1 00:00:00,880 --> 00:00:03,240 Speaker 1: Hey, everybody, welcome back. At the beginning of some of 2 00:00:03,279 --> 00:00:05,120 these episodes, we like to give a shout out to 3 00:00:05,200 --> 00:00:08,240 some of our fans. We have one in particular on Facebook. 4 00:00:08,279 --> 00:00:13,679 Speaker 2: His name is Ken Wilson Junior. He really jumped into 5 00:00:13,759 --> 00:00:16,519 a discussion we had regarding Raiders and Back to the Future. 6 00:00:16,640 --> 00:00:20,120 Speaker 1: Yeah, he is a Ready Player one fan and a 7 00:00:20,160 --> 00:00:22,559 super fan at that, and was turned on to our 8 00:00:22,600 --> 00:00:26,199 episode by another Gunter, And so all the gunters out there, 9 00:00:26,359 --> 00:00:27,239 we love you guys. 10 00:00:27,399 --> 00:00:29,480 Speaker 2: Thank you for listening. We hope you enjoy. We're going 11 00:00:29,559 --> 00:00:31,719 to travel down some rebbit holes that we think Ready 12 00:00:31,719 --> 00:00:32,600 Player one fans play. 13 00:00:32,719 --> 00:00:32,840 Speaker 3: Right. 14 00:00:35,560 --> 00:00:38,640 Speaker 4: Hey, everybody, welcome back to episode three of the Raiders 15 00:00:38,679 --> 00:00:39,880 Back to the Future podcast. 16 00:00:40,119 --> 00:00:41,880 Speaker 1: This one, we're going to take a deep dive into 17 00:00:41,880 --> 00:00:44,039 some of the big ideas of Raiders and Back to 18 00:00:44,079 --> 00:00:47,280 the Future, So listen in. Please stay tuned for our 19 00:00:47,320 --> 00:01:11,079 final episode next week, and without further ado. 20 00:01:02,640 --> 00:01:08,879 Speaker 5: Hello everybody, and welcome to the Surely Can't Be Serious podcast, 21 00:01:09,159 --> 00:01:12,959 discussing and debating the iconic and the forgotten of eighties 22 00:01:13,000 --> 00:01:16,599 and nineties pop culture with your co hosts James D. 23 00:01:16,959 --> 00:01:19,159 Graves and Jason Colbn. 24 00:01:21,840 --> 00:01:24,439 Speaker 1: Hey, everybody, welcome back. We talked about the intro a 25 00:01:24,480 --> 00:01:27,239 little bit with each of the movies. Let's look at 26 00:01:27,280 --> 00:01:29,359 the ordinary world that we see for the first time. 27 00:01:29,640 --> 00:01:33,239 With Indiana, he's a college professor. He is Clark Kent 28 00:01:33,359 --> 00:01:36,280 with his glasses on and no hat, no Superman cape on. 29 00:01:36,640 --> 00:01:39,400 Love it. He talks to a museum coordinator and it's 30 00:01:39,439 --> 00:01:43,359 all very plain, right. And then with Marty, you've got 31 00:01:43,439 --> 00:01:46,159 Hill Valley, which is as plain and I mean they 32 00:01:46,280 --> 00:01:48,840 wanted to make this every town America and they did 33 00:01:49,079 --> 00:01:51,359 the exact job. That square could have been the square 34 00:01:51,400 --> 00:01:55,000 that I grew up in. But both of them are 35 00:01:55,079 --> 00:01:58,239 just kind of in this humdrum world. Now, Indy has 36 00:01:58,280 --> 00:01:59,280 had adventure before. 37 00:01:59,640 --> 00:02:03,640 Speaker 3: Marty is not no McFly ever a monitor anything in 38 00:02:03,640 --> 00:02:05,159 the history of Ill Valley. 39 00:02:07,359 --> 00:02:09,319 Speaker 2: Yeah, well history is going to change. 40 00:02:09,680 --> 00:02:13,520 Speaker 1: We call that foreshadowing. But we know nothing's ever happened 41 00:02:13,520 --> 00:02:16,479 with this guy. Right with Indy his real world, It's 42 00:02:16,560 --> 00:02:18,919 almost like this is my newspaper job so that I 43 00:02:18,919 --> 00:02:20,319 can go fight crime later. 44 00:02:20,159 --> 00:02:23,319 Speaker 2: On when Indy is teaching and the girl has written 45 00:02:23,319 --> 00:02:27,039 on her eyelids love you Yes. Spielberg and Lucas kind 46 00:02:27,039 --> 00:02:29,360 of went round and round about this. They were arguing 47 00:02:29,400 --> 00:02:32,240 about whether Indy should be this sort of playboy James 48 00:02:32,319 --> 00:02:35,360 Bond esque character, which he kind of is, or should 49 00:02:35,400 --> 00:02:38,960 he be? It belongs in a museum, Nerdy professor. 50 00:02:39,360 --> 00:02:43,000 Speaker 1: It's the duality of Indiana Jones. Sure. But yes, there 51 00:02:43,039 --> 00:02:46,039 was a scene that we've talked about before that was 52 00:02:46,159 --> 00:02:50,479 in the original Raiders footage, but that they cut before 53 00:02:50,479 --> 00:02:54,159 the final cut where he had been intimately involved with 54 00:02:54,199 --> 00:02:57,319 one of the students, just before Rody shows a love 55 00:02:57,360 --> 00:02:57,840 you girl. 56 00:02:58,199 --> 00:03:01,599 Speaker 2: It was yeah, yeah, over to his apartment and she 57 00:03:02,000 --> 00:03:08,960 is clearly over there not studying, right and yeah, and 58 00:03:09,039 --> 00:03:11,120 he kicks her out before they have the big discussion 59 00:03:11,120 --> 00:03:12,280 about the boogeyman in the arc. 60 00:03:12,439 --> 00:03:15,000 Speaker 1: And did I hear Champagne chilling in the background? 61 00:03:15,919 --> 00:03:21,000 Speaker 2: You heard that, mister mom for a later podcast. 62 00:03:21,240 --> 00:03:25,199 Speaker 1: And then, of course, in Marty's ordinary world, you also 63 00:03:25,319 --> 00:03:28,919 have the poor, pathetic parents who almost don't communicate with 64 00:03:28,960 --> 00:03:32,000 each other at all, the whimpy dad, the alcoholic mother 65 00:03:32,080 --> 00:03:34,719 who might have been born a nun. And so they 66 00:03:34,719 --> 00:03:37,840 are both primed for their call to adventure, which is 67 00:03:37,879 --> 00:03:40,879 about to come. So with Indy's call to adventure, we 68 00:03:40,919 --> 00:03:43,439 have the government men I want to see them for 69 00:03:46,439 --> 00:03:49,120 which again, lets you know about Indy's character and what 70 00:03:49,159 --> 00:03:52,000 he's worried about. And so they go in and they 71 00:03:52,039 --> 00:03:54,479 speak to the government men who give them this call 72 00:03:54,599 --> 00:03:58,800 like we've got this information, and they do this wonderful 73 00:03:58,800 --> 00:04:01,719 exposition point where they tell us the story without it 74 00:04:01,759 --> 00:04:05,800 seeming contrived. And it's so beautiful how they do it, 75 00:04:05,840 --> 00:04:09,719 because it's in a classroom that looks more like a cathedral. 76 00:04:09,719 --> 00:04:12,719 We've got stained glass windows church. Yeah, it looks like church. 77 00:04:12,759 --> 00:04:14,400 They're talking about God. 78 00:04:14,479 --> 00:04:14,879 Speaker 5: God. 79 00:04:15,439 --> 00:04:17,600 Speaker 2: Yes, that's just what the Hebrews thought. 80 00:04:18,399 --> 00:04:21,040 Speaker 5: Uh, now, what's that supposed to be coming out of there? 81 00:04:21,759 --> 00:04:29,480 Speaker 1: Fight, fire, power, God or something. And and so this 82 00:04:29,720 --> 00:04:33,279 awesome call to adventure where Indy is salivating. There's no 83 00:04:33,360 --> 00:04:43,600 resistance from him. Marty's call to adventure is a phone call. 84 00:04:43,360 --> 00:04:53,639 Speaker 2: Well, doc, no, no, don't don't be silly. Hey, just 85 00:04:53,680 --> 00:04:55,519 one of those government man. I don't know if you've 86 00:04:55,839 --> 00:04:57,759 noticed this or not, but one of those guys kind 87 00:04:57,759 --> 00:04:59,920 of the fat guy, the guy that he's the bigger jerk, 88 00:05:00,079 --> 00:05:04,360 the two that's Porkin's from Star Wars. Oh, yes, did 89 00:05:04,399 --> 00:05:04,879 you know that? 90 00:05:05,000 --> 00:05:06,720 Speaker 1: No, but I know that you say it. That makes 91 00:05:06,759 --> 00:05:08,199 total sense. The fat X. 92 00:05:08,160 --> 00:05:09,839 Speaker 2: Wing pilot that gets blown up in the Battle of 93 00:05:09,839 --> 00:05:10,480 the Death Stars. 