The Incomparable

186: Kazoo Parade


00:00:00   pop-pop-pop-pop don't you doing Khun [TS]

00:00:10   uncomfortable number 186 Morris 2014 [TS]

00:00:24   welcome back everybody to be [TS]

00:00:26   uncomfortable i'm your host Jason still [TS]

00:00:27   and it's time for the third edition of [TS]

00:00:30   our old movie club where we watch old [TS]

00:00:33   movies under the direction of the [TS]

00:00:34   curator of the old movie club mr. Philip [TS]

00:00:37   Michaels I Phil hello welcome back thank [TS]

00:00:40   you thank you for having me it's always [TS]

00:00:42   a pleasure to be here but isn't a [TS]

00:00:44   pleasure for you [TS]

00:00:45   well we got I got to see two movies I've [TS]

00:00:47   never seen before these are movies from [TS]

00:00:48   the early seventies let's introduce the [TS]

00:00:50   other two gentlemen who also watch these [TS]

00:00:52   movies David lawyers out there hi David [TS]

00:00:54   hello there to watch both movies I've [TS]

00:00:57   watched both many times many times okay [TS]

00:00:59   so you're you're you're an expert ish on [TS]

00:01:01   this steve lets is also out there Steve [TS]

00:01:03   or these uh these new movies to you I [TS]

00:01:06   yeah I was a new both of the right films [TS]

00:01:09   although I lived through the seventies [TS]

00:01:10   so I feel like I kind of live both of [TS]

00:01:12   these films already that was alive [TS]

00:01:13   during the making of both of these moves [TS]

00:01:15   barely but I was uh and i'm with you [TS]

00:01:18   Steve I I'd never seen them before [TS]

00:01:20   so the two movies are get carter and the [TS]

00:01:24   taking of pelham 123 and they have [TS]

00:01:26   something in common but for all of that [TS]

00:01:28   i thought i would hand it back to Phil [TS]

00:01:30   to explain a little bit about about [TS]

00:01:31   these movies and and why he selected [TS]

00:01:33   them for us to explain why you made us [TS]

00:01:36   watch these films yes that's why why [TS]

00:01:39   oh well uh I i wanted to get a little [TS]

00:01:43   contemporary we've been we've been back [TS]

00:01:45   in the the fifties a little bit on on [TS]

00:01:48   the previous episode something so 40 [TS]

00:01:49   years ago a little more different yeah a [TS]

00:01:51   little bit more contemporary within [TS]

00:01:53   within living memory for some of us [TS]

00:01:55   huh-uh [TS]

00:01:56   and their two movies i think are they [TS]

00:02:01   might be mainstays of your your cable [TS]

00:02:04   rotation back in the day but I think [TS]

00:02:06   they've kind of been overlooked by by [TS]

00:02:10   modern day movie fans and I i think [TS]

00:02:12   that's a shame because I enjoy both with [TS]

00:02:15   the realization that get carter is [TS]

00:02:17   something of an acquired taste for [TS]

00:02:19   people not to not to jump to the front [TS]

00:02:22   of the line here but they do have a lot [TS]

00:02:25   of things in common both are very much [TS]

00:02:28   of a time and a place taking of pelham [TS]

00:02:32   123 is set in the New York of the [TS]

00:02:34   nineteen seventies as it is crumbling [TS]

00:02:36   into dasya and mechanics and the movie [TS]

00:02:39   just sort of embrace it like slim [TS]

00:02:41   pickins at the end of dr. street it is [TS]

00:02:44   it jumps on the missile that his weight [TS]

00:02:46   it's cowboy hat and going to see high [TS]

00:02:48   off the ground and get carter seems to [TS]

00:02:51   have been set in the north of England [TS]

00:02:52   well after it has already crumbled into [TS]

00:02:54   test [TS]

00:02:55   yeah it yes it is not it takes place in [TS]

00:02:58   Newcastle and I i think both cities are [TS]

00:03:01   actually characters in the movie and in [TS]

00:03:04   a way in their respective movies and [TS]

00:03:07   both have very strong performances from [TS]

00:03:11   two actors who you don't really think of [TS]

00:03:15   his leading men at least audiences today [TS]

00:03:17   don't think of it as leading men get [TS]

00:03:19   carter stars michael caine and Walter [TS]

00:03:22   Matthau is the star of taking of pelham [TS]

00:03:24   123 and a guy i think the the for the [TS]

00:03:28   young people out there Michael Caine is [TS]

00:03:31   the is the butler in every young [TS]

00:03:34   everybody that Christopher Nolan makes [TS]

00:03:37   he just shows up and and sort of adds an [TS]

00:03:39   air of class two things and then he [TS]

00:03:41   makes and and you might see him another [TS]

00:03:43   many terrible movies because he's a [TS]

00:03:45   working British actor and get jaws the [TS]

00:03:48   revenge if ya got [TS]

00:03:50   yes there's not afraid of getting a [TS]

00:03:52   paycheck but he is a two-time [TS]

00:03:54   oscar-winner and yet he has made some [TS]

00:03:55   terrible movies and yet if you go back [TS]

00:03:58   to earlier early in his career which get [TS]

00:04:01   carter is when he was at establishing [TS]

00:04:03   himself as a stark it its he really was [TS]

00:04:07   a very good [TS]

00:04:09   actor and I think that gets overlooked [TS]

00:04:10   and the two years after he was in the [TS]

00:04:12   italian job right great one right and [TS]

00:04:14   not that long [TS]

00:04:16   not that long after Alfie with rice the [TS]

00:04:18   movie really is kind of the preeminent [TS]

00:04:20   English Butler go to in to post john [TS]

00:04:23   gielgud era [TS]

00:04:24   yes a clip yeah I'm surprised I wasn't [TS]

00:04:27   in the Arthur remake now she might have [TS]

00:04:31   a he might have like a no-compete clause [TS]

00:04:33   with christopher nolan i only bottle for [TS]

00:04:34   me in movies in my eye I only for me so [TS]

00:04:38   I sorry we started getting into get [TS]

00:04:40   carter shall we discuss that one first [TS]

00:04:41   let's before we get to get Carter we [TS]

00:04:43   should talk about the other thing these [TS]

00:04:44   two movies have in common which I i'm [TS]

00:04:46   sure we'll come back to at the end which [TS]

00:04:48   is that they were both remade remade [TS]

00:04:50   very recently i get carter was remade [TS]

00:04:52   about 10 years ago and taking of pelham [TS]

00:04:54   123 was remade in 2009 and when I [TS]

00:05:00   proposed the this episode to you jason i [TS]

00:05:03   think i phrased it is why does hollywood [TS]

00:05:05   ruin the things i love but because they [TS]

00:05:09   eat if you wipe the original movies from [TS]

00:05:13   from all memory and you only had the the [TS]

00:05:17   remakes available as evidence that these [TS]

00:05:19   films ever existed you would think my [TS]

00:05:21   god these are too terrible motion [TS]

00:05:22   pictures that then star people doing [TS]

00:05:26   terrible things and that make me unhappy [TS]

00:05:28   and I think that's a disservice to the [TS]

00:05:32   originals and this is this is this is a [TS]

00:05:34   case where you should you should skip [TS]

00:05:37   the remake and go go straight to the [TS]

00:05:39   source material i see so this is an [TS]

00:05:40   attempt to rehabilitate some of your [TS]

00:05:42   favorite movies that have been destroyed [TS]

00:05:44   in the exactly if you think of get [TS]

00:05:46   Carter as that terrible movie that [TS]

00:05:48   Sylvester Stallone made go back to the [TS]

00:05:52   original narrow it down a little bit [TS]

00:05:53   yeah well if you think of taking of [TS]

00:05:56   pelham 123 is just another movie in the [TS]

00:05:58   series of John Travolta's unfortunate [TS]

00:06:01   hair decisions [TS]

00:06:02   no no go back to nineteen seventy-four [TS]

00:06:04   and and watch Walter Matthau i see i was [TS]

00:06:07   going to say job with the movie latest [TS]

00:06:09   in a series of movies involving Denzel [TS]

00:06:11   Washington and trouble on trains [TS]

00:06:13   yes well alright so get Carter we should [TS]

00:06:18   start right let's let's start with that [TS]

00:06:20   get carter [TS]

00:06:22   basically it's it's a revenge picture uh [TS]

00:06:25   there there there used to be a very [TS]

00:06:28   popular genre of movie where it's [TS]

00:06:30   someone someone unsavory his unsavory [TS]

00:06:33   friends have done done him wrong and so [TS]

00:06:36   he spends the rest of the movie exacting [TS]

00:06:38   his his horrible revenge a contemporary [TS]

00:06:40   movie and get carter that did the same [TS]

00:06:43   thing was a point-blank with Lee Marvin [TS]

00:06:45   which I actually don't enjoy as much as [TS]

00:06:48   I I've grown to enjoy get carter and get [TS]

00:06:51   carter is set in as we said it's it's a [TS]

00:06:54   new castle though the title character [TS]

00:06:56   Jack Carter the title character get [TS]

00:06:59   carter is some is a london-based gang is [TS]

00:07:01   here [TS]

00:07:02   it's a rare hand but in England is [TS]

00:07:03   common yes friend his friends don't call [TS]

00:07:05   him get its kinda yes they just it was [TS]

00:07:07   just a Carter yeah and he finds out at [TS]

00:07:10   the beginning of the movie that his [TS]

00:07:11   brother has been murdered or whether [TS]

00:07:14   they're all he had a drunk driving [TS]

00:07:16   accident and it is drunk driving [TS]

00:07:17   accident but yeah it it was not was not [TS]

00:07:21   a clean kill this was a nada the place [TS]

00:07:24   where it's all on the up-and-up [TS]

00:07:26   yeah well when was that ever good enough [TS]

00:07:28   for us so a Carter goes back up to [TS]

00:07:31   Newcastle in a credit sequence I very [TS]

00:07:34   much enjoy if if if you don't like the [TS]

00:07:37   movie at least the soundtrack by ray bud [TS]

00:07:40   is is quite enjoyable [TS]

00:07:42   yeah i actually knew of this movie only [TS]

00:07:44   from cover versions of the theme song [TS]

00:07:46   right [TS]

00:07:46   several to a couple of my favorite bands [TS]

00:07:48   actually have played versions of this [TS]

00:07:50   and they're in their own way you should [TS]

00:07:52   share those covers because i would like [TS]

00:07:54   to very much hear them [TS]

00:07:55   there's the and he's on the train it's [TS]

00:07:57   like I'm riding the train and their [TS]

00:07:58   credits & music it's like wait a minute [TS]

00:08:00   it starts off with porn first of all [TS]

00:08:02   well yeah we should [TS]

00:08:04   yes I'm so my first note in this entire [TS]

00:08:06   project Phil is in the seventies porn [TS]

00:08:09   was unpleasant and not fun and made out [TS]

00:08:11   of slides [TS]

00:08:12   yeah it yeah that is it overthrew the [TS]

00:08:15   scene where it its wing in london man [TS]

00:08:18   its 1971 and and what would the swing [TS]

00:08:21   and mobsters in 1971 London do for kicks [TS]

00:08:24   they get together wear suits and watch [TS]

00:08:25   slides of black and white porn the other [TS]

00:08:27   wear suits and look really unhappy while [TS]

00:08:32   while a carousel of slides of [TS]

00:08:35   porn are just you know flashing on the [TS]

00:08:38   screen and it's like yeah it's [TS]

00:08:40   unpleasant just unpleasant have to [TS]

00:08:43   customize porn which is completely [TS]

00:08:45   delightful then and fun for the entire [TS]

00:08:48   family and in color my first note is [TS]

00:08:51   whoa you can actually see ding dong in [TS]

00:08:53   these shots that seems UNMISS it and [TS]

00:08:56   also i'm shocked this got an R rating [TS]

00:08:59   because you can in fact see very clear [TS]

00:09:03   some things that I've not seen an [TS]

00:09:05   r-rated film before but i believe and i [TS]

00:09:07   don't have to double-check this but I [TS]

00:09:09   believe it did not get an r-rating [TS]

00:09:11   originally and that that our rating is [TS]

00:09:13   now like retroactive yes because they [TS]

00:09:16   went back and said oh now this is this [TS]

00:09:19   is family fare Jesus did on the kids all [TS]

00:09:22   audiences admitted only slides [TS]

00:09:25   yeah it's not motion pictures it's just [TS]

00:09:27   slides that dingdong is clearly [TS]

00:09:30   stationary so it falls within the the [TS]

00:09:32   r-rating recommendations [TS]

00:09:34   yes so that so the mob that that Jack [TS]

00:09:37   Carter or Michael Caine is involved in [TS]

00:09:39   clearly they they they make a good chunk [TS]

00:09:41   of their business trading human flesh in [TS]

00:09:46   the porn industry or what passes for the [TS]

00:09:48   porn industry and in nineteen seventies [TS]

00:09:51   England side which is slides [TS]

00:09:54   yes step upper lip chaps let's uh I got [TS]

00:09:57   some good slides here here here [TS]

00:10:01   yes yeah quite and then he gets on a [TS]

00:10:05   train and their credit venues and then [TS]

00:10:06   theirs is theirs either in this theme [TS]

00:10:08   song first of all I have to ask it share [TS]

00:10:10   it sounds like it there is no other [TS]

00:10:11   sound there's another like some sort of [TS]

00:10:15   hammered dulcimer or something but it's [TS]

00:10:16   it's interesting that's for sure [TS]

00:10:18   it's an autoharp so Carter gets back to [TS]

00:10:21   Newcastle and take some no time at all [TS]

00:10:23   to to to figure out that this was in [TS]

00:10:27   fact probably a murder he just has to [TS]

00:10:30   figure out who who did it and why and [TS]

00:10:34   the rest the movies him piecing it [TS]

00:10:36   together talking to various members of [TS]

00:10:40   the Newcastle mob who we are we are [TS]

00:10:43   reminded come throughout the movie that [TS]

00:10:45   they are they are hard nuts they are not [TS]

00:10:47   people you want to cross not like those [TS]

00:10:49   suave London gangsters in their black [TS]

00:10:51   and white porn slides and so so one of [TS]

00:10:55   the things i like about this movie is is [TS]

00:10:57   that it's structured like a detective [TS]

00:10:59   movie because right he is solving the [TS]

