Speaker 1: Hey, everybody, welcome back. At the beginning of some of
these episodes, we like to give a shout out to
some of our fans. We have one in particular on Facebook.
Speaker 2: His name is Ken Wilson Junior. He really jumped into
a discussion we had regarding Raiders and Back to the Future.
Speaker 1: Yeah, he is a Ready Player one fan and a
super fan at that, and was turned on to our
episode by another Gunter, And so all the gunters out there,
we love you guys.
Speaker 2: Thank you for listening. We hope you enjoy. We're going
to travel down some rebbit holes that we think Ready
Player one fans play.
Speaker 3: Right.
Speaker 4: Hey, everybody, welcome back to episode three of the Raiders
Back to the Future podcast.
Speaker 1: This one, we're going to take a deep dive into
some of the big ideas of Raiders and Back to
the Future, So listen in. Please stay tuned for our
final episode next week, and without further ado.
Speaker 5: Hello everybody, and welcome to the Surely Can't Be Serious podcast,
discussing and debating the iconic and the forgotten of eighties
and nineties pop culture with your co hosts James D.
Graves and Jason Colbn.
Speaker 1: Hey, everybody, welcome back. We talked about the intro a
little bit with each of the movies. Let's look at
the ordinary world that we see for the first time.
With Indiana, he's a college professor. He is Clark Kent
with his glasses on and no hat, no Superman cape on.
Love it. He talks to a museum coordinator and it's
all very plain, right. And then with Marty, you've got
Hill Valley, which is as plain and I mean they
wanted to make this every town America and they did
the exact job. That square could have been the square
that I grew up in. But both of them are
just kind of in this humdrum world. Now, Indy has
had adventure before.
Speaker 3: Marty is not no McFly ever a monitor anything in
the history of Ill Valley.
Speaker 2: Yeah, well history is going to change.
Speaker 1: We call that foreshadowing. But we know nothing's ever happened
with this guy. Right with Indy his real world, It's
almost like this is my newspaper job so that I
can go fight crime later.
Speaker 2: On when Indy is teaching and the girl has written
on her eyelids love you Yes. Spielberg and Lucas kind
of went round and round about this. They were arguing
about whether Indy should be this sort of playboy James
Bond esque character, which he kind of is, or should
he be? It belongs in a museum, Nerdy professor.
Speaker 1: It's the duality of Indiana Jones. Sure. But yes, there
was a scene that we've talked about before that was
in the original Raiders footage, but that they cut before
the final cut where he had been intimately involved with
one of the students, just before Rody shows a love
you girl.
Speaker 2: It was yeah, yeah, over to his apartment and she
is clearly over there not studying, right and yeah, and
he kicks her out before they have the big discussion
about the boogeyman in the arc.
Speaker 1: And did I hear Champagne chilling in the background?
Speaker 2: You heard that, mister mom for a later podcast.
Speaker 1: And then, of course, in Marty's ordinary world, you also
have the poor, pathetic parents who almost don't communicate with
each other at all, the whimpy dad, the alcoholic mother
who might have been born a nun. And so they
are both primed for their call to adventure, which is
about to come. So with Indy's call to adventure, we
have the government men I want to see them for
which again, lets you know about Indy's character and what
he's worried about. And so they go in and they
speak to the government men who give them this call
like we've got this information, and they do this wonderful
exposition point where they tell us the story without it
seeming contrived. And it's so beautiful how they do it,
because it's in a classroom that looks more like a cathedral.
We've got stained glass windows church. Yeah, it looks like church.
They're talking about God.
Speaker 5: God.
Speaker 2: Yes, that's just what the Hebrews thought.
Speaker 5: Uh, now, what's that supposed to be coming out of there?
Speaker 1: Fight, fire, power, God or something. And and so this
awesome call to adventure where Indy is salivating. There's no
resistance from him. Marty's call to adventure is a phone call.
Speaker 2: Well, doc, no, no, don't don't be silly. Hey, just
one of those government man. I don't know if you've
noticed this or not, but one of those guys kind
of the fat guy, the guy that he's the bigger jerk,
the two that's Porkin's from Star Wars. Oh, yes, did
you know that?
Speaker 1: No, but I know that you say it. That makes
total sense. The fat X.