94 00:05:10,519 --> 00:05:12,439 Speaker 1: Oh, of course it can object. 95 00:05:12,639 --> 00:05:13,360 Speaker 2: I can hold it. 96 00:05:17,160 --> 00:05:22,279 Speaker 1: Porkins, you know, so inappropriate. Poor guy, Poor guy who 97 00:05:22,360 --> 00:05:24,120 got to be in two of the biggest movies of. 98 00:05:24,040 --> 00:05:26,839 Speaker 2: All time three if you count Batman. 99 00:05:27,879 --> 00:05:30,920 Speaker 1: Was he the like the Fat Inspector and Batman? Yeah? 100 00:05:30,920 --> 00:05:31,959 Oh wow? 101 00:05:32,360 --> 00:05:34,480 Speaker 2: Where you've been spending you a nights? 102 00:05:34,680 --> 00:05:35,319 Speaker 1: What a career? 103 00:05:35,360 --> 00:05:37,879 Speaker 2: It's the guy who gets your shoot him right before 104 00:05:37,879 --> 00:05:38,920 he drops him the bat. 105 00:05:38,759 --> 00:05:42,360 Speaker 1: Yes, okay, so they both have their call to adventure. 106 00:05:42,800 --> 00:05:45,480 And we got a bit of a warning from our 107 00:05:45,519 --> 00:05:51,199 mentors here right in Indy's situation, we have Brody warning him. 108 00:05:51,360 --> 00:05:53,560 Speaker 2: She'll still be with him. 109 00:05:53,600 --> 00:05:57,360 Speaker 4: Possibly Marian's that needs to go worries right now, I 110 00:05:57,439 --> 00:05:58,199 believe me. 111 00:05:59,360 --> 00:05:59,879 Speaker 2: What do you mean? 112 00:06:01,240 --> 00:06:04,600 Speaker 4: Well, I mean that nearly three thousand years Man must 113 00:06:04,639 --> 00:06:06,120 been searching for the lost doc. 114 00:06:08,399 --> 00:06:14,959 Speaker 2: That's something to be taken lightly. No one knows it's secrets. 115 00:06:16,199 --> 00:06:18,800 It's like nothing you've ever gone after perform. 116 00:06:18,480 --> 00:06:20,439 Speaker 1: You're not concerned about the right thing here talking about 117 00:06:20,439 --> 00:06:22,519 Mary and this is some big deal stuff. 118 00:06:22,279 --> 00:06:24,079 Speaker 2: Right, arc is not of this earth? 119 00:06:24,399 --> 00:06:27,920 Speaker 1: Right? And then with Marty you at least have some 120 00:06:28,079 --> 00:06:31,439 explanation as to why things happen, the need for plutonium. 121 00:06:31,920 --> 00:06:34,759 This you know what can happen when you go back 122 00:06:34,759 --> 00:06:38,360 and forth in time. The real warning, unfortunately, doesn't happen 123 00:06:38,439 --> 00:06:41,079 until it's already too late for him, which is, you 124 00:06:41,160 --> 00:06:44,480 can't go start hanging out in Hill Valley because you 125 00:06:44,560 --> 00:06:46,959 may unalterably affect the future. 126 00:06:47,079 --> 00:06:48,839 Speaker 2: Right, And he gets back from nineteen twenty five. 127 00:06:48,759 --> 00:06:57,079 Speaker 1: Doctor, he's already there, so it's too late, right. So 128 00:06:57,319 --> 00:07:00,240 then at this, you know, then we crossed the threshold. 129 00:07:00,959 --> 00:07:04,160 Indy leaves on the plane somehow the Nazis already know 130 00:07:04,199 --> 00:07:07,639 about him, already following him. By the way, how do 131 00:07:07,680 --> 00:07:11,920 you pronounce the tote tote? Yes, So there's this moment, 132 00:07:12,079 --> 00:07:15,279 interestingly where he's reading that Life magazine as they're both 133 00:07:15,319 --> 00:07:18,439 they've both boarded the same plane. And I've always I 134 00:07:18,480 --> 00:07:21,040 wondered about that Life magazine because it kind of looks 135 00:07:21,040 --> 00:07:24,240 like like a Nazi kid on the front cover. As 136 00:07:24,240 --> 00:07:26,759 it turns out, it's actually a kid from West Point. 137 00:07:26,920 --> 00:07:29,920 And that was the second issue of Life magazine that 138 00:07:30,040 --> 00:07:32,920 was ever made. This movie takes place in nineteen thirty six. 139 00:07:33,079 --> 00:07:36,519 That was the November nineteen thirty six edition of Life, 140 00:07:36,560 --> 00:07:39,040 and the kid on the front is a little soldier 141 00:07:39,079 --> 00:07:42,000 student from West Point. And then we've got the they 142 00:07:42,040 --> 00:07:46,680 both moved towards crossing the threshold and they're both attacked by. 143 00:07:46,720 --> 00:07:49,240 Speaker 2: Terrorists, right right. 144 00:07:48,680 --> 00:07:51,480 Speaker 1: So Indy, you know, Indy goes and is on his 145 00:07:51,600 --> 00:07:55,639 way to this new world. Marty doesn't realize where he's 146 00:07:55,680 --> 00:07:58,079 about to go. But they both get attacked, Indy by 147 00:07:58,199 --> 00:08:02,360 the goons and Nepal along with toads, and Marty by 148 00:08:02,480 --> 00:08:06,839 the Libyans. Oh my god, they found me. I don't 149 00:08:06,839 --> 00:08:07,759 know how, but they found me. 150 00:08:10,199 --> 00:08:11,040 Speaker 2: Who who? 151 00:08:11,600 --> 00:08:12,240 Speaker 5: What do you think? 152 00:08:18,199 --> 00:08:20,800 Speaker 1: I don't know I found me if they fought well, 153 00:08:21,040 --> 00:08:23,959 maybe it was your giant truck with the name Doc 154 00:08:24,079 --> 00:08:25,399 Brown written on the side of it. 155 00:08:29,759 --> 00:08:32,440 Speaker 2: So the Libyans can't show up at Twin Pines Mall. 156 00:08:32,480 --> 00:08:34,279 I don't know when we talk about Twin Pines Mall, 157 00:08:34,399 --> 00:08:36,519 but this is a big deal later on, right right. 158 00:08:36,639 --> 00:08:39,639 Speaker 1: As I said earlier, every single thing in Back to 159 00:08:39,679 --> 00:08:42,159 the Future is either a setup or a payoff of 160 00:08:42,159 --> 00:08:46,440 a setup that has already happened, and Twin Pines Mall, interestingly, 161 00:08:46,480 --> 00:08:49,440 we get a little bit of that setup just before 162 00:08:49,559 --> 00:08:53,039 Marty travels back in time, where Old Man Peabody had 163 00:08:53,080 --> 00:08:55,720 this crazy idea about breeding pine trees. 164 00:08:56,480 --> 00:08:59,559 Speaker 2: I love that look after he says that to you. 165 00:08:58,360 --> 00:09:01,919 Speaker 1: Yeah, yeah, I mean, I just can't think of anybody 166 00:09:01,919 --> 00:09:05,039 but Michael J. Fox in this position. He took something 167 00:09:05,080 --> 00:09:08,279 that was sort of funny and made it really funny 168 00:09:08,480 --> 00:09:10,559 just by his looks and his delivery alone. 169 00:09:10,639 --> 00:09:13,919 Speaker 2: Yep, yep. And Chris Lloyd was an absolute home run. 170 00:09:14,000 --> 00:09:16,919 Speaker 1: Absolutely. Yeah. So the setup for Twin Pines, you know, 171 00:09:17,000 --> 00:09:20,080 Marty goes back in time and ultimately there's another bit 172 00:09:20,080 --> 00:09:22,440 of a chase where he's running from the shotgun blast 173 00:09:22,480 --> 00:09:25,799 of old Man Peabody. Also, by the way, another name 174 00:09:25,840 --> 00:09:28,399 that you do not see until the credits is the 175 00:09:28,519 --> 00:09:32,240 name of old Man Peabody's son who's got the comics magazine, 176 00:09:32,360 --> 00:09:36,600 and his name is I can't remember, Sherman Peaboddy. 177 00:09:37,519 --> 00:09:38,600 Speaker 2: Hello there Peabody. 178 00:09:38,600 --> 00:09:39,440 Speaker 5: Here, what fa is? 179 00:09:39,519 --> 00:09:39,879 Speaker 3: Nachel? 