00:11:01   mystery of who killed his brother and [TS]

00:11:04   why but what it does what it doesn't [TS]

00:11:06   have is all of the you know like I'm a [TS]

00:11:10   detective i'm seeking to find the truth [TS]

00:11:12   for some reason that's altruistic like [TS]

00:11:15   to bring them to justice [TS]

00:11:16   it's much more i am also a criminal and [TS]

00:11:18   I will find them and I will destroy [TS]

00:11:19   whoever killed my brother so it's it's I [TS]

00:11:22   like that twist on the fact that he's [TS]

00:11:23   still trying to solve a mystery it's [TS]

00:11:25   just kind of a morally right because he [TS]

00:11:28   grew up in Newcastle he knows many of [TS]

00:11:31   the gangsters there there's a there's a [TS]

00:11:33   slimy head gangster named yes Cyril who [TS]

00:11:39   it just I actually really enjoyed the [TS]

00:11:43   performance he's only in like two scenes [TS]

00:11:45   and john osborne yeah course it is john [TS]

00:11:49   osborne 380 I don't and I believe he's a [TS]

00:11:51   playwright actually and this was only [TS]

00:11:54   one of a couple of couple of movies that [TS]

00:11:56   he made but he he he just plays Cyril as [TS]

00:11:59   this as this guy who can't even be [TS]

00:12:02   bothered to care if there's this scene [TS]

00:12:03   where Michael Caine goes into confront [TS]

00:12:06   them and yeah Michael Caine knows that [TS]

00:12:07   he's involved and john osborne knows [TS]

00:12:10   that Michael K knows he's involved and [TS]

00:12:12   john osborne does not sweaty wit because [TS]

00:12:14   he he is he is in the the catbird seat [TS]

00:12:19   as it were I am amused by the scene [TS]

00:12:21   where he goes to the two Cyril's house [TS]

00:12:24   yeah and like knock some guys out [TS]

00:12:26   there's like shows a gun and then he [TS]

00:12:29   ends up wandering into the room where [TS]

00:12:30   there's a card game and they're like oh [TS]

00:12:33   Carter okay and he sits down and watches [TS]

00:12:36   them play cards for a while there's a [TS]

00:12:40   very weird lady who whispers things and [TS]

00:12:43   it's a very strange scene because it's [TS]

00:12:45   very complex there are lots of different [TS]

00:12:47   cutaways right it's a very big according [TS]

00:12:50   reading uh [TS]

00:12:51   i was reading like IMDb or Wikipedia [TS]

00:12:53   afterward they said it's like a [TS]

00:12:54   showpiece scene was very complicated [TS]

00:12:56   shoot and it is it's very complex and [TS]

00:12:58   it's made even more complex by the fact [TS]

00:13:00   that the woman who's who's talking to [TS]

00:13:03   him is whispering right so weird [TS]

00:13:08   that's a great scene is it there's a [TS]

00:13:09   real weird tension to it yeah she'sshe's [TS]

00:13:11   creepy as hell is just threads friends [TS]

00:13:13   and fans of Robert Altman and Friends of [TS]

00:13:15   robert altman to Allah will recognize [TS]

00:13:18   that tender where all the audio is [TS]

00:13:20   layered on top of each other and the [TS]

00:13:22   listener has to to pick it up and it is [TS]

00:13:25   taking me repeated viewings because like [TS]

00:13:27   you say the lady does whisper but [TS]

00:13:28   basically what she's telling them is [TS]

00:13:31   that all yeah I new year your bosses [TS]

00:13:33   were up here and I knew your brother and [TS]

00:13:35   aid it's basically there's enough [TS]

00:13:39   details in there that she completely [TS]

00:13:42   implicates 0in in the murder basically [TS]

00:13:45   and it's different because there's [TS]

00:13:47   there's so much distance therebetween [TS]

00:13:48   that there's this quiet intensity going [TS]

00:13:51   on with the poker game right and then [TS]

00:13:52   just this unbelievable ditzy busyness [TS]

00:13:55   that she's exuding right and up until [TS]

00:13:57   that point frankly there hasn't been a [TS]

00:13:59   whole lot of tension I mean there's been [TS]

00:14:00   a lot of standing around in suits [TS]

00:14:01   periodically there's maybe somebody [TS]

00:14:03   getting hit in the head with a log to [TS]

00:14:05   break it up yeah this is this really the [TS]

00:14:07   first time that there's just there's [TS]

00:14:08   just a real intense tension that builds [TS]

00:14:10   up there because you almost feel like [TS]

00:14:11   you're you're you're in here and Carter [TS]

00:14:15   spot and you're trying to pay attention [TS]

00:14:16   to to what cereals up to and meanwhile [TS]

00:14:18   this girl is kind of coming in here and [TS]

00:14:20   in trying to you know pull your focus [TS]

00:14:22   away and just feel like telling her to [TS]

00:14:23   shut the hell up i'm trying to listen to [TS]

00:14:26   the movie [TS]

00:14:27   listen lady I know you know Sid you [TS]

00:14:30   already told me four times cut it out [TS]

00:14:32   before this it's just slide porn and [TS]

00:14:35   then train rides and shaving over the [TS]

00:14:38   decaying corpse of your dead brother [TS]

00:14:39   yes is because I wall Carter is [TS]

00:14:43   conducting his his investigation of the [TS]

00:14:45   London mob decides they've had enough of [TS]

00:14:47   him running around up there causing [TS]

00:14:49   trouble so they they send a couple of [TS]

00:14:51   flunkies to bring it back and so [TS]

00:14:54   he's he's trying to elude the flunkies [TS]

00:14:57   who who are the flunky 'used there's a [TS]

00:15:00   delightful scene where they Carter [TS]

00:15:04   basically seduces his landlady yes well [TS]

00:15:08   she was interested so well sure it [TS]

00:15:10   didn't take much effort because you just [TS]

00:15:12   think yeah because because michael caine [TS]

00:15:16   and in 1971 was not a not a bad-looking [TS]

00:15:19   dude not the not the the weird creepy [TS]

00:15:24   Butler that time with you don't know if [TS]

00:15:26   it's a hit but yeah they show up and [TS]

00:15:29   he's he's naked and holding the rifle [TS]

00:15:31   and it one of the funniest lines in the [TS]

00:15:33   movie and I'm gonna get it wrong but the [TS]

00:15:35   the one of the flunky says come on Jack [TS]

00:15:38   we know that's not loaded in the the the [TS]

00:15:41   other flunky says he means the gun [TS]

00:15:44   it's like Carter falls off the bed and [TS]

00:15:47   then is able to just sort of like reach [TS]

00:15:49   around and get his gun and yourself if [TS]

00:15:52   you're going to stash your rifle under [TS]

00:15:53   the bed move the chamber pot out of the [TS]

00:15:55   way hit fats and a fun fact about that [TS]

00:15:58   rifle he carries around throughout the [TS]

00:16:01   movie but that never actually fires it [TS]

00:16:03   well it's his brothers I mean is that [TS]

00:16:05   that's one of the great poetic things is [TS]

00:16:06   that he's he stored his brothers a rise [TS]

00:16:09   pick up his brothers rifle at his [TS]

00:16:11   brother's house specifically so he can [TS]

00:16:13   use it at the appropriate moment right [TS]

00:16:15   and he also totes around that bottle of [TS]

00:16:16   whiskey the whole time so we can make [TS]

00:16:17   use of that [TS]

00:16:18   mhm and it actually it looks like his [TS]

00:16:20   his briefcase actually has a perfectly [TS]

00:16:22   sized slot for that bottle of whiskey so [TS]

00:16:24   I don't know if you had made but I want [TS]

00:16:27   yes yes so that the gun is a really nice [TS]

00:16:29   touch from the book and it's got lost in [TS]

00:16:33   every version of the movie that it's a [TS]

00:16:35   double-barreled shotgun and it's [TS]

00:16:36   supposed to represent his relationship [TS]

00:16:39   with his brother because it's two [TS]

00:16:40   barrels and because they always went [TS]

00:16:41   hunting his children that's this whole [TS]

00:16:43   mythology about the gun in the movies he [TS]

00:16:46   just carries the gun [TS]

00:16:48   yeah we should mention the book is jack [TS]

00:16:50   goes home I think of Jack comes home [TS]

00:16:52   tell you guys in your movies made of [TS]

00:16:54   paper [TS]

00:16:55   yeah books are just movies with words [TS]

00:16:59   man [TS]

00:16:59   we we skipped the fact that before he [TS]

00:17:04   has sex with a landlady catch e has a [TS]

00:17:07   phone call with his boss back in London [TS]

00:17:10   his girlfriend [TS]

00:17:12   yes who is also michael caine's [TS]

00:17:13   girlfriend and they there is a lengthy [TS]

00:17:17   1971 phone sex scene which really is [TS]

00:17:21   enlivened by those big heavy receivers [TS]

00:17:23   and my curling phone cord and what [TS]

00:17:27   happens is that funny is that the hotel [TS]

00:17:29   lady is listening to this and she's in a [TS]

00:17:32   rocking chair and she precedes to rock [TS]

00:17:34   her chair very strongly as she listened [TS]

00:17:39   lost the hell out of the conversation [TS]

00:17:40   between Michael came and and who is it [TS]

00:17:45   it's britt eklen britt ekland yeah that [TS]

00:17:47   scene made me feel funny and all the [TS]

00:17:49   rounds quite disturbing [TS]

00:17:53   I i guess this is the the thing that I [TS]

00:17:56   liked about the movie that made me go [TS]

00:17:59   back to it because that I I didn't care [TS]

00:18:02   for it the first time I saw it I said [TS]

00:18:04   that's kinda it's a very bleak movie in [TS]

00:18:06   a in a way almost unrelentingly bleak [TS]

00:18:10   but there's this strain of really a lot [TS]

00:18:14   of really funny bits that runs through [TS]

00:18:16   it a lot of lot of gallows humor to to [TS]

00:18:18   skip ahead [TS]

00:18:19   still got your sense of humor yeah to [TS]

00:18:23   skip ahead a bit [TS]

00:18:25   one of the people that Carter kills [TS]

00:18:28   towards the end of the movie is in a [TS]

00:18:30   meeting with these these people and me [TS]

00:18:32   they go off and Carter throws him off a [TS]

00:18:34   parking garage [TS]

00:18:36   yeah and the the guys are waiting about [TS]

00:18:38   it's very rude for him to leave us like [TS]

00:18:40   this and then they notice all the police [TS]

00:18:41   cars and ambulances pulling up and and [TS]

00:18:43   then one says and apparently this was a [TS]

00:18:45   nap lip line and I don't think we're [TS]

00:18:47   getting our feet on this job yeah it [TS]

00:18:51   just just a lot of really omit this leak [TS]

00:18:56   unrelenting a cycle of violence just [TS]

00:18:59   some really funny [TS]

00:19:02   you have to laugh don't you know you got [TS]

00:19:05   all i do is a Brumby that he floats ya I [TS]

00:19:09   was rounding off the office after the [TS]

00:19:11   robbery who [TS]

00:19:12   there's a really terrible dummy goes [TS]

00:19:14   flying off well yeah that's yeah that's [TS]

00:19:17   the limitations of moviemaking in 1971 [TS]

00:19:20   alright time for a sponsor break it is [TS]

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00:20:53   five-by-five and the uncomfortable [TS]

00:20:55   there's that we didn't mention so Carter [TS]

00:20:58   Carter meets another interesting lady [TS]

00:21:02   yeah it's that is it is really it's a [TS]

00:21:05   drunk lady again same lady and we only [TS]

00:21:08   had we only had enough money to cast 11 [TS]

00:21:10   floozy on this movie and so there's a [TS]

00:21:12   scene that I would say is the it's it's [TS]

00:21:16   when you're thinking should i buy the [TS]

00:21:17   manual transmission to the automatic as [TS]

00:21:20   the scene that says go with the manual [TS]

00:21:22   transmission there is a hilarious scene [TS]

00:21:24   that cuts but [TS]

00:21:25   be shifting of the car and the sex [TS]

00:21:29   seemed it is a scene of blended driving [TS]

00:21:31   Carter interspersed with scenes of car [TS]

00:21:33   driving Glenda so this little synergy [TS]

00:21:36   there yes cut back and forth as the [TS]

00:21:39   gearshift keeps going up and up and up [TS]

00:21:42   and the engine keeps revving I laughed [TS]

00:21:46   and laughed I i assume it was meant to [TS]

00:21:49   be humorous jacket washes it was because [TS]

00:21:52   that's what it was was Hugh very [TS]

00:21:54   humorous juxtaposition although [TS]

00:21:55   distressingly earlier when he's having [TS]

00:21:57   sex with the landlady it cuts to a bunch [TS]

00:22:01   of children walking through the street [TS]

00:22:03   having a kazoo parade which a children's [TS]

00:22:05   marching band I think Christians has got [TS]

00:22:08   to be the most depressing some real [TS]

00:22:12   kinky is going on there and i don't i [TS]

00:22:13   don't much not want to know what it is [TS]

00:22:15   I i believe the implication is that it's [TS]

00:22:17   rhythmic and a tonal yeah not not a fine [TS]

00:22:21   sports car seemed like a good idea but [TS]

00:22:24   in practice math it's a we should [TS]

00:22:28   mention that that scene with glenda and [TS]

00:22:29   the sports car and the AHA leads to [TS]

00:22:32   really the pivotal moment of the of the [TS]

00:22:35   motion picture and and really even [TS]

00:22:38   though we're we're living in the crafter [TS]

00:22:40   age then we were in 1971 kind of [TS]

00:22:44   shocking moment the first time I saw it [TS]

00:22:46   and it is still a little bit unsettling [TS]

00:22:48   Carter you know turns on the since porn [TS]

00:22:52   is everywhere they turn on this this [TS]

00:22:55   8-millimeter movie and well she's just [TS]

00:22:58   she goes to the bathtub after the right [TS]

00:23:00   sex and he he goes hey there's a movie [TS]

00:23:02   projector here i'll flip it on and see [TS]

00:23:04   what's there and it the it's a it's a [TS]

00:23:07   porno that the Newcastle mob has been [TS]

00:23:09   shot and it stars his niece his [TS]

00:23:11   brother's daughter [TS]

00:23:12   oh you know are quite possibly his own [TS]

00:23:14   daughter [TS]