Speaker 2: Wing pilot that gets blown up in the Battle of
the Death Stars.
Speaker 1: Oh, of course it can object.
Speaker 2: I can hold it.
Speaker 1: Porkins, you know, so inappropriate. Poor guy, Poor guy who
got to be in two of the biggest movies of.
Speaker 2: All time three if you count Batman.
Speaker 1: Was he the like the Fat Inspector and Batman? Yeah?
Oh wow?
Speaker 2: Where you've been spending you a nights?
Speaker 1: What a career?
Speaker 2: It's the guy who gets your shoot him right before
he drops him the bat.
Speaker 1: Yes, okay, so they both have their call to adventure.
And we got a bit of a warning from our
mentors here right in Indy's situation, we have Brody warning him.
Speaker 2: She'll still be with him.
Speaker 4: Possibly Marian's that needs to go worries right now, I
believe me.
Speaker 2: What do you mean?
Speaker 4: Well, I mean that nearly three thousand years Man must
been searching for the lost doc.
Speaker 2: That's something to be taken lightly. No one knows it's secrets.
It's like nothing you've ever gone after perform.
Speaker 1: You're not concerned about the right thing here talking about
Mary and this is some big deal stuff.
Speaker 2: Right, arc is not of this earth?
Speaker 1: Right? And then with Marty you at least have some
explanation as to why things happen, the need for plutonium.
This you know what can happen when you go back
and forth in time. The real warning, unfortunately, doesn't happen
until it's already too late for him, which is, you
can't go start hanging out in Hill Valley because you
may unalterably affect the future.
Speaker 2: Right, And he gets back from nineteen twenty five.
Speaker 1: Doctor, he's already there, so it's too late, right. So
then at this, you know, then we crossed the threshold.
Indy leaves on the plane somehow the Nazis already know
about him, already following him. By the way, how do
you pronounce the tote tote? Yes, So there's this moment,
interestingly where he's reading that Life magazine as they're both
they've both boarded the same plane. And I've always I
wondered about that Life magazine because it kind of looks
like like a Nazi kid on the front cover. As
it turns out, it's actually a kid from West Point.
And that was the second issue of Life magazine that
was ever made. This movie takes place in nineteen thirty six.
That was the November nineteen thirty six edition of Life,
and the kid on the front is a little soldier
student from West Point. And then we've got the they
both moved towards crossing the threshold and they're both attacked by.
Speaker 2: Terrorists, right right.
Speaker 1: So Indy, you know, Indy goes and is on his
way to this new world. Marty doesn't realize where he's
about to go. But they both get attacked, Indy by
the goons and Nepal along with toads, and Marty by
the Libyans. Oh my god, they found me. I don't
know how, but they found me.
Speaker 2: Who who?
Speaker 5: What do you think?
Speaker 1: I don't know I found me if they fought well,
maybe it was your giant truck with the name Doc
Brown written on the side of it.
Speaker 2: So the Libyans can't show up at Twin Pines Mall.
I don't know when we talk about Twin Pines Mall,
but this is a big deal later on, right right.
Speaker 1: As I said earlier, every single thing in Back to
the Future is either a setup or a payoff of
a setup that has already happened, and Twin Pines Mall, interestingly,
we get a little bit of that setup just before
Marty travels back in time, where Old Man Peabody had
this crazy idea about breeding pine trees.
Speaker 2: I love that look after he says that to you.
Speaker 1: Yeah, yeah, I mean, I just can't think of anybody
but Michael J. Fox in this position. He took something
that was sort of funny and made it really funny
just by his looks and his delivery alone.
Speaker 2: Yep, yep. And Chris Lloyd was an absolute home run.
Speaker 1: Absolutely. Yeah. So the setup for Twin Pines, you know,
Marty goes back in time and ultimately there's another bit
of a chase where he's running from the shotgun blast
of old Man Peabody. Also, by the way, another name
that you do not see until the credits is the
name of old Man Peabody's son who's got the comics magazine,
and his name is I can't remember, Sherman Peaboddy.
Speaker 2: Hello there Peabody.
Speaker 5: Here, what fa is?
Speaker 3: Nachel?
Speaker 2: I said it to today, mister Peabody. October nineteenth, seventeen
eighty one.