180 00:09:39,919 --> 00:09:43,200 Speaker 2: I said it to today, mister Peabody. October nineteenth, seventeen 181 00:09:43,279 --> 00:09:43,840 eighty one. 182 00:09:44,000 --> 00:09:47,720 Speaker 1: Yes, Sherman and Peabody, the old the old cartoon where 183 00:09:47,720 --> 00:09:51,320 the dog and the boy used to travel back in time. 184 00:09:51,399 --> 00:09:53,799 Speaker 2: That's cool, Hey, I want to circle back on one thing 185 00:09:54,000 --> 00:09:56,600 that has always bothered me. So in my opinion, these 186 00:09:56,600 --> 00:09:59,080 are two perfect movies. We're comparing the Mona Lisa to 187 00:09:59,399 --> 00:10:02,600 Storry Night. Okay, okay, But one of the things that 188 00:10:02,639 --> 00:10:04,879 when the Libyans pull up and shoot Doc, the dude 189 00:10:05,000 --> 00:10:09,519 unloads his clip, it's like forty shots to the chest. Ye, right, 190 00:10:09,840 --> 00:10:11,759 it's that you go back and look at how many shots. 191 00:10:12,200 --> 00:10:14,840 And I'm just I'm wondering to myself, Okay, bulletproof vests, 192 00:10:14,879 --> 00:10:17,519 but man, that many bullets and not one of them 193 00:10:17,519 --> 00:10:18,039 in the face. 194 00:10:18,279 --> 00:10:22,039 Speaker 1: Yeah, what if he'd shot you in the face. Yeah, 195 00:10:23,080 --> 00:10:26,440 that was our chance. We're willing to take it. So 196 00:10:26,600 --> 00:10:28,600 here's the question that I have is Marty's about to 197 00:10:28,639 --> 00:10:32,840 go as he's running from the Libyans and he says, 198 00:10:33,039 --> 00:10:36,320 let's see if these badgards can do ninety. Yes, does 199 00:10:36,360 --> 00:10:38,519 he know he's about to go back in time? I 200 00:10:38,519 --> 00:10:41,480 don't know, what do you think? Well, here's my problem. 201 00:10:41,600 --> 00:10:44,320 It seems like he's not thinking about that. It seems 202 00:10:44,320 --> 00:10:46,799 like going back in time is a big surprise to him. 203 00:10:47,039 --> 00:10:50,240 And he says ninety very well, knowing that it's eighty 204 00:10:50,240 --> 00:10:52,279 eight that's going to make him go back in time. Right, 205 00:10:52,320 --> 00:10:56,240 But the problem is he's headed straight for the photo map. 206 00:10:56,960 --> 00:10:59,679 Speaker 2: That's true. Why why would you drive straight at the 207 00:10:59,679 --> 00:11:00,480 photo right? 208 00:11:00,879 --> 00:11:02,879 Speaker 1: So one thing leads me to believe he didn't know 209 00:11:02,919 --> 00:11:05,120 he was going back in time, but the direction he's 210 00:11:05,159 --> 00:11:07,840 headed made me believe the other thing. But maybe they 211 00:11:08,000 --> 00:11:09,840 just needed that so that the Libyans had something to 212 00:11:09,840 --> 00:11:10,360 crash into. 213 00:11:10,399 --> 00:11:12,840 Speaker 2: I don't know, based on what I know about Marty's character, 214 00:11:13,000 --> 00:11:14,759 sort of a fly by the seat of your pants. 215 00:11:14,840 --> 00:11:17,399 Speaker 1: I'm saying, no, no, he wasn't thinking that he was 216 00:11:17,440 --> 00:11:19,360 just going to dodge around the mat. I'm just doing 217 00:11:19,399 --> 00:11:25,399 the best I can at this moment, so real quick. 218 00:11:25,559 --> 00:11:30,000 When Indy crosses the threshold, we have this amazing scene 219 00:11:30,000 --> 00:11:32,120 as he comes into Marian's bar, and the setup for 220 00:11:32,200 --> 00:11:37,960 Marion is amazing. The character is one that gives us 221 00:11:38,080 --> 00:11:42,679 both feminine power and damsel in distress at just the 222 00:11:42,759 --> 00:11:48,080 right moments. Yes, so he walks in and we understand 223 00:11:48,120 --> 00:11:50,320 that there's a history here. You know, we've gotten the 224 00:11:50,600 --> 00:11:53,240 we've gotten her theme as they call it a bit before, 225 00:11:53,320 --> 00:11:57,799 when Indy's talking about you know, do you think she's 226 00:11:57,840 --> 00:12:00,080 still going to be with him? But we know that 227 00:12:00,200 --> 00:12:02,799 history is there, and he walks in and we don't 228 00:12:02,799 --> 00:12:05,279 see him once again. The light effect on. 229 00:12:05,279 --> 00:12:06,639 Speaker 2: This the shadow and the hat. 230 00:12:06,799 --> 00:12:10,360 Speaker 1: We see the shadow of the unmistakable silhouette of Indiana 231 00:12:10,440 --> 00:12:14,600 on the wall, and he's gigantic. Oh, Marian, he's taking 232 00:12:14,679 --> 00:12:18,240 up the whole screen. And she's a small little girl 233 00:12:18,320 --> 00:12:18,879 like she was. 234 00:12:19,679 --> 00:12:23,799 Speaker 2: Then she moves forward. 235 00:12:21,679 --> 00:12:25,759 Speaker 1: And suddenly she's as big, if not bigger than the 236 00:12:25,799 --> 00:12:26,679 shadow on the wall. 237 00:12:26,759 --> 00:12:29,600 Speaker 2: Always knew someday you'd come walking back through my dar. 238 00:12:29,879 --> 00:12:33,279 Speaker 1: As though she's overcome what he put her through in 239 00:12:33,320 --> 00:12:35,919 the past. And then in just in case you had 240 00:12:36,039 --> 00:12:38,519 any doubt at all, the moment he's not looking at her, 241 00:12:38,559 --> 00:12:39,559 she punches him in the face. 242 00:12:39,600 --> 00:12:42,159 Speaker 2: Oh, she decks him, and it's a fool on. It's 243 00:12:42,200 --> 00:12:44,759 not a Willie Scott punch. This is a Marian raven 244 00:12:44,799 --> 00:12:48,679 Wood Haymaker, absolutely, and she lands it and Indi CX 245 00:12:48,759 --> 00:12:51,879 like it's the hardest punch he takes the entire movie. Right, 246 00:12:52,720 --> 00:12:56,600 So let's talk a little bit about Indy's morality. After 247 00:12:56,639 --> 00:12:59,240 the punch, Marian says, I've learned to hate you in 248 00:12:59,240 --> 00:13:02,759 the last ten years, right, okay, seeming to mean that 249 00:13:03,200 --> 00:13:05,480 ten years ago we had a relationship that has since 250 00:13:05,519 --> 00:13:08,360 been dead. If she's twenty six or seven. 251 00:13:08,159 --> 00:13:09,200 Speaker 1: We'n go with twenty nine. 252 00:13:09,320 --> 00:13:13,519 Speaker 2: Okay, you're choosing to believe the best of Indy here. 253 00:13:13,679 --> 00:13:16,559 Speaker 1: Yeah, because if I get too far, if she's twenty six, 254 00:13:16,879 --> 00:13:19,000 he's a dirty old man, right, I don't want him 255 00:13:19,039 --> 00:13:20,960 to be a dirty old man. So she was nineteen 256 00:13:21,320 --> 00:13:22,039 and now she's. 257 00:13:21,919 --> 00:13:24,159 Speaker 2: Twenty nine, all right, okay, what do you think? 258 00:13:24,240 --> 00:13:24,440 Speaker 1: Well? 259 00:13:24,519 --> 00:13:27,399 Speaker 2: I disagree with that because what she says to him 260 00:13:27,600 --> 00:13:29,600 is I was young, I was in love. 261 00:13:30,279 --> 00:13:33,240 Speaker 1: It was wrong, and you knew it right. And he says, 262 00:13:33,240 --> 00:13:36,120 you knew what you're doing right. Basically you're seventeen, but 263 00:13:36,240 --> 00:13:38,240 it didn't matter because you love me anyway, or eighteen 264 00:13:38,320 --> 00:13:38,759 or nineteen. 265 00:13:38,879 --> 00:13:43,000 Speaker 2: Okay, all right, I think that I was a child. 266 00:13:43,120 --> 00:13:44,159 She said I was a child. 