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00:00:01
Forbidden Planet (1956)- Robby Thee Robot
51 Plays2 months ago
This is classic sci fi in so many ways. The flying saucer, the desert planet, the iconic robot (who's also a seamstress!) as well as skirts so short, you wouldn't believe it's the 1950's. Join us as we ask the age-old question- why are the men acting like that?
https://www.imdb.com/title/tt0049223/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_forbidden
https://en.wikipedia.org/wiki/Forbidden_Planet
Music: Cassette Deck by Basketcase
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Transcript
00:00:00
Speaker
I'm Melinda. I'm Ariel. This is Hot Set, the movie podcast about costume design.
00:00:22
Speaker
Hello and welcome. Today we are talking about 1956's Forbidden Planet.
00:00:31
Speaker
Welcome to the 50s. We are here firmly in this decade. We're here. And I feel the power of Star Trek and I am so excited. Watching this movie, I was like, this movie is for Ariel. Yes. This is, I mean, documented inspiration for Gene Roddenberry. oh yeah But you can see it. Oh, absolutely. Yeah. But yeah, you can see the logical
00:01:05
Speaker
like planning that evolves into Star Trek here. And it's pretty great. I love it. And it starts from like minute one. Oh, yeah. With the second. Yeah. Because you're immediately kind of thrown into the story of this like spaceship crew that seems to be some kind like they're clearly like an organized group of people with like missions, but it doesn't it's not really like, you know, fighting, it's it very much feels like our like scientists bent explorer people from Star Trek. Yeah, and it's built on a naval structure too. And so it's like even the the uniforms reflect that because there are different statuses and like we'll get into the nitty gritty. I don't know. Should we just jump into it? Because like, yeah, we should have not. We should.
00:01:59
Speaker
When you think of, I mean, it's very 1950s, no question, very for sure very post-World War II silhouette shaping going on. um but Like where there would be straps for epaulettes or epaulettes or any kind of insignia on the shoulder, they have reduced that to basically like a button on each side, which continues like the smooth design of the whole costume, which is like a cover all situations. I think actually two pieces. It's like a shirt and a bear pants.
00:02:33
Speaker
yeah I was like looking in, yeah like so drilling in so much to see and I came to the same conclusion. Yeah. I actually like found some um blogs. There's tons of blogs with people who cosplay talking about this. And it was kind of amazing going through the message boards because you can tell that this is like maybe two generations older than we are or like a generation and a half older than we are talking about. the details and and like the belts are, I think, based off of like a 1950s high school wrestling team style belt. I was like, why is it so specific? That's your choice. That's your choice. Sight your sources, friend. Yeah, absolutely. No sources cited, so I can't guarantee it. But I do agree that the belts look like they're based off of weightlifting belts because even now, if you have one, like a brace for lifting,
00:03:26
Speaker
it's like heavier support in the back and then it thins in the front so that you can latch it. But there's like this v-neck, trapunto, quilted ah ridge situation going in the front of the uniform. There's like this piping around these giant shoulder pads. sort of broker quilted yeah like it's it's a very It's a very deliberate and like pretty sleek design that's very great, and those epaulette buttons really remind you of Star Trek Pips, where it's like, in Star Trek, you have these things that denote what you know class somebody is. Not class, like social class, but like what basically station. Like rangeers yeah rank. Yeah. Thank you. That's what I was looking for. What rank they are.
00:04:12
Speaker
But they are just these little discs that are at the neck. They're very, very subtle. But each rank has a different amount on either side of the collar, depending on the generation of costume. And so it's it's just like, I loved it. And I I was like looking at our like um our crew, their their costumes. And I was also just even appreciating the choice of the fabric because it looked sturdy and durable, but it still had like a bit of a drape. It looked nice on everyone and it was like very flattering and also looked very fifties in terms of like the types of like men's
00:04:59
Speaker
fabrics that were popular where they do have this nice ability to kind of um drape a bit across the body instead of being this like big boxy thing that hangs off of you. Yeah, it's neither too rigid nor too flexible. Like it didn't feel too plasticky or too um like stretchy, you know, like where it like drapes too much. It felt like this is what a uniform would be made out of. Like it could be like the pants or maybe like a wool, you know, yeah like there's a thrill happening here that is meant for for working. And like it felt like if the hand of the fabric would be like solid and not too lightweight, like a like a lightweight cotton or anything.