00:23:15   yeah or quite possibly his own daughter [TS]

00:23:17   that almost certainly based on his [TS]

00:23:19   reaction yeah and that this is the scene [TS]

00:23:22   where really my Michael Caine flashes [TS]

00:23:24   the the acting chops because he goes [TS]

00:23:26   from one comprehending horror to [TS]

00:23:31   unspeakable sadness to murderous rage in [TS]

00:23:34   about 15 seconds [TS]

00:23:36   and it's it's it's a really well acted [TS]

00:23:39   scene is very well directed to i would [TS]

00:23:41   say because it's yes as his realization [TS]

00:23:43   is dawning on him the sound of the [TS]

00:23:46   projector going kind of ratchets up and [TS]

00:23:48   up and then they made a point of having [TS]

00:23:50   him being in front of a mirror so you [TS]

00:23:52   can catch his reaction as well as kind [TS]

00:23:54   of a blurred version what's going on in [TS]

00:23:55   the film at the same time it's really [TS]

00:23:58   well done really uh yeah it's a powerful [TS]

00:24:00   scene [TS]

00:24:01   I think and this sort of sets in motion [TS]

00:24:05   the the third act of the movie which is [TS]

00:24:07   basically Carter killing everybody [TS]

00:24:09   yeah its weakest point to jack has gone [TS]

00:24:12   full Rorschach before he was just [TS]

00:24:15   breaking fingers and now he's and he he [TS]

00:24:17   tries to drown before thinking better of [TS]

00:24:19   it he tries to drown [TS]

00:24:20   Glenda stuffs her in the trunk of the [TS]

00:24:22   color field to mention that it lays the [TS]

00:24:24   ground and support the porn that is [TS]

00:24:26   being generated by the northern mobsters [TS]

00:24:28   is a motion picture [TS]

00:24:30   yeah making it more advanced than the [TS]

00:24:32   pornography being viewed by the London [TS]

00:24:33   gangsters well Newcastle was always [TS]

00:24:35   ahead of london in the porn game in the [TS]

00:24:37   film production [TS]

00:24:38   yeah so uh but this is the almost [TS]

00:24:42   strangling her in an order and or [TS]

00:24:44   drowning her in the bathtub is not the [TS]

00:24:46   worst thing that he does to glenda [TS]

00:24:47   because then he decides to have her ride [TS]

00:24:49   in the trunk of his car or her car i [TS]

00:24:52   guess that he steals and he parks at [TS]

00:24:55   mira body of water and thugs come to get [TS]

00:24:58   him and decided that they will show him [TS]

00:25:00   what's what [TS]

00:25:01   by pushing his car in the river and as [TS]

00:25:03   he watches it go down he's like yeah [TS]

00:25:05   alright i don't know though it's he [TS]

00:25:07   looks very empathic there but I swear I [TS]

00:25:09   get a glimmer of some emotion under the [TS]

00:25:11   service i'm not i'm not clear what it is [TS]

00:25:13   exactly it might be anger it might be [TS]

00:25:15   you know he's angry he's not going to [TS]

00:25:18   get his deposit back on the car with the [TS]

00:25:20   deal its but it looks like there's still [TS]

00:25:23   a glimmer of humanity in there and she [TS]

00:25:25   blogs below the surface to be the killer [TS]

00:25:27   himself [TS]

00:25:28   I don't know it those were the London [TS]

00:25:31   flunkies teaming up with cereals flunky [TS]

00:25:33   who is played by an actor named Ian [TS]

00:25:35   Henry who apparently thought he was in [TS]

00:25:37   line for the the the title role of Jack [TS]

00:25:40   Carter even though Michael can produce [TS]

00:25:42   the movie so you ain't getting that [TS]

00:25:44   parka [TS]

00:25:45   I almost forgot what your eyes look like [TS]

00:25:47   if you see with this whole [TS]

00:25:50   send us now just to love your sense of [TS]

00:25:53   humor so then let's say okay so Glenda's [TS]

00:25:57   in the river [TS]

00:25:58   Glenda's dad one of the few people that [TS]

00:26:00   affect Carter doesn't personally [TS]

00:26:02   dispatch try tengo otros Brumby over the [TS]

00:26:04   side of the party throws Brumby over the [TS]

00:26:06   side of the the garage and the reason he [TS]

00:26:08   does that is bomb from bri was the one [TS]

00:26:10   who brought the movie to the attention [TS]

00:26:13   of Jack's brother hoping that that would [TS]

00:26:16   somehow caused some sort of caused the [TS]

00:26:20   the problems that the Newcastle mob were [TS]

00:26:22   giving him to go away I i I've never [TS]

00:26:24   really understood the thinking there and [TS]

00:26:28   instead it ends up getting Jack's [TS]

00:26:30   brother killed and so Jack quite [TS]

00:26:33   naturally sites that Cliff needs to go [TS]

00:26:36   take a leap for that he goes and stabs [TS]

00:26:39   the the fellow who appears in the porn [TS]

00:26:42   movie right his old uh his old friend [TS]

00:26:45   bloody yeah old schoolmate it in there [TS]

00:26:49   another really powerfully active scene i [TS]

00:26:51   think by michael caine where again just [TS]

00:26:53   barely contained fury as he's as he's [TS]

00:26:55   stabbing him with fines about an [TS]

00:26:59   off-track betting establishment and take [TS]

00:27:02   some sort of out back to have a [TS]

00:27:03   conversation as it takes him to the [TS]

00:27:05   toilet and he well yeah and he was out [TS]

00:27:07   back there's there's actually a pretty [TS]

00:27:09   humorous bit at least I found it funny [TS]

00:27:11   where he's repeatedly asking him do you [TS]

00:27:13   want to go to the toilet [TS]

00:27:14   I want to go to the toilet and then they [TS]

00:27:16   panned to a sign on the door that says [TS]

00:27:18   straight through to toilet having any he [TS]

00:27:22   confesses he confesses to his [TS]

00:27:25   involvement in the in the scheme but in [TS]

00:27:27   many says that but Jack I didn't kill [TS]

00:27:29   them and and and Carter screams I know [TS]

00:27:32   you didn't do it and start lunging in [TS]

00:27:34   the 90s every syllable and it's a little [TS]

00:27:38   brutal it's it's a very brutal scene but [TS]

00:27:40   again it's it's it's well-acted it's [TS]

00:27:43   well constructed it's well shot I i [TS]

00:27:45   would argue all right it's not it's not [TS]

00:27:48   just mindless violence for mindless [TS]

00:27:50   violence and sake like a certain remake [TS]

00:27:53   would be many many decades later you [TS]

00:27:55   understand why at this point Carter is [TS]

00:27:58   feeling what he is right he's out to [TS]

00:28:01   destroy everybody who who killed his [TS]

00:28:04   brother or was involved in any way it's [TS]

00:28:06   also the one scene where the blood [TS]

00:28:07   doesn't look like Thousand Island [TS]

00:28:08   dressing appreciate you again 1971 film [TS]

00:28:13   technology now what it was [TS]

00:28:16   would be later on alright that leads us [TS]

00:28:18   to our sort of the final uh pardon moi [TS]

00:28:20   which is at this point Carter has a grab [TS]

00:28:24   the no-good two-timing I guess [TS]

00:28:28   girlfriend of his brother or with they [TS]

00:28:31   married it's it's uncertain first head [TS]

00:28:34   to the post office and drop off a copy [TS]

00:28:36   of the 8-millimeter film within a [TS]

00:28:38   package simply addressed to the vice [TS]

00:28:40   squad in New Scotland Yard in London the [TS]

00:28:44   temptation when you're opposed to worker [TS]

00:28:45   and you get a package that says the [TS]

00:28:46   fight so hard to open it has got to just [TS]

00:28:48   be utterly incredible it feels like home [TS]

00:28:50   in here and I what's this this is the [TS]

00:28:52   carousel of slides was going to be I [TS]

00:28:55   would think that you only do that once [TS]

00:28:57   and then you realize that you're looking [TS]

00:28:59   at things you can't unsee now and then [TS]

00:29:03   that package stay sealed forever [TS]

00:29:06   yeah so he sends it off to my squad he [TS]

00:29:08   grabs the the no-good two-timing lady he [TS]

00:29:12   serves her up a hot dose of of drugs and [TS]

00:29:15   throws her in a pond on cereals property [TS]

00:29:18   and basically when the vice squad shows [TS]

00:29:21   up they find her body and I know cereals [TS]

00:29:23   cereals going away yet let's also let's [TS]

00:29:26   let's mention that he finds a local drug [TS]

00:29:29   dealer get something injectable takes [TS]

00:29:32   the lady out to out to individual into [TS]

00:29:34   the forest has your strip off all her [TS]

00:29:37   clothes except her underpants and then [TS]

00:29:40   gives her a lethal injection and I sort [TS]

00:29:43   of got the impression that he was [TS]

00:29:44   actually on cereals property because [TS]

00:29:46   where they find the body looks and off [TS]

00:29:47   right like 60 has a big country estate [TS]

00:29:50   outside of the the crumbling shell that [TS]

00:29:52   is new cast so he takes her and then [TS]

00:29:54   tosses are in the creek [TS]

00:29:55   you have no clue that he's actually just [TS]

00:29:57   on cereals properly at that point right [TS]

00:30:00   that doesn't this is his game is he's [TS]

00:30:02   trying to frame him for her murder [TS]

00:30:03   because he can't because he can't [TS]

00:30:05   connect him to his brother's murder in a [TS]

00:30:08   way that's going to get any sort of [TS]

00:30:10   Justice so [TS]

00:30:11   why not why not get them pinched for [TS]

00:30:14   everything else right [TS]

00:30:16   which leads us to the final [TS]

00:30:18   confrontation between him and he and [TS]

00:30:20   hendri which happens basically on the [TS]

00:30:24   the desolate shoreline of newcastle at a [TS]

00:30:28   the some sort of what I mean what what [TS]

00:30:32   would you call that is it Corey or and [TS]

00:30:35   awards like a son Cole Corey of some [TS]

00:30:37   sort of its cold or dumping into the [TS]

00:30:40   ocean but then again given the state of [TS]

00:30:42   the rest of the country [TS]

00:30:44   it could certainly be a they basically a [TS]

00:30:47   chase each other for quite a long way [TS]

00:30:50   until even Henry becomes winded and then [TS]

00:30:53   Carter takes that bottle of booze he's [TS]

00:30:55   been carrying around with them uh we [TS]

00:30:58   should mention that the way that the [TS]

00:30:59   brother has been dispatched is that they [TS]

00:31:01   they poured up a bottle of scotch down [TS]

00:31:04   his throat and then stuck behind the [TS]

00:31:05   wheel of a car and that's how he he he [TS]

00:31:08   got in the accident that he did [TS]

00:31:10   it's the old cary grant from North by [TS]

00:31:11   Northwest ploy only without comical [TS]

00:31:14   consequences and so he says well you're [TS]

00:31:18   gonna you're gonna die like my brother [TS]

00:31:20   did and the poor is the the liquor down [TS]

00:31:23   the throat and then beat him to death [TS]

00:31:24   with the with the rifle you have since [TS]

00:31:26   it takes the shotgun and does what you [TS]

00:31:28   expected to do with it which is hit him [TS]

00:31:30   with it repeatedly again repeatedly [TS]

00:31:33   caving in the skull he throws him into [TS]

00:31:35   the by Eric yeah [TS]

00:31:38   throws him into the the the dredging [TS]

00:31:41   material that's dumping dumping the lots [TS]

00:31:44   of soil out into the ocean seems [TS]

00:31:46   environmentally unsound but you know who [TS]

00:31:49   am I to tell that breaks out it take [TS]

00:31:51   care of their code yea the dead bodies [TS]

00:31:52   far worse than the older dumping him so [TS]

00:31:56   he gets dumped in there and for one of [TS]

00:31:58   the few times in the movie [TS]

00:32:00   Michael Caine has a smile has a little [TS]

00:32:02   laugh has a little moment of relief and [TS]

00:32:04   oh there's a sniper that the London Bob [TS]

00:32:07   higher to knock him out or actually [TS]

00:32:10   Cyril Cyril kind of hires and he's about [TS]

00:32:13   to toss the the rifle into the into the [TS]

00:32:17   water and into this chapter of his [TS]

00:32:19   revenge when he is shot through the head [TS]

00:32:21   by a sniper in the sand [TS]

00:32:24   get a few seconds early yeah hey down [TS]

00:32:26   and I really like that they quick cut [TS]

00:32:30   their from him getting ready to throw [TS]

00:32:31   the rifle to just the ring with the j on [TS]

00:32:33   it which you see very briefly as the [TS]

00:32:35   snipers getting getting ready to shoot [TS]

00:32:36   within the end death gets Carter yeah [TS]

00:32:39   haha hey all they gave away the ending [TS]

00:32:43   in the title they didn't like I hate [TS]

00:32:45   women the lack of a gift card or two got [TS]

00:32:47   Carter that this problem isn't going to [TS]

00:32:49   end well for him [TS]

00:32:50   well it's funny that you should mention [TS]

00:32:52   that Steve O God because in the remake [TS]

00:32:55   starring sylvester stallone Carter lives [TS]

00:32:57   at the end of the movie sure to set up [TS]

00:33:00   the inevitable sequels [TS]

00:33:02   I said get carter and no really I wasn't [TS]

00:33:06   fooling around [TS]

00:33:07   get me harder and we got harder harder [TS]

00:33:10   we got Carter now what get Carter again [TS]

00:33:14   get carter another time get carter [TS]

00:33:16   harder is that is the obvious it's like [TS]

00:33:19   he's the whole thing in the remake is [TS]

00:33:22   the mob in Las Vegas so the last thing [TS]

00:33:24   he opens up this map and but it's a map [TS]

00:33:26   of las vegas haha [TS]

00:33:28   there's that's how it ends it's like [TS]

00:33:30   really another terrible thing well [TS]

00:33:33   there's many terrible things about the [TS]

00:33:35   Get Carter remake although before before [TS]

00:33:39   we get into that does should we discuss [TS]

00:33:41   how we how we whether we liked this [TS]

00:33:44   movie or not or do you want me to talk [TS]

00:33:45   about get carter the Sylvester to let [TS]

00:33:48   you know let's let's discuss whether we [TS]