267 00:13:44,320 --> 00:13:48,240 Speaker 1: Right now, If she was an actual child, obviously he 268 00:13:48,279 --> 00:13:50,360 can't be anybody's hero, and we need to throw this 269 00:13:50,399 --> 00:13:51,320 movie into the fire. 270 00:13:51,440 --> 00:13:52,399 Speaker 2: No, I don't want to do that. 271 00:13:52,639 --> 00:13:56,639 Speaker 1: But I think figuratively speaking and comparatively speaking, like she's 272 00:13:56,759 --> 00:14:00,279 nineteen and he's twenty eight. Yeah, maybe twenty six. I 273 00:14:00,320 --> 00:14:03,320 feel like that maybe Harrison Ford was in his mid 274 00:14:03,399 --> 00:14:06,200 thirties at this point and she was in her late twenties, 275 00:14:06,519 --> 00:14:10,080 and so yeah, comparatively, the difference between a nineteen year 276 00:14:10,080 --> 00:14:12,159 old and twenty six year old, especially in that time, 277 00:14:12,200 --> 00:14:12,960 could be huge. 278 00:14:13,000 --> 00:14:16,000 Speaker 2: Sure, And I'm not lobbying for this thing. I just 279 00:14:16,039 --> 00:14:17,039 want to just kind. 280 00:14:16,840 --> 00:14:19,360 Speaker 1: Of there's definitely, you know, there's definitely a contingent out 281 00:14:19,399 --> 00:14:22,159 there that has analyzed this and gone dirty old man. 282 00:14:22,240 --> 00:14:25,639 Speaker 2: Well, okay, I love Indy, He's my hero. I don't 283 00:14:25,639 --> 00:14:27,480 want him to be a dirty old man. I do 284 00:14:27,600 --> 00:14:31,080 know that Lucas Spielberg and Lawrence Castin sat down and 285 00:14:31,519 --> 00:14:36,120 they wanted this vague idea of an inappropriate relationship, right, 286 00:14:36,159 --> 00:14:38,399 but it's never really fleshed out. But it goes back 287 00:14:38,440 --> 00:14:40,840 to is Indy a good guy? Is he a bad guy? 288 00:14:41,120 --> 00:14:42,960 Is he just an unperfect guy? 289 00:14:43,200 --> 00:14:44,960 Speaker 1: Well, and I think you know, I don't know if 290 00:14:44,960 --> 00:14:47,000 you've gone back and watched any of the old James 291 00:14:47,039 --> 00:14:49,080 Bond movies that were coming out in the seventies, but 292 00:14:49,799 --> 00:14:52,360 I mean there are many times in those movies that 293 00:14:52,399 --> 00:14:55,200 I'm like, God, James Bond is a pig. So let's 294 00:14:55,240 --> 00:14:57,919 just assume she was eighteen, he was twenty six. 295 00:14:58,159 --> 00:15:01,879 Speaker 2: It wasn't that horrible, Okay, overreacting, Yeah, okay. 296 00:15:01,639 --> 00:15:05,720 Speaker 1: And then we see her out drinking, the biggest Nepalese 297 00:15:05,919 --> 00:15:10,679 hiker in the bar, tough hits indy, tough, talks tough. 298 00:15:11,080 --> 00:15:13,679 When the bad guys even come in, she has this 299 00:15:13,759 --> 00:15:18,679 moment where she blows smoke into Tode's face. That's just classic, 300 00:15:19,279 --> 00:15:28,960 used it, no, I mean, her bravado is amazing. And 301 00:15:29,000 --> 00:15:32,519 then once the once the s starts to hit the fan, 302 00:15:33,360 --> 00:15:36,000 she becomes the damsel in distress and the hero shows 303 00:15:36,039 --> 00:15:36,639 back up again. 304 00:15:37,200 --> 00:15:40,000 Speaker 2: But and who wouldn't with a red hot poker in 305 00:15:40,000 --> 00:15:40,399 your face? 306 00:15:40,480 --> 00:15:40,960 Speaker 1: Oh? Sure? 307 00:15:41,039 --> 00:15:44,399 Speaker 2: So Toad shows up, says, your fire's dying, pulls out 308 00:15:44,399 --> 00:15:48,159 the red hot poker, and basically forces her to tell 309 00:15:48,200 --> 00:15:50,720 me where the head piece in the stack rocks. Right, 310 00:15:51,039 --> 00:15:55,720 I'll tell you everything. Yes, And he shows up, pulls 311 00:15:55,720 --> 00:15:58,200 out the whip, and you get this great sound effect 312 00:15:58,240 --> 00:16:06,120 this book. Let her go, pull the poker out of 313 00:16:06,120 --> 00:16:08,440 his hand, sets the place on the fire, and here we. 314 00:16:08,399 --> 00:16:11,639 Speaker 1: Go, right, the old world burns down, like you know, 315 00:16:11,679 --> 00:16:13,720 the old world is burning down, which lets us know 316 00:16:13,759 --> 00:16:17,120 we're about to go somewhere that it's completely right. Right 317 00:16:17,200 --> 00:16:19,559 in the midst of the fight, we still have this 318 00:16:19,639 --> 00:16:22,279 kind of duality and the anti hero and the imperfect 319 00:16:22,279 --> 00:16:24,840 hero because Indy's struggling. I mean, it's not like he 320 00:16:24,960 --> 00:16:27,840 just goes and kicks everybody's button. It's over it is, 321 00:16:28,200 --> 00:16:30,639 I'm struggling here, and so she has to come to 322 00:16:30,679 --> 00:16:32,080 his rescue a couple of times. 323 00:16:32,120 --> 00:16:34,039 Speaker 2: She saves his butt, shoots that guy. 324 00:16:34,159 --> 00:16:38,000 Speaker 1: Yeah that's right, right, And just when he thinks he's 325 00:16:38,039 --> 00:16:39,960 gonna get shot, she shoots. 326 00:16:39,720 --> 00:16:43,320 Speaker 2: The German boxer brawler that he punches out at the 327 00:16:43,480 --> 00:16:46,000 plane fight later in the movie is actually one of 328 00:16:46,039 --> 00:16:48,960 these Nepalese guys who's fighting him in the bar. It's 329 00:16:49,039 --> 00:16:52,720 the guy that swings at him with his burning arm. 330 00:16:52,879 --> 00:16:56,200 And he's actually the same guy in templea Doom that 331 00:16:56,240 --> 00:16:58,120 Indy hits in the head with a big rock. So 332 00:16:58,159 --> 00:17:01,240 I think Indy actually kills the same actor three different times. 333 00:17:01,600 --> 00:17:04,160 Speaker 1: Well, let me say this real quick, just on the 334 00:17:04,240 --> 00:17:07,240 swinging fire thing. We're talking about how good these movies are, 335 00:17:07,279 --> 00:17:10,720 and that you're talking about two perfection movies. If I 336 00:17:10,799 --> 00:17:13,000 have to point out a flaw, the bar fight scene 337 00:17:13,039 --> 00:17:16,200 has got some in it. The absurdly slow swinging of 338 00:17:16,240 --> 00:17:17,960 the burning arm is a. 339 00:17:17,880 --> 00:17:19,119 Speaker 2: Bit ridiculous, deliberate. 340 00:17:19,200 --> 00:17:22,759 Speaker 1: Yes, right, when Tote says shoot them, shoot them both 341 00:17:23,319 --> 00:17:26,119 their shadow. You see the shadow on the wall behind 342 00:17:26,119 --> 00:17:27,799 the two guys who are you know, Indie and the 343 00:17:27,799 --> 00:17:30,960 guy he's fighting before they both decide to turn and shoot. 344 00:17:31,119 --> 00:17:34,799 And then the guy who crosses the screen from the right, 345 00:17:34,960 --> 00:17:37,119 even though we just saw him in the back, it 346 00:17:37,160 --> 00:17:39,960 doesn't make any sense at all, Right, there's not quite 347 00:17:40,000 --> 00:17:41,279 perfection in that scene. 348 00:17:41,400 --> 00:17:44,960 Speaker 2: Also, when Tote burns his hand on the headpiece of 349 00:17:44,960 --> 00:17:48,000 this stuff raw, he holds it for like thirty right, 350 00:17:48,000 --> 00:17:49,000 who is he Daffy Duck? 351 00:17:53,200 --> 00:17:55,920 Speaker 1: And then the idea that a burn like that would 352 00:17:55,960 --> 00:17:58,480 just create perfect lines that were legible in your hand 353 00:17:58,599 --> 00:18:00,359 is just completely. 354 00:18:00,200 --> 00:18:02,599 Speaker 2: It does get the movie going in the red duration. 355 00:18:02,519 --> 00:18:04,599 Speaker 1: Right, I guess you got to make some concessions. I 356 00:18:05,000 --> 00:18:06,160 am troubled by those scenes. 357 00:18:07,039 --> 00:18:14,680 Speaker 2: What is it looks like an airplane? Well, the air 358 00:18:14,759 --> 00:18:16,240 bla look. 359 00:18:16,559 --> 00:18:20,039 Speaker 1: Then to end Marty's struggle, he throws himself into this 360 00:18:20,160 --> 00:18:22,880 unknown world and then all of a sudden people are 361 00:18:22,880 --> 00:18:25,000 shooting at him because they think he's an alien. 362 00:18:25,119 --> 00:18:29,680 Speaker 2: When Michael J. Fox exits the barn, this part it's 363 00:18:29,720 --> 00:18:35,039 so real and yet hilarious. Okay, he pops out, hey, 364 00:18:35,359 --> 00:18:40,160 sorry about your barn, and they shoot and he fall 365 00:18:40,240 --> 00:18:44,880 eighty trips and falls back in the barn, completely hysterical. 