00:05:43
Speaker
Maybe it was, but it felt like it had some body without giving up too much. And it was just like pretty great. And um as the story progresses, you see that there are these like v-neck quilted ah officer long sleeve uniforms that are on the bridge, essentially. There are other crew members who have short sleeve ah uniform shirts instead of the long sleeve. and they don't have quilting, but what they do have that is a change, because these are pretty normal looking at first glance of these like soldier short sleeve um uniform shirts, but they have zippers. They do have zippers. A set of buttons. And instead of flap pleated pockets at the chest, they have welted pockets.
00:06:34
Speaker
and So it's continuing like the smoothing down of futuristic costumes. And I really loved that detail. It's just like, this is just a basic utility shirt, but they swapped out pleated flapped pockets and buttons for zippers and welts. And that was like, that's such a great clever idea. And we should note that the men's costumes are credited to the designer Walter Plunkett, whereas the women's costumes, which is really just one woman in this story, there is only one female character. Boy, howdy, and don't we hear about it for about 10 minutes. We sure do. And I'm sure we'll talk about that. ah but but And those costumes are all credited to the designer Helen Rose. So we have two different people that seem to have split the work of designing this. I would love to know a little bit more about
00:07:35
Speaker
how they worked with each other and how much collaboration and communication there was between them, but I don't really have that information. So. oh Yeah. And like visually, it just looks like an agreement on color palette, you know, because Altara's, the female character, Altara's costumes are so unique to her yeah but they very much have a color palette that is like this was decided upon and I wonder how much conversation there was because we have the character this movie Forbidden Planet is based off of or like inspired by the Tempest.
00:08:14
Speaker
Right. Right. And so we have this story of essentially a sorcerer or a doctor who's marooned on an island, in this case a planet, and he like wants to kind of take revenge against the people who put him there. And he doesn't want anybody else butting in on his perfect weird. World weird situation and his his costume is very earthy. It's like in this brown like dark brown. Yeah, like espresso spread like it's a that's that him. Espresso Mr. Espresso himself.
00:08:49
Speaker
i'm just going to In all my notes, I just talked about how I love his blouse because I'm just not even going to call it a shirt. like It is a shirt, but it's just so blousey and I want to see it blowing in the wind with its cross tie. Yeah, it's a weird little self-tie collar. I love it. That was a really interesting patterning detail that I was like, I want to see this up close. I know. I want to see it up close because Of a couple reasons, so that if though Morbius, it his collar is this like very rounded collar, like it doesn't have the little peaks. It's just like this very delicately rounded, then it has the cross tie and the cross tie reminded me of when I was a brownie in Girl Scouts, because we had those little cross tie ah ties.
00:09:35
Speaker
and um I was like, I haven't really seen that except for like, feels kind of old Western-y. Every once in a while, I feel like I'll see them in like a flight attendant uniform. Yeah. But it feels very retro. Yes. In that context. It's very retro in that context. And then it's very pseudo-Western-y. Yeah. It's like I have a tie, but it's just a little tie. It's just a little suggestion of a tie. I think they're like Colonel Sanders. KFC Colonel Sanders might have one of those cross ties. So if you want a visual, there you go. But in this case, it's like on an espresso blouse. And another reason I want to see it up close is because later in the movie, Morbius leans forward over his desk.
00:10:28
Speaker
And I see these like a bunch of seams in the middle of his shoulder line, like on the back piece of the of the shirt. And so I want to see how that was pieced because it seems like it had some cool stuff going on, unless that was like an alteration, you know, that was made to look super deliberate. It seems like there must have been some kind of cool detailing on the back of just like different piecing. And that would be cool to see a close. But he's in this like earthy espresso color situation. Our space crew are all in silver and gray. yeah And then our lady friend, Altera, is in a mixture of taupe, whites, and silvers. And like
00:11:16
Speaker
There's like a ah dark silver and kind of like blue silver, like there's- Yeah, there's some variations. But there's definitely a meeting of the Morbius and the space crew happening with her earthy-ish color meeting the silvery color. yeah So it's like, I wonder if that was the agreement. that Mr. Plunkett and Ms. Rose came to was like, we need to have her represent the meeting of the minds. Oh, and the the mind is so present in this movie as we will get into. I think it's really interesting that as far as what I found out about Walter and Helen is that Walter was the head of the costume and wardrobe department for RKO Studios.