Speaker 1: Yes, Sherman and Peabody, the old the old cartoon where
the dog and the boy used to travel back in time.
Speaker 2: That's cool, Hey, I want to circle back on one thing
that has always bothered me. So in my opinion, these
are two perfect movies. We're comparing the Mona Lisa to
Storry Night. Okay, okay, But one of the things that
when the Libyans pull up and shoot Doc, the dude
unloads his clip, it's like forty shots to the chest. Ye, right,
it's that you go back and look at how many shots.
And I'm just I'm wondering to myself, Okay, bulletproof vests,
but man, that many bullets and not one of them
in the face.
Speaker 1: Yeah, what if he'd shot you in the face. Yeah,
that was our chance. We're willing to take it. So
here's the question that I have is Marty's about to
go as he's running from the Libyans and he says,
let's see if these badgards can do ninety. Yes, does
he know he's about to go back in time? I
don't know, what do you think? Well, here's my problem.
It seems like he's not thinking about that. It seems
like going back in time is a big surprise to him.
And he says ninety very well, knowing that it's eighty
eight that's going to make him go back in time. Right,
But the problem is he's headed straight for the photo map.
Speaker 2: That's true. Why why would you drive straight at the
photo right?
Speaker 1: So one thing leads me to believe he didn't know
he was going back in time, but the direction he's
headed made me believe the other thing. But maybe they
just needed that so that the Libyans had something to
crash into.
Speaker 2: I don't know, based on what I know about Marty's character,
sort of a fly by the seat of your pants.
Speaker 1: I'm saying, no, no, he wasn't thinking that he was
just going to dodge around the mat. I'm just doing
the best I can at this moment, so real quick.
When Indy crosses the threshold, we have this amazing scene
as he comes into Marian's bar, and the setup for
Marion is amazing. The character is one that gives us
both feminine power and damsel in distress at just the
right moments. Yes, so he walks in and we understand
that there's a history here. You know, we've gotten the
we've gotten her theme as they call it a bit before,
when Indy's talking about you know, do you think she's
still going to be with him? But we know that
history is there, and he walks in and we don't
see him once again. The light effect on.
Speaker 2: This the shadow and the hat.
Speaker 1: We see the shadow of the unmistakable silhouette of Indiana
on the wall, and he's gigantic. Oh, Marian, he's taking
up the whole screen. And she's a small little girl
like she was.
Speaker 2: Then she moves forward.
Speaker 1: And suddenly she's as big, if not bigger than the
shadow on the wall.
Speaker 2: Always knew someday you'd come walking back through my dar.
Speaker 1: As though she's overcome what he put her through in
the past. And then in just in case you had
any doubt at all, the moment he's not looking at her,
she punches him in the face.
Speaker 2: Oh, she decks him, and it's a fool on. It's
not a Willie Scott punch. This is a Marian raven
Wood Haymaker, absolutely, and she lands it and Indi CX
like it's the hardest punch he takes the entire movie. Right,
So let's talk a little bit about Indy's morality. After
the punch, Marian says, I've learned to hate you in
the last ten years, right, okay, seeming to mean that
ten years ago we had a relationship that has since
been dead. If she's twenty six or seven.
Speaker 1: We'n go with twenty nine.
Speaker 2: Okay, you're choosing to believe the best of Indy here.
Speaker 1: Yeah, because if I get too far, if she's twenty six,
he's a dirty old man, right, I don't want him
to be a dirty old man. So she was nineteen
and now she's.
Speaker 2: Twenty nine, all right, okay, what do you think?
Speaker 1: Well?
Speaker 2: I disagree with that because what she says to him
is I was young, I was in love.
Speaker 1: It was wrong, and you knew it right. And he says,
you knew what you're doing right. Basically you're seventeen, but
it didn't matter because you love me anyway, or eighteen
or nineteen.
Speaker 2: Okay, all right, I think that I was a child.
She said I was a child.
Speaker 1: Right now, If she was an actual child, obviously he
can't be anybody's hero, and we need to throw this
movie into the fire.
Speaker 2: No, I don't want to do that.
Speaker 1: But I think figuratively speaking and comparatively speaking, like she's
nineteen and he's twenty eight. Yeah, maybe twenty six. I
feel like that maybe Harrison Ford was in his mid
thirties at this point and she was in her late twenties,
and so yeah, comparatively, the difference between a nineteen year
old and twenty six year old, especially in that time,
could be huge.
