1 00:00:12,400 --> 00:00:18,640 Speaker 1: Hello everybody, and welcome to the Surely Can't Be Serious Podcast, 2 00:00:18,879 --> 00:00:22,719 discussing and debating the iconic and the forgotten of eighties 3 00:00:22,760 --> 00:00:24,519 and nineties pop culture. 4 00:00:24,440 --> 00:00:26,359 Speaker 2: With your co hosts James D. 5 00:00:26,679 --> 00:00:30,640 Speaker 1: Graves and Jason Colbn. 6 00:00:29,760 --> 00:00:34,840 Speaker 3: Hey everybody, welcome back to the Surely You Can't Be 7 00:00:35,079 --> 00:00:36,200 Serious Podcast. 8 00:00:36,280 --> 00:00:37,719 Speaker 2: This is episode four. 9 00:00:38,439 --> 00:00:41,840 Speaker 3: We are here to get our final thoughts on Back 10 00:00:41,880 --> 00:00:44,000 to the Future versus Raiders of the Lost arc. 11 00:00:44,439 --> 00:00:46,520 Speaker 4: Thanks for sticking around this whole time. Get at your 12 00:00:46,520 --> 00:00:48,240 fedora and your bowlweb one last time. 13 00:00:48,359 --> 00:00:50,359 Speaker 2: Episode four. Yeah, time to go back in time? 14 00:00:51,200 --> 00:00:54,840 Speaker 4: Okay, to go back to Marty. 15 00:00:54,880 --> 00:00:57,719 Speaker 3: I'm so Marty is his biggest fear of being erased 16 00:00:57,719 --> 00:01:02,200 from existence? Kind of right? I Mean, what he's dealing 17 00:01:02,240 --> 00:01:04,920 with is this idea of rejection and that he wants 18 00:01:05,200 --> 00:01:08,280 to be somebody. But he's afraid of the rejection. But 19 00:01:09,000 --> 00:01:12,000 there's still this idea that he wants to be a star. 20 00:01:12,200 --> 00:01:16,040 He wants to be something more than the mcflies of 21 00:01:16,079 --> 00:01:20,000 the past who never amounted to anything, right, And so 22 00:01:20,680 --> 00:01:24,480 his big fear is being erased from existence. So what 23 00:01:24,480 --> 00:01:27,159 does he do? How does he save himself? He doesn't, 24 00:01:27,319 --> 00:01:29,719 And that's the beauty of this movie, and it's also 25 00:01:29,760 --> 00:01:31,480 the beauty of Raiders of the Lost Arc, which we'll 26 00:01:31,480 --> 00:01:35,599 talk about later. But in this movie, we have the 27 00:01:35,760 --> 00:01:40,680 dad who's been the biggest dork for the entire time 28 00:01:40,920 --> 00:01:44,159 who comes in and saves the day. And he doesn't 29 00:01:44,200 --> 00:01:48,920 save Marty, he saves Lorraine. But in saving Lorraine, he 30 00:01:49,000 --> 00:01:49,680 saves Marty. 31 00:01:49,760 --> 00:01:52,400 Speaker 4: That's right, and that's what's that You're exactly right, and 32 00:01:52,439 --> 00:01:56,159 that is that is so great? Yeah, because Lorraine's affections 33 00:01:56,200 --> 00:01:59,760 have then turned from Marty to George. 34 00:01:59,640 --> 00:02:02,680 Speaker 3: Right, which in the original course of history they were 35 00:02:02,680 --> 00:02:05,519 with George. But why were they with George? She felt 36 00:02:05,519 --> 00:02:07,519 sorry for him, She felt sorry for him. He was 37 00:02:07,560 --> 00:02:11,639 a victim that she had the Florence Nightingale syndrome for right, 38 00:02:12,080 --> 00:02:14,560 But now that changes. So this goes to another big 39 00:02:14,599 --> 00:02:19,960 idea in the movie, destiny and transformation. What seemingly insignificant 40 00:02:20,000 --> 00:02:24,000 events in our life have shaped the course of everything 41 00:02:24,039 --> 00:02:24,800 that's happened to us. 42 00:02:24,960 --> 00:02:27,439 Speaker 5: That was so stupid Grandpa hit him with the car. 43 00:02:28,159 --> 00:02:31,479 Speaker 3: It was meant to be. And see, it's interesting that 44 00:02:31,719 --> 00:02:35,240 she still falls for George, demonstrating that there is this 45 00:02:35,400 --> 00:02:38,000 certain kind of destiny, but she falls in love with 46 00:02:38,080 --> 00:02:41,319 him for a different reason. Now, it's not out of sympathy, 47 00:02:41,360 --> 00:02:45,039 but because he has been her saving hero. I think 48 00:02:45,120 --> 00:02:49,639 a man should be strong so he can stand up 49 00:02:49,680 --> 00:02:52,639 fro himself and protect the. 50 00:02:52,599 --> 00:03:03,599 Speaker 4: Woman he loves. He's heard density I mean is destiny. Okay, 51 00:03:03,759 --> 00:03:05,400 So here's a couple of things that I want to 52 00:03:05,840 --> 00:03:09,479 mention to you. Okay, Indy, this is back to the 53 00:03:09,599 --> 00:03:15,759 moral ambiguity of Indiana Jones. He chooses the arc over 54 00:03:15,840 --> 00:03:19,039 Marion at least twice in this movie Huge. Right before 55 00:03:19,039 --> 00:03:22,879 he goes to the Will of Souls, he finds Marion alive. 56 00:03:23,599 --> 00:03:25,400 She didn't blow up in the truck, all right. She's 57 00:03:25,439 --> 00:03:27,840 tied up in a tent. When he finds her, she's 58 00:03:27,879 --> 00:03:31,800 happy to see him. It's suck. I know where the 59 00:03:31,840 --> 00:03:36,240 arc is. Marian looks here. Well, I'm coming with you, Jones. 60 00:03:36,280 --> 00:03:38,120 Speaker 2: Get me out of here, coming here. 61 00:03:38,240 --> 00:03:40,240 Speaker 3: I'll get you out of here. Now I'll start calling. 62 00:03:39,960 --> 00:03:42,439 Speaker 4: The place for us. She could get me out of here, 63 00:03:42,639 --> 00:03:44,319 come true, are right? 64 00:03:45,879 --> 00:03:46,960 Speaker 3: I'm hate to do this. 65 00:03:48,000 --> 00:03:56,719 Speaker 4: Still, that's going to be shot, leaving her in danger? Right, 66 00:03:57,360 --> 00:03:58,439 going to get the arc? 67 00:03:58,680 --> 00:04:01,240 Speaker 3: How bad is that? Really? If you just take a 68 00:04:01,280 --> 00:04:03,039 little bit of time to think about what could have 69 00:04:03,039 --> 00:04:06,319 happened as opposed to what does happen? I mean, Tote 70 00:04:06,360 --> 00:04:08,879 shows up again. I mean talk about a guy who 71 00:04:09,000 --> 00:04:10,759 kills every drinking game there is. 72 00:04:11,919 --> 00:04:13,080 Speaker 4: He kills every conversation. 73 00:04:13,159 --> 00:04:16,399 Speaker 3: I mean, gee, I'm always worried if I take a shot. 74 00:04:16,519 --> 00:04:18,959 Is this crazy nazeing a show behind me? What's gonna 75 00:04:18,959 --> 00:04:19,360 happen here? 76 00:04:19,399 --> 00:04:26,519 Speaker 4: What shall we talk about it? We are not thirsty? 77 00:04:27,040 --> 00:04:29,439 That guy was so good, Oh, he was so good. 78 00:04:29,639 --> 00:04:33,600 Speaker 3: And it's here's another. Here's another another factor of the 79 00:04:33,720 --> 00:04:36,600 of the Raiders movie that isn't on the perfection level. 80 00:04:37,120 --> 00:04:41,480 He's balls right, but he's got a five o'clock shadow 81 00:04:41,519 --> 00:04:45,680 on his head. How did that happen? I mean, just 82 00:04:45,759 --> 00:04:48,360 you know, either put on a put on a prosthetic 83 00:04:48,800 --> 00:04:51,120 or something, but just shaven. It's not gonna work out. 84 00:04:51,120 --> 00:04:53,199 Speaker 4: When he was sweat off his head, You're like, dude, 85 00:04:53,279 --> 00:04:56,600 just not shake your head anymore. So that's one part. 86 00:04:56,639 --> 00:04:59,680 When Indy chooses the ark over Marion. Yes, later on, 87 00:04:59,720 --> 00:05:05,439 it half happens after Andy chases down Marion on the submarine. Yes, 88 00:05:05,720 --> 00:05:09,000 he lashes himself to the submarine with his whip to 89 00:05:09,040 --> 00:05:09,680 the periscope. 