00:33:49   liked this movie or not okay not yellow [TS]

00:33:53   no haha I i vill it vill admitted before [TS]

00:33:57   we started that he and I think you [TS]

00:33:59   mentioned earlier that the he didn't [TS]

00:34:01   really like him his first viewing and i [TS]

00:34:03   think i can go with that I I i can see [TS]

00:34:07   how movie like this would definitely be [TS]

00:34:09   inspirational for somebody like quentin [TS]

00:34:11   tarantino oh yeah but I find that it [TS]

00:34:14   contains all of the things i understand [TS]

00:34:18   i can see the influences in Tarantino's [TS]

00:34:20   work but a lot of what I saw is the [TS]

00:34:23   stuff i don't like about Tarantino's [TS]

00:34:25   work it is so unpleasant [TS]

00:34:29   yeah and a while I really appreciate the [TS]

00:34:32   work of Michael Caine in this movie and [TS]

00:34:35   there are a few scenes that [TS]

00:34:37   like he is he really gonna throw that [TS]

00:34:39   calf oh he did ok it was its [TS]

00:34:42   unrelentingly bleak the people in it are [TS]

00:34:44   kind of awful and and honestly I found [TS]

00:34:49   the I found all these strange bouts of [TS]

00:34:53   sex that happened [TS]

00:34:54   interspersed throughout the movie right [TS]

00:34:57   kind of i want a pointless but kind of [TS]

00:35:01   shameless and like they're doing it to [TS]

00:35:03   shock and they're doing it because they [TS]

00:35:05   can get away with it and that it wasn't [TS]

00:35:07   really necessary and the one that pushed [TS]

00:35:09   me over the edge in that regard was the [TS]

00:35:11   with the singer and the lady in the bar [TS]

00:35:13   are fighting and you get a few seconds [TS]

00:35:14   of just utterly gratuitous granny panty [TS]

00:35:17   shot yeah you get a buffalo got there [TS]

00:35:19   too [TS]

00:35:20   yeah yeah I i thought the phone sex shot [TS]

00:35:23   Arsene was bizarre and recently and [TS]

00:35:25   creamy and unnecessary for anything in [TS]

00:35:28   the movie although there's that [TS]

00:35:30   wonderful line where where where the [TS]

00:35:32   gangster barges in at the end [TS]

00:35:34   what do you got tell me trouble here at [TS]

00:35:36   the gummy worms or yeah but I should [TS]

00:35:40   have known from the very first scene [TS]

00:35:42   with the unpleasant nobody having fun [TS]

00:35:45   while watching slides of porno that it [TS]

00:35:47   was gonna be at one of those kind of [TS]

00:35:49   movies but I get that it doesn't throw [TS]

00:35:51   you a curveball but nobody says free to [TS]

00:35:53   get go [TS]

00:35:54   this is not going to be a fun ride for [TS]

00:35:56   you know I guess what I would say is it [TS]

00:35:57   in hindsight it's a you know we're gonna [TS]

00:36:00   make this movie as hard as we can it's [TS]

00:36:02   gonna be tough it's gonna be brutal the [TS]

00:36:04   criminals are gonna be brutal [TS]

00:36:06   you're not going to be like Rosie [TS]

00:36:08   friendly criminals that your root for [TS]

00:36:11   their criminals they're awful people and [TS]

00:36:13   it's all it's an awful guy who's mad [TS]

00:36:15   other awful people for killing his [TS]

00:36:17   brother who was an awful person and so [TS]

00:36:20   he decides to kill them all and in the [TS]

00:36:21   end he kills them all and then get shot [TS]

00:36:23   through the head the end [TS]

00:36:25   yeah you know the last molesta note that [TS]

00:36:28   i had was boy what was the point of all [TS]

00:36:29   that and then and I followed up with i [TS]

00:36:33   guess that is the point [TS]

00:36:34   yeah Steve did you enjoy the movie you [TS]

00:36:38   know what on my first viewing I I wasn't [TS]

00:36:42   sure on my second viewing it kind of [TS]

00:36:44   grew on me a bit [TS]

00:36:46   yeah that was me I well I had to watch [TS]

00:36:49   it a second time first of all [TS]

00:36:51   because it's it's fairly complicated and [TS]

00:36:54   blue accents kind of put it over the top [TS]

00:36:55   for me those Geordie accidents man I [TS]

00:36:58   could tell those are in in in [TS]

00:37:00   I cannot decipher i eventually had to [TS]

00:37:03   turn on the subtitles and that kind of [TS]

00:37:05   ruins everything because you find [TS]

00:37:07   yourself reading it before it's said and [TS]

00:37:08   then you catch a bunch of the subtleties [TS]

00:37:10   in the performances so right i went back [TS]

00:37:12   and watched it again just so I could you [TS]

00:37:13   know figure out from the beginning and [TS]

00:37:15   understand everything that was going on [TS]

00:37:16   properly and when I did that I I [TS]

00:37:18   appreciate it more [TS]

00:37:19   you know I didn't love it but I that [TS]

00:37:22   there's I think maybe the thing that [TS]

00:37:24   disturbs Jason is the same thing that I [TS]

00:37:26   kind of appreciate about here there's [TS]

00:37:29   there's a certain kind of skin crawl [TS]

00:37:32   inducing sleaze that only 70 movies have [TS]

00:37:35   ever met [TS]

00:37:36   yeah yes as a horror fan I'm acutely [TS]

00:37:39   aware of this because a lot of the best [TS]

00:37:41   you know most disturbing horror movies [TS]

00:37:43   are are disturbing specifically because [TS]

00:37:45   they have that kind of just I want to [TS]

00:37:48   shower afterwards feel to him and and [TS]

00:37:50   that sensation is just dripping off [TS]

00:37:51   every single frame of this film so I [TS]

00:37:54   kind of appreciate it for that i liked [TS]

00:37:57   the tiny little in jokes like the fact [TS]

00:37:58   that he's reading farewell my lovely on [TS]

00:38:00   the train and a little bit later after [TS]

00:38:03   he and Glenda have had sex you can see [TS]

00:38:05   the rolling stones let it bleed sitting [TS]

00:38:07   on the counter it and i also I generally [TS]

00:38:10   think it's kind of interesting when a [TS]

00:38:11   film gives us a protagonist that's just [TS]

00:38:14   an unrepentant bastard and tries to make [TS]

00:38:16   him sympathetic like in this case Jack [TS]

00:38:19   you know he worries for the welfare of [TS]

00:38:21   his young niece has excuse me as he [TS]

00:38:24   makes his way through a crowd he [TS]

00:38:27   apologizes for getting blood on the curb [TS]

00:38:28   out front of his bed and breakfast for a [TS]

00:38:31   murderous sociopath Jack seems like a [TS]

00:38:33   pretty good bloke he asked for his kind [TS]

00:38:35   of bitters in a thin glass in a thin [TS]

00:38:37   glass right that's a sign of class right [TS]

00:38:39   there yeah-yeah the con why's it it [TS]

00:38:42   takes its sweet time getting interesting [TS]

00:38:44   oh man is it is it may be partly paste [TS]

00:38:46   movie yeah I mean it's it it was a lot [TS]

00:38:49   of guys standing around in suits and [TS]

00:38:51   then a guy gets hit in the head with a [TS]

00:38:52   log and then there's more understanding [TS]

00:38:53   this film is rated l4 log also penises [TS]

00:39:00   are shown yesterday [TS]

00:39:02   so to do luggage basically we've got as [TS]

00:39:07   you will yes I want in the end you know [TS]

00:39:10   at the end of it I was left feeling a [TS]

00:39:12   little bit like that was kind of [TS]

00:39:13   pointless which yeah in its own way is [TS]

00:39:16   is the point of the element and I [TS]

00:39:18   appreciate it for that but it probably [TS]

00:39:21   will grow on me more in the future and [TS]

00:39:23   specifically because that pacing I was [TS]

00:39:24   ready for the second time around I'd I [TS]

00:39:27   enjoyed it a lot more for that [TS]

00:39:28   yeah you you've actually perfectly [TS]

00:39:31   encapsulated the journey I've taken with [TS]

00:39:33   get a Carter the 1971 version the first [TS]

00:39:37   time I thought I thought oh this is no [TS]

00:39:38   this is not the pacing is off and the [TS]

00:39:41   accents are in impenetrable and and the [TS]

00:39:44   ending is is unsatisfying and but that [TS]

00:39:48   there was an ugly our DVD that i was [TS]

00:39:50   watching the picture was unbelievably [TS]

00:39:51   grainy especially in the dark parts [TS]

00:39:54   oh yeah in the end it seemed to fit the [TS]

00:39:55   mood so I was okay with it yeah and [TS]

00:39:58   where this movie really succeeds besides [TS]

00:40:00   the performance of Michael Caine is it [TS]

00:40:03   just really captures a time IE there are [TS]

00:40:07   very few movies that just commit to what [TS]

00:40:11   they're trying to get across in the and [TS]

00:40:13   whatever you want to say about this [TS]

00:40:14   movie good or bad and and I think [TS]

00:40:17   Jason's criticisms are completely valid [TS]

00:40:19   actually it just it throws itself into [TS]

00:40:25   trying to do what it's trying to do this [TS]

00:40:27   is a movie that want you to feel gross [TS]

00:40:29   yeah and depending on the level to which [TS]

00:40:31   you enjoy feeling gross i think you're [TS]

00:40:33   your enjoyment of the film attract [TS]

00:40:35   pretty clearly with that you know this [TS]

00:40:36   is a mean both of these movies [TS]

00:40:38   influenced quentin tarantino to a [TS]

00:40:40   certain extent I and we ask we won't get [TS]

00:40:42   into that with problem [TS]

00:40:43   ya know with the title i get Carter you [TS]

00:40:45   almost expected to be like a like a [TS]

00:40:47   chase smoke lighthearted Italian to [TS]

00:40:50   travel beyond car and you know about is [TS]

00:40:54   chasing him and trying to catch him with [TS]

00:40:55   us because I get harder [TS]

00:40:56   give me that car no that's not this [TS]

00:40:59   movie not like hard to fall know just to [TS]

00:41:02   put a bow on this you might be wondering [TS]

00:41:04   why do these idiots keep watching that [TS]

00:41:06   the same movie over and over and get [TS]

00:41:07   hated like it and I i can't speak for [TS]

00:41:10   David but it's when it [TS]

00:41:12   e it got its hooks in you it's one of [TS]

00:41:14   those movies that sticks with you even [TS]

00:41:16   if you don't necessarily like it i think [TS]

00:41:18   they're there could be a chance that [TS]

00:41:19   Jason a few years from now seven seas [TS]

00:41:22   get carter on and system that movie that [TS]

00:41:25   I didn't much enjoy will accidentally [TS]

00:41:27   I'll give us i'll give it another look [TS]

00:41:30   and then he'll be an idiot like us [TS]

00:41:32   watching the this movie coming out i see [TS]

00:41:34   now it's all makes sense to me [TS]

00:41:37   what did it for me was you know because [TS]

00:41:39   there are a lot of movies like this from [TS]

00:41:41   the period and most of them are [TS]

00:41:43   forgotten and some of them you remember [TS]

00:41:45   the name but you might have seen and [TS]

00:41:47   some of them you've seen me to go yeah [TS]

00:41:49   that wasn't very good and this one has [TS]

00:41:51   michael caine and it is for me it's [TS]

00:41:54   purely Michael Caine that's the reason I [TS]

00:41:56   kept coming back to it because he's he's [TS]

00:41:59   really good piece would say this is [TS]

00:42:01   pretty uniformly well-acted I mean what [TS]

00:42:03   is it yeah yeah it's just it's just not [TS]

00:42:06   not all the other actors in the movie or [TS]

00:42:08   ar-ar-ar Brits that on the side of the [TS]

00:42:11   Atlantic we never will [TS]

00:42:12   we'll never see again my exception of [TS]

00:42:15   radical into advice yeah well she's done [TS]

00:42:17   a Brit but she's a Brit Brit haha oh [TS]

00:42:20   being laughs we we should move on [TS]

00:42:24   hey speaking of things that aren't very [TS]

00:42:25   good let's talk about get carter from [TS]

00:42:27   Sylvester Stallone all well I'll do it [TS]

00:42:30   very briefly please you don't like to [TS]

00:42:33   judge a film against the film that it's [TS]

00:42:35   it's it's being remade against because [TS]

00:42:38   they're not really they're not making [TS]

00:42:39   that movie for me but really if you're [TS]

00:42:42   gonna do a terrible movie why not just [TS]

00:42:45   call it by a different name [TS]

00:42:47   when is it anyhow it it understands [TS]

00:42:51   nothing about the movie it just says hey [TS]

00:42:53   there's a guy killed when a lot of [TS]

00:42:54   people that seems like a fun movement [TS]

00:42:55   that the the role of Cyril they turn [TS]

00:42:59   into Mickey work and they make them [TS]

00:43:01   instead of this above it all master [TS]

00:43:05   criminal he's this this very sleazy [TS]

00:43:08   pornographer and and by the end of the [TS]

00:43:10   movie it's it's sylvester stallone and [TS]

00:43:13   Mickey work fighting each other and it's [TS]

00:43:14   like two sides of aging beef [TS]

00:43:17   to each other for 20 minutes and [TS]

00:43:20   normally enjoy watching [TS]

00:43:22   yeah no it'sit's yeah i watch The Hunt [TS]

00:43:24   said I should really get to a morton [TS]

00:43:26   steakhouse because I did go to [TS]

00:43:28   tenderizes the meat that I could go for [TS]

00:43:29   some dry-aged prime rib right about now [TS]

00:43:32   rockin Ron and I i mentioned earlier how [TS]

00:43:34   shocking i find the scene where Carter [TS]

00:43:37   discovers his niece has been horribly [TS]

00:43:40   her innocence horribly violated on film [TS]

00:43:43   and I think it's Rachael Leigh Cook is [TS]

00:43:46   the nice in the remake and in this one [TS]

00:43:50   Carter discovers a DVD that that that [TS]

00:43:53   has been made and he pops it in and it [TS]

00:43:55   sits her doing a sex thing and I i watch [TS]

00:43:59   them i thought well it's good that she's [TS]

00:44:00   learned to trade [TS]

00:44:03   it's just it's a terrible band and [TS]

00:44:09   Michael Caine appears in it [TS]