Speaker 2: Sure, And I'm not lobbying for this thing. I just
want to just kind.
Speaker 1: Of there's definitely, you know, there's definitely a contingent out
there that has analyzed this and gone dirty old man.
Speaker 2: Well, okay, I love Indy, He's my hero. I don't
want him to be a dirty old man. I do
know that Lucas Spielberg and Lawrence Castin sat down and
they wanted this vague idea of an inappropriate relationship, right,
but it's never really fleshed out. But it goes back
to is Indy a good guy? Is he a bad guy?
Is he just an unperfect guy?
Speaker 1: Well, and I think you know, I don't know if
you've gone back and watched any of the old James
Bond movies that were coming out in the seventies, but
I mean there are many times in those movies that
I'm like, God, James Bond is a pig. So let's
just assume she was eighteen, he was twenty six.
Speaker 2: It wasn't that horrible, Okay, overreacting, Yeah, okay.
Speaker 1: And then we see her out drinking, the biggest Nepalese
hiker in the bar, tough hits indy, tough, talks tough.
When the bad guys even come in, she has this
moment where she blows smoke into Tode's face. That's just classic,
used it, no, I mean, her bravado is amazing. And
then once the once the s starts to hit the fan,
she becomes the damsel in distress and the hero shows
back up again.
Speaker 2: But and who wouldn't with a red hot poker in
your face?
Speaker 1: Oh? Sure?
Speaker 2: So Toad shows up, says, your fire's dying, pulls out
the red hot poker, and basically forces her to tell
me where the head piece in the stack rocks. Right,
I'll tell you everything. Yes, And he shows up, pulls
out the whip, and you get this great sound effect
this book. Let her go, pull the poker out of
his hand, sets the place on the fire, and here we.
Speaker 1: Go, right, the old world burns down, like you know,
the old world is burning down, which lets us know
we're about to go somewhere that it's completely right. Right
in the midst of the fight, we still have this
kind of duality and the anti hero and the imperfect
hero because Indy's struggling. I mean, it's not like he
just goes and kicks everybody's button. It's over it is,
I'm struggling here, and so she has to come to
his rescue a couple of times.
Speaker 2: She saves his butt, shoots that guy.
Speaker 1: Yeah that's right, right, And just when he thinks he's
gonna get shot, she shoots.
Speaker 2: The German boxer brawler that he punches out at the
plane fight later in the movie is actually one of
these Nepalese guys who's fighting him in the bar. It's
the guy that swings at him with his burning arm.
And he's actually the same guy in templea Doom that
Indy hits in the head with a big rock. So
I think Indy actually kills the same actor three different times.
Speaker 1: Well, let me say this real quick, just on the
swinging fire thing. We're talking about how good these movies are,
and that you're talking about two perfection movies. If I
have to point out a flaw, the bar fight scene
has got some in it. The absurdly slow swinging of
the burning arm is a.
Speaker 2: Bit ridiculous, deliberate.
Speaker 1: Yes, right, when Tote says shoot them, shoot them both
their shadow. You see the shadow on the wall behind
the two guys who are you know, Indie and the
guy he's fighting before they both decide to turn and shoot.
And then the guy who crosses the screen from the right,
even though we just saw him in the back, it
doesn't make any sense at all, Right, there's not quite
perfection in that scene.
Speaker 2: Also, when Tote burns his hand on the headpiece of
this stuff raw, he holds it for like thirty right,
who is he Daffy Duck?
Speaker 1: And then the idea that a burn like that would
just create perfect lines that were legible in your hand
is just completely.
Speaker 2: It does get the movie going in the red duration.
Speaker 1: Right, I guess you got to make some concessions. I
am troubled by those scenes.
Speaker 2: What is it looks like an airplane? Well, the air
bla look.
Speaker 1: Then to end Marty's struggle, he throws himself into this
unknown world and then all of a sudden people are
shooting at him because they think he's an alien.
Speaker 2: When Michael J. Fox exits the barn, this part it's
so real and yet hilarious. Okay, he pops out, hey,
sorry about your barn, and they shoot and he fall
eighty trips and falls back in the barn, completely hysterical.