90 00:05:09,800 --> 00:05:11,839 Speaker 3: It's the only possible way that he could have done. 91 00:05:11,680 --> 00:05:13,800 Speaker 4: It, which is not really seen in the movies. 92 00:05:13,839 --> 00:05:15,759 Speaker 3: But it's not seen at all. Well I know, but. 93 00:05:15,759 --> 00:05:19,959 Speaker 4: There's you can YouTube it. See Harrison Ford tied to 94 00:05:20,000 --> 00:05:23,600 the periscope with his whip. They arrive at the island 95 00:05:23,600 --> 00:05:26,160 where they're going to do the Jewish ceremony, that thing 96 00:05:26,240 --> 00:05:29,240 Germans are uncomfortable with and open the arc. Right, So 97 00:05:29,240 --> 00:05:31,439 they're walking through this canyon to the place where they're 98 00:05:31,439 --> 00:05:34,079 going to do this, which is actually the same canyon 99 00:05:34,240 --> 00:05:37,639 that Star Wars where the jahwas. Show up and look, 100 00:05:38,600 --> 00:05:43,319 same canyon and Andy shows up there with a bazookah. Hello, right, 101 00:05:43,920 --> 00:05:46,319 I'm gonna blow up the arc. But Bellock again is 102 00:05:46,360 --> 00:05:48,240 one step ahead of him. He calls his bluff. 103 00:05:48,600 --> 00:05:48,800 Speaker 3: Huh. 104 00:05:48,839 --> 00:05:51,680 Speaker 4: He's all right, fine, you win. Blow it back to 105 00:05:51,720 --> 00:06:02,879 God Indiana. We are simply passing through history. This this 106 00:06:03,160 --> 00:06:07,560 is is three and it's impactful because why because archaeology 107 00:06:07,720 --> 00:06:11,920 is the religion and Andy can't do it right. All 108 00:06:11,959 --> 00:06:12,839 he wants is the. 109 00:06:12,759 --> 00:06:15,519 Speaker 3: Girl, right, He says he doesn't care, he doesn't care 110 00:06:15,519 --> 00:06:17,399 about the ark. He wants the girl. He's finally picking 111 00:06:17,439 --> 00:06:17,759 the girl. 112 00:06:17,920 --> 00:06:20,720 Speaker 4: Yep. But they say, well, yeah, go for it, go 113 00:06:20,839 --> 00:06:22,279 for it. He says, I can't do it, so he 114 00:06:22,360 --> 00:06:23,639 chooses the arc twice. 115 00:06:23,720 --> 00:06:26,480 Speaker 3: Well, I'm going to say at that scene he really 116 00:06:26,480 --> 00:06:29,040 had his I mean, he had his heart in the 117 00:06:29,120 --> 00:06:30,839 right place, because I think if they would have let 118 00:06:30,879 --> 00:06:33,720 Marian go that he would have walked away. I don't 119 00:06:33,720 --> 00:06:35,680 think that he would continue to pursue the arc, although 120 00:06:35,680 --> 00:06:38,439 that might have been an interesting way to take things 121 00:06:38,480 --> 00:06:39,160 and see how they went. 122 00:06:39,319 --> 00:06:40,879 Speaker 4: Sure what his escape plan was. 123 00:06:41,160 --> 00:06:43,600 Speaker 3: Yeah, that begs the question on how the heck did 124 00:06:43,600 --> 00:06:45,439 they get after the end of the movie back to 125 00:06:45,480 --> 00:06:46,240 the United States. 126 00:06:46,240 --> 00:06:49,800 Speaker 4: But anyway, that's right. Another improvection that we've talked about. 127 00:06:49,959 --> 00:06:52,319 Speaker 3: I think that if they'd released her and he'd have 128 00:06:52,360 --> 00:06:54,519 found a way to get out of there with her 129 00:06:54,800 --> 00:06:56,480 and not the arc, that he would have left the 130 00:06:56,600 --> 00:06:58,839 arc and let it go. But if he blows up 131 00:06:58,879 --> 00:07:00,920 the arc, he kills her too, right, I mean, and 132 00:07:00,959 --> 00:07:03,360 then he's alone, he's destroyed the arc and the girl. 133 00:07:03,399 --> 00:07:04,040 Speaker 4: He gets nothing. 134 00:07:04,399 --> 00:07:06,079 Speaker 3: That's no good. That's a terrible plan. 135 00:07:06,199 --> 00:07:09,480 Speaker 4: Yeah, it really wasn't a good plan to begin not 136 00:07:09,560 --> 00:07:11,399 a good plan at all, not to start off with. No, 137 00:07:13,279 --> 00:07:16,160 when they're in the Will of the Souls, Bellock sees them, 138 00:07:16,319 --> 00:07:20,120 they show up retake the arc. Yeah, toss Marian down 139 00:07:20,160 --> 00:07:21,439 into the Will of Souls. 140 00:07:21,160 --> 00:07:23,199 Speaker 3: Right, so he has it and then he loses it 141 00:07:23,240 --> 00:07:24,560 again doctor Jones. 142 00:07:25,519 --> 00:07:28,040 Speaker 4: Again we see that it's nothing you'll come possess, which 143 00:07:28,079 --> 00:07:31,040 I kind of take away. So he and Marion figure 144 00:07:31,079 --> 00:07:33,199 away to wiggle out of the Will of the Souls 145 00:07:33,319 --> 00:07:35,480 that they've been looking for for three thousand years. But 146 00:07:35,519 --> 00:07:37,040 it's parked right next to an airplane. 147 00:07:37,319 --> 00:07:41,319 Speaker 3: Yeah, that's the most absurd, ridigulous scene ever. 148 00:07:41,480 --> 00:07:42,720 Speaker 4: Like it's not even covered up. 149 00:07:42,759 --> 00:07:44,680 Speaker 3: Well, he just pushes the rock out, right. I mean 150 00:07:44,720 --> 00:07:47,439 it's literally like you didn't have to do all that digging. 151 00:07:47,480 --> 00:07:49,560 You could have just moved a rock and gone through 152 00:07:49,600 --> 00:07:53,160 some bad bodies. Yeah, yeah, what I mean, it's obviously 153 00:07:53,160 --> 00:07:55,959 something important enough to have a guard guarding it. 154 00:07:56,199 --> 00:07:57,839 Speaker 4: Let's talk about that for a sec ago. That is 155 00:07:57,879 --> 00:08:01,600 a cutout fight scene. Indy escapes, pushes the rock out 156 00:08:01,600 --> 00:08:03,600 of the Wall of the Souls, climbs out right. 157 00:08:03,879 --> 00:08:05,519 Speaker 3: If you look, he was reborn, by the way, this 158 00:08:05,680 --> 00:08:08,160 is that's his rebirth and it, boy, isn't it just 159 00:08:08,160 --> 00:08:09,920 just look like a birth to see him squeeze out 160 00:08:09,959 --> 00:08:10,480 of that little hole. 161 00:08:10,639 --> 00:08:13,000 Speaker 4: He pops out of the hole and if you watch 162 00:08:13,079 --> 00:08:15,560 the movie, there is no fight there, but there's a 163 00:08:15,600 --> 00:08:18,319 guard who's down. As they run away, you can see 164 00:08:18,360 --> 00:08:19,480 him knock down in the corner. 