366 00:18:45,039 --> 00:18:48,279 Oh my gosh, and then decides, okay, I can't stick 367 00:18:48,279 --> 00:18:50,200 around here and plows out the door with. 368 00:18:50,240 --> 00:18:53,559 Speaker 1: The right glorian right, and at which point he's still 369 00:18:53,599 --> 00:18:58,039 shooting at him, and he takes out a pine, which, 370 00:18:58,319 --> 00:19:01,640 if anything, upsets old man body more than anything that's 371 00:19:01,680 --> 00:19:05,279 happened so far, killed the pines. So and that is 372 00:19:05,319 --> 00:19:07,960 the setup that you're leading to. A moment ago, when 373 00:19:08,039 --> 00:19:11,720 Marty ultimately returns, it's no longer called the Twin Pines Mall. 374 00:19:12,359 --> 00:19:13,319 Speaker 2: It's Loan Pine Mall. 375 00:19:16,400 --> 00:19:19,680 Speaker 1: And Sherman Peabody is looking at this comic books. It's 376 00:19:19,960 --> 00:19:23,640 called Tales from Space, right, and Tales from Space was 377 00:19:23,720 --> 00:19:26,559 not an actual comic book. That was a made up 378 00:19:26,599 --> 00:19:29,359 thing to fit for the movie, but it was based 379 00:19:29,440 --> 00:19:34,000 upon a real comic called Tales from the Crypt, which 380 00:19:34,039 --> 00:19:38,200 was later directed by Robert Zemeckis. All right, yeah, okay, 381 00:19:38,240 --> 00:19:40,839 so it all ties together, The comic books come together. 382 00:19:40,920 --> 00:19:44,160 Oh and the Indiana Jones. This is so incredibly crazy. 383 00:19:44,200 --> 00:19:47,920 That intro scene for Indiana Jones is based on a 384 00:19:48,079 --> 00:19:50,519 comic book of Scrooge McDuck. 385 00:19:50,640 --> 00:19:52,200 Speaker 2: I saw this, you said, this to me the other day. 386 00:19:52,279 --> 00:19:54,599 I did it is so good, the rolling ball and 387 00:19:54,640 --> 00:19:55,160 all that stuff. 388 00:19:55,240 --> 00:19:58,000 Speaker 1: Yeah, it was shocking to go, Oh my gosh, they've 389 00:19:58,000 --> 00:20:00,480 got the intro scene of the greatest movie of the 390 00:20:00,519 --> 00:20:02,279 eighties from a Scrooge. 391 00:20:02,039 --> 00:20:02,880 Speaker 2: Mcdot comic book. 392 00:20:06,880 --> 00:20:08,599 Speaker 1: Let's talk a little bit about what had gone on 393 00:20:08,680 --> 00:20:11,960 before with movies and what these movies did to change 394 00:20:12,000 --> 00:20:16,200 those things. In nineteen sixty eight, the Hayes Code, which 395 00:20:16,240 --> 00:20:18,519 was what movies had used up at that point to 396 00:20:18,559 --> 00:20:21,319 decide what was acceptable to put in a movie and 397 00:20:21,319 --> 00:20:24,680 what violated moral standards, it was done away with, and 398 00:20:24,720 --> 00:20:27,640 they started the ratings system where you know, if you 399 00:20:27,680 --> 00:20:30,640 want to see faces melt off and movies on the screen, 400 00:20:30,839 --> 00:20:33,519 then you know, you go to this movie, and if 401 00:20:33,519 --> 00:20:35,000 you don't want to see that, don't go to the 402 00:20:35,039 --> 00:20:37,920 movie that's rated R or it works. So in the 403 00:20:38,039 --> 00:20:41,599 nineteen seventies we see this thing that happens with action movies. 404 00:20:41,759 --> 00:20:44,480 We see an amazing amount of violence come in. We 405 00:20:44,519 --> 00:20:48,880 see the Wild Bunch, known for completely pushing the envelope 406 00:20:48,880 --> 00:20:50,960 as far as they could with violence in a movie. 407 00:20:51,200 --> 00:20:53,920 You have the dirty hairy movies, you have the death 408 00:20:53,960 --> 00:20:56,799 Wish movies, you have the Bruce Lee movies. These are 409 00:20:56,799 --> 00:20:59,400 the action movies of the day. And I got to 410 00:20:59,400 --> 00:21:01,880 tell you, as a kid who was born in seventy 411 00:21:01,880 --> 00:21:06,359 five and didn't really start watching those movies until nineteen eighty, 412 00:21:06,599 --> 00:21:08,559 I go back and I look at those things, and 413 00:21:09,400 --> 00:21:11,039 I can't say that I'm a repulse, but it makes 414 00:21:11,039 --> 00:21:15,039 me uncomfortable. I don't feel like I connect with the people, 415 00:21:15,519 --> 00:21:17,559 the action heroes that we have of those days. There 416 00:21:17,559 --> 00:21:20,200 are movies that I like to watch, but there's an 417 00:21:20,279 --> 00:21:25,440 uneasiness that comes along with it. And so what we 418 00:21:25,559 --> 00:21:29,640 have in nineteen eighty one is a reinvention of what 419 00:21:29,720 --> 00:21:33,839 had happened before. George Lucas and Steven Spielberg throw back. 420 00:21:34,160 --> 00:21:37,240 They throw back to the serials where we had the Quest, 421 00:21:37,440 --> 00:21:40,680 the Adventure, and they bring that action back in and 422 00:21:40,720 --> 00:21:44,640 it's not so unsettling. There's some gory stuff that happens, 423 00:21:44,839 --> 00:21:48,279 but it's not our protagonist that's causing the gory stuff. Right, 424 00:21:48,359 --> 00:21:50,920 He's not the one that impales the guy at the 425 00:21:50,920 --> 00:21:53,039 beginning of the movie. He's not the one that burns 426 00:21:53,079 --> 00:21:55,319 people's faces off. And when he shoots a guy in 427 00:21:55,359 --> 00:21:57,519 the movie, it's one shot in a fall and there's not. 428 00:21:57,519 --> 00:21:59,599 Speaker 2: A lot of blood, right, Indy is a character who 429 00:21:59,640 --> 00:22:03,000 feels pain, He gets beat up, he hurts. Clint Eastwood 430 00:22:03,039 --> 00:22:06,119 didn't really act like m hurting all over right. 431 00:22:06,279 --> 00:22:09,400 Speaker 1: He was impervious to fear and mistakes almost. 432 00:22:09,720 --> 00:22:12,680 Speaker 2: That's what makes it so relatable is because you're beat up. 433 00:22:12,799 --> 00:22:15,480 You know, you fight a German boxer and Marion punches you. 434 00:22:15,559 --> 00:22:18,519 Three days ago, we get dragged by a truck. You're 435 00:22:18,519 --> 00:22:21,079 going to be roughed up, right, and he feels pain. Right. 436 00:22:21,119 --> 00:22:22,880 This is also the reason why I think Diehard works 437 00:22:22,880 --> 00:22:24,480 so well, but we'll talk about that laterly. 438 00:22:24,640 --> 00:22:27,759 Speaker 1: Sure. And you know the action, they took something from 439 00:22:27,799 --> 00:22:30,680 those old cereal and they created something new. They took 440 00:22:30,720 --> 00:22:34,279 something old and they made it new again. They reinvented 441 00:22:34,319 --> 00:22:37,119 the action adventure movie with this. And I always say 442 00:22:37,119 --> 00:22:40,240 that they reinvented it. It started with Star Wars. I mean, 443 00:22:40,359 --> 00:22:43,799 just to be to be straight, George Lucas took the 444 00:22:44,039 --> 00:22:47,839 action adventure, put it in space and gave us something 445 00:22:47,839 --> 00:22:49,319 that was family friendly adventure. 446 00:22:49,440 --> 00:22:49,599 Speaker 2: Right. 447 00:22:49,680 --> 00:22:52,880 Speaker 1: We don't have blood, we don't have sex. It's just 448 00:22:53,039 --> 00:22:54,440 good old family. 449 00:22:54,200 --> 00:22:57,039 Speaker 2: Lobby For Star Wars B rated PG, it was almost 450 00:22:57,119 --> 00:22:58,240 a G rated movie. 