Oh my gosh, and then decides, okay, I can't stick
around here and plows out the door with.
Speaker 1: The right glorian right, and at which point he's still
shooting at him, and he takes out a pine, which,
if anything, upsets old man body more than anything that's
happened so far, killed the pines. So and that is
the setup that you're leading to. A moment ago, when
Marty ultimately returns, it's no longer called the Twin Pines Mall.
Speaker 2: It's Loan Pine Mall.
Speaker 1: And Sherman Peabody is looking at this comic books. It's
called Tales from Space, right, and Tales from Space was
not an actual comic book. That was a made up
thing to fit for the movie, but it was based
upon a real comic called Tales from the Crypt, which
was later directed by Robert Zemeckis. All right, yeah, okay,
so it all ties together, The comic books come together.
Oh and the Indiana Jones. This is so incredibly crazy.
That intro scene for Indiana Jones is based on a
comic book of Scrooge McDuck.
Speaker 2: I saw this, you said, this to me the other day.
I did it is so good, the rolling ball and
all that stuff.
Speaker 1: Yeah, it was shocking to go, Oh my gosh, they've
got the intro scene of the greatest movie of the
eighties from a Scrooge.
Speaker 2: Mcdot comic book.
Speaker 1: Let's talk a little bit about what had gone on
before with movies and what these movies did to change
those things. In nineteen sixty eight, the Hayes Code, which
was what movies had used up at that point to
decide what was acceptable to put in a movie and
what violated moral standards, it was done away with, and
they started the ratings system where you know, if you
want to see faces melt off and movies on the screen,
then you know, you go to this movie, and if
you don't want to see that, don't go to the
movie that's rated R or it works. So in the
nineteen seventies we see this thing that happens with action movies.
We see an amazing amount of violence come in. We
see the Wild Bunch, known for completely pushing the envelope
as far as they could with violence in a movie.
You have the dirty hairy movies, you have the death
Wish movies, you have the Bruce Lee movies. These are
the action movies of the day. And I got to
tell you, as a kid who was born in seventy
five and didn't really start watching those movies until nineteen eighty,
I go back and I look at those things, and
I can't say that I'm a repulse, but it makes
me uncomfortable. I don't feel like I connect with the people,
the action heroes that we have of those days. There
are movies that I like to watch, but there's an
uneasiness that comes along with it. And so what we
have in nineteen eighty one is a reinvention of what
had happened before. George Lucas and Steven Spielberg throw back.
They throw back to the serials where we had the Quest,
the Adventure, and they bring that action back in and
it's not so unsettling. There's some gory stuff that happens,
but it's not our protagonist that's causing the gory stuff. Right,
He's not the one that impales the guy at the
beginning of the movie. He's not the one that burns
people's faces off. And when he shoots a guy in
the movie, it's one shot in a fall and there's not.
Speaker 2: A lot of blood, right, Indy is a character who
feels pain, He gets beat up, he hurts. Clint Eastwood
didn't really act like m hurting all over right.
Speaker 1: He was impervious to fear and mistakes almost.
Speaker 2: That's what makes it so relatable is because you're beat up.
You know, you fight a German boxer and Marion punches you.
Three days ago, we get dragged by a truck. You're
going to be roughed up, right, and he feels pain. Right.
This is also the reason why I think Diehard works
so well, but we'll talk about that laterly.
Speaker 1: Sure. And you know the action, they took something from
those old cereal and they created something new. They took
something old and they made it new again. They reinvented
the action adventure movie with this. And I always say
that they reinvented it. It started with Star Wars. I mean,
just to be to be straight, George Lucas took the
action adventure, put it in space and gave us something
that was family friendly adventure.
Speaker 2: Right.
Speaker 1: We don't have blood, we don't have sex. It's just
good old family.
Speaker 2: Lobby For Star Wars B rated PG, it was almost
a G rated movie.
Speaker 1: Had to give Han a few cusswords just to get
into a pg drad real quick. To talk about the
time travel movies, we're looking now at nineteen eighty five.