165 00:08:22,639 --> 00:08:25,639 Speaker 3: So he's achieved what we thought was the ultimate goal 166 00:08:25,680 --> 00:08:28,639 of the whole movie. They've found the arc, right, and 167 00:08:28,680 --> 00:08:31,360 then the arc gets replaced with the girl. And it's 168 00:08:31,360 --> 00:08:34,799 that big question again of which is more important to you, Andy, 169 00:08:34,919 --> 00:08:37,120 is it the girl or the arc? And he goes 170 00:08:37,159 --> 00:08:41,720 through everything, saves Mary and they get out. She saves him, 171 00:08:42,000 --> 00:08:45,200 and does he just say Okay, I've got the girl 172 00:08:45,200 --> 00:08:48,360 and move on and go home. No, he decides he's 173 00:08:48,360 --> 00:08:51,279 still got to go chase after the arc. And, by golly, 174 00:08:51,720 --> 00:08:54,200 as a viewer of this movie, thank you for doing that. 175 00:08:54,320 --> 00:08:57,919 Because that scene, that action adventure scene that happens, Oh 176 00:08:57,960 --> 00:09:03,960 my gosh, maybe best adventure scene ever, so good. The 177 00:09:04,120 --> 00:09:08,639 scene where he slips falls behind the truck being dragged, 178 00:09:08,679 --> 00:09:12,519 but not only holds on but climbs back up. I 179 00:09:12,519 --> 00:09:16,039 mean I again, I'm gonna say arc gave him some 180 00:09:16,080 --> 00:09:18,720 supernatural powers for a little while here, right, because there's 181 00:09:18,759 --> 00:09:20,840 no way that any real human could have lived through 182 00:09:20,879 --> 00:09:22,799 all of that. That's right, that's right. But he's got 183 00:09:22,799 --> 00:09:25,840 this constant struggle of do I want the arc do 184 00:09:25,879 --> 00:09:28,519 I want the girl? And I'm starting to believe that 185 00:09:28,600 --> 00:09:31,519 maybe the arc has power of No, that's stilly religious 186 00:09:31,559 --> 00:09:34,679 folklore stuff that messes everybody up. I'm not going to 187 00:09:34,720 --> 00:09:35,120 believe that. 188 00:09:40,159 --> 00:09:42,720 Speaker 4: During the truck scene. During the truck scene, yeah, which 189 00:09:43,200 --> 00:09:45,360 you do have this big stunt thing where he goes 190 00:09:45,519 --> 00:09:49,240 out the front window under or around the front of 191 00:09:49,279 --> 00:09:52,759 the car, underneath the car, uses his whip, pulls back in, 192 00:09:53,159 --> 00:09:55,720 retakes the truck. Before he retakes the truck, he gets 193 00:09:55,720 --> 00:09:58,279 shot in the arm. Yes, And Harsonford does a great 194 00:09:58,360 --> 00:10:02,720 job of selling this as pain, like serious pain, uh huh, 195 00:10:02,759 --> 00:10:04,720 like one of the things that I love the movie 196 00:10:04,720 --> 00:10:07,720 Beverly Hills Cop. Yeah, axle fully gets shot with the 197 00:10:07,720 --> 00:10:11,519 three fifty seven five feet away, and he does feels 198 00:10:11,559 --> 00:10:14,559 no pain the rest of the entire and he's making jokes. 199 00:10:14,600 --> 00:10:18,399 And Indy gets shot and it grazes his arm and 200 00:10:18,440 --> 00:10:22,279 it hurts right, all right, that's and I love that 201 00:10:22,320 --> 00:10:22,639 about it. 202 00:10:22,840 --> 00:10:27,360 Speaker 3: Yeah. So again, much like Indy, Marty has the same 203 00:10:27,399 --> 00:10:30,440 experience where he thinks he's achieved his goal, but it 204 00:10:30,519 --> 00:10:33,240 turns out it's not quite there. He's not quit there, 205 00:10:33,440 --> 00:10:36,759 it's not quite there. So his dad has finally stood 206 00:10:36,840 --> 00:10:37,919 up to the bully, right. 207 00:10:38,240 --> 00:10:40,200 Speaker 5: I didn't know if he had an enemy's episode of 208 00:10:40,559 --> 00:10:41,720 his life. 209 00:10:44,080 --> 00:10:44,360 Speaker 4: Never? 210 00:10:45,519 --> 00:10:49,960 Speaker 3: Okay, So his dad has got the rocks to stand 211 00:10:50,039 --> 00:10:53,320 up to the bully. But will he let another bully 212 00:10:53,399 --> 00:10:57,679 steal his dance? I mean, what's going on here? I'm 213 00:10:57,720 --> 00:11:00,240 starting to get weak. I can't play the guitar anymore. 214 00:11:00,799 --> 00:11:03,679 A hand that sort of looks like my hand is 215 00:11:03,720 --> 00:11:06,200 disappearing in front of my face. That, by the way, 216 00:11:06,320 --> 00:11:08,360 is one of the bad effects of this movie, is 217 00:11:08,720 --> 00:11:12,240 maybe the only one. But as I found out later on, 218 00:11:12,679 --> 00:11:14,720 it was because they wanted to release the movie earlier 219 00:11:14,759 --> 00:11:17,159 than they had planned to release it. Like there are 220 00:11:17,200 --> 00:11:20,919 some special effects that Bob Zemcha specifically said, I would 221 00:11:20,919 --> 00:11:22,679 have much rather had a better effect here, but we 222 00:11:22,679 --> 00:11:25,080 were so pressed for time we couldn't. And so you've 223 00:11:25,080 --> 00:11:27,720 got this really bad disappearing hand that happened. 224 00:11:27,720 --> 00:11:29,480 Speaker 4: Would you rather have, Eric Stoltz, would you rather have 225 00:11:29,519 --> 00:11:31,440 a bad effect. I'll take the bad effect me too, 226 00:11:31,519 --> 00:11:34,879 for sure. And this is you know, there's this classic 227 00:11:34,919 --> 00:11:37,840 thing that used to happen in the very first theater 228 00:11:37,919 --> 00:11:40,879 in the Greek theater that they called God from the machine. 229 00:11:41,440 --> 00:11:44,360 And in Marty's case, the God from the machine is 230 00:11:44,399 --> 00:11:46,879 his dad. It isn't him that saves the day. It's 231 00:11:46,879 --> 00:11:49,039 his dad that saves the day by knocking out Biff. 232 00:11:49,320 --> 00:11:51,679 And it's his dad that saves the day by throwing 233 00:11:51,720 --> 00:11:55,200 the new Bully to the ground. So Dad again comes in, 234 00:11:55,559 --> 00:11:59,480 saves the day, kisses the girl, and yes, this is it. 235 00:11:59,720 --> 00:12:03,399 Well of the music swell. So this is again goes. 236 00:12:03,240 --> 00:12:07,360 Speaker 3: To Alan Silvestri's amazing use of the theme music of 237 00:12:07,519 --> 00:12:10,600 the movie and the actual music that you're listening to 238 00:12:10,720 --> 00:12:14,480 that the characters can hear. You know, they're singing Earth Angel, 239 00:12:14,600 --> 00:12:17,240 and you've got a four or five piece band doing 240 00:12:17,279 --> 00:12:20,720 this Earth Angel. And then suddenly when that kiss happens, 241 00:12:20,759 --> 00:12:22,720 it's an entire orchestra. 242 00:12:22,919 --> 00:12:26,039 Speaker 4: Marty stands to attention and strum's or Earth Angel, and 243 00:12:26,080 --> 00:12:41,759 here we go, My I have. 244 00:12:50,159 --> 00:12:52,639 Speaker 3: Everything's okay, and everybody appears back on the picture and 245 00:12:52,720 --> 00:12:53,600 it's beautiful again. 246 00:12:54,240 --> 00:12:55,799 Speaker 4: Just now thinking about it. 247 00:12:59,200 --> 00:13:02,159 Speaker 3: This moment, this is where we have the answer to 248 00:13:02,200 --> 00:13:06,480 that question of are we destined to repeat our failures 249 00:13:06,600 --> 00:13:09,279 or our successes of our parents? When he says, Jesus, 250 00:13:09,279 --> 00:13:11,879 I sound just like my dad. It's his fear of rejection, right, 251 00:13:12,519 --> 00:13:16,879 And so he sees his dad finally stand up to bith. 252 00:13:17,200 --> 00:13:19,759 He sees his dad finally stand up to some other 253 00:13:19,799 --> 00:13:23,159 bully and make this kiss happen. And you know what, 254 00:13:23,480 --> 00:13:25,799 I am going to put myself out there, even though 255 00:13:26,000 --> 00:13:27,559 I know I need to be at a time machine 256 00:13:27,559 --> 00:13:29,960 and just a little bit of amount of time, I'm 257 00:13:29,960 --> 00:13:31,759 gonna go ahead and play a song for these kids. 258 00:13:32,799 --> 00:13:35,080 Speaker 5: All right, guys, I listening to blues Riff and Bee 259 00:13:35,080 --> 00:13:44,559 watch me for the changes and try and keepop okay. 260 00:13:49,879 --> 00:13:52,600 Speaker 3: But gosh, I'm so glad you did. Once again. I 261 00:13:52,639 --> 00:13:55,600 am glad that you decided to press your time and 262 00:13:55,679 --> 00:13:59,120 play that song, because at that moment, I was like, 263 00:13:59,600 --> 00:14:01,360 this is the best movie I've ever seen. 264 00:14:03,480 --> 00:14:06,320 Speaker 4: And Marty goes all the way too, Yeah, he goes 265 00:14:06,360 --> 00:14:07,919 all the way. And then he goes. 266 00:14:07,759 --> 00:14:10,639 Speaker 3: Full Eddie van Halen all the way in that song. 267 00:14:10,799 --> 00:14:15,279 Who huh with the smashing of the guitars. Yes, he 268 00:14:15,360 --> 00:14:19,399 does it all without fear of rejection, which is good 269 00:14:19,720 --> 00:14:21,399 because that's exactly what he gets. 270 00:14:21,559 --> 00:14:21,960 Speaker 4: That's right. 