451 00:22:58,160 --> 00:23:00,279 Speaker 1: Had to give Han a few cusswords just to get 452 00:23:00,319 --> 00:23:07,319 into a pg drad real quick. To talk about the 453 00:23:07,359 --> 00:23:10,160 time travel movies, we're looking now at nineteen eighty five. 454 00:23:10,799 --> 00:23:13,839 You know, we talked about how Bob Zemeckis and Bob 455 00:23:13,880 --> 00:23:17,279 Gail had a whole lot of trouble getting a studio 456 00:23:17,400 --> 00:23:19,400 to get on board with this movie. They had actually 457 00:23:19,400 --> 00:23:21,759 pitched it for something like four or five years before 458 00:23:21,759 --> 00:23:24,319 it was ever greenlighted. Now, see, the thing was the 459 00:23:24,319 --> 00:23:26,759 reason that the studio was turning these guys down is 460 00:23:26,759 --> 00:23:29,720 because they didn't particularly want another time travel movie. They 461 00:23:29,720 --> 00:23:33,240 were in that uncomfortable not dirty enough, but too dirty, 462 00:23:35,359 --> 00:23:38,480 too unsettling. Sorry, how about we do an Oedipus show? 463 00:23:38,519 --> 00:23:41,720 How about that? And then the time travel movies that 464 00:23:41,720 --> 00:23:44,160 were going on at that time. Let's We've got Somewhere 465 00:23:44,160 --> 00:23:47,440 in Time, and then we had the Final Countdown, You've 466 00:23:47,440 --> 00:23:51,079 got the Philadelphia Experiment, and then you have Time Bandits. 467 00:23:51,319 --> 00:23:53,759 I love Time Bedits, but it's not at the same 468 00:23:53,799 --> 00:23:56,839 scale that Back to the Future is. Oh no. And 469 00:23:56,880 --> 00:24:00,480 then Time after Time. H. G. Wells is actually invented 470 00:24:00,519 --> 00:24:04,319 a time machine and Jack the Ripper uses the time 471 00:24:04,359 --> 00:24:07,440 machine to go into the future, and H. G. Wells 472 00:24:07,519 --> 00:24:10,880 chases after him to bring him back, and so it's HG. 473 00:24:11,039 --> 00:24:14,559 Wells and Jack the Ripper in nineteen seventy nine, and 474 00:24:14,680 --> 00:24:16,640 kind of the key idea of the movie is something 475 00:24:16,680 --> 00:24:18,079 that Jack the Ripper says. 476 00:24:18,200 --> 00:24:23,759 Speaker 2: Ninety years ago, I was a freak. Today I'm an amuser. 477 00:24:23,920 --> 00:24:27,039 Speaker 1: It's just about how bad society had gotten at that point. 478 00:24:27,319 --> 00:24:30,480 And then HG. Wells happens to fall in love with 479 00:24:30,519 --> 00:24:33,640 a young girl from nineteen seventy nine who was making 480 00:24:33,680 --> 00:24:36,400 I think her second movie. This actress was in and 481 00:24:36,440 --> 00:24:42,799 her name was Mary Steam Virgin. Wow, we see again 482 00:24:43,240 --> 00:24:46,119 and just a few Yeah, exactly right, cool, cool. 483 00:24:46,200 --> 00:24:47,240 Speaker 2: I need to see this movie. 484 00:24:47,319 --> 00:24:49,359 Speaker 1: Yeah, I really, I had hoped to see it before 485 00:24:49,359 --> 00:24:51,559 we did this episode, but I will be watching Time 486 00:24:51,599 --> 00:24:55,000 after Time at some time in the future. Raiders has 487 00:24:55,079 --> 00:24:59,880 reinvented the action adventure movie, and Back to the Future 488 00:25:00,079 --> 00:25:06,160 has reinvented the time travel movie. So let's let's again, 489 00:25:06,240 --> 00:25:09,839 let's compare what Indy and Marty are going through, all right, 490 00:25:10,319 --> 00:25:12,240 and these you know this is this is a key 491 00:25:12,279 --> 00:25:14,839 idea for me. You know that I loved watching Indiana 492 00:25:14,839 --> 00:25:17,480 and I you know, could think it'd be cool to 493 00:25:17,480 --> 00:25:20,359 be him. When I watched Marty do the skateboarding things, 494 00:25:21,200 --> 00:25:23,160 I was like, I could see that happening to me, 495 00:25:23,279 --> 00:25:25,599 like I could beat him. I actually, it's like a 496 00:25:25,599 --> 00:25:27,599 believable thing to me that it could that it could 497 00:25:27,599 --> 00:25:30,799 be him. And you've got fight scenes that seem realistic. 498 00:25:30,920 --> 00:25:33,119 They are one or two punches and then you're running away. 499 00:25:33,319 --> 00:25:37,079 Speaker 2: Right, I know how to trip guys when the guy 500 00:25:37,160 --> 00:25:39,359 is not looking at me. I might could trip. 501 00:25:39,160 --> 00:25:40,960 Speaker 1: The bully right right. 502 00:25:41,960 --> 00:25:45,039 Speaker 2: I'm not going to shoot any swordsmen anytime soon, but right. So, 503 00:25:45,440 --> 00:25:47,200 like I said, Raiders is a movie that I'd seen 504 00:25:47,279 --> 00:25:51,920 hundreds of times. Loved the movie. So in nineteen eighty nine, 505 00:25:52,279 --> 00:25:54,519 I had a Spanish teacher a little bit out of 506 00:25:54,559 --> 00:25:58,039 touch but very nice, wanted to do a special treat 507 00:25:58,079 --> 00:26:00,000 for my Spanish class. So she brought in a movie 508 00:26:00,160 --> 00:26:05,160 for our Spanish class to watch in Spanish. 509 00:26:03,119 --> 00:26:06,359 Speaker 1: Or all Spanish teachers a little bit that. 510 00:26:06,319 --> 00:26:11,039 Speaker 2: Way, not my wife. My wife is a Spanish teacher, 511 00:26:11,079 --> 00:26:13,039 so I'm gonna be easy about how I nudge the 512 00:26:13,079 --> 00:26:17,240 Spanish teachers here. So anyway, she says, hey, class, I've 513 00:26:17,279 --> 00:26:19,559 got a movie for us to watch today. We're gonna 514 00:26:19,559 --> 00:26:23,079 watch it in Spanish, and I'll pose it frequently and 515 00:26:23,119 --> 00:26:26,440 we'll see if you can tell what's going on. So 516 00:26:26,480 --> 00:26:31,640 she puts in raiders in Spanish. So after twenty minutes, 517 00:26:31,680 --> 00:26:34,200 you know, or whatever, thirty minutes, she pauses it. Okay, 518 00:26:34,200 --> 00:26:35,759 does anybody know what's going on? 519 00:26:36,359 --> 00:26:37,000 Speaker 1: Raise my hand? 520 00:26:38,400 --> 00:26:40,960 Speaker 2: So anyway, Yeah, the government guys are here and they're 521 00:26:40,960 --> 00:26:43,160 offering him a chance to chase down the arc, but 522 00:26:43,920 --> 00:26:44,279 they won't. 523 00:26:44,359 --> 00:26:44,519 Speaker 3: You know. 524 00:26:46,480 --> 00:26:52,319 Speaker 2: Wow, very good, Miguel. Yeah, that's my Spanish name. So 525 00:26:52,440 --> 00:26:55,720 we push play, watch some more pos it. Does anyone 526 00:26:55,799 --> 00:26:59,559 know what's going on? Raise my hand? Yeah. The staff 527 00:26:59,640 --> 00:27:01,960 is too, they're looking in the wrong place. They've got 528 00:27:02,000 --> 00:27:04,440 the wrong side of the head piece of the staff 529 00:27:04,480 --> 00:27:05,119 of rag. 530 00:27:05,119 --> 00:27:06,200 Speaker 1: Forgot to take one back. 531 00:27:06,359 --> 00:27:13,240 Speaker 2: Yeah, very good, Miguel. I can't believe you. So this 532 00:27:13,359 --> 00:27:18,000 goes on, and she's amazed at my Spanish confidency. She 533 00:27:18,079 --> 00:27:20,480 didn't know I'd seen this movie ten thousand times. Oh 534 00:27:20,480 --> 00:27:24,640 that's brilliant. Let's talk for a moment about the Indiana 535 00:27:24,759 --> 00:27:29,720 Jones fight in the Cairo streets, the basket chase. And 536 00:27:29,839 --> 00:27:32,039 you and I have talked off the air about this before, right, 537 00:27:32,160 --> 00:27:34,440 this is another imperfection that you don't really like and 538 00:27:35,359 --> 00:27:37,519 I kind of agree with you, all right, talk about. 539 00:27:37,279 --> 00:27:43,039 Speaker 1: That, Okay, So it is frustrating to me how how 540 00:27:43,079 --> 00:27:45,079 Marian's in the basket and the truck blows up and 541 00:27:45,079 --> 00:27:48,759 then somehow she's still alive without to switch the baskets. 542 00:27:48,799 --> 00:27:52,440 But that doesn't there's just not that's not possible in 543 00:27:52,480 --> 00:27:55,000 the scenes as you watch the scenes, right, I mean 544 00:27:55,079 --> 00:27:58,200 unless unless the guy who's got his face all covered 545 00:27:58,279 --> 00:28:02,599 up in the black is David copper Field, not possible 546 00:28:02,680 --> 00:28:04,640 for that switch to have occurred, and it. 547 00:28:04,599 --> 00:28:07,079 Speaker 2: Was a switch. And why would they put a basket 548 00:28:07,079 --> 00:28:08,720 full of laundry truck with explosives. 