You know, we talked about how Bob Zemeckis and Bob
Gail had a whole lot of trouble getting a studio
to get on board with this movie. They had actually
pitched it for something like four or five years before
it was ever greenlighted. Now, see, the thing was the
reason that the studio was turning these guys down is
because they didn't particularly want another time travel movie. They
were in that uncomfortable not dirty enough, but too dirty,
too unsettling. Sorry, how about we do an Oedipus show?
How about that? And then the time travel movies that
were going on at that time. Let's We've got Somewhere
in Time, and then we had the Final Countdown, You've
got the Philadelphia Experiment, and then you have Time Bandits.
I love Time Bedits, but it's not at the same
scale that Back to the Future is. Oh no. And
then Time after Time. H. G. Wells is actually invented
a time machine and Jack the Ripper uses the time
machine to go into the future, and H. G. Wells
chases after him to bring him back, and so it's HG.
Wells and Jack the Ripper in nineteen seventy nine, and
kind of the key idea of the movie is something
that Jack the Ripper says.
Speaker 2: Ninety years ago, I was a freak. Today I'm an amuser.
Speaker 1: It's just about how bad society had gotten at that point.
And then HG. Wells happens to fall in love with
a young girl from nineteen seventy nine who was making
I think her second movie. This actress was in and
her name was Mary Steam Virgin. Wow, we see again
and just a few Yeah, exactly right, cool, cool.
Speaker 2: I need to see this movie.
Speaker 1: Yeah, I really, I had hoped to see it before
we did this episode, but I will be watching Time
after Time at some time in the future. Raiders has
reinvented the action adventure movie, and Back to the Future
has reinvented the time travel movie. So let's let's again,
let's compare what Indy and Marty are going through, all right,
and these you know this is this is a key
idea for me. You know that I loved watching Indiana
and I you know, could think it'd be cool to
be him. When I watched Marty do the skateboarding things,
I was like, I could see that happening to me,
like I could beat him. I actually, it's like a
believable thing to me that it could that it could
be him. And you've got fight scenes that seem realistic.
They are one or two punches and then you're running away.
Speaker 2: Right, I know how to trip guys when the guy
is not looking at me. I might could trip.
Speaker 1: The bully right right.
Speaker 2: I'm not going to shoot any swordsmen anytime soon, but right. So,
like I said, Raiders is a movie that I'd seen
hundreds of times. Loved the movie. So in nineteen eighty nine,
I had a Spanish teacher a little bit out of
touch but very nice, wanted to do a special treat
for my Spanish class. So she brought in a movie
for our Spanish class to watch in Spanish.
Speaker 1: Or all Spanish teachers a little bit that.
Speaker 2: Way, not my wife. My wife is a Spanish teacher,
so I'm gonna be easy about how I nudge the
Spanish teachers here. So anyway, she says, hey, class, I've
got a movie for us to watch today. We're gonna
watch it in Spanish, and I'll pose it frequently and
we'll see if you can tell what's going on. So
she puts in raiders in Spanish. So after twenty minutes,
you know, or whatever, thirty minutes, she pauses it. Okay,
does anybody know what's going on?
Speaker 1: Raise my hand?
Speaker 2: So anyway, Yeah, the government guys are here and they're
offering him a chance to chase down the arc, but
they won't.
Speaker 3: You know.
Speaker 2: Wow, very good, Miguel. Yeah, that's my Spanish name. So
we push play, watch some more pos it. Does anyone
know what's going on? Raise my hand? Yeah. The staff
is too, they're looking in the wrong place. They've got
the wrong side of the head piece of the staff
of rag.
Speaker 1: Forgot to take one back.
Speaker 2: Yeah, very good, Miguel. I can't believe you. So this
goes on, and she's amazed at my Spanish confidency. She
didn't know I'd seen this movie ten thousand times. Oh
that's brilliant. Let's talk for a moment about the Indiana
Jones fight in the Cairo streets, the basket chase. And
you and I have talked off the air about this before, right,
this is another imperfection that you don't really like and
I kind of agree with you, all right, talk about.
Speaker 1: That, Okay, So it is frustrating to me how how
Marian's in the basket and the truck blows up and
then somehow she's still alive without to switch the baskets.
But that doesn't there's just not that's not possible in
the scenes as you watch the scenes, right, I mean
unless unless the guy who's got his face all covered
up in the black is David copper Field, not possible
for that switch to have occurred, and it.