271 00:14:25,000 --> 00:14:28,840 Speaker 3: But everybody's standing there looking at him and they're like, 272 00:14:29,120 --> 00:14:31,759 what is going on here? But he takes it in 273 00:14:31,840 --> 00:14:33,639 stride and keeps on yelling that's right. 274 00:14:33,720 --> 00:14:36,039 Speaker 5: I can't guess you guys aren't ready for that yet, 275 00:14:38,000 --> 00:14:39,440 but your kids are gonna love him. 276 00:14:39,639 --> 00:14:42,759 Speaker 3: He is a changed man because of what he's seen 277 00:14:42,840 --> 00:14:43,559 his dad do. 278 00:14:44,159 --> 00:14:45,799 Speaker 4: Let's talk a little bit about Johnny be Good for 279 00:14:45,840 --> 00:14:48,039 a second. Okay, were you familiar with the song before 280 00:14:48,080 --> 00:14:48,720 you saw this movie? 281 00:14:48,759 --> 00:14:51,440 Speaker 3: I could say I probably heard it, but wasn't impactful. 282 00:14:51,799 --> 00:14:54,639 Speaker 4: Okay I wasn't either. But Chuck Berry was the one 283 00:14:54,639 --> 00:14:57,799 who came up with Johnny be Good. Okay, Yes, Marvin 284 00:14:57,879 --> 00:15:01,200 Barry is the leader of the band singing the High 285 00:15:01,240 --> 00:15:07,120 School Earth Angel. Your cousin, Your cousin, Marvin Berry. So 286 00:15:07,200 --> 00:15:09,960 that's a neat little thing right there. And I guess 287 00:15:10,200 --> 00:15:12,639 I heard that the Chuck Berry at the last second 288 00:15:12,679 --> 00:15:13,960 sort of had me convinced. 289 00:15:14,279 --> 00:15:18,639 Speaker 3: Yeah, well he had to be paid. It was like, no, 290 00:15:18,759 --> 00:15:20,200 you can't use me song. You know you can't use 291 00:15:20,240 --> 00:15:23,200 me song? How about fifty thousand dollars? All right, you 292 00:15:23,200 --> 00:15:27,320 can use myself. Okay, So let's come back to Indy 293 00:15:27,399 --> 00:15:27,759 real quick. 294 00:15:27,799 --> 00:15:28,080 Speaker 2: Okay. 295 00:15:28,159 --> 00:15:31,039 Speaker 3: He's got this struggle that he's going through of do 296 00:15:31,120 --> 00:15:33,600 I want the arc? Do I want the girl. But 297 00:15:33,720 --> 00:15:36,759 the thing that kind of arcs the whole movie is 298 00:15:36,879 --> 00:15:41,480 his doubt and unbelief, and Indy clings to his unbelief 299 00:15:41,720 --> 00:15:44,600 even though we see the uncertainty behind his eyes. We 300 00:15:44,679 --> 00:15:46,399 know that he was raised in church because he's like, 301 00:15:46,480 --> 00:15:50,080 didn't you guys go to Sunday School? But then you 302 00:15:50,120 --> 00:15:50,879 know and. 303 00:15:50,799 --> 00:15:53,200 Speaker 4: We know doctor Jones later on in part. 304 00:15:53,120 --> 00:15:57,000 Speaker 3: Three, right, and Bellock says, archaeology is our religion. Right, 305 00:15:57,320 --> 00:15:59,639 And so Brody is trying to warn him and his 306 00:15:59,679 --> 00:16:02,080 respect is, what are you trying to do? Scare me? 307 00:16:02,159 --> 00:16:05,600 I don't believe in magic, a lot of superstitious hocus focus. 308 00:16:05,720 --> 00:16:09,200 I'm going after a find of incredible historical significance, and 309 00:16:09,240 --> 00:16:16,440 you're talking about the Boogeyman. That's what his struggle is 310 00:16:16,840 --> 00:16:19,720 throughout the whole movie. But we see the power of 311 00:16:19,799 --> 00:16:22,480 the arc. He doesn't even see it. He doesn't see 312 00:16:22,679 --> 00:16:25,080 the Nazi symbol being burned on the box by the 313 00:16:25,080 --> 00:16:28,360 power of the arc. But bit by bit we can 314 00:16:28,519 --> 00:16:32,399 see that he's becoming aware of the power beyond its 315 00:16:32,480 --> 00:16:34,279 mere historical importance. 316 00:16:34,559 --> 00:16:42,120 Speaker 4: Yes, so let's talk about when they open the arc. Okay, 317 00:16:42,399 --> 00:16:47,559 So Marion and Indy are captured after the Bozukah stand off. 318 00:16:47,639 --> 00:16:47,840 Speaker 2: Right. 319 00:16:47,919 --> 00:16:51,480 Speaker 4: Yes, they're taken to this place. They perform this giant ceremony. 320 00:16:51,519 --> 00:16:54,200 They have German soldiers there, they have cameras there. 321 00:16:54,480 --> 00:16:57,039 Speaker 3: Let's film this again. I'm gonna ask this question. Yes, 322 00:16:57,080 --> 00:17:00,480 what does Indy do to save the day? Nothing, exactly, 323 00:17:00,840 --> 00:17:04,079 It's exactly the same. You have God from the machine again, 324 00:17:04,160 --> 00:17:09,039 and in this situation you've got actual God from the machine. 325 00:17:09,119 --> 00:17:10,400 Speaker 4: I mean that's what it is. 326 00:17:11,480 --> 00:17:14,680 Speaker 3: The Arc I mean is the machine and the power 327 00:17:14,759 --> 00:17:18,000 of God then annihilates the enemy. 328 00:17:18,519 --> 00:17:20,839 Speaker 4: This scene is so cool. This scene terrified me as 329 00:17:20,880 --> 00:17:22,400 a kid. I know you and I have talked a 330 00:17:22,440 --> 00:17:25,319 little bit about this. Yeah, it was. It scared me 331 00:17:25,359 --> 00:17:30,039 to death. The music from John Williams makes it amazing. Yes, 332 00:17:30,440 --> 00:17:34,279 but it's a slow burn too. First, because they take 333 00:17:34,319 --> 00:17:36,640 the lid off the arc. They reach in, they pull 334 00:17:36,640 --> 00:17:38,599 out and out of the sand, right, and it's sort 335 00:17:38,599 --> 00:17:39,039 of this. 336 00:17:39,720 --> 00:17:42,119 Speaker 3: And then laughing and they're laughing at God. 337 00:17:42,400 --> 00:17:42,519 Speaker 4: Right. 338 00:17:42,640 --> 00:17:43,440 Speaker 3: You know where that gets you? 339 00:17:43,640 --> 00:17:47,160 Speaker 4: Oh yeah, so it's about to find out what happened 340 00:17:48,240 --> 00:17:49,960 sand And then all of a sudden boom, there's like 341 00:17:50,000 --> 00:17:53,519 clouds right, and then light righting from inside the arc 342 00:17:54,119 --> 00:17:56,400 and it's like, oh my gosh, here we go. What's 343 00:17:56,440 --> 00:17:56,839 going on? 344 00:17:57,279 --> 00:17:59,759 Speaker 3: There's some beauty. Oh and we see beauty. 345 00:17:59,440 --> 00:18:02,839 Speaker 4: When the spirits come out, they're beautiful, right, these angels 346 00:18:04,160 --> 00:18:06,759 Angels slash Demons. 