
• 1:13:29
  Speaker 3: to put out the fire.
• 1:13:31
  Speaker 2: Oh no.
• 1:13:32
  Speaker 3: And then when the Jets attack Godzilla as he is
• 1:13:35
  Speaker 3: walking out to see after shrowing Tokyo, the missiles they
• 1:13:38
  Speaker 3: fire at him can be seen bouncing off the sky backdrop.
• 1:13:44
  Speaker 3: And then inaccurate one apparently Tribult did not live during
• 1:13:47
  Speaker 3: the Jurassic period one point six million years ago to
• 1:13:52
  Speaker 3: one forty five point five million years ago. They lived
• 1:13:54
  Speaker 3: in the Cambrian period five hundred and thirty eight point
• 1:13:58
  Speaker 3: eight million years ago to four one hundred and fifty
• 1:14:00
  Speaker 3: eight point four million years ago, the Permian period to
• 1:14:06
  Speaker 3: the Permian period, so I guess that was wrong. And
• 1:14:09
  Speaker 3: then apparently they say that the Durassic Period was two
• 1:14:12
  Speaker 3: million years ago, and that is actually off by one
• 1:14:15
  Speaker 3: hundred and forty three point five million years.
• 1:14:17
  Speaker 2: Come on, guys, get good.
• 1:14:18
  Speaker 3: Get rated seven point six out of ten on IMDb
• 1:14:23
  Speaker 3: for our purposes of the Nightmare index, that is a
• 1:14:26
  Speaker 3: three point eight out of five, has a four point
• 1:14:29
  Speaker 3: one on the Letterbox, ninety four percent on the Tomato Meter,
• 1:14:34
  Speaker 3: and an eighty nine percent audience score. Michael, what do
• 1:14:37
  Speaker 3: we have for a rating on Godzilla?
• 1:14:39
  Speaker 2: So originally I had it at a four point five,
• 1:14:42
  Speaker 2: but I've actually since uh upgraded it to a full
• 1:14:46
  Speaker 2: on five.
• 1:14:46
  Speaker 3: All right, so you've got a five, I've got a
• 1:14:48
  Speaker 3: four point five. This is gonna be this is gonna
• 1:14:51
  Speaker 3: be a good one. So that gives us a nightmare
• 1:14:53
  Speaker 3: Index of four point three five, which means this is
• 1:14:57
  Speaker 3: tied for second place with Dawn of the Dead at
• 1:15:02
  Speaker 3: a four point three to five as well, and that
• 1:15:04
  Speaker 3: also means this is a frightmar certified slap. So let's
• 1:15:10
  Speaker 3: see here. Similar movies according to IMDb, we have Godzilla
• 1:15:13
  Speaker 3: Raids Again, mathra versus Godzilla, Godora, the Three Headed Monster,
• 1:15:18
  Speaker 3: King Kong versus Godzilla, An Invasion of the Astro Monster.
• 1:15:22
  Speaker 3: Similar movies according to Letterbox, because all of the related
• 1:15:26
  Speaker 3: films are basically everything in the the eras before, so
• 1:15:32
  Speaker 3: these are just other things. So we have Godzilla, King
• 1:15:35
  Speaker 3: of the Monsters from twenty nineteen, Godzilla minus one chin Godzilla,
• 1:15:40
  Speaker 3: Godzilla from nineteen ninety eight, and then there's a Godzilla
• 1:15:43
  Speaker 3: from nineteen eighty five. I don't know. I don't know
• 1:15:46
  Speaker 3: about that one. But then that's that's what I've got.
• 1:15:49
  Speaker 3: Let's just funny reviews and get the fuck out of here.
• 1:15:52
  Speaker 2: Okay, you want to go first? Or should I? Uh? Yeah,
• 1:15:59
  Speaker 2: little bit?
• 1:16:00
  Speaker 3: Let me see. I've got I've got five I've got.
• 1:16:03
  Speaker 2: A couple extrases just in case we have the same ones.
• 1:16:06
  Speaker 3: All right, So why don't you go first? Instance, You've
• 1:16:09
  Speaker 3: got some extras.
• 1:16:10
  Speaker 2: All right? This is probably gonna be the wall hanging Fruit,
• 1:16:13
  Speaker 2: because I think it was the highest one on here.
• 1:16:17
  Speaker 2: Patrick Williams says, I wonder if Oppenheimer ever watched.
• 1:16:19
  Speaker 3: Godzilla full full. Yeah, yeah, that's the one I had.