Speaker 2: Was a switch. And why would they put a basket
full of laundry truck with explosives.
Speaker 1: I mean, yeah, that's a bit of that's a bit
absurd too. Just oh the truck fell over boom. What again,
We've got Wiley coyote driving the truck so that it
explodes upon impact.
Speaker 2: So that's that's the scene that you have trouble with. Yeah,
there's a scene that I have trouble with the Back
of the Future, which we'll get to that here in a
little bit. Talk about the Swordman fight. Yes, Raiders lost start. Okay,
so they're shooting in Tunisia, right, Steven Spielberg has imported
all this spaghettios from England, each out of a.
Speaker 1: Camp right, well, he imported them in a suitcase. Like
he was like, Okay, we're going to a place that
we've never been to before. They don't have the same
health standards that we do. I'm going to bring some
food with me.
Speaker 2: And he was the only one who didn't have major
stomach issues.
Speaker 1: While they're shooting, right, every actor and actress got sick.
Speaker 2: Yes, John Rays Davis, who plays Sala, apparently.
Speaker 1: Soiled himsel.
Speaker 2: Let the let the squirrel go in his drawers while
shooting a scene, not just walking, I mean like they
were filming.
Speaker 1: But he kept on going.
Speaker 2: Well, good for him. Yeah, cut cut.
Speaker 1: By the way. On that same topic of Marian, obviously
everybody thinks she's dead at this moment. Sala's reaction to that,
did you heard about Mary? There is dead?
Speaker 3: Yes, I know, I'm sorry, goes on all right, Well,
life must go on that what kind of I mean,
you love that guy, but I mean he's.
Speaker 1: Not a good guy to have around at the funeral.
Speaker 2: They're moving quickly, moving on.
Speaker 1: Got no time to dwell on the death of your
one true love is dead?
Speaker 2: Yes, I know, life goes on.
Speaker 1: And so let's talk about the enemies. So let's talk
about Bellock for just a moment.
Speaker 2: Okay, Okay, So.
Speaker 1: There are some big ideas with both of these movies,
but let's real quick look at the big ideas that
go along with Raiders of the Lost Arc. One of
the big ideas is wisdom and knowledge, and this movie
lets us believe that being smart is cool, and that
wasn't so much a thing at that particular time in history.
That was, but this movie says it's okay. Our tomb
raider is not just some witless thief. He is a
college professor. And even our villain beats our hero because
he has superior knowledge. We see it at the very
beginning of the movie. You could warn them if only
you spoke covitos right space. It is Indy's lack of
education that leads him to fail at the beginning of
the movie. And then Bellock, even as we in the
bar scene where just before he gets saved by Sola's kids,
Bellock even has the wisdom to appreciate the power of
the arc, which for this for the whole movie, Indy
has scoffed at to him. The arc is something historical going.
Speaker 2: After a find incredible historical significance. You're talking about the Boogeyman.
Speaker 1: Belloc says, it is like a radio for speaking to God.
He knows that there's more to the arc than just
the historical significance of the true. So those are some
major that's a major, big idea that's going on with him.
Speaker 2: One of the other things that Bellock himself talks to
Indy about, and clearly Indy doesn't like it, but Bellock
tells him, you are just a shadowy reflection of me. Yeah,
it would just take a nudge for you to be
exactly like me. Right, and he's exactly right. Na getting
messd You know, it's true.
Speaker 1: That's it. It's the good and the evil and the complacent, right.
Our American is the hero. Yes, so we think he's good.
We kind of have that idea. At least you could
have a beer with him or something. Right, and the
Nazis are obviously bad, but Belloc, he is working with
these bad guys, but it's just kind of a means
to an end, right, he has his own selfish motivations.
Speaker 2: What about your boss? I thought he was waiting to
take possession.
Speaker 1: All in good time when I'm finished with But like
you just noted, Indy isn't too far off from where
he is. His concern is with the arc, not with
the politics of the Nazis. That doesn't seem to be
an issue for him. And like you said, Bellock says
to him, you and I are very much alike. Archaeology
is our religion. You know.
Speaker 2: I would even go so far as to say there's
at least twice that Bellock saves Marian Oh yeah, you know.
Speaker 1: Again selfish motivations.
Speaker 2: But he's He definitely did not want her pushed into
the well.