347 00:18:06,759 --> 00:18:11,119 Speaker 3: Turns into Poltergeist all of a sudden, they're flying around 348 00:18:11,440 --> 00:18:12,720 and it's still this slow burn. 349 00:18:12,799 --> 00:18:16,720 Speaker 4: It's this majestic music, and they're kind of, you know, 350 00:18:16,799 --> 00:18:19,319 creeping on these German soldiers and they're like, oh, what's 351 00:18:19,359 --> 00:18:22,279 going on here? And then their face turns into like 352 00:18:22,319 --> 00:18:26,440 a tiger, right, this monster ra it's like a skeleton 353 00:18:26,480 --> 00:18:30,039 to me. Yeah, I mean horrific. It changes from a 354 00:18:30,039 --> 00:18:31,680 beautiful woman to a. 355 00:18:31,960 --> 00:18:36,160 Speaker 3: Monster, right, And their only response is to start screaming. 356 00:18:35,720 --> 00:18:40,240 Speaker 4: And they and Tote is screaming his head off, and 357 00:18:40,680 --> 00:18:43,079 Bellock is screaming his head off. And this is actually 358 00:18:43,079 --> 00:18:47,839 where it almost got its r rating, when Bellock's head 359 00:18:48,039 --> 00:18:53,160 actually explodes. The fire from the arc shoots and it's 360 00:18:53,200 --> 00:18:57,480 sort of projecting out from his from his head, which 361 00:18:57,480 --> 00:19:00,480 I want to mention for a second. He he is 362 00:19:01,519 --> 00:19:05,839 Bellock is dressed as a high priest, right, a Jewish 363 00:19:05,880 --> 00:19:08,359 hy Jewish high priest, which as a kid, I'm like, well, 364 00:19:08,440 --> 00:19:10,400 he's kind of wearing some weird clothes. What's the wheel here? 365 00:19:10,559 --> 00:19:13,000 He is dressed appropriately as a Jewish. 366 00:19:12,759 --> 00:19:14,680 Speaker 3: High priest, and boy, that comes back to him for. 367 00:19:14,599 --> 00:19:17,759 Speaker 4: Sure, that's exactly right. But right before that all happens 368 00:19:18,359 --> 00:19:21,599 and he tells Marion, shut your eyes, Marion, don't look 369 00:19:21,599 --> 00:19:24,160 at it, because he knows shut. 370 00:19:24,200 --> 00:19:27,720 Speaker 3: The uncertainty that you've seen in his eyes is his unbelief, 371 00:19:28,160 --> 00:19:31,759 you know, the hocus Pocus, the folklore when it gets 372 00:19:31,880 --> 00:19:36,279 down to brass tacks and he says, close your eyes, Marian, 373 00:19:36,720 --> 00:19:38,519 don't look because he knows what's coming. 374 00:19:38,720 --> 00:19:43,079 Speaker 4: That's right. I think it's interesting. Did God spare Indian 375 00:19:43,160 --> 00:19:46,599 Marian because they didn't look or because they weren't German? 376 00:19:47,039 --> 00:19:52,240 Speaker 3: I'm going to say he spared them because they gave 377 00:19:52,359 --> 00:19:57,200 him the respect that was due. Okay, the only two 378 00:19:57,400 --> 00:20:00,240 who were saved were the two who dared not look 379 00:20:00,319 --> 00:20:09,319 upon the glory of God. So my question on this, 380 00:20:09,400 --> 00:20:14,920 and this is final big idea of Raiders is exploration 381 00:20:15,160 --> 00:20:18,759 and the journey. So is it the goal? Is it 382 00:20:18,839 --> 00:20:22,400 the arc or is it the journey that gives our 383 00:20:22,440 --> 00:20:27,000 soul life? Because without the journey, Andy can't believe right 384 00:20:27,079 --> 00:20:30,079 if he'd gotten the arc, right, after talking to Brody 385 00:20:30,200 --> 00:20:32,119 right after leaving on the plane, he'd have been trying 386 00:20:32,160 --> 00:20:35,319 to put it in a museum. But we go through 387 00:20:35,359 --> 00:20:37,720 the journey that he has with Marian and has love 388 00:20:37,799 --> 00:20:40,440 for her and the struggle with the ark and the 389 00:20:40,480 --> 00:20:43,839 power that he starts to see and it's not in 390 00:20:43,839 --> 00:20:47,880 his love for Marian, it's not in God. But why 391 00:20:47,920 --> 00:20:51,680 does he believe he goes on this quest? He starts 392 00:20:51,720 --> 00:20:55,279 off because it's for the history, right or maybe the money, 393 00:20:55,319 --> 00:20:58,319 fortune and glory, fortune, glory. Yeah, the museum will pay 394 00:20:58,319 --> 00:21:02,039 as usual, no questions asked. But there's something more to it. Yeah, 395 00:21:02,359 --> 00:21:06,200 through this journey there is something more to it, and we. 396 00:21:06,279 --> 00:21:09,400 Speaker 5: Trust you found the settlement satisfactory. 397 00:21:09,559 --> 00:21:12,960 Speaker 4: Well, the money's fine, the situation is totally unaccepted. Well, gentlemen, 398 00:21:13,079 --> 00:21:15,000 I guess that just about wraps it up. 399 00:21:15,039 --> 00:21:19,359 Speaker 3: Where is the arc in the hands of top men? 400 00:21:20,640 --> 00:21:21,200 Speaker 4: Who? 401 00:21:21,279 --> 00:21:26,160 Speaker 3: Who top men? So it is to be hidden? 402 00:21:26,359 --> 00:21:29,880 Speaker 4: We do actually see the arc again in Crystal Skull. 403 00:21:30,200 --> 00:21:33,880 Speaker 3: I said that movie doesn't exist. I have not watched it. 404 00:21:33,920 --> 00:21:35,039 Speaker 2: I refuse to watch it. 405 00:21:35,119 --> 00:21:35,799 Speaker 3: That doesn't count. 406 00:21:35,880 --> 00:21:38,400 Speaker 4: That's the only cool thing in Crystal Skull. When they 407 00:21:38,440 --> 00:21:41,359 go to Area fifty one and they somebody smashes into 408 00:21:41,359 --> 00:21:43,240 a box and you see the corner piece of the arc. 409 00:21:43,440 --> 00:21:46,720 That's it. That's all the only redeeming value of Crystal Skull. 410 00:21:46,799 --> 00:21:48,599 Speaker 3: Okay, as long as you've touched on it, I'm going 411 00:21:48,640 --> 00:21:50,559 to throw this out. So we've talked about the mcguffin 412 00:21:51,079 --> 00:21:55,000 for Raiders of the Lost Arc. Obviously is the arc, right, yes, 413 00:21:55,000 --> 00:21:58,039 And then the mcguffin for Back to the Future is 414 00:21:58,279 --> 00:22:01,640 the time Machine, which is made out of a DeLorean, right, 415 00:22:01,680 --> 00:22:04,039 but it wasn't originally supposed to be a DeLorean. 416 00:22:04,160 --> 00:22:06,160 Speaker 4: That is exactly what I was getting ready to say. 417 00:22:06,400 --> 00:22:08,839 Speaker 3: The first idea that they have for it is it's 418 00:22:08,880 --> 00:22:13,400 going to be a refrifrigerator, right, which is stupid. Of 419 00:22:13,440 --> 00:22:16,079 course it's stupid. I mean, how if I learned anything 420 00:22:16,119 --> 00:22:20,440 from Gi Joe, it is that you don't get into refrigerators, right, I. 421 00:22:20,400 --> 00:22:24,759 Speaker 4: Mean, that's right, Thank you Gi Joe for PSA and 422 00:22:24,799 --> 00:22:28,680 knowing is half the battle. But they wisely realized if 423 00:22:28,720 --> 00:22:30,319 we put it in a refrigerator, how is he going 424 00:22:30,359 --> 00:22:30,799 to get around? 