• 1:16:26
  Speaker 3: But you gave me the highest one last time, so
• 1:16:29
  Speaker 3: I had to give it to you this time. Four
• 1:16:32
  Speaker 3: stars from Rambo. Uh why doesn't anyone ever listen to
• 1:16:36
  Speaker 3: the prophecies of doom from the old guy? But a
• 1:16:38
  Speaker 3: thousand yards.
• 1:16:39
  Speaker 2: Stare exactly all right, I'm gonna go with some of
• 1:16:44
  Speaker 2: the lower reviews I have. Actually, no, this one's funny.
• 1:16:50
  Speaker 2: This one is just by someone named mad and give
• 1:16:52
  Speaker 2: it four stars and a heart smokes a big fat blunt.
• 1:16:54
  Speaker 2: The real Godzilla was us all along, crazy crazy.
• 1:17:01
  Speaker 3: Let's see. I have three stars from John I couldn't
• 1:17:06
  Speaker 3: stop calling Godzilla a girl boss for the entire runtime.
• 1:17:09
  Speaker 3: And then they have like the slant slant face with
• 1:17:12
  Speaker 3: like the eye, the eyes and the slanted mouth.
• 1:17:15
  Speaker 2: Yep, alright, song. I always like to try to find
• 1:17:18
  Speaker 2: a couple of bad reviews.
• 1:17:19
  Speaker 3: Yeah, let's hear them.
• 1:17:22
  Speaker 2: This one was by Mick m I K half star.
• 1:17:27
  Speaker 2: You're all joking yourselves. In the words of my bf's
• 1:17:29
  Speaker 2: ninety five year old grandmother, is that his belly button?
• 1:17:33
  Speaker 3: Did he have a belly button?
• 1:17:35
  Speaker 2: All right?
• 1:17:38
  Speaker 3: All right, let's see here three stars from Jay Shimoni,
• 1:17:44
  Speaker 3: who's clearly ah gotta be a gen z just catching
• 1:17:48
  Speaker 3: up on my fortnite lore Jesus Christ.
• 1:17:53
  Speaker 2: All right, this one was from Help's BM or Help BM.
• 1:17:59
  Speaker 2: One star. I'm gonna get hate for this, but I
• 1:18:02
  Speaker 2: still can't watch old movies. I'm too brain rotted for them.
• 1:18:04
  Speaker 2: Forgive me centophiles.
• 1:18:10
  Speaker 3: This one is just a quote from the movie, but
• 1:18:12
  Speaker 3: I love it because it hit me so hard. Four
• 1:18:14
  Speaker 3: and a half stars from fell Godzilla was baptized in
• 1:18:17
  Speaker 3: the fire of an h bomb and survived. What could
• 1:18:20
  Speaker 3: kill it?
• 1:18:20
  Speaker 2: Now?
• 1:18:21
  Speaker 3: And that was a very very accurate question from the movie.
• 1:18:25
  Speaker 2: Alright, I got two more, go for it? All right?
• 1:18:28
  Speaker 2: I got Kiley's one star. No, Godzill don't die. You're
• 1:18:33
  Speaker 2: so sexy.
• 1:18:36
  Speaker 3: Oh, there's an entire fandom out there who uh gets kinky?
• 1:18:40
  Speaker 3: I guess yeah, alright, what's your last one?
• 1:18:43
  Speaker 2: All right, Emma Stefanski, no rating. An important detail that
• 1:18:49
  Speaker 2: modern Godzilla movies always get wrong is that Godzill actually
• 1:18:52
  Speaker 2: has tiny little ears.
• 1:18:55
  Speaker 3: I didn't notice the ears or the belly button. I
• 1:19:00
  Speaker 3: got to rewatch it.
• 1:19:00
  Speaker 2: I don't know.
• 1:19:01
  Speaker 3: Oh, by the way, I watched this on the Criterion
• 1:19:03
  Speaker 3: four K that you can get. I believe there's also
• 1:19:05
  Speaker 3: a Blu Ray version. Uh the one. The version I
• 1:19:08
  Speaker 3: have on Criterion is the biggest, chunkiest Criterion box that
• 1:19:11
  Speaker 3: I currently own. Uh, so you can get that.
• 1:19:14
  Speaker 2: I have the Criterion box of the entire Shoa era
• 1:19:18
  Speaker 2: that doesn't even fish the shelf because it's a book.