00:12:01
Speaker
ah at the time People who ah want to see more of his work and maybe already have will note that he designed the costumes for Gone with the Wind. including the famous curtain dress. or and He designed the costumes for Singin' in the Rain. He also designed. i I lost my mind because I looked through. Did you look through his filmography? like Just scrolling, I didn't look through it as extensively. ok so King Kong, some of his work was in there, um Three Musketeers 1948, Little Women 1949 with Elizabeth Taylor. But the one that got me, Annie Get Your Gun,
00:12:44
Speaker
1950, and seven brides for seven brothers. Wow. Also, an American in Paris, I guess a a specific sequence showboat. Yeah, he he just has a lot of recognizable films in his in his situation. It actually looks like he did The Three Musketeers multiple times. Oh, okay. Yeah, 1948. And this is really thrilling. 1948 and 1935. So he just like- Oh, wow. Which is going, going, going. And I feel like he was like, yeah, I've already done this. We'll do it again. Yeah, I already know it. Let's- No problem. What do you want this time? Yeah. Wow. Pollyanna from 1960. This is wild. Wow. Famously filmed in Santa Rosa.
00:13:31
Speaker
Yes, really crazy, really crazy. this this This is another thing that happens in the history of Northern California where I live here. Aida, can you keep it down?
00:13:47
Speaker
But yeah, there's just like so much recognizable in Northern California that you see in film, et cetera, et cetera. And every time I find out about that, I am shocked that people know it exists. I know it's like so special. It's like it's it's such a like fun little thing to be like watching a movie and be like, I know that place. I've seen that place. I've been there. And you know it's just a testament that we live in such a nice area that people want to come film their movies up here. I also discovered that um Helen Rose was the head of the MGM Costume Department.
00:14:20
Speaker
from the 40s into the 1960s. She was extremely in demand for a lot of the very famous actresses from the period. She actually ended up kind of sort of retiring from costume design and just pivoting into full-on fashion design and designing ah clothing and wedding gowns. for some of the most famous women of the period, including Grace Kelly's wedding gown, the Princess of Monaco. So that was kind of fascinating. She also wrote a book that I really want to like get my hands on and read called The Glamorous World of Hell and Rose, which just sounds like
00:15:04
Speaker
So fancy. That sounds amazing. Yeah, I really I don't think it's in print anymore. I was kind of like, how can I get this book? I did. I found like a really expensive used copies that I was like, ah maybe not. But ah I'm kind of like, OK, put that on the list of like things to look out for. I love it. Like you look at her um her credits on Wikipedia and basically next to every single one is in parentheses for this specific famous actress. Yeah. And I think that's something you don't see as often anymore, but it seemed to be definitely more of a thing at that time where it's sort of like, I mean, I used to still see it every once in a while now where it's like a very specific designer and an actor have her like formed a really good collaborative working relationship and they trust that person and know that that person's going to like kill it and design the best stuff for them. But
00:16:04
Speaker
It does seem to be more prevalent at that time when I feel like people's star power was an image was so important even within like movies. It was like, you're going to see the new Elizabeth Taylor movie. You're going to see the new Grace Kelly movie. Not necessarily caring as much about what the movie is. Yes. It's more about what it looks like. yeah and And like that whole thing about basically having a designer be a stylist is really interesting. And like the world of stylists versus designers, it's not like one is against the other when I say versus, but a stylist being kind of entrusted with an actor's or a performer's personal style is really interesting. And it's it's kind of wild to see it when it flips the other way.
00:17:00
Speaker
not in the personal personal side of their professional life outside of a specific project. But when that kind of comes back into a specific project and like a lot of what I know about like what happens on sets is apocryphal and it's from other people's experiences because I have not worked in film. right But kind of the more you are a name, the more power you have over what your costume is in a production. That can be extraordinarily detrimental and I would love to take a little side trip.