425 00:22:30,839 --> 00:22:31,519 Speaker 2: I mean, you have to have. 426 00:22:31,480 --> 00:22:34,839 Speaker 3: Wheels, right, Well, Steven Spielberg is the one who said, 427 00:22:35,160 --> 00:22:38,279 don't use a refrigerator. That's going to cause problems. We'll 428 00:22:38,319 --> 00:22:40,920 have kids getting the refrigerators and be blamed. Then he 429 00:22:41,079 --> 00:22:43,519 uses it in Crystal Skull, which again is a reason 430 00:22:43,559 --> 00:22:44,799 that this movie doesn't exist for me. 431 00:22:44,839 --> 00:22:47,039 Speaker 4: The nuclear blast and he's inside of a refrigerator and 432 00:22:47,079 --> 00:22:50,279 he gets blown four miles and it doesn't hurt nearly 433 00:22:50,319 --> 00:22:54,920 as bad as the time Marian punched him. 434 00:22:55,119 --> 00:23:01,920 Speaker 3: Oh oh, or hit it with the mirror. My gosh, 435 00:23:02,720 --> 00:23:09,039 that moment the huge did you say something that always 436 00:23:09,119 --> 00:23:12,559 makes me laugh? Okay, So Indy has completed his journey 437 00:23:12,960 --> 00:23:15,319 and we can see that there's some sort of redemption 438 00:23:15,720 --> 00:23:19,880 because the final thing that he says is they don't 439 00:23:19,920 --> 00:23:21,559 know what they've got there. 440 00:23:21,440 --> 00:23:22,680 Speaker 4: But I know what I've got here. 441 00:23:23,799 --> 00:23:24,039 Speaker 6: Right. 442 00:23:25,880 --> 00:23:28,880 Speaker 4: And actually that scene with Indy and Marian walking out 443 00:23:29,519 --> 00:23:31,440 and sort of walking down the steps, yes, that was 444 00:23:31,480 --> 00:23:35,160 a last minute throw in, I think by George Lucas's wife. 445 00:23:35,240 --> 00:23:38,759 So you have this the conclusion Indy and Marian chains 446 00:23:38,759 --> 00:23:42,400 are burned off and they're released. God spared them. But anyway, 447 00:23:42,440 --> 00:23:45,400 there was no conclusion with Marian, and so George Lucas's 448 00:23:45,440 --> 00:23:48,359 wife was like, well, what happens to Marion when they're 449 00:23:48,359 --> 00:23:50,880 the closing scene with Marion and they threw in that. 450 00:23:51,160 --> 00:23:53,200 Speaker 3: Well that was good because it needed to be there. 451 00:23:53,279 --> 00:23:55,359 Without that closing scene, you would have felt like you 452 00:23:55,359 --> 00:23:57,319 didn't have closure right right, And then you have the 453 00:23:57,519 --> 00:24:00,119 very unpleasant, you know, hiding of the arc again. 454 00:24:01,559 --> 00:24:04,920 Speaker 4: Going in the giant warehouse with four billion boxes of 455 00:24:05,200 --> 00:24:09,720 who knows what? Right which for me as a kid, 456 00:24:10,079 --> 00:24:13,319 it stirred my imagination. Yeah, like what's in this place? 457 00:24:13,440 --> 00:24:14,160 Speaker 2: Right right? 458 00:24:14,240 --> 00:24:14,880 Speaker 4: What do they have? 459 00:24:31,759 --> 00:24:35,200 Speaker 3: So back to the original idea, the way, hey refrigerator 460 00:24:35,279 --> 00:24:37,519 is a time machine is a bad idea. We need 461 00:24:37,519 --> 00:24:41,920 to do something else. Should we do a phone booth? Now, 462 00:24:42,000 --> 00:24:44,319 let's leave that for Bill and Ted or doctor who 463 00:24:44,400 --> 00:24:47,440 or whatever? And so how about we do a car? 464 00:24:47,759 --> 00:24:50,160 And so they pick the car that is just this 465 00:24:50,240 --> 00:24:50,759 cool car. 466 00:24:50,839 --> 00:24:53,480 Speaker 4: Now, I'd love to own one one day. I would 467 00:24:53,519 --> 00:24:56,000 love to pull up with my flex capacity or flexing. 468 00:24:56,039 --> 00:24:58,000 Speaker 3: That would definitely have to have that and a mister. 469 00:24:57,799 --> 00:25:00,599 Speaker 4: Fusion and definitely have to have the yes. 470 00:25:01,039 --> 00:25:03,599 Speaker 3: So that is where we come back with Marty. Right, 471 00:25:03,799 --> 00:25:06,960 Marty is on the road back. He's like, oh shoot, 472 00:25:07,079 --> 00:25:11,200 I'm late for that one and only half second shot 473 00:25:11,240 --> 00:25:13,759 to make it back home. Maybe I should have ended 474 00:25:13,759 --> 00:25:16,079 that shredding a bit sooner, okay, And then we have 475 00:25:16,160 --> 00:25:18,240 oh no, the cable broke and oh no, the car 476 00:25:18,279 --> 00:25:20,839 won't start, and oh no, the cable broke again, and 477 00:25:21,160 --> 00:25:22,839 oh no. Doc is stuck at the top of the 478 00:25:22,839 --> 00:25:25,119 building and the boy, can you build some tension on 479 00:25:25,160 --> 00:25:25,519 this thing? 480 00:25:25,759 --> 00:25:30,480 Speaker 4: And this is my problem? So the tension level great, Yeah, drama, 481 00:25:31,079 --> 00:25:34,920 great writing spectacular. I understand all that. Yeah, but Doc 482 00:25:34,960 --> 00:25:37,880 makes it clear. Yeah, when that bell goes off, you 483 00:25:38,000 --> 00:25:41,319 better hit the gas. You're not gonna We're talking about 484 00:25:41,480 --> 00:25:45,000 a lightning strike, right, It's not like it hangs around right, 485 00:25:45,119 --> 00:25:48,200 well for two and a half minutes, Marty's farting around 486 00:25:48,240 --> 00:25:50,039 with the car, can't get the car started. 487 00:25:49,799 --> 00:25:52,480 Speaker 3: Well at least thirty seconds anyway, right, right. So, but 488 00:25:52,559 --> 00:25:55,880 here's the thing. There's a full sixty seconds in a minute. 489 00:25:55,920 --> 00:25:58,880 I mean, you're looking at a giant minute hand on. 490 00:25:59,160 --> 00:25:59,960 Speaker 2: A clock tower. 491 00:26:00,240 --> 00:26:03,119 Speaker 3: How do you know whether it's it's it's you know, 492 00:26:03,319 --> 00:26:06,759 ten oh four and ten seconds or ten oh four 493 00:26:06,920 --> 00:26:08,400 and forty five seconds. 494 00:26:08,160 --> 00:26:12,440 Speaker 4: Because Doc says it precisely ten oh four PM, right, 495 00:26:12,480 --> 00:26:13,119 whatever it was. 496 00:26:13,279 --> 00:26:15,880 Speaker 3: Yeah, there's no way that he could have possibly known 497 00:26:15,920 --> 00:26:19,079 that from looking at a piece of paper that was 498 00:26:19,119 --> 00:26:24,079 printed on an old nineteen eighties printer's. 499 00:26:22,640 --> 00:26:23,920 Speaker 4: No way maybe true. 500 00:26:24,000 --> 00:26:25,519 Speaker 3: And then of course you also have the tension of 501 00:26:25,559 --> 00:26:27,559 the fact that he's just trying to tell Doc, just 502 00:26:27,599 --> 00:26:29,440 trying to warn him about the future, and he can't 503 00:26:29,440 --> 00:26:29,720 do it. 504 00:26:30,160 --> 00:26:30,559 Speaker 1: Huh. 505 00:26:30,839 --> 00:26:33,400 Speaker 3: I'm in a time machine, of course, ten minutes? How 506 00:26:33,480 --> 00:26:34,400 to do it? 507 00:26:34,519 --> 00:26:35,119 Speaker 4: Stupid? 508 00:26:35,599 --> 00:26:38,400 Speaker 3: So I can remember thinking after I saw the movie, 509 00:26:38,400 --> 00:26:40,680 why in the world would he only have put ten minutes? 510 00:26:41,039 --> 00:26:44,119 But now having teenagers of my own, that's right, that 511 00:26:44,240 --> 00:26:45,799 is exactly something that they would do. 512 00:26:45,960 --> 00:26:50,119 Speaker 4: I don't need ten minutes, I only need nine minutes 513 00:26:50,160 --> 00:26:51,759 and fifty nine seconds, right. 514 00:26:51,839 --> 00:26:55,039 Speaker 3: I mean, why give yourself any wiggle room at all? 515 00:26:55,279 --> 00:26:59,279 Why why not go? Well, it'll you know, even if 516 00:26:59,319 --> 00:27:01,359 I had to crawl on my hands and knees because 517 00:27:01,359 --> 00:27:03,200 I wrecked the car, I could make it there in 518 00:27:03,240 --> 00:27:03,799 two hours. 