00:44:11   no as bravely I ya as ya and apparently [TS]

00:44:15   they expanded his role because audiences [TS]

00:44:18   reacted well to it well why shouldn't [TS]

00:44:20   they have is the only good thing in the [TS]

00:44:21   movie remember the elderly British [TS]

00:44:23   Butler and get carter yeah it's very [TS]

00:44:26   strange it on Omar kind where's my [TS]

00:44:29   paycheck [TS]

00:44:30   yeah exactly I'd like to pause for just [TS]

00:44:32   a minute for a quick reminder from us at [TS]

00:44:34   the uncomfortable if you enjoyed [TS]

00:44:36   listening to us play Dungeons and [TS]

00:44:37   Dragons in those dnd episodes we did [TS]

00:44:39   last year you should know about total [TS]

00:44:41   party kill which is our spin-off podcast [TS]

00:44:44   where we play D&D the same group check [TS]

00:44:47   it out at V incomparable dot-com /t p k [TS]

00:44:51   if you've been listening all along you [TS]

00:44:53   can start with episode 12 which is the [TS]

00:44:56   first one that isn't in the main [TS]

00:44:57   comfortable feed and if you haven't [TS]

00:44:59   listened to us play Dungeons and Dragons [TS]

00:45:00   and you want to listen from the very [TS]

00:45:03   start [TS]

00:45:03   just listen with episode 1 all of the [TS]

00:45:05   old episodes are there and we're still [TS]

00:45:07   playing on a regular basis episodes [TS]

00:45:09   posted roughly once a week while we've [TS]

00:45:11   got a D&D game going [TS]

00:45:13   check it out we play D&D on the internet [TS]

00:45:15   for your amusement with a bunch of [TS]

00:45:16   people from the uncomfortable that's [TS]

00:45:18   total party kill at the incomparable [TS]

00:45:19   dot-com [TS]

00:45:22   we should move on to the taking of [TS]

00:45:24   pelham 123 should i would like to kick [TS]

00:45:26   off the discussion of the taking of [TS]

00:45:27   pelham 123 by saying the following Bob [TS]

00:45:30   Bob Bob Bob I'll come on pop before [TS]

00:45:35   enjoy don't doing doing doing it is it [TS]

00:45:42   is impossible to hear that theme song [TS]

00:45:43   without hearing the taking of pelham 123 [TS]

00:45:46   Quinn Martin production now it is [TS]

00:45:48   absolutely a Quinn Martin production the [TS]

00:45:51   streets of San Francisco know the [TS]

00:45:53   trailer is great because it's got the [TS]

00:45:55   music and then all of a sudden the book [TS]

00:45:56   cover comes flying out of juniors [TS]

00:45:58   millions of read it now watch the movie [TS]

00:46:01   but i will say that is a ringtone on my [TS]

00:46:05   phone i love the music and yeah that's a [TS]

00:46:08   great too [TS]

00:46:09   it's the black hole everything was to [TS]

00:46:11   movies have in common i really like the [TS]

00:46:13   soundtracks on both taking pelham 123 [TS]

00:46:14   set in New York it's a it's a heist [TS]

00:46:20   movie where they they hijack the hijack [TS]

00:46:23   a subway train and i said to my wife as [TS]

00:46:25   we were watching this I hope somebody's [TS]

00:46:28   got to make a crack at some point about [TS]

00:46:29   well i hope they don't take it to have [TS]

00:46:31   an aha [TS]

00:46:32   sure enough it was it happens about 30 [TS]

00:46:33   minutes later than I thought the joke [TS]

00:46:35   would come but it does come eventually [TS]

00:46:37   oh yeah it's there yeah and Walter [TS]

00:46:39   Matthau and Jerry Stiller yes very [TS]

00:46:42   stellar as his as his as his second [TS]

00:46:45   banana [TS]

00:46:46   yeah basically this movie is the [TS]

00:46:47   seventies character actor all started a [TS]

00:46:49   real man it really is is the love boat [TS]

00:46:51   before the love you you could not make a [TS]

00:46:53   movie that stirred Mathis Stiller Hector [TS]

00:46:57   Elizondo yes Martin balsam you can do it [TS]

00:47:00   today maybe like no they all have to be [TS]

00:47:02   like 25 or Travolta and fact David and [TS]

00:47:08   in like 25-30 years they they would make [TS]

00:47:11   a movie where everyone's 25 in that [TS]

00:47:13   movie [TS]

00:47:13   yeah amazing but we should talk about [TS]

00:47:16   the original first yes yes so the the [TS]

00:47:19   subways is hijacked by a bunch of men [TS]

00:47:22   the one of the lessons we learned men [TS]

00:47:25   with fake mustaches wearing hats are [TS]

00:47:28   scary and threatening they may be [TS]

00:47:30   carrying instrument cases or long boxes [TS]

00:47:33   and they get on a subway [TS]

00:47:36   and uh and they all have code names that [TS]

00:47:38   are colors and yeah I I said oh that's [TS]

00:47:42   where Quentin Tarantino got that for [TS]

00:47:44   reservoir dogs i get it now and and one [TS]

00:47:47   guy mr. gray is lascivious makes a [TS]

00:47:52   lascivious gesture to a lady on the [TS]

00:47:54   train and wearing a golden bear cub over [TS]

00:47:56   her shoulder and later makes a racist [TS]

00:47:59   comment and I thought he's a bit of a [TS]

00:48:02   hothead that mr. gray and then I'll at a [TS]

00:48:05   later point I went oh my god hector [TS]

00:48:06   elizondo yeah after water you nest [TS]

00:48:09   because Hector Elizondo as you know he's [TS]

00:48:11   wearing a fake mustache and a and a hat [TS]

00:48:13   so this is uh this is one of his first [TS]

00:48:15   role successful successful disguise I [TS]

00:48:18   had known do you know early on that he's [TS]

00:48:20   the crazy one because everybody else has [TS]

00:48:22   a hat with some loft to it and he's [TS]

00:48:23   wearing the beret [TS]

00:48:24   yeah yeah it depends clearly can't [TS]

00:48:26   follow instructions or refuses to we [TS]

00:48:29   should mention that the that the head of [TS]

00:48:30   the the hijackers is Robert Shaw yeah [TS]

00:48:33   he's great [TS]

00:48:35   oh he's fantastic is very good he's got [TS]

00:48:37   that cultured English accent which is [TS]

00:48:38   just a nice touch that I assume i don't [TS]

00:48:41   have not read the book it is is the is [TS]

00:48:45   is that character english or did they [TS]

00:48:46   say well we can get robertshaw he's [TS]

00:48:48   gonna be English now I don't know but uh [TS]

00:48:51   but either way he's great and he's just [TS]

00:48:54   so contained throughout the movie he is [TS]

00:48:56   just he is going to happen and that adds [TS]

00:48:59   an air of menace to the character know [TS]

00:49:01   hehe is he's got it wired right he's got [TS]

00:49:04   his plan [TS]

00:49:04   he's going to execute the plan he's [TS]

00:49:06   going to keep everybody on task you get [TS]

00:49:08   the sense martin balsam who is also [TS]

00:49:09   really enjoyable to watch he is the [TS]

00:49:11   amateur he's deathly afraid of the [TS]

00:49:13   moment when they might actually have to [TS]

00:49:14   shoot somebody [TS]

00:49:15   he just wants his money to get back of [TS]

00:49:17   the Transit Authority because he got [TS]

00:49:18   fired [TS]

00:49:18   h├ęctor Elizondo is a hothead who got [TS]

00:49:20   kicked out of the mob kicked out of the [TS]

00:49:22   Mafia because he was too hot-headed for [TS]

00:49:24   the Mafia and then there's mr. Brown who [TS]

00:49:26   is a cipher and also Merlin Mann it is [TS]

00:49:29   but it's really you know mr. Brown is [TS]

00:49:31   yes yes I do [TS]

00:49:33   it's it's Wilson it's william from home [TS]

00:49:35   improvement [TS]

00:49:36   yes yes at one point he gets shot [TS]

00:49:38   looking at the back of the Train and I [TS]

00:49:39   think that was the turning point where [TS]

00:49:41   he decided he should probably stand [TS]

00:49:42   behind a solid yeah you know [TS]

00:49:45   well yeah it's really fleshly where [TS]

00:49:47   skies throughout the movie and and I [TS]

00:49:50   thought that was where click format I'm [TS]

00:49:51   just gonna hide my face from now on it's [TS]

00:49:55   dangerous out there out the open here [TS]

00:49:57   Orwell single bit of a solid pine at a [TS]

00:50:00   couple of two-by-fours and then you're [TS]

00:50:01   good [TS]

00:50:02   yeah so four guys hijack a train Walter [TS]

00:50:03   Matthau tis the transit cop who who has [TS]

00:50:07   to deal with them Jerry Stiller is a [TS]

00:50:09   second banana [TS]

00:50:10   well before we get too far into that one [TS]

00:50:13   of the things i love about this movie I [TS]

00:50:15   mean right from the first scene is how [TS]

00:50:19   many details that are just there that [TS]

00:50:21   come into play later like the first yeah [TS]

00:50:23   the first person you see is martin [TS]

00:50:24   balsam and he's rubbing his nose he's [TS]

00:50:26   got a cold [TS]

00:50:27   yeah you know and then you've got the [TS]

00:50:30   train men explaining why they're doing [TS]

00:50:32   the different things they're doing [TS]

00:50:33   because the one guy is training the [TS]

00:50:36   younger guy and you've got mad it's just [TS]

00:50:38   a hair can get right now it sounds like [TS]

00:50:39   let me explain how this works we're [TS]

00:50:41   gonna need this record mechanism we did [TS]

00:50:44   we didn't have the comment that concept [TS]

00:50:45   of droid yet had exposition droid [TS]

00:50:48   inserted that point i iu you say it's a [TS]

00:50:51   bit contrived I actually think it's it's [TS]

00:50:53   really a clever screenwriting because [TS]

00:50:56   it's a way of letting the audience in [TS]

00:50:58   early on how things work and they ripped [TS]

00:51:01   they do it throughout the movie where [TS]

00:51:02   where there's some outsider that says [TS]

00:51:04   hey wait a minute why don't you just do [TS]

00:51:06   this in halter matthew says really only [TS]

00:51:08   after the fifth or sixth instance of it [TS]

00:51:10   that I started thinking and it's a [TS]

00:51:11   little bit of hand-holding that is a [TS]

00:51:13   little happiness [TS]

00:51:14   yeah I think they need to do it though [TS]

00:51:16   because otherwise it becomes a deus ex [TS]

00:51:18   machina situation where we're we're here [TS]

00:51:21   all wait a minute why why why the hell [TS]

00:51:24   doesn't the train just stop and they [TS]

00:51:27   think i think that the point where [TS]

00:51:28   Walter Matthau spent like three verbal [TS]

00:51:30   paragraphs explaining the concept of a [TS]

00:51:32   Deadman switch yeah well i was a bit [TS]

00:51:35   sort of lost me a bit you know so well [TS]

00:51:36   let's say is dead man's switch [TS]

00:51:38   it's got to be a guy there at all times [TS]

00:51:40   it that one to bother me as much as the [TS]

00:51:42   hey it's like well you know three months [TS]

00:51:44   later you can apply to be a driver but [TS]

00:51:46   for now let me walk you through [TS]

00:51:47   everything do all the steps that you'd [TS]

00:51:49   normally do [TS]

00:51:50   ok now I'm going to step off the train [TS]

00:51:52   good luck to you but without getting [TS]

00:51:54   ahead of ourselves let me tell you if [TS]

00:51:55   that Bucky about the original your [TS]

00:51:57   cattle [TS]

00:51:58   love the remake when the thing [TS]

00:52:02   especially live is when we first meet [TS]

00:52:04   math out and he's forced to take these [TS]

00:52:07   Japanese subway businessmen on a tour [TS]

00:52:12   and they don't appear to react to him so [TS]

00:52:15   he starts insulting them as he's taking [TS]

00:52:17   them around about you mind you know we [TS]

00:52:20   deal with murders and rapists and [TS]

00:52:22   michigan and this and that and I [TS]

00:52:25   actually wanted back the first time i [TS]

00:52:26   watch to go to heat release a machinist [TS]

00:52:28   ok cool and you know and then when the [TS]

00:52:33   crisis hits and he steps out of it he [TS]

00:52:35   goes alright take them to the 13th floor [TS]

00:52:37   and they say oh no we can find our way [TS]

00:52:39   thank you for such an exciting and [TS]

00:52:42   interesting tour and you realize that [TS]

00:52:44   they they could speak English the whole [TS]

00:52:46   time it's great not just because you've [TS]

00:52:49   had this exposition at what all these [TS]

00:52:50   things are but now you have the tension [TS]

00:52:52   of oh he played a hunch and he was wrong [TS]

00:52:55   so now he's our hero for the rest of the [TS]

00:52:58   movie what else is gonna sit there [TS]

00:53:00   sometime maybe maybe I'm just a tad too [TS]

00:53:02   worldly but there was from from moment [TS]

00:53:04   one it was obvious what's going to [TS]

00:53:06   happen yeah yeah but i but I like that [TS]

00:53:09   he was oblivious to it i'm not sure if [TS]

00:53:11   that's you being a tattoo worldly I [TS]

00:53:13   think that's the world catching up with [TS]

00:53:15   the taking of pelham 123 BS allow you to [TS]

00:53:17   put it there this movie it's definitely [TS]

00:53:20   not being worldly let me say that [TS]

00:53:21   yeah it's the fact that i've seen a lot [TS]

00:53:24   more moving since that in fact i was I [TS]

00:53:26   expected something i didn't get from [TS]

00:53:28   this movie and I think in hindsight what [TS]

00:53:31   it was is the dressing up of this [TS]

00:53:33   scenario because now every movie that's [TS]

00:53:36   anything like this in terms of a [TS]

00:53:38   contained thriller is going to have to [TS]

00:53:42   dress it up in a way that this movie [TS]

00:53:43   doesn't have to because it was early on [TS]

00:53:45   in this process and in fact we what you [TS]

00:53:48   see is it has to explain itself several [TS]

00:53:50   times because people aren't gonna hang [TS]

00:53:51   with it we're in the in the future [TS]

00:53:53   you're going to get movies that have to [TS]