549 00:28:08,759 --> 00:28:10,759 Speaker 1: I mean, yeah, that's a bit of that's a bit 550 00:28:10,799 --> 00:28:15,559 absurd too. Just oh the truck fell over boom. What again, 551 00:28:15,599 --> 00:28:19,200 We've got Wiley coyote driving the truck so that it 552 00:28:19,279 --> 00:28:20,519 explodes upon impact. 553 00:28:21,119 --> 00:28:23,240 Speaker 2: So that's that's the scene that you have trouble with. Yeah, 554 00:28:23,240 --> 00:28:24,599 there's a scene that I have trouble with the Back 555 00:28:24,640 --> 00:28:26,000 of the Future, which we'll get to that here in a 556 00:28:26,039 --> 00:28:29,559 little bit. Talk about the Swordman fight. Yes, Raiders lost start. Okay, 557 00:28:30,039 --> 00:28:33,440 so they're shooting in Tunisia, right, Steven Spielberg has imported 558 00:28:33,480 --> 00:28:37,160 all this spaghettios from England, each out of a. 559 00:28:37,119 --> 00:28:40,079 Speaker 1: Camp right, well, he imported them in a suitcase. Like 560 00:28:40,119 --> 00:28:42,240 he was like, Okay, we're going to a place that 561 00:28:42,279 --> 00:28:43,960 we've never been to before. They don't have the same 562 00:28:44,079 --> 00:28:46,160 health standards that we do. I'm going to bring some 563 00:28:46,200 --> 00:28:47,200 food with me. 564 00:28:47,319 --> 00:28:49,799 Speaker 2: And he was the only one who didn't have major 565 00:28:49,880 --> 00:28:51,200 stomach issues. 566 00:28:50,799 --> 00:28:53,920 Speaker 1: While they're shooting, right, every actor and actress got sick. 567 00:28:54,319 --> 00:28:58,680 Speaker 2: Yes, John Rays Davis, who plays Sala, apparently. 568 00:28:59,440 --> 00:29:00,200 Speaker 1: Soiled himsel. 569 00:29:01,960 --> 00:29:06,359 Speaker 2: Let the let the squirrel go in his drawers while 570 00:29:06,359 --> 00:29:09,759 shooting a scene, not just walking, I mean like they 571 00:29:09,759 --> 00:29:10,759 were filming. 572 00:29:11,119 --> 00:29:12,000 Speaker 1: But he kept on going. 573 00:29:12,319 --> 00:29:15,759 Speaker 2: Well, good for him. Yeah, cut cut. 574 00:29:17,319 --> 00:29:20,640 Speaker 1: By the way. On that same topic of Marian, obviously 575 00:29:21,119 --> 00:29:24,920 everybody thinks she's dead at this moment. Sala's reaction to that, 576 00:29:25,519 --> 00:29:27,720 did you heard about Mary? There is dead? 577 00:29:28,279 --> 00:29:34,880 Speaker 3: Yes, I know, I'm sorry, goes on all right, Well, 578 00:29:34,920 --> 00:29:37,559 life must go on that what kind of I mean, 579 00:29:37,839 --> 00:29:39,680 you love that guy, but I mean he's. 580 00:29:39,480 --> 00:29:41,440 Speaker 1: Not a good guy to have around at the funeral. 581 00:29:41,519 --> 00:29:43,720 Speaker 2: They're moving quickly, moving on. 582 00:29:43,920 --> 00:29:45,960 Speaker 1: Got no time to dwell on the death of your 583 00:29:46,079 --> 00:29:47,759 one true love is dead? 584 00:29:47,839 --> 00:29:49,240 Speaker 2: Yes, I know, life goes on. 585 00:29:49,279 --> 00:29:51,759 Speaker 1: And so let's talk about the enemies. So let's talk 586 00:29:51,759 --> 00:29:53,160 about Bellock for just a moment. 587 00:29:53,200 --> 00:29:54,200 Speaker 2: Okay, Okay, So. 588 00:29:54,680 --> 00:29:57,279 Speaker 1: There are some big ideas with both of these movies, 589 00:29:57,319 --> 00:30:00,960 but let's real quick look at the big ideas that 590 00:30:01,079 --> 00:30:03,720 go along with Raiders of the Lost Arc. One of 591 00:30:03,759 --> 00:30:08,000 the big ideas is wisdom and knowledge, and this movie 592 00:30:08,079 --> 00:30:11,720 lets us believe that being smart is cool, and that 593 00:30:11,880 --> 00:30:14,480 wasn't so much a thing at that particular time in history. 594 00:30:14,519 --> 00:30:17,640 That was, but this movie says it's okay. Our tomb 595 00:30:17,680 --> 00:30:20,960 raider is not just some witless thief. He is a 596 00:30:21,000 --> 00:30:26,240 college professor. And even our villain beats our hero because 597 00:30:26,279 --> 00:30:28,720 he has superior knowledge. We see it at the very 598 00:30:28,759 --> 00:30:31,440 beginning of the movie. You could warn them if only 599 00:30:31,440 --> 00:30:35,319 you spoke covitos right space. It is Indy's lack of 600 00:30:35,480 --> 00:30:38,200 education that leads him to fail at the beginning of 601 00:30:38,240 --> 00:30:41,039 the movie. And then Bellock, even as we in the 602 00:30:41,079 --> 00:30:44,039 bar scene where just before he gets saved by Sola's kids, 603 00:30:44,480 --> 00:30:47,720 Bellock even has the wisdom to appreciate the power of 604 00:30:47,759 --> 00:30:51,200 the arc, which for this for the whole movie, Indy 605 00:30:51,279 --> 00:30:55,319 has scoffed at to him. The arc is something historical going. 606 00:30:55,200 --> 00:30:59,200 Speaker 2: After a find incredible historical significance. You're talking about the Boogeyman. 607 00:31:00,000 --> 00:31:03,880 Speaker 1: Belloc says, it is like a radio for speaking to God. 608 00:31:04,279 --> 00:31:06,720 He knows that there's more to the arc than just 609 00:31:06,759 --> 00:31:09,480 the historical significance of the true. So those are some 610 00:31:09,559 --> 00:31:12,839 major that's a major, big idea that's going on with him. 611 00:31:13,119 --> 00:31:15,319 Speaker 2: One of the other things that Bellock himself talks to 612 00:31:15,359 --> 00:31:19,200 Indy about, and clearly Indy doesn't like it, but Bellock 613 00:31:19,240 --> 00:31:22,960 tells him, you are just a shadowy reflection of me. Yeah, 614 00:31:23,039 --> 00:31:25,720 it would just take a nudge for you to be 615 00:31:25,839 --> 00:31:29,880 exactly like me. Right, and he's exactly right. Na getting 616 00:31:30,000 --> 00:31:32,599 messd You know, it's true. 617 00:31:32,799 --> 00:31:37,279 Speaker 1: That's it. It's the good and the evil and the complacent, right. 618 00:31:37,680 --> 00:31:41,319 Our American is the hero. Yes, so we think he's good. 619 00:31:41,440 --> 00:31:43,680 We kind of have that idea. At least you could 620 00:31:43,720 --> 00:31:46,000 have a beer with him or something. Right, and the 621 00:31:46,119 --> 00:31:51,400 Nazis are obviously bad, but Belloc, he is working with 622 00:31:51,480 --> 00:31:54,000 these bad guys, but it's just kind of a means 623 00:31:54,039 --> 00:31:58,000 to an end, right, he has his own selfish motivations. 624 00:31:58,799 --> 00:32:03,640 Speaker 2: What about your boss? I thought he was waiting to 625 00:32:03,680 --> 00:32:05,160 take possession. 626 00:32:05,880 --> 00:32:10,720 Speaker 1: All in good time when I'm finished with But like 627 00:32:10,759 --> 00:32:13,880 you just noted, Indy isn't too far off from where 628 00:32:13,920 --> 00:32:17,319 he is. His concern is with the arc, not with 629 00:32:17,440 --> 00:32:19,960 the politics of the Nazis. That doesn't seem to be 630 00:32:20,000 --> 00:32:23,079 an issue for him. And like you said, Bellock says 631 00:32:23,119 --> 00:32:25,920 to him, you and I are very much alike. Archaeology 632 00:32:26,000 --> 00:32:27,079 is our religion. You know. 633 00:32:27,279 --> 00:32:30,000 Speaker 2: I would even go so far as to say there's 634 00:32:30,119 --> 00:32:34,359 at least twice that Bellock saves Marian Oh yeah, you know. 635 00:32:34,519 --> 00:32:36,279 Speaker 1: Again selfish motivations. 636 00:32:36,319 --> 00:32:38,960 Speaker 2: But he's He definitely did not want her pushed into 637 00:32:39,000 --> 00:32:39,200 the well. 638 00:32:39,400 --> 00:32:41,000 Speaker 1: He didn't want to thrown into the well souls. 