519 00:27:03,799 --> 00:27:08,200 Speaker 4: See, your front of love is fully developed. Seventeen year 520 00:27:08,240 --> 00:27:11,880 olds think like this, right, and so of course it works. 521 00:27:12,079 --> 00:27:15,279 Speaker 3: Lightning strikes at the exact right time, and he's back 522 00:27:15,279 --> 00:27:18,400 in nineteen eighty five. But again, let's build that tension. 523 00:27:18,519 --> 00:27:23,079 The car dies again, and just to touch this on 524 00:27:23,119 --> 00:27:26,759 another setup that you don't even know as a setup. Okay, 525 00:27:27,279 --> 00:27:29,799 the bomb, Yes, do you know who he is? 526 00:27:29,960 --> 00:27:33,960 Speaker 6: You told me this and I've read Thomas reelect mayor 527 00:27:34,160 --> 00:27:38,000 read Thomas. Oh my gosh, the bomb was the mayor 528 00:27:38,079 --> 00:27:40,240 back in the fact that this was his middle name. 529 00:27:40,400 --> 00:27:42,880 Speaker 7: So Marty busts it back to nineteen eighty five, right, 530 00:27:43,000 --> 00:27:47,200 and then we have our resurrection again, right, Doc lives 531 00:27:47,440 --> 00:27:50,759 and how how I figured what the heck? 532 00:27:50,799 --> 00:27:55,920 Speaker 4: Which one thing? Obviously, George McFly looks very good compared 533 00:27:55,920 --> 00:27:58,200 to his former nineteen eighty five itself. 534 00:27:58,319 --> 00:27:59,319 Speaker 3: Yeah, Biff, you. 535 00:27:59,279 --> 00:28:01,640 Speaker 4: Know he's wearing that weird leisure suit. He doesn't look 536 00:28:01,680 --> 00:28:05,759 good and that's fine, right Lorraine. Yes, the nineteen eighty 537 00:28:05,759 --> 00:28:09,160 five Lorraine is much dinner. Yes, but I gotta tell 538 00:28:09,200 --> 00:28:11,119 you the twenty. 539 00:28:10,759 --> 00:28:12,079 Speaker 3: Nineteen Lea Thompson. 540 00:28:12,160 --> 00:28:16,519 Speaker 4: Lea Thompson looks amazing. Way, she's way better looking though, 541 00:28:16,960 --> 00:28:17,920 future of Lorraine. 542 00:28:18,240 --> 00:28:21,920 Speaker 3: Yeah, so good job, Lea Thompson. Props to you. So 543 00:28:22,400 --> 00:28:25,319 if you put your mind to it, you can accomplish anything. 544 00:28:26,039 --> 00:28:29,160 And again we have to say is it the journey 545 00:28:29,319 --> 00:28:29,720 or is. 546 00:28:29,680 --> 00:28:30,799 Speaker 2: It the goal? 547 00:28:31,000 --> 00:28:35,200 Speaker 3: Right, because without going on this journey, Marty cannot have 548 00:28:35,319 --> 00:28:38,000 overcome his fear of rejection that has been ingrained in 549 00:28:38,039 --> 00:28:40,400 him by his father, and he can't believe in his 550 00:28:40,519 --> 00:28:44,160 dad until he goes through this experience. His dad starts 551 00:28:44,160 --> 00:28:50,160 with I'm just not very good at confrontations, and then 552 00:28:50,200 --> 00:28:52,519 it's he never stood up to Biff in his life. 553 00:28:52,640 --> 00:28:55,480 So this journey allows Marty to see things that had 554 00:28:55,640 --> 00:28:59,559 shaped his father's life and perspective. And it's only through 555 00:28:59,640 --> 00:29:03,240 that journey that he can see how similar that they 556 00:29:03,319 --> 00:29:08,880 are and that his dad's change can inspire him to 557 00:29:08,920 --> 00:29:10,960 be something more than he thought he could be too. 558 00:29:16,440 --> 00:29:18,880 Speaker 4: So are we ready to do our final results? 559 00:29:19,119 --> 00:29:19,480 Speaker 3: Yeah? 560 00:29:19,599 --> 00:29:24,160 Speaker 4: Okay, So for me, let's just start it out. I 561 00:29:24,240 --> 00:29:27,480 love both of these movies, Starr, Starry Night, Mona Lisa. 562 00:29:27,480 --> 00:29:31,039 Exactly which do you prefer? They're both amazing. In my opinion, 563 00:29:31,039 --> 00:29:33,160 there's three perfect movies from the eighties, and when I 564 00:29:33,160 --> 00:29:35,160 say perfect, what I mean are ten out of ten? 565 00:29:35,200 --> 00:29:37,680 I don't mean perfect. Raiders of Lost Ark is one yes, 566 00:29:37,799 --> 00:29:40,480 Back to the Future is one yes, and for me, 567 00:29:40,599 --> 00:29:43,279 Diehard is one. I agree with all three of those. Okay, 568 00:29:43,440 --> 00:29:46,599 So when we compare Raiders to Back to the Future, yes, 569 00:29:46,799 --> 00:29:49,759 we are comparing the Mona Lisa to his story Night Right, 570 00:29:49,839 --> 00:29:54,319 But for myself. The movie that I'm going to choose 571 00:29:54,359 --> 00:30:00,680 to sit down and watch the most his Raiders. And 572 00:30:00,759 --> 00:30:02,759 I know that you based on what we've kind of 573 00:30:02,759 --> 00:30:05,319 talked about, I know that you're about to the future guy. 574 00:30:05,960 --> 00:30:08,319 Speaker 3: Are you going to give away my answer already? 575 00:30:09,720 --> 00:30:09,799 Speaker 4: No? 576 00:30:09,960 --> 00:30:12,000 Speaker 3: I mean, I don't think anybody's gonna be surprised. I 577 00:30:12,000 --> 00:30:15,640 don't think anybody's gonna be surprised about this, right, I agree. 578 00:30:15,880 --> 00:30:18,559 Three greatest movies are the three that you have mentioned, 579 00:30:18,680 --> 00:30:21,079 And in any moment, it would be a difficult decision 580 00:30:21,119 --> 00:30:23,000 to pick which one I would want to watch at 581 00:30:23,000 --> 00:30:27,400 any particular time. But here's my perspective on Raiders versus 582 00:30:27,559 --> 00:30:31,559 Back to the Future. Raiders gave me something like James Bond, 583 00:30:31,559 --> 00:30:34,000 but much much better. Yes, but it was something that 584 00:30:34,359 --> 00:30:37,200 was like Superman. He was in a place that I 585 00:30:37,200 --> 00:30:40,720 could never be. I could never be Indiana Jones. And 586 00:30:40,960 --> 00:30:43,839 as much as we identify him with Indy because he's 587 00:30:43,839 --> 00:30:48,039 this imperfect guy and he feels pain and he makes mistakes, 588 00:30:48,440 --> 00:30:51,160 he's still a guy who could get dragged behind a 589 00:30:51,200 --> 00:30:54,720 car and make it out and win. He's still a 590 00:30:54,799 --> 00:30:59,279 guy who can defeat all of the weird booby traps 591 00:30:59,279 --> 00:31:03,000 with his incredible intellect. It's not reality to me. I 592 00:31:03,039 --> 00:31:05,359 love it, I love it, love it, love it, but 593 00:31:05,400 --> 00:31:07,400 it's just not real enough to be real to me. 594 00:31:07,680 --> 00:31:10,359 Plus it takes place in a time that I didn't 595 00:31:10,400 --> 00:31:14,200 exist him. Thirty six with Back to the Future, I 596 00:31:14,240 --> 00:31:16,640 got all of that and a guy that I could 597 00:31:16,680 --> 00:31:19,839 totally see myself being. I had a skateboard at the 598 00:31:19,880 --> 00:31:22,359 time that I saw him skateboarding behind the cars, and 599 00:31:22,400 --> 00:31:24,200 I wondered to myself, I was like, can I do that? 600 00:31:24,319 --> 00:31:26,160 I wonder if regret that now? I lived eight miles 601 00:31:26,160 --> 00:31:27,799 away from my school, so that was really an option 602 00:31:27,839 --> 00:31:31,680 for me. But the skateboarding the slacker part of things. 