Speaker 1: He didn't want to thrown into the well souls.
Speaker 2: So he's not a total bad guy, right, I.
Speaker 5: Have to be going now today, I like you very much,
perhaps need.
Speaker 2: Something better sense.
Speaker 1: Yes, so there there's our there's our villain.
Speaker 2: Yes for raiders. Now let's talk about Biff. What are
you looking at, butt head?
Speaker 1: He is the classic bully, right, Like I mean, you
could be more stereotypical bully than Biff. And again it's
all set up and payoff. But he's a guy. You
don't feel compassion for him. He's just a jerk, and
he's a dumb jerk.
Speaker 2: He's a dumb jerk, and he is like every bully
you've ever met. He's not evil, but he's a not
somebody you would ever want to be with. Trust I mean,
he's a bad dude. And that that starts to turn
during the scene where he's got Lorraine in the car.
Speaker 1: Absolutely so see he moves from being merely a bully
to a potential rapist, which makes that payoff scene so
much more better. So much more better I did I
said that, thank you this class.
Speaker 2: From what I've read Thomas Wilson, Thomas Wilson is a
super nice guy. Oh yeah, like in real life, this
is not who he is.
Speaker 1: So the bully persona is kind of what was the
impetus behind Bob Gaile writing this movie. I mean it's
he doesn't specifically say bully, but the movie comes from
He was looking at an old yearbook that his dad had.
He's flipping through it and he sees a picture of
his dad as a young high school student, and his
dad is the class president. And his thought at that
moment is, guys, are class presidents in my class? Were
a holes?
Speaker 2: Right?
Speaker 1: And that is he starts to think to himself, I
wonder if I had been around when my dad when
he was in high.
Speaker 2: School, if I would have even been friends with him?
Speaker 1: And that's you know, that is a that's a great question.
I can't I can't answer that question because I don't
know what my dad was like in high school. But
I wonder I couldn't say for sure that yeah, we'd
be we would have been great friends.
Speaker 2: It's a great question.
Speaker 1: And so the that is the big idea that we
have in Back to the Future is family. Right this question,
would the teenage us have liked our parents as teenagers?
Speaker 2: Which pop, that's him?
Speaker 1: Okay, okay, you guys, maybe we were adopted or he's
an idiot. His parents are probably idiots, Lorraine, You ever
have a kid that acts like that? And I'll disown you.
And so then that leads us to the idea of
how likely are we to relive our parents' failures or successes,
which is the underlying theme for the whole movie. Definitely,
you know Lorraine, as she's talking about poor uncle Joey says,
we all make mistakes in life, and jailbird Joey, yeah,
And then Marty says, what if they don't like it?
What if they say, kid you're just no good. I
don't think I could live with that kind of rejection.
Speaker 2: Jesus, I'm trying to tell a man, right, yep?
Speaker 1: So are we doomed?
Speaker 5: You know?
Speaker 1: Are we going to make the same stupid mistakes that
our parents made? Is it unavoidable? But looking back at
it now, I have to wonder about my own kids.
Are they going to make the same mistakes that I made?
What you do as a parent as you try not
to have them go through that? But what's ingrained? What's
going to be?
Speaker 2: According to Ellison from The Breakfast Club, it's unavoidable. Yeah,
but it's a great question, and it sets up a
great movie, right, And.
Speaker 1: As as much of a rebel as Marty is, And
even though it's obvious from the beginning of the movie
that his parents embarrass him, or irritated him or frustrated
him to no end, he's still willing.
Speaker 2: To sacrifice his life to save his dad, of course.
And I think the movie does a good job of
demonstrating that parents can learn from their children. Yeah, right,
And George learns to be brave from Marty.
Speaker 4: Yeah, all right, everybody. That wraps up episode three of
Our Raiders Back the future. Come back next week for
episode four.
Speaker 1: Yeah, and don't forget to subscribe to the Surely you
Can't Be Serious podcasts, as well as check us out
on Twitter and on Facebook, and if you've got time,
check us out on YouTube too. Hey, a five star
review wouldn't be too bad either. Thank you guys for
tuning in. We'll see you next week. All music images
and movie clips are used for the purposes of commentary
and education in conjunction with the fair Use Agreement under
the US copyright law.