00:53:54   dress it up with other things and [TS]

00:53:56   specifically I was really expecting we [TS]

00:53:59   were going to get a seam explaining all [TS]

00:54:02   of the wacky characters in the train and [TS]

00:54:05   they were all gonna have to have their [TS]

00:54:06   moments like they were the cat star trek [TS]

00:54:08   or something and really know their [TS]

00:54:11   they're just there on the train we get [TS]

00:54:12   we get glimpses of them enough to know [TS]

00:54:14   that there's the drunk lady who's [TS]

00:54:15   sleeping and this is the lady who only [TS]

00:54:17   speaks in Spanish and is very upset and [TS]

00:54:19   a few of the other characters but we [TS]

00:54:20   don't get to know them what i want what [TS]

00:54:22   i love about that in this sort of [TS]

00:54:23   emphasize your point is him the credit [TS]

00:54:25   their emphasized guess is it there the [TS]

00:54:27   credit is the may have a little mother [TS]

00:54:30   the delivery boy the process of sexual [TS]

00:54:32   second offensive rebound boy the [TS]

00:54:34   salesman the hooker the old man [TS]

00:54:36   the older son the Spanish woman the [TS]

00:54:38   alcoholic the pimp coed number one the [TS]

00:54:41   younger son code number to the hippie [TS]

00:54:43   and the wasp yeah hippie and the wasp [TS]

00:54:47   was my favorite 1970 sitcom about a [TS]

00:54:50   superhero I i would like to put together [TS]

00:54:52   a little worksheet with the face of each [TS]

00:54:54   of those characters along with the name [TS]

00:54:56   and strong whines I would we don't need [TS]

00:54:58   you to draw the lines between no way the [TS]

00:55:00   the Odile the credit and the face I [TS]

00:55:03   don't take that eventually is just [TS]

00:55:04   nothing there and that really was one of [TS]

00:55:06   the things that i have found kind of [TS]

00:55:07   disappointing which is that it's hard to [TS]

00:55:11   take this movie seriously when you kind [TS]

00:55:12   of want all the hostages to die [TS]

00:55:14   oh I i think it was their little nod to [TS]

00:55:19   stagecoach where it sits these these [TS]

00:55:22   stock characters and brought into a [TS]

00:55:25   certain situation and by god i love the [TS]

00:55:29   pimp in the movie that's great [TS]

00:55:31   the pits grip what's the matter baby you [TS]

00:55:33   ever seen a sunrise that but if there's [TS]

00:55:36   one thing that's definitely on display [TS]

00:55:38   here it's seventies attitudes towards [TS]

00:55:40   women and minority yeah well yes [TS]

00:55:42   although I was not clear on what the [TS]

00:55:43   homosexual was which is a point in its [TS]

00:55:45   favor [TS]

00:55:46   yeah i just i love the one line that the [TS]

00:55:49   sudoku neil has is what do they expect [TS]

00:55:52   their lives a pipe sense to keep to stay [TS]

00:55:54   alive or something like that [TS]

00:55:56   the well so you bring it up the video i [TS]

00:55:59   want O'Neill is my least favorite part [TS]

00:56:00   of this movie library just a bit much i [TS]

00:56:03   agree although the other that dollar [TS]

00:56:05   wits is also a problematic characters [TS]

00:56:07   okay i want to match at caz that cast [TS]

00:56:09   one thing that I like about the fact [TS]

00:56:11   that it's about the heist is that we we [TS]

00:56:13   are focused on these guys and how [TS]

00:56:15   they're what they're trying to pull off [TS]

00:56:16   and we don't spend time getting to know [TS]

00:56:18   the the fears of all the people on the [TS]

00:56:20   trains like whatever they're on the [TS]

00:56:21   train [TS]

00:56:22   it's about it's about these guys trying [TS]

00:56:24   to pull this [TS]

00:56:24   often it's about Walter Matthau trying [TS]

00:56:27   to figure out what they're doing and I [TS]

00:56:29   like that and then and then we mentioned [TS]

00:56:31   this earlier that you talked to feel [TS]

00:56:32   about the how the the cities that these [TS]

00:56:34   two movies are set in our characters and [TS]

00:56:37   this this is we are marinating in in New [TS]

00:56:41   York City in the seventies sliding into [TS]

00:56:44   the abyss [TS]

00:56:45   I feel like this is this is every true [TS]

00:56:47   true or not we are this is every [TS]

00:56:49   assumption about like what New Yorkers [TS]

00:56:52   do at taken to the worst extremes [TS]

00:56:57   possible this is for to New York drop [TS]

00:56:59   dead [TS]

00:57:00   yes it's a very drop deadliest and my [TS]

00:57:04   favorite my favorite thing is the dick [TS]

00:57:06   O'Neill character who when he gets the [TS]

00:57:09   call from the guy who has just hijacked [TS]

00:57:11   the train he says what you're crazy you [TS]

00:57:14   big jerk [TS]

00:57:15   what do you and me it's like he's not [TS]

00:57:17   obviously seen the negotiator because he [TS]

00:57:20   doesn't know that you don't want the [TS]

00:57:22   when a guy says I've got hostages and I [TS]

00:57:24   stolen your train what you don't do is [TS]

00:57:25   column a numbskull and insult him a lot [TS]

00:57:28   and say Jesus Christ why you doing this [TS]

00:57:31   usually just idiot get out a train like [TS]

00:57:34   but this is this is the reaction because [TS]

00:57:36   he's a new yorker he he feels personally [TS]

00:57:39   offended by by the the hijackers and [TS]

00:57:41   frankly everybody else they are all [TS]

00:57:43   ruining i'm gonna get so mad way when i [TS]

00:57:46   get to that driver he's gonna really [TS]

00:57:49   regret talking to me it's like what a [TS]

00:57:51   blowhard [TS]

00:57:52   well his job is to make the trains run [TS]

00:57:53   on time and yes getting in the way of [TS]

00:57:55   them ar-ar-ar [TS]

00:57:57   although I'm like that casts he doesn't [TS]

00:57:59   get he just gets shot to death so I'm [TS]

00:58:03   for every single thing that fat cat says [TS]

00:58:05   sounds to me like out you Pixies go [TS]

00:58:07   through the door out the window [TS]

00:58:09   I love it that cast that chasm has a [TS]

00:58:15   classic line my wife especially approved [TS]

00:58:18   which is approved of which is boy [TS]

00:58:21   jeez we have ladies in here in a [TS]

00:58:23   position for like two weeks and now [TS]

00:58:25   we're looking for looking in the toilets [TS]

00:58:27   were already down the toilet yeah nice a [TS]

00:58:29   classic but chances one lousy cop god [TS]

00:58:31   especially if it's a dame [TS]

00:58:33   yeah my notes my notes evolved oh yeah [TS]

00:58:35   well yeah that's that's math out saying [TS]

00:58:38   saying uh you know the other cover cop [TS]

00:58:40   on the train right doesn't doesn't have [TS]

00:58:43   much of a chance especially if it's a [TS]

00:58:45   dame that the bit at the end of them the [TS]

00:58:47   movie The the undercover cop is kind of [TS]

00:58:50   this long haired dude and he gets into a [TS]

00:58:53   shootout and kills Wilson from home [TS]

00:58:55   improvement got himself gets shot and at [TS]

00:58:58   this point Walter Matthau is in the [TS]

00:58:59   tunnel and and trading shots and the [TS]

00:59:03   hijackers sort of get away and Walter [TS]

00:59:05   mouth is going to chase him and he turns [TS]

00:59:07   to this long-haired person lying face [TS]

00:59:08   down on the ground and says don't worry [TS]

00:59:10   ma'am help will be here soon and I just [TS]

00:59:15   think that's a wonderful throw a little [TS]

00:59:17   throwaway line and there's just a lot of [TS]

00:59:19   those throughout the movie as you say [TS]

00:59:20   ma'am they're somehow he says Matt [TS]

00:59:22   always yeah it's so very because you're [TS]

00:59:24   letting hours the hippie that's all [TS]

00:59:26   that's been happy [TS]

00:59:26   yeah yeah oh by the way my favorite [TS]

00:59:28   econoline I did write it down its keep [TS]

00:59:31   dreaming you maniac [TS]

00:59:34   sure tell that to hijack good idea [TS]

00:59:37   definitely a contender for my favorite [TS]

00:59:39   line and and now my ringtone is Walter [TS]

00:59:42   Matthau saying to the Japanese gentlemen [TS]

00:59:43   let me show you around the knife center [TS]

00:59:45   which sounds great coming out of your [TS]

00:59:49   pocket new york new york a bunch of very [TS]

00:59:52   rude people are very upset that people [TS]

00:59:54   are inconveniencing them by stealing a [TS]

00:59:56   train that that's the thing with the [TS]

00:59:58   ticket heel character he's just really [TS]

00:59:58   ticket heel character he's just really [TS]

01:00:00   we offended that the afternoon commute [TS]

01:00:01   is going to be disrupted else important [TS]

01:00:03   people hostages be damned [TS]

01:00:05   and then there's the mayor the the of [TS]

01:00:08   the mayor held and his wife is played by [TS]

01:00:10   outdoors Roberts of Everybody Loves [TS]

01:00:12   Raymond to him [TS]

01:00:13   well she has the great line when the [TS]

01:00:15   mayor is deciding whether to pay the [TS]

01:00:16   ransom and she says the well I know one [TS]

01:00:18   thing you'll get 18 shots though there's [TS]

01:00:23   a very funny moment where he says I [TS]

01:00:26   don't want to go down there I got a cold [TS]

01:00:27   i want to go down there I'm gonna get [TS]

01:00:28   booed you're way behind in the polls you [TS]

01:00:30   gotta go down there and go down there [TS]

01:00:31   and then time passes enough time that [TS]

01:00:33   you forgotten that the mayor's going [TS]

01:00:34   down there and then and then the mayor [TS]

01:00:36   starts to show up in your you're so in [TS]

01:00:38   invention the plot of like are they [TS]

01:00:39   going to get the money there in time and [TS]

01:00:41   they have to chase the guys and all that [TS]

01:00:42   and then there's that moment of the [TS]

01:00:44   street where the cops are standing there [TS]

01:00:45   and suddenly everybody starts brewing [TS]

01:00:47   and you're like alright the bears [TS]

01:00:48   they're booing and in fact the silk and [TS]

01:00:51   says holy yeah yeah i just love how so [TS]

01:00:59   much of this movie is just sitting [TS]

01:01:01   standing still and talking you know it's [TS]

01:01:05   in a very dramatic looking microphone [TS]

01:01:07   and the command center right and and the [TS]

01:01:09   weird thing is the remake does this to [TS]

01:01:12   accept they don't know how to do it well [TS]

01:01:14   because you get a solution [TS]

01:01:17   I mean you are on the edge of your seat [TS]

01:01:19   in the whole movie in the original and [TS]

01:01:22   you know it's just amazing to me because [TS]

01:01:23   it because it's almost real time for the [TS]

01:01:25   most most part of the movie because they [TS]

01:01:27   have one and have like a little over an [TS]

01:01:29   hour as the deadline from when the the [TS]

01:01:31   hijacking starts to when they're gonna [TS]

01:01:33   start killing people so it's almost a [TS]

01:01:36   real-time movie i should point out that [TS]

01:01:38   their goal in in stealing this subway [TS]

01:01:40   train is is to receive 1 million 1 [TS]

01:01:44   million dollars which is about a million [TS]

01:01:46   in today's money we look right but which [TS]

01:01:48   which which made me laugh initially [TS]

01:01:50   because because of course the Austin [TS]

01:01:53   Powers parallel which you know even back [TS]

01:01:56   then doesn't seem like a whole heck of a [TS]

01:01:57   lot of money for as big of a caper and [TS]

01:01:59   especially when they're splitting it [TS]

01:02:00   four ways that happens on the drain [TS]

01:02:02   right it's there like how much money you [TS]

01:02:03   guys ever us the the real my real [TS]

01:02:06   favorite line of films when they ask how [TS]

01:02:08   much they're being a ransom for and the [TS]

01:02:11   guy says 1 million dollars in the [TS]

01:02:12   elderly jewish [TS]

01:02:13   and says that's not so terrific i [TS]

01:02:18   imagine number of the incomparable [TS]

01:02:20   listeners uh aspire to creative [TS]

01:02:23   endeavors and one of the reasons i [TS]

01:02:25   picked this movie is I really think the [TS]

01:02:28   the script of the original taking of [TS]

01:02:31   pelham 123 is just masterfully [TS]

01:02:33   constructed Justin it never really lags [TS]

01:02:37   it never really waste some moment it [TS]

01:02:41   keeps the action moving like Alex David [TS]

01:02:43   like David said it's really just a bunch [TS]

01:02:45   of guys talking into a microphone for [TS]

01:02:47   extended periods of time but it builds [TS]

01:02:49   independence and you know [TS]

01:02:52   yeah it really does and it if you are [TS]

01:02:57   interested in creating tension filled [TS]

01:02:59   scenes I I think you could do a lot [TS]

01:03:02   worse than spending an afternoon [TS]

01:03:03   studying taking pelham 123 and and and [TS]

01:03:07   and how they're able to wring every last [TS]

01:03:10   ounce of tension out of just Walter [TS]

01:03:12   Matthau and robert sean talk into the [TS]

01:03:14   microphone each other [TS]

01:03:16   negotiating the details of whether an [TS]

01:03:19   idea i've never seen another movie or TV [TS]

01:03:21   show with this it was when you give me [TS]

01:03:24   the deadline about when we're gonna pay [TS]

01:03:26   you what does it mean and they the math [TS]

01:03:28   out comes back to my three times it's [TS]

01:03:30   like okay we're gonna pay you [TS]

01:03:32   it's like all right well you've got 40 [TS]

01:03:33   minutes is like no no I said we're gonna [TS]

01:03:35   pay you so the deadlines off now I know [TS]

01:03:37   the deadline is for us to get the money [TS]

01:03:39   like alright well we'll see what we can [TS]

01:03:40   do and then they can't get the money [TS]

01:03:42   fast enough because well you know bank [TS]

01:03:44   tellers down at the bank are very slowly [TS]

01:03:47   counting out all the money and there's [TS]

01:03:49   that's one of the more exciting [TS]

01:03:51   tension-filled action scenes in the [TS]