603 00:31:31,720 --> 00:31:34,400 And I wasn't particularly a slacker, but I was kind 604 00:31:34,440 --> 00:31:37,079 of a guy who had disdained for authority, and so 605 00:31:37,599 --> 00:31:40,839 he was just he was so much more personable and 606 00:31:40,880 --> 00:31:43,720 identifiable in somebody who I could say that could be me, 607 00:31:43,920 --> 00:31:46,480 and if I went back in time, that could be me. 608 00:31:46,839 --> 00:31:47,599 Speaker 4: Yeah, for sure. 609 00:31:47,680 --> 00:31:50,359 Speaker 3: And so I think that the ages that we were 610 00:31:50,599 --> 00:31:52,359 given that you're just a few years older than me. 611 00:31:52,440 --> 00:31:54,880 Raiders came out in eighty one, Yep, this came out 612 00:31:54,960 --> 00:31:57,680 eighty five, so we've got four year difference there. So 613 00:31:58,119 --> 00:32:00,640 you're at a pivotal time in your life, you see Raiders. 614 00:32:00,680 --> 00:32:05,000 I'm still pretty young. I'm in a pitiful pivotal time 615 00:32:05,519 --> 00:32:08,559 in my life. It was a little pitiful too, but 616 00:32:09,480 --> 00:32:11,079 I went out and bought a jeans jacket. 617 00:32:11,119 --> 00:32:11,319 Speaker 4: You know. 618 00:32:11,720 --> 00:32:15,079 Speaker 3: I became kind of obsessed with the idea of playing guitar, 619 00:32:15,119 --> 00:32:17,799 and it took three years before I started actually plucking 620 00:32:17,799 --> 00:32:21,039 at the strings. But I was still fascinated by being 621 00:32:21,279 --> 00:32:24,240 a guy up on stage playing music. So Back of 622 00:32:24,240 --> 00:32:28,160 the Future will always be the most impactful movie for me, 623 00:32:28,240 --> 00:32:29,240 And therefore the movie that. 624 00:32:29,240 --> 00:32:31,359 Speaker 4: I go back to fault you for any of that, 625 00:32:31,519 --> 00:32:33,640 I can't fault you for anything. Michael J. Fox is 626 00:32:33,720 --> 00:32:36,920 so good as Marty and Harrison Ford is so good 627 00:32:36,960 --> 00:32:40,720 as Indiana Jones. You can't imagine them anybody else. Right now, 628 00:32:41,480 --> 00:32:44,880 Tom Selleck would have been wrong. Eric Stoltz would have 629 00:32:44,960 --> 00:32:47,599 been wrong. Eric Stoltz, in my opinion, is more wrong 630 00:32:47,640 --> 00:32:50,559 than Tom Selleck would have been wrong. But I'm with you, 631 00:32:51,839 --> 00:32:54,279 But both movies are just so good. I don't know, 632 00:32:54,359 --> 00:32:56,400 I love them both. It's it's hard for me to say. 633 00:32:56,400 --> 00:33:00,240 But for me, Raiders, the action, the adventure, I think 634 00:33:00,279 --> 00:33:04,279 it does such a good job of each scene topping 635 00:33:04,319 --> 00:33:08,359 the other one without it being overkill, and it just 636 00:33:08,440 --> 00:33:10,519 keeps pushing the envelope. Oh my gosh, you got away, 637 00:33:10,559 --> 00:33:12,200 but now this thing is gonna and now you gotta 638 00:33:12,240 --> 00:33:15,279 do this, I guess. But back to the future, same 639 00:33:15,440 --> 00:33:17,880 same deal. Right, they knocked out Biff, but now I 640 00:33:17,880 --> 00:33:19,480 got to go play the solo because if I don't, 641 00:33:19,519 --> 00:33:22,079 they don't kiss, and they don't dance, then I'm history. 642 00:33:22,240 --> 00:33:25,599 Speaker 3: Right these if you wanted to have a class on 643 00:33:25,880 --> 00:33:30,079 how to write a good story that is a movie, 644 00:33:30,160 --> 00:33:33,680 and how to create obstacles in a scene that create tension, 645 00:33:34,000 --> 00:33:36,480 and how to have a character that goes through the 646 00:33:36,519 --> 00:33:40,400 hero's journey and comes out the other side better than 647 00:33:40,440 --> 00:33:43,640 he was at the beginning, both of these movies would 648 00:33:43,799 --> 00:33:44,680 teach your whole classes. 649 00:33:44,680 --> 00:33:45,640 Speaker 4: That's right, that's right. 650 00:33:45,720 --> 00:33:47,640 Speaker 3: So for all of you who have made it this far, 651 00:33:47,720 --> 00:33:50,599 thank you for listening to us. Don't forget to send 652 00:33:50,680 --> 00:33:52,559 us a rating. We would love that it helps us 653 00:33:52,559 --> 00:33:54,960 out with our stuff. Check us out on Twitter. 654 00:33:54,680 --> 00:33:58,680 Speaker 4: At Shirley Podcast and on Facebook at Shirley Podcast. Yeah, 655 00:33:58,799 --> 00:34:01,359 we'd love to hear from you. Please lead comments. Obviously, 656 00:34:01,440 --> 00:34:03,039 D and I both love these movies. But if you 657 00:34:03,079 --> 00:34:05,079 think one is better than the other, please let us know. 658 00:34:05,119 --> 00:34:06,000 We'd love to hear from you. 659 00:34:06,160 --> 00:34:07,960 Speaker 3: Right Or maybe you're going to argue that die Hard 660 00:34:08,000 --> 00:34:09,719 is better than both of them. We'd be hard pressed 661 00:34:09,719 --> 00:34:11,840 to make an argument against that, Honestly, it's a really 662 00:34:11,840 --> 00:34:14,159 great movie. Or maybe you've got some other movie from 663 00:34:14,159 --> 00:34:17,039 the eighties. If you've got some movie from the eighties 664 00:34:17,079 --> 00:34:19,760 that you can say this movie was better than die Hard, 665 00:34:20,119 --> 00:34:22,639 better than Raiders, and better than Back to the Future. 666 00:34:22,880 --> 00:34:24,079 I want to hear it, no doubt. 667 00:34:24,159 --> 00:34:27,440 Speaker 4: Now, if you are one of these people who believe 668 00:34:27,480 --> 00:34:30,159 that Crystal Skull is the best Indian and Jones movie, 669 00:34:30,639 --> 00:34:34,199 don't call in. We do not want to hear from you. 670 00:34:34,320 --> 00:34:34,880 That's for sure. 671 00:34:34,920 --> 00:34:39,719 Speaker 3: Your opinion no longer matter. Well, thank you very much, 672 00:34:39,920 --> 00:34:41,679 Thank you Jason for coming here and doing this week, 673 00:34:41,719 --> 00:34:42,199 and I love it. 674 00:34:42,719 --> 00:34:45,239 Speaker 4: I can't believe I finally got to talk in depth 675 00:34:45,519 --> 00:34:48,840 dork out. Thank you guys for listening to us. Thanks d. 676 00:34:52,719 --> 00:34:55,440 Speaker 2: All Right, that's it for episode four. Please join us 677 00:34:55,480 --> 00:34:55,960 next week. 678 00:34:56,000 --> 00:34:58,039 Speaker 4: We're going to tackle two of my favorite albums of 679 00:34:58,079 --> 00:35:02,039 all time, def Lebert's Pyramaniam versus def Leopards hysteria. 680 00:35:02,280 --> 00:35:04,440 Speaker 2: Yes, tune in for that one. Can't wait to see 681 00:35:04,480 --> 00:35:04,800 you guys. 682 00:35:04,840 --> 00:35:07,360 Speaker 3: Don't forget to subscribe, and if you've got a chance 683 00:35:07,360 --> 00:35:09,440 to throw us a five star review, we'd love that too. 684 00:35:09,679 --> 00:35:18,320 Speaker 2: See you guys next week. Thanks. Hey, everybody, welcome back. 685 00:35:18,400 --> 00:35:21,800 Speaker 3: We are here for the final episode of The Raiders 686 00:35:21,920 --> 00:35:36,000 versus Back to the Future. My kid, yep, all right 687 00:35:36,480 --> 00:35:40,480 and take two. All music, images and movie clips are 688 00:35:40,559 --> 00:35:43,760 used for the purposes of commentary and education in conjunction 689 00:35:43,840 --> 00:35:46,159 with the fair Use agreement under the US copyright law.