00:17:42
Speaker
Just really dig down into this for a second. Yeah, let's do it. I love the idea of collaboration. I love that. I don't think that most people truly in the moment understand what collaboration is. Collaboration is kind of like an equal push and pull from multiple parties who are bringing a lot of ideas and inspiration and knowledge to a certain subject in order to achieve a goal, right? Yes. Usually what it boils down to is somebody saying, my way goes. And that is not collaboration. Like the having meetings where you're throwing ideas back and forth is yes, collaboration, but throwing out all of those ideas for one person to say, well, my idea is better. That is not collaboration. And that's usually how it kind of plays out. It might not be as brutal as I'm saying, but that's kind of how it like washes down. Yeah.
00:18:35
Speaker
And so when it comes to, sorry. Oh, it's just, it it's so hard to divorce like ego from the equation. And it seems like that's where the conflict comes from is everybody likes their own ideas. And are you willing to take that out take it out of the equation for a second and be like, is my idea actually better than that person's or do I just like it because it's mine? And there's this like vulnerability that comes into it where performers don't want to be made to look ridiculous, especially when their whole career hinges upon being seen a certain way. But that is where
00:19:24
Speaker
the understanding of costume doesn't exist or it falls by the wayside, right? yeah Because a costumer, a designer, a designer has been hired for a reason. It's not just like a fill in the blanks job. It's you've been hired because we like your style of interpreting what a director is telling you. and like we like your art direction in this venue, right? and We respect your knowledge and expertise. Yeah. and Even if sometimes that's to a point. but Yeah, like sure. we We see that you know what you're talking about and that you look at these details and that you apply details to the storytelling that is very subliminal and will be very effective. What sometimes performers don't see through the lens of their vulnerability and wanting their way to go,
00:20:16
Speaker
is that the designer, the costume person is probably trying to put this on your body for a reason. And I don't know how far the conversation goes. I think it's pretty much personality based based on the performer. A very famous recent example of this ah performer taking um responsibility and taking like power in the conversation about costume is the live action Disney Beauty and the Beast with Emma Watson. And I will never forget reading articles after the movie came out and the language was very deliberate and it was very kind that the that the designer would use. so And it was very kindly and professionally saying, none of that was my decision.
00:21:06
Speaker
That was not me. And so, but not like saying it in a fighting kind of way, but the performer, clear and factual and kind of soft, but like the performer had these ideas. I contributed my knowledge and gave my opinions and the performer was very stuck in their idea. So that's how it came to be. And not everybody has the same opinion and that's totally fine, but I think it is very obvious when you see the costume that was designed by the actress.
00:21:44
Speaker
versus 99% of the movie that was designed by a professional yeah who was really thinking about creating a world that felt like a world people lived in. and had ah better basis of knowledge about the subject matter because it really boiled down to Emma Watson refusing to wear a corset because she had subscribed to this weird notion that seems to have you know really taken hold of of a lot of people's thinking that corsets are
00:22:24
Speaker
um a torture device a torture device invented by the patriarchy yes and i just want to remind folks that there are people myself included who are not small chested and need support and all of course it is. Is support. And I have had this conversation with friends who also wanted to say like, oh corsets because I've i've studied corsets and I've made corsets and people always have all of these opinions and the patriarchy always comes up, right? um The way that clothing, this is a real side trip so I'm glad that we're going down, but um the way that corsets
00:23:06
Speaker
The purpose that they served was support they of the whole torso of the whole torso. Tight lacing was not a regular practice. Tight lacing was very deliberate on some people's parts and it was something that people looked at as like, why are you doing that? but And that still happens today. I mean, look at Kim Kardashian at the Met Gala the last couple years. She has participated in really intense tight lacing to get a very specific silhouette that she wanted. And most people looking at it go, why Kim? Why? You didn't need to do that. And the way that clothing through the centuries has existed, especially when you think of stays and corsets,
00:23:50
Speaker
they're very specific silhouettes. You think of like Marie Antoinette, you think of, you know, three musketeers style stuff, right? You think of like the Civil War, like the Scarlet O'Hara. All of these things, crinolines, panniers, all these things. Those are very large silhouettes and corsets and stays were a part of those things. But the difference between the Kim Kardashian tight lacing and corsets and stays of history past is that the clothing was what did the work to create the silhouette. You did not have to change your body.