01:03:53   movie is no one will be seated here in [TS]

01:03:55   the county money sequence but then they [TS]

01:03:57   put it in the car in the geyser and I'm [TS]

01:03:59   thinking oh jeez they're not going to [TS]

01:04:00   get in an accident the only get accident [TS]

01:04:02   and it and all that and so then Matthew [TS]

01:04:04   has to go back with the robber shot and [TS]

01:04:06   make another dissociation which is what [TS]

01:04:09   if we say that it's when the money gets [TS]

01:04:12   to the station [TS]

01:04:13   not when it gets to you and they [TS]

01:04:15   negotiate about that he's like all right [TS]

01:04:16   okay i'll give you that and then Matthau [TS]

01:04:18   has that moment where he realizes I'm [TS]

01:04:21   just gonna lie and tell them that it's [TS]

01:04:22   at the station even though the car just [TS]

01:04:24   got in a car wreck and i love that I'm [TS]

01:04:26   not [TS]

01:04:26   I don't believe I've ever seen that in [TS]

01:04:27   something elsewhere where these strange [TS]

01:04:31   details are going on and the fact that [TS]

01:04:32   they're fascinating intention field is a [TS]

01:04:34   credit to the screen plan is a credit to [TS]

01:04:36   those actors because they are really [TS]

01:04:37   just you know he's just stalling for [TS]

01:04:39   time he's just begging for time there [TS]

01:04:41   but it's really ratcheted up when your [TS]

01:04:43   average modern caper film the the crooks [TS]

01:04:46   are basically omniscient right i mean [TS]

01:04:47   you know what's going on in the outside [TS]

01:04:49   world at any given this was [TS]

01:04:51   this is one of my father's favorite [TS]

01:04:52   films and when I was really young [TS]

01:04:54   he kept saying how you should see this [TS]

01:04:56   you should see this pattern and I [TS]

01:04:57   there's so many movies out there and [TS]

01:04:59   then I was in a writing seminar and and [TS]

01:05:03   the teacher said here's this movie here [TS]

01:05:06   is this script that if you want to write [TS]

01:05:08   tense scenes you should watch it I when [TS]

01:05:10   r and watch it and I was riveted and I [TS]

01:05:12   went and got the script and I went and [TS]

01:05:14   you know it's like all right I'm going [TS]

01:05:15   to study this thing and you know it [TS]

01:05:18   again it's amazing how they get all of [TS]

01:05:21   that tension with all the sitting the [TS]

01:05:23   the other thing that I love about the [TS]

01:05:26   movie and I love comparing it through to [TS]

01:05:28   the movie quick change by build with [TS]

01:05:31   Bill Murray which I yeah I'm leaving [TS]

01:05:34   co-directed again it's it's another one [TS]

01:05:36   where there are little details to show [TS]

01:05:38   up in every scene from the very first [TS]

01:05:40   shot that come back to bite them later [TS]

01:05:43   but it's it's it's sort of the inverse [TS]

01:05:47   it's like they've successfully robbed [TS]

01:05:50   the bank and then they can't get any [TS]

01:05:52   form of transit to work and if they [TS]

01:05:56   would make a great double feature and I [TS]

01:05:58   was thinking about that [TS]

01:05:59   absolutely that's a movie and implement [TS]

01:06:02   the other thing that struck me is this [TS]

01:06:04   is not a bad plan at all and the only [TS]

01:06:06   reason that the that the the crooks [TS]

01:06:09   don't get away with it is that it all [TS]

01:06:12   falls apart once they get off the train [TS]

01:06:14   and I feel like if they had just left [TS]

01:06:18   right i mean if the fact is that they [TS]

01:06:20   had gotten to the staircase and just [TS]

01:06:21   popped up and gone out they would have [TS]

01:06:24   they would have made it out maybe they [TS]

01:06:27   would have come to mark martin balsam [TS]

01:06:28   apartment later but they would have made [TS]

01:06:30   it out but instead they bicker and shoot [TS]

01:06:33   dr. elizondo Hector Elizondo and that [TS]

01:06:36   gives all down and that gives the hippie [TS]

01:06:38   who's on the train tracks enough time to [TS]

01:06:40   wake up and shoot the Berlin yeah the [TS]

01:06:44   our friend from behind the fence and and [TS]

01:06:47   that leads to the end and that gives a [TS]

01:06:49   martin balsam enough time to leave and [TS]

01:06:52   and leaves a walter matthau enough time [TS]

01:06:54   to to confront our mastermind and and [TS]

01:06:59   yet it worked all they had to do is [TS]

01:07:02   leave and instead it melts down which I [TS]

01:07:04   guess it takes you back to Tarantino and [TS]

01:07:07   reservoir dogs it's sort of the same [TS]

01:07:09   idea right it's like that sometimes it's [TS]

01:07:11   not the plan that's flawed it's the [TS]

01:07:12   people who are executing the plan and [TS]

01:07:15   that happens here and again to to close [TS]

01:07:18   the circle on in contrast with get [TS]

01:07:21   carter where they the end of this kind [TS]

01:07:22   of unsatisfied when when Robert Shaw is [TS]

01:07:25   brought to his end its it hits a very [TS]

01:07:28   sassy [TS]

01:07:29   yes I did say that to Lauren about 20 [TS]

01:07:33   minutes in that uh as martin balsam is [TS]

01:07:35   coughing and sneezing like well I see at [TS]

01:07:38   the end they're gonna he's gonna get [TS]

01:07:39   away except that he's going to seize and [TS]

01:07:41   and and and there's gonna be that moment [TS]

01:07:43   of like a haha you were the guy who was [TS]

01:07:45   sneezing and yet that's exactly what [TS]

01:07:47   happens with the most Walter Matthau [TS]

01:07:49   easiest look every once again i love it [TS]

01:07:52   because it just stops on the laundromat [TS]

01:07:54   is columbus stops on the look there's no [TS]

01:07:57   follow-up you know you know what John [TS]

01:07:59   gotcha yeah and again 2 t.t to younger [TS]

01:08:04   viewers who might want younger viewers [TS]

01:08:06   now this this video podcast younger [TS]

01:08:09   listeners viewers of movies [TS]

01:08:10   yes who might think of walter matthau [TS]

01:08:13   always the creaky guy the old man he's [TS]

01:08:16   the old man in movies that this was in a [TS]

01:08:19   period of time Walter Matthau was a [TS]

01:08:21   leading man are in motion pictures is a [TS]

01:08:25   very good movie he made around this time [TS]

01:08:27   called Charley Varrick which i would [TS]

01:08:30   recommend to 22 people to go out and [TS]

01:08:32   find where he becomes involved in a bank [TS]

01:08:35   heist and [TS]

01:08:36   there's the Laughing detective which I i [TS]

01:08:39   actually haven't seen and shortly [TS]

01:08:42   thereafter he did bad news bears and [TS]

01:08:44   that this was at the time when people [TS]

01:08:46   are saying Walter Matthau he carries a [TS]

01:08:48   picture and he is a really good actor he [TS]

01:08:52   is enjoyable in this throughout but we [TS]

01:08:55   it's this is true it's the laughing [TS]

01:08:56   policeman all laughing police yeah I [TS]

01:08:59   think thank you for correcting me i [TS]

01:09:01   almost said Singing Detective which is [TS]

01:09:02   totally differently different thing also [TS]

01:09:05   very good we have different [TS]

01:09:08   yeah just if the movie has detective in [TS]

01:09:10   the title rented well it'll be okay sure [TS]

01:09:14   it's fine [TS]

01:09:16   yeah uh-oh i wanted to mention another [TS]

01:09:19   way that this movie is very different [TS]

01:09:20   from a movie that would be made today [TS]

01:09:22   this movie from 1974 which is about [TS]

01:09:25   communication and i actually found it [TS]

01:09:27   delightful and also infuriating when [TS]

01:09:30   they're trying to get the money to the [TS]

01:09:31   station that the at one point I believe [TS]

01:09:34   there is a communication relay that is a [TS]

01:09:37   phone call to a guy with a radio to a [TS]

01:09:40   different guy with a radio to a [TS]

01:09:42   different guy with her radio in order to [TS]

01:09:44   relay information because there's no [TS]

01:09:47   good communication method so they want [TS]

01:09:49   they want to reach the guy down in the [TS]

01:09:50   tunnel and I gotta go through the they [TS]

01:09:53   got to go through the dispatch which has [TS]

01:09:55   to go from the guy the cops on the [TS]

01:09:56   street which has to come from the mayor [TS]

01:09:58   and it's this whole ridiculous thing and [TS]

01:10:01   that that you know that feeds Matthau's [TS]

01:10:03   discussion of when exactly the deadline [TS]

01:10:05   is but that was hilarious the today you [TS]

01:10:08   know you couldn't have a plot like this [TS]

01:10:09   because our communication tools are so [TS]

01:10:12   much better than they were them and [TS]

01:10:14   there's a bit a bit later where that's [TS]

01:10:16   used to communicate effectively where [TS]

01:10:17   every single person on the other end of [TS]

01:10:19   the radio is told it's moving [TS]

01:10:21   oh you every single one of them says who [TS]

01:10:23   yeah who'd even watching they've been [TS]

01:10:25   paying attention for the last 45 that's [TS]

01:10:27   a very funny scene because it keeps [TS]

01:10:29   happening and it just keeps building but [TS]

01:10:31   very very funny i did enjoy that they [TS]

01:10:33   that the car that the car that's [TS]

01:10:36   carrying the money doesn't just get in a [TS]

01:10:39   car wreck but like goes rolls over [TS]

01:10:41   yeah as a kid who grew up watching chips [TS]

01:10:44   I enjoy a good rollover accident and [TS]

01:10:46   then motorcycle cops to the rescue [TS]

01:10:48   actually made they put [TS]

01:10:50   the bag of money on a motorcycle cops a [TS]

01:10:52   motorcycle and he takes off and that was [TS]

01:10:54   actually a very exciting scene in a [TS]

01:10:57   movie that doesn't have a lot of it you [TS]

01:10:58   know traditionally exciting things I [TS]

01:11:00   like that a lot [TS]

01:11:01   and then later they drive past the [TS]

01:11:03   flipped cop car is a yes they do as they [TS]

01:11:05   aged under Indian they've done their you [TS]

01:11:07   turn because see again this is ooo I [TS]

01:11:10   feel like we're we're spoiled now as [TS]

01:11:11   audiences that of course there's gonna [TS]

01:11:13   be a twist in the heist right this is [TS]

01:11:15   what happens there's always a twist in [TS]

01:11:17   the heist and and so we're watching this [TS]

01:11:20   and I thought I you know 20 minutes [TS]

01:11:22   before it happened I'm sitting there [TS]

01:11:23   going well they're gonna they're gonna [TS]

01:11:25   get off right and then they're gonna set [TS]

01:11:26   it going and then Walter matters is no [TS]

01:11:28   no there's a Deadman switch let me tell [TS]

01:11:30   you about that for a while but that's [TS]

01:11:33   exactly what it is and we will get to [TS]

01:11:34   watch Walter Matthau twerk it out but [TS]

01:11:36   that seems more boring now that it would [TS]

01:11:40   have I think at the time because now [TS]

01:11:42   every movie has to do that [TS]

01:11:43   yeah well it's it's I always think about [TS]

01:11:46   this quote a couple months ago Damon [TS]

01:11:49   Lindelof said in an interview about how [TS]

01:11:51   you can't do anything less than save the [TS]

01:11:55   world now everything everybody that [TS]

01:11:58   comes out has to save the world [TS]

01:11:59   you can't just do you know a subway car [TS]

01:12:03   full of people that's not enough for you [TS]

01:12:06   know maybe on TV maybe for an episode of [TS]

01:12:07   something sure and I know I kind of Miss [TS]

01:12:11   that and you know I I think he's wrong [TS]

01:12:13   I think you can do it if you do it well [TS]

01:12:15   well I think his point was that you're [TS]

01:12:16   not allowed to do it if you're a [TS]

01:12:17   producer of a Hollywood blockbuster you [TS]

01:12:19   can't exactly not save the world because [TS]

01:12:22   they want that those steaks and this [TS]

01:12:24   movie is very enjoyable with the lives [TS]

01:12:25   of those you know tropes who are on the [TS]

01:12:29   train and the stock characters on the [TS]

01:12:32   train and Walter Matthau and and and you [TS]

01:12:36   know a single train car is perfectly [TS]

01:12:38   fine [TS]

01:12:38   I i was also reminded when they're when [TS]

01:12:41   the Train is out of control and the one [TS]

01:12:42   guy is said they'll be a red light [TS]

01:12:44   eventually which is body that this is [TS]

01:12:48   like we've seen runaway trains and all [TS]

01:12:50   sorts of movies and superhero movies [TS]

01:12:52   especially there's been a bunch of those [TS]

01:12:53   Batman spider-man [TS]

01:12:55   and again in this movie it's just sort [TS]

01:12:58   of like a dark subway car and they're [TS]

01:13:01   shaking the set and the shaking the [TS]

01:13:02   cameras and the people are like uh [TS]

01:13:03   there's no spectacular anything it's [TS]

01:13:07   just the tension of you know the the [TS]

01:13:10   imagination and a couple of stock shots [TS]

01:13:12   of the subway train going by although I [TS]

01:13:14   have to say I feel like even in 1974 the [TS]

01:13:17   whole troop of things going horribly [TS]

01:13:18   wrong towards the end must have been [TS]

01:13:20   stilled hat mean we watched the killing [TS]

01:13:24   and right [TS]

01:13:26   Lavender Hill mob which came far far [TS]

01:13:28   earlier and in it's basically the same [TS]

01:13:30   thing there i mean the caper is always [TS]

01:13:32   foiled by some silly complication that [TS]

01:13:34   gets introduced towards the end like a [TS]

01:13:36   cold [TS]

01:13:37   well that's interested in the beginning [TS]

01:13:38   right yeah I i think we should say a few [TS]

01:13:41   nice words about won't martin balsam yes [TS]

01:13:46   sure before we sign off easy because it [TS]

01:13:49   that this is a guy who basically if you [TS]

01:13:52   made a good movie between like 1957 in [TS]

01:13:55   1975 he he wandered into it somehow it [TS]

01:13:59   because he's in this one he's in all the [TS]

01:14:01   President's Men he's in twelve Angry [TS]