639 00:32:41,279 --> 00:32:52,480 Speaker 2: So he's not a total bad guy, right, I. 640 00:32:52,480 --> 00:32:58,559 Speaker 5: Have to be going now today, I like you very much, 641 00:32:59,359 --> 00:33:00,319 perhaps need. 642 00:33:00,240 --> 00:33:01,880 Speaker 2: Something better sense. 643 00:33:02,640 --> 00:33:05,559 Speaker 1: Yes, so there there's our there's our villain. 644 00:33:05,839 --> 00:33:09,599 Speaker 2: Yes for raiders. Now let's talk about Biff. What are 645 00:33:09,640 --> 00:33:10,640 you looking at, butt head? 646 00:33:10,880 --> 00:33:14,319 Speaker 1: He is the classic bully, right, Like I mean, you 647 00:33:14,440 --> 00:33:19,640 could be more stereotypical bully than Biff. And again it's 648 00:33:19,720 --> 00:33:22,599 all set up and payoff. But he's a guy. You 649 00:33:22,640 --> 00:33:25,400 don't feel compassion for him. He's just a jerk, and 650 00:33:25,480 --> 00:33:26,359 he's a dumb jerk. 651 00:33:26,839 --> 00:33:29,680 Speaker 2: He's a dumb jerk, and he is like every bully 652 00:33:29,720 --> 00:33:33,119 you've ever met. He's not evil, but he's a not 653 00:33:33,240 --> 00:33:36,359 somebody you would ever want to be with. Trust I mean, 654 00:33:36,400 --> 00:33:39,599 he's a bad dude. And that that starts to turn 655 00:33:39,799 --> 00:33:42,200 during the scene where he's got Lorraine in the car. 656 00:33:42,359 --> 00:33:47,400 Speaker 1: Absolutely so see he moves from being merely a bully 657 00:33:47,440 --> 00:33:50,559 to a potential rapist, which makes that payoff scene so 658 00:33:50,640 --> 00:33:53,200 much more better. So much more better I did I 659 00:33:53,319 --> 00:33:56,200 said that, thank you this class. 660 00:33:56,559 --> 00:33:59,880 Speaker 2: From what I've read Thomas Wilson, Thomas Wilson is a 661 00:34:00,079 --> 00:34:02,359 super nice guy. Oh yeah, like in real life, this 662 00:34:02,400 --> 00:34:03,160 is not who he is. 663 00:34:03,440 --> 00:34:07,480 Speaker 1: So the bully persona is kind of what was the 664 00:34:07,519 --> 00:34:11,000 impetus behind Bob Gaile writing this movie. I mean it's 665 00:34:11,039 --> 00:34:14,119 he doesn't specifically say bully, but the movie comes from 666 00:34:14,199 --> 00:34:16,800 He was looking at an old yearbook that his dad had. 667 00:34:17,000 --> 00:34:18,719 He's flipping through it and he sees a picture of 668 00:34:18,760 --> 00:34:20,800 his dad as a young high school student, and his 669 00:34:20,920 --> 00:34:23,920 dad is the class president. And his thought at that 670 00:34:24,039 --> 00:34:27,280 moment is, guys, are class presidents in my class? Were 671 00:34:27,599 --> 00:34:28,119 a holes? 672 00:34:28,239 --> 00:34:28,440 Speaker 2: Right? 673 00:34:29,000 --> 00:34:33,079 Speaker 1: And that is he starts to think to himself, I 674 00:34:33,239 --> 00:34:36,320 wonder if I had been around when my dad when 675 00:34:36,320 --> 00:34:37,079 he was in high. 676 00:34:36,880 --> 00:34:39,280 Speaker 2: School, if I would have even been friends with him? 677 00:34:39,599 --> 00:34:42,039 Speaker 1: And that's you know, that is a that's a great question. 678 00:34:42,239 --> 00:34:44,599 I can't I can't answer that question because I don't 679 00:34:44,599 --> 00:34:46,559 know what my dad was like in high school. But 680 00:34:46,639 --> 00:34:49,000 I wonder I couldn't say for sure that yeah, we'd 681 00:34:49,039 --> 00:34:50,360 be we would have been great friends. 682 00:34:50,360 --> 00:34:51,199 Speaker 2: It's a great question. 683 00:34:51,320 --> 00:34:54,920 Speaker 1: And so the that is the big idea that we 684 00:34:55,039 --> 00:34:58,239 have in Back to the Future is family. Right this question, 685 00:34:58,760 --> 00:35:02,800 would the teenage us have liked our parents as teenagers? 686 00:35:03,519 --> 00:35:07,159 Speaker 2: Which pop, that's him? 687 00:35:08,400 --> 00:35:19,400 Speaker 1: Okay, okay, you guys, maybe we were adopted or he's 688 00:35:19,400 --> 00:35:22,320 an idiot. His parents are probably idiots, Lorraine, You ever 689 00:35:22,360 --> 00:35:24,039 have a kid that acts like that? And I'll disown you. 690 00:35:25,719 --> 00:35:28,880 And so then that leads us to the idea of 691 00:35:29,119 --> 00:35:33,719 how likely are we to relive our parents' failures or successes, 692 00:35:34,000 --> 00:35:37,199 which is the underlying theme for the whole movie. Definitely, 693 00:35:37,519 --> 00:35:41,840 you know Lorraine, as she's talking about poor uncle Joey says, 694 00:35:41,920 --> 00:35:45,960 we all make mistakes in life, and jailbird Joey, yeah, 695 00:35:46,039 --> 00:35:49,320 And then Marty says, what if they don't like it? 696 00:35:49,719 --> 00:35:51,719 What if they say, kid you're just no good. I 697 00:35:51,719 --> 00:35:53,760 don't think I could live with that kind of rejection. 698 00:35:54,320 --> 00:35:56,719 Speaker 2: Jesus, I'm trying to tell a man, right, yep? 699 00:35:56,840 --> 00:35:57,800 Speaker 1: So are we doomed? 700 00:35:57,840 --> 00:35:58,000 Speaker 5: You know? 701 00:35:58,119 --> 00:36:00,800 Speaker 1: Are we going to make the same stupid mistakes that 702 00:36:00,840 --> 00:36:03,119 our parents made? Is it unavoidable? But looking back at 703 00:36:03,159 --> 00:36:04,960 it now, I have to wonder about my own kids. 704 00:36:05,000 --> 00:36:07,000 Are they going to make the same mistakes that I made? 705 00:36:07,039 --> 00:36:08,559 What you do as a parent as you try not 706 00:36:08,599 --> 00:36:11,599 to have them go through that? But what's ingrained? What's 707 00:36:11,639 --> 00:36:12,039 going to be? 708 00:36:12,719 --> 00:36:16,639 Speaker 2: According to Ellison from The Breakfast Club, it's unavoidable. Yeah, 709 00:36:16,639 --> 00:36:18,480 but it's a great question, and it sets up a 710 00:36:18,480 --> 00:36:20,119 great movie, right, And. 711 00:36:20,280 --> 00:36:24,599 Speaker 1: As as much of a rebel as Marty is, And 712 00:36:24,880 --> 00:36:27,239 even though it's obvious from the beginning of the movie 713 00:36:27,280 --> 00:36:31,519 that his parents embarrass him, or irritated him or frustrated 714 00:36:31,599 --> 00:36:34,519 him to no end, he's still willing. 715 00:36:34,280 --> 00:36:36,480 Speaker 2: To sacrifice his life to save his dad, of course. 716 00:36:37,440 --> 00:36:39,079 And I think the movie does a good job of 717 00:36:39,559 --> 00:36:45,039 demonstrating that parents can learn from their children. Yeah, right, 718 00:36:45,719 --> 00:36:48,920 And George learns to be brave from Marty. 719 00:36:49,119 --> 00:36:59,360 Speaker 4: Yeah, all right, everybody. That wraps up episode three of 720 00:36:59,360 --> 00:37:01,639 Our Raiders Back the future. Come back next week for 721 00:37:01,639 --> 00:37:02,239 episode four. 722 00:37:02,400 --> 00:37:05,320 Speaker 1: Yeah, and don't forget to subscribe to the Surely you 723 00:37:05,360 --> 00:37:08,639 Can't Be Serious podcasts, as well as check us out 724 00:37:08,679 --> 00:37:11,519 on Twitter and on Facebook, and if you've got time, 725 00:37:11,800 --> 00:37:13,679 check us out on YouTube too. Hey, a five star 726 00:37:13,760 --> 00:37:16,199 review wouldn't be too bad either. Thank you guys for 727 00:37:16,239 --> 00:37:24,360 tuning in. We'll see you next week. All music images 728 00:37:24,360 --> 00:37:26,719 and movie clips are used for the purposes of commentary 729 00:37:26,760 --> 00:37:29,719 and education in conjunction with the fair Use Agreement under 730 00:37:29,719 --> 00:37:30,800 the US copyright law.