00:24:25
Speaker
yes can i Now you're changing your body. Exactly. It becomes body modification. That is not what it was. I've i've been listening to this book called Dress Codes about ah how fashion has impacted history and vice versa. I was just listening to a section about the 1800s when there was a, albeit ultimately unsuccessful movement to stop wearing corsets and to change the style of women's dress drastically. And in the book, he cites an example of this one particular family that was a father, mother, and ah um daughters. I don't remember how many. And he subscribed to this notion that corsets are bad. You should not be wearing them. He forbade his wife and daughters from wearing them.
00:25:21
Speaker
And I just want to say that my face was like her way ah the audacity. Right. And this is at a time in the 1800s where women's clothing was very Big heavy cumbersome restrictive even though it was very voluminous it restricted what you could do yeah you could not just go belting down the street like there are now you had to be the giant round hoop skirts like if you can imagine that's where we are convenient so.
00:25:55
Speaker
these women still had to abide by societal norms in terms of the outside of their clothing. They still had to wear these giant cumbersome things, and they found it so painful to wear all these clothes without the structure and support of the corset underneath to alleviate the pressure on their body of the clothing. Without the corset? the crinolines, the skirts, all of that stuff, the cages, whatever name you want to use for any of that structure will be directly placed on your hip bones or your waist. So your flesh will carry that burden. Whereas the engineering that goes into a corset, it creates a layer that's going to hold all that weight. It's not going to mean that you're not feeling any of it or that it's not going to feel restrictive or that it's not going to change how you move. It is, it's going to do all of those things.
00:26:51
Speaker
but it's gonna be this device that carries all that weight. And especially back then when it was socially completely crazy that you would not wear. the fashions of the time. Yeah, like some place is illegal. Yeah, you're you're restricted. And there's so much conversation to be had about all of those things. But it's a whole separate podcast. There's a whole separate podcast. But it's like they are the same thing as a bra. And it's great that there are some humans who don't need to wear bras. That's wonderful. That's great.
00:27:23
Speaker
But there are some people who do because our bodies are different. And like with corsets and stays, one of the things was, yes, dress was much more restricted um legally and socially, but there was a purpose for it. Yes. and And it was not to be sexy. No. And there were different types of stays and corsets and something called jumps, which was something that you would wear at home. And it was just quilted. It had no boning. It had no structure in it.
00:27:54
Speaker
And so there were things that were uncomfortable about it, the same way that there are things that are uncomfortable about wearing a bra. But it was just a tool. It was just a device. It was not a device built to keep women down. The same way that high heels were not a device that was created to keep women from being able to like run from situations or whatever. High heels were initially made for men. Exactly what I was going to say. Yeah, they were originally worn by men, so they couldn't have been invented to drop women. They might do that now. Yes, and like high stilettos are a different situation, right? But it's like, there's all this stuff that goes into consideration. And to go back to Beauty and the Beast, Emma Watson may not have known all of this stuff or known certain things to have this conversation. Instead, it was just this decision. I want my my character to be a feminist. I want her to be someone who can do all of these things that you can't do when you're restricted. I'm doing air quotes by this garment.
00:28:48
Speaker
And the thing is that this actress inhabits the body in which maybe she doesn't need this kind of supportive garment. Right. And the character is not a rich character who's going to be wearing a million layers necessarily. So might also not need this specific garment for specific parts of the movie, but would need something equivalent because that is the world in which she inhabits. yes she is that girl who you know the special one who doesn't follow all the rules but there is something to say about comfort and you dress and there is deliberation and how you dress your body whatever decisions you make if you're wearing a blouse.