01:14:02   manis and Breakfast at Tiffany's is [TS]

01:14:05   psycho is in your shoes [TS]

01:14:07   yeah well do [TS]

01:14:10   he's probably in some old movies where [TS]

01:14:12   it's hi how is not awesome hear it and [TS]

01:14:17   it's just down how do you keep appearing [TS]

01:14:19   in good movies and then he like moved to [TS]

01:14:21   Italy and started making like his weird [TS]

01:14:24   to tell people it's his eyes of it's a [TS]

01:14:27   fascinating career moment Martin balsam [TS]

01:14:30   I've been catching up with episodes of [TS]

01:14:32   The Naked City you know he's in several [TS]

01:14:36   of them because they they would just [TS]

01:14:37   recycle guest stars and Jack Klugman [TS]

01:14:39   isn't like six of them or something [TS]

01:14:40   different characters every time and it's [TS]

01:14:43   the same kind of thing it's like the [TS]

01:14:44   episode maybe kind of him but martin [TS]

01:14:47   balsam walks in boom it turns into a [TS]

01:14:49   really good story [TS]

01:14:50   yeah and you get the sense from this [TS]

01:14:54   character from the get-go but I [TS]

01:14:56   especially like the way they shoot his [TS]

01:14:58   reactions whenever there's the threat [TS]

01:15:00   that they're going to kill one of the [TS]

01:15:01   passengers and it's obviously upsetting [TS]

01:15:03   to him that he you can tell without a [TS]

01:15:05   lot of dialogue or any dialogue in some [TS]

01:15:08   cases [TS]

01:15:09   and uh without it oversharing that he's [TS]

01:15:13   not comfortable with that violence and [TS]

01:15:16   he pictured this being cleaner than it's [TS]

01:15:18   gonna be and that he you know he's not [TS]

01:15:20   that guy he's not the hardened criminal [TS]

01:15:22   that these other guys are and and you [TS]

01:15:25   you get that from him throughout his [TS]

01:15:27   performance you get that [TS]

01:15:29   yeah and you feel satisfied when Hector [TS]

01:15:30   Elizondo dies you feel satisfied when [TS]

01:15:32   Robert Shaw guys and you feel really bad [TS]

01:15:35   when martin balsam sneezes at the end [TS]

01:15:37   yeah well I mean I'll you don't want [TS]

01:15:40   yeah i mean this is always attention to [TS]

01:15:42   these movies to you wanted to get away [TS]

01:15:43   with it and it's like well I kinda [TS]

01:15:44   wanted to get away with it or at least [TS]

01:15:46   enough away with it that i can see that [TS]

01:15:48   this plan would have worked and that's [TS]

01:15:50   sort of what you get with martin balsam [TS]

01:15:51   she gets all the way back to his his [TS]

01:15:53   apartment and I'm sitting there thinking [TS]

01:15:54   don't go to your apartment just take the [TS]

01:15:56   money and disappear right but let's go [TS]

01:15:58   straight to his apartment and his sad [TS]

01:16:00   little apartment yeah that's yeah where [TS]

01:16:02   there's some money in the oven [TS]

01:16:04   I do like that they leave it a little [TS]

01:16:07   bit up in the air as to whether he [TS]

01:16:08   actually did what he was fired from the [TS]

01:16:10   Transit Authority for EM yeah I'm my own [TS]

01:16:13   among the criminals he could have just a [TS]

01:16:15   confessed that he was guilty of it but [TS]

01:16:17   he didn't he said no I was a setup I I [TS]

01:16:20   didn't do it he doesn't need to be [TS]

01:16:23   honorable about that right in front of [TS]

01:16:24   nice if you just don't know it seems [TS]

01:16:27   like he could certainly have said [TS]

01:16:28   something about it at that point but why [TS]

01:16:31   woody I like this one [TS]

01:16:32   good I like this one a lot it was really [TS]

01:16:35   a lot of fun [TS]

01:16:36   this would be one of my desert island [TS]

01:16:37   discs this would be you know if I pick [TS]

01:16:40   10 movies to take to the island this [TS]

01:16:42   would be in the top five last night I [TS]

01:16:45   thought it was kinda lame i think i got [TS]

01:16:49   a huge kick out of it as a period piece [TS]

01:16:51   you know the decaying New York and all [TS]

01:16:53   of that but it's a thriller for me it's [TS]

01:16:55   it was almost impossible to take [TS]

01:16:57   seriously like I didn't really get any [TS]

01:16:59   of the tension you guys felt in fact I [TS]

01:17:01   thought there's there's so much comedy [TS]

01:17:03   which was all very good by the way i [TS]

01:17:05   laughed a lot during the movie but it's [TS]

01:17:07   apt all the tension out of the thing for [TS]

01:17:08   me and of course the fact that all of [TS]

01:17:11   the the the hostages are basically [TS]

01:17:13   interchangeable throwaways you know [TS]

01:17:15   didn't help but I mean even the caper [TS]

01:17:18   was not all that complicated or [TS]

01:17:19   interesting I mean the whole Deadman [TS]

01:17:21   switch wrinkle was visible [TS]

01:17:22   the way and oh my god what would what [TS]

01:17:25   I've crooks never before thought of [TS]

01:17:27   changing that's it seems you're gonna [TS]

01:17:29   turn it inside out about the way that [TS]

01:17:31   nobody has to save the day at the end [TS]

01:17:33   the train just stops [TS]

01:17:35   although i would say that the probably [TS]

01:17:37   the second best thing after the that's [TS]

01:17:39   not so terrific line in the film is the [TS]

01:17:42   the drunk lady who's been passed out [TS]

01:17:44   loaded the whole time as the train comes [TS]

01:17:47   to a stop she's still asleep and she [TS]

01:17:49   just slides along to seat [TS]

01:17:51   yeah to the various moral of the story [TS]

01:17:53   being be loaded at all times [TS]

01:17:55   what I'm hearing from Steve is it needs [TS]

01:17:57   more nineteen seventies poor not [TS]

01:17:59   slideshows yeah yeah everything could [TS]

01:18:02   you for him to get interested I I i [TS]

01:18:05   enjoy the movie I I think it's just like [TS]

01:18:09   I said excellent a screenplay and if [TS]

01:18:14   you're a fan of walter matthau like I am [TS]

01:18:16   this is a movie that really showcases [TS]

01:18:19   his talents i think i would have liked [TS]

01:18:21   it more had I seen it around nineteen [TS]

01:18:24   seventy eight or so its up its up its [TS]

01:18:26   time yeah i'll give you that there's [TS]

01:18:28   just been so there's been so many [TS]

01:18:29   seventies you know crime dramas and [TS]

01:18:32   things in the interim that I've run [TS]

01:18:33   across that to me the whole thing played [TS]

01:18:35   like a TV pilot for Garber and patron [TS]

01:18:38   uh-huh which I would totally watch by [TS]

01:18:40   the way it really did influence a lot of [TS]

01:18:42   stuff and I mean how many movies have [TS]

01:18:44   stolen from this you know i mean there's [TS]

01:18:47   certain things together the caper going [TS]

01:18:49   slightly wrong by the end but just in [TS]

01:18:52   terms of the pacing and the filming and [TS]

01:18:54   the way they made it I mean it looks [TS]

01:18:55   like a Quinn Martin production but it [TS]

01:18:57   doesn't look like a Quinn Martin [TS]

01:18:58   production before the movie was made you [TS]

01:19:02   know all of a sudden the streets of San [TS]

01:19:04   Francisco starts to look like this you [TS]

01:19:06   know so so it's some of it is just time [TS]

01:19:09   ya know it don't get me wrong I enjoy [TS]

01:19:11   the movie and and and i enjoyed [TS]

01:19:14   obviously the humor of it and do it [TS]

01:19:15   clearly was very well made but I just it [TS]

01:19:18   doesn't work as a thriller anymore i [TS]

01:19:20   don't think they would you like to see [TS]

01:19:22   something that doesn't work as a [TS]

01:19:23   thriller now 2009 version of the taking [TS]

01:19:28   of pelham 123 which john travolta higher [TS]

01:19:31   hijacks the train and talks on the radio [TS]

01:19:34   to Denzel Washington [TS]

01:19:36   exactly what has many train rolls yeah [TS]

01:19:38   that is that is the cast and whereas the [TS]

01:19:41   Robert Schoch character is very [TS]

01:19:43   contained and very menacing that the [TS]

01:19:46   john travolta character is very [TS]

01:19:47   screaming in fact lots of characters in [TS]

01:19:50   this movie or very screaming it's like [TS]

01:19:52   it's like they watched the original [TS]

01:19:53   movie and said that dick O'Neill [TS]

01:19:55   character screaming at everyone and [TS]

01:19:57   telling them that they're stupid or that [TS]

01:19:59   we should make every character like that [TS]

01:20:01   a end and it's got and it's directed by [TS]

01:20:06   tony scott who make some good things i [TS]

01:20:08   enjoy Crimson Tide i enjoyed other [TS]

01:20:10   things that he's done but this is this [TS]

01:20:12   is everything bad that Tony Scott has [TS]

01:20:15   ever done their their scenes where the [TS]

01:20:17   camera is just swirling around people [TS]

01:20:20   and it it is clearly intended to [TS]

01:20:23   distract people from the fact that [TS]

01:20:25   there's there's not much story here it's [TS]

01:20:28   it's an aggravating angry picture and [TS]

01:20:32   like I i think i mentioned earlier there [TS]

01:20:35   are scenes where Travolta and Denzel [TS]

01:20:38   Washington are talking and time just [TS]

01:20:41   stops if it and you can feel yourself [TS]

01:20:44   aging and you can when are we getting [TS]

01:20:46   back to the movie and and the less said [TS]

01:20:50   about the beard John Travolta's grown in [TS]

01:20:53   the film you mentioned though they [TS]

01:20:55   change hats to get away [TS]

01:20:56   well at least they peel off their [TS]

01:20:57   ridiculous mustaches on Travolta spends [TS]

01:21:00   the entire movie with this with this [TS]

01:21:02   this this mustache that did the less [TS]

01:21:06   said about it the better and he has a [TS]

01:21:07   neck tattoo and he just strolls out of [TS]

01:21:10   the subway like a look at that guy [TS]

01:21:12   carrying that giant satchel of money [TS]

01:21:14   which he took off his ridiculous [TS]

01:21:16   hairpiece [TS]

01:21:17   no he does not listen to your hats or [TS]

01:21:20   reverse jackie chan's it is john [TS]

01:21:23   travolta from beginning to end [TS]

01:21:24   oh good you know if you're gonna I I've [TS]

01:21:28   said this a few times now I'll just [TS]

01:21:30   repeat this if you're going to pick [TS]

01:21:32   addinsell Washington train themed film [TS]

01:21:34   the taking of pelham 123 remake by tony [TS]

01:21:39   scott that was his next last film his [TS]

01:21:40   last film was unstoppable with denzel [TS]

01:21:43   washington and chris pine and that's a [TS]

01:21:46   that's an enjoyable movie that that so [TS]

01:21:48   having not seen the real [TS]

01:21:49   I think of pelham I can't endorse that I [TS]

01:21:52   take your word for it Phil but I I i [TS]

01:21:54   would go with the other Tony Scott [TS]

01:21:57   Denzel Washington train movie from from [TS]

01:21:59   2010 better movie [TS]

01:22:02   yeah i converse with that and they're [TS]

01:22:03   still trains if you like trains of your [TS]

01:22:05   entry interesting the train related [TS]

01:22:07   movies i recommend unstoppable over [TS]

01:22:09   taking of pelham 123 the remaining so [TS]

01:22:13   what have we learned that they made they [TS]

01:22:16   made movies in the seventies felt for [TS]

01:22:17   what are you what are your thoughts [TS]

01:22:18   about these movies that you were and are [TS]

01:22:20   red I made you watching that the people [TS]

01:22:24   that you you think of as character [TS]

01:22:26   actors in this day and age actually [TS]

01:22:29   might have had careers is leading men [TS]

01:22:31   that are worth exploring that a period [TS]

01:22:36   pieces even if they feel dated as you [TS]

01:22:38   watch them now they're still value to be [TS]

01:22:40   to be gained from them and for God's [TS]

01:22:42   sake don't remake movies remake a movie [TS]

01:22:46   that you can improve upon don't remake a [TS]

01:22:49   movie that's already good and that [TS]

01:22:51   people like regarding period pieces [TS]

01:22:53   anybody who thinks life sucks right now [TS]

01:22:55   either these two movies [TS]

01:22:58   yeah i would recommend for people [TS]

01:22:59   seriously how do we make it through the [TS]

01:23:02   seventies dressed horrible and two [TS]

01:23:06   younger no better life was spiraling out [TS]

01:23:09   of control the music was awful [TS]

01:23:11   this is this is the I I'll enjoyed [TS]

01:23:13   watching this is the this is the new [TS]

01:23:15   york that led to the New York where [TS]

01:23:17   Times Square was just nothing but [TS]

01:23:19   wall-to-wall pornography and slideshows [TS]

01:23:22   of pornography [TS]

01:23:23   ok we have come to the end of the old [TS]

01:23:26   movie club for this installment I'd like [TS]

01:23:29   to thank my guests for joining me and [TS]

01:23:31   watching these two movies [TS]

01:23:32   David lower think you're being here [TS]

01:23:34   again thank you Steve let's thank you as [TS]

01:23:37   always for being here i have an awful [TS]

01:23:39   feeling we're not going to get our fees [TS]

01:23:40   from this episode haha [TS]

01:23:44   keep dreaming you maniac but expect feel [TS]

01:23:48   lousy thirty-five cents and Phil [TS]

01:23:50   Michaels thank you for being here [TS]

01:23:52   hey even great men have to pee sometime [TS]

01:23:54   and on that note we will we will say [TS]

01:23:58   goodbye to all of you out there in [TS]

01:24:00   comfortable podcast land adjacent cells [TS]

01:24:02   signing off thanks for listening [TS]

01:24:09   bomb but don't fucking chicken card and [TS]

01:24:29   capital will return it get carter to the [TS]

01:24:32   wind or introduction don't don't don't [TS]

01:24:35   don't don't [TS]

01:24:36   I'm from Compton don't want him to come [TS]

01:24:47   on to Papa [TS]

01:24:53   I like that one too [TS]