• 1:19:21
  Speaker 3: Oh that's amazing that box. I have seen that. I
• 1:19:25
  Speaker 3: don't know if I saw it when I was up there,
• 1:19:26
  Speaker 3: but I've seen, like I've seen, I know what it
• 1:19:29
  Speaker 3: looks like. The two box sets I do have are
• 1:19:32
  Speaker 3: both Gamera because I love them, and they are the
• 1:19:34
  Speaker 3: Shoa Era and the I already forgot how to pronounce
• 1:19:38
  Speaker 3: it heasyhisi Era.
• 1:19:42
  Speaker 2: So there you go, h if you don't have either
• 1:19:45
  Speaker 2: and I need, I feel like the first Gamera sets
• 1:19:48
  Speaker 2: out of print already.
• 1:19:49
  Speaker 3: I love I just that's my face. Like I know,
• 1:19:51
  Speaker 3: I said, Rodin and Goodora are my favorite, but I
• 1:19:53
  Speaker 3: have a soft spot for Gamera or camera. So if
• 1:19:57
  Speaker 3: you enjoy the show, please rate and review on your
• 1:19:59
  Speaker 3: favorite podct cast app of choice. Follow us on Facebook, Instagram, TikTok, Slasher, threads,
• 1:20:04
  Speaker 3: and YouTube at Frightmar's podcast, our email stay spook get
• 1:20:07
  Speaker 3: atle dot com. If you want to follow me on letterbox,
• 1:20:09
  Speaker 3: you can find me at doctor Procter All One Word
• 1:20:12
  Speaker 3: Michael is Yers ten, two thousand and eight. And where
• 1:20:15
  Speaker 3: can people hear the sultry sound of your voice on
• 1:20:18
  Speaker 3: your podcast?
• 1:20:19
  Speaker 2: You can find me at The Shameless Picture Show. We
• 1:20:21
  Speaker 2: are also a member of the Someone's Favorite Productions podcast
• 1:20:25
  Speaker 2: and network, along with the other a bunch of other
• 1:20:27
  Speaker 2: fantastic shows. You can find us in all forms of
• 1:20:30
  Speaker 2: anywhere you get your podcast. We're on Apple, we are
• 1:20:33
  Speaker 2: on Spotify. We are now on YouTube, which we're actually
• 1:20:36
  Speaker 2: doing better on YouTube than I thought we were going to,
• 1:20:38
  Speaker 2: which is kind of cool. Yeah, it's a it's a
• 1:20:41
  Speaker 2: good time.
• 1:20:42
  Speaker 3: It is a good time.
• 1:20:43
  Speaker 2: Oh and you can find me at pretty much my
• 1:20:45
  Speaker 2: name anywhere Michael Underscore Buyers or Shameless.
• 1:20:48
  Speaker 3: Picture Show YEP, where he talks about aspect ratios more
• 1:20:51
  Speaker 3: than anybody on TikTok, So make sure you go watch
• 1:20:54
  Speaker 3: all of his content. If you'd like to expand your
• 1:20:57
  Speaker 3: movie podcast listening, be sure to check out these Shame
• 1:21:00
  Speaker 3: This Picture Show, as I say every week, the Dead
• 1:21:02
  Speaker 3: Eyed Millennial Film Club, and one Week Rental as well.
• 1:21:06
  Speaker 3: Next week, Corey and I will be doing Godzilla Versus
• 1:21:09
  Speaker 3: Space Godzilla from nineteen ninety four as our deep cut pick,
• 1:21:12
  Speaker 3: because I have not heard of that one, and I've
• 1:21:15
  Speaker 3: heard of a lot of Kaiju films. It's streaming on
• 1:21:17
  Speaker 3: tuby if you'd care to check it out, So look
• 1:21:19
  Speaker 3: at me go. This is like three weeks in a
• 1:21:21
  Speaker 3: row where I've picked a movie that's actually streaming, and
• 1:21:24
  Speaker 3: this just sounds like it's going to be the one
• 1:21:26
  Speaker 3: of the wackier Kaiju films. It's also part of the
• 1:21:31
  Speaker 3: Millennia No, not the Millennium era, the High Sai era,
• 1:21:34
  Speaker 3: so it'll be a little different, a little more fluid,
• 1:21:37
  Speaker 3: with a little whatever. I'm sure this one's going to
• 1:21:39
  Speaker 3: be a lot more goofy, but anyways, I'm rambling at
• 1:21:41
  Speaker 3: this point. Until then, guys, stay tuned and stood stay.
• 1:22:27
  Speaker 1: Thank you for listening to hear more shows from the
• 1:22:30
  Speaker 1: Someone's Favorite Productions podcast network. Please select the link in
• 1:22:34
  Speaker 1: the description.