00:29:30
Speaker
you might want something in between you and the blouse so that somebody doesn't see every detail of your body and that might just be a personal choice. And so even that might lead that character into wearing an undergarment that would be corset-like, right? yeah So it led to the ball gown, the famous ball gown, ah the golden ball gown, which looked like it came from Party City. And it looked like the decorations were hot glued on, like it was just a mess. And it looked like a decision that the designer said, I'm stepping back from this because you are
00:30:03
Speaker
you made it clear that this is yours. And so I'm just not going to fight it because I'm not going to fight it because I don't want this under my name. This is not my design. And it's that, in that case, it's not even, I mean, it could be ego based, but I don't think it is. I think it's all right. you do Yeah, I mean you're in a situation where she has like Emma Watson has way more power in the room than that designer. Even if she is like the sweetest person in the world, the power dynamic is you're the name that's drawing the audience and the audience does not necessarily know they are not comprised of people who know costume who are coming to see the costume designer. So the costume designer has to relinquish
00:30:45
Speaker
a certain amount of power. It's just a dynamic that is kind of abused. And outside of that singular movie, there are actors and performers who will wear items from home that may have been gifted from a designer, or whatever, and they will say, well, my character is going to wear this. yeah so And you just have to kind of go, okay, you just have to go with it. And so it's really interesting seeing a designer from back back in Forbidden Planet in the 1950s go into being a stylist because people liked her know-how.
00:31:24
Speaker
and how she made these like gowns and dresses and how she knew how to highlight you know things that the actresses loved being high lit, shoulders or necks, whatever details that is. She learned them. She learned how they wanted to portray themselves and she had the the skills to do that better than most people. Those are separate skills because when you're when you're a designer, you are looking at a character right and you're telling a story. And it's very parallel to styling a person because you are you're kind of looking at that person as a character and and doing all the same things. But it's kind of interest-driven, right? Where it's like, I want it to be something separate. I want it to be a part of a story that I'm telling. And then a stylist, I think, goes, well, the story that I'm telling is the story of this person going to this event and being seen this type of way. right And so it's it's
00:32:18
Speaker
very much the same skill, but different. Yeah, just applied in a different way of like the story of the movie, the story of this actor's life, and what they've done and what they want to do and how they want there are their audience presented. Yeah, it's, you're using the same tools, but you're like applying them into like a different goal. And so that's, that's why you won't see every designer being a stylist or every stylist being a designer, a costume designer in this respect, like, because it takes a different energy and it takes a different focus and it takes, you know, a different interest drive. and And I feel like now,
00:33:02
Speaker
the way that we kind of understand stylists today tends to fall in more of the category of someone who is like pulling pieces from fashion designers and curating a look that way. So we're talking about a stylist in an era when it was more likely that that stylist was then creating the gown. Whereas now, people might be more familiar with the idea of a stylist who pulls things from famous other fashion designers and like create creates this like choice of things for you to that they're putting together. Yeah, perfect example is Zendaya and her stylist La stylus law wrote who is a
00:33:50
Speaker
ah a celebrity in his own, I think, because he's a celebrity stylist. and I saw something where he was telling a story about how there's like a specific shoe that Zendaya wears. It's a specific brand, a specific shoe, and it has a very high, high step. And it's like very uncomfortable. And he basically gave her these shoes years ago and was like, you're going to wear these. And they hurt her feet. yeah And so she ended up having to wear
00:34:23
Speaker
And he was like, these are what you're going to wear. This is going to be your signature move. And so the way that their relationship works, she went, you know what you're talking about. And so she would wear them like all the time so that she would get used to it. And now she can wear them for extended periods of time. And she just wears them for events. And so it's like her signature shoe now. It's wow crazy. And so that's very different. from somebody who would be kind of making something for you every event or right for a big life event, i.e. Grace but Kelly marrying the Prince of Monaco, which was a big deal at the time. the biggest Even in the 90s, I knew about that. It was like, yeah kelly monaco yeah yeah, she's the Princess of Monaco. that's the likeo All I knew about her as a kid, I didn't know her movies at that point. like I remember seeing her in um To Catch a Thief, because I was watching all these old movies growing up. And so I remember her like her gracefulness, if you will. And she felt like a modern celebrity to me, because I was a child outside of time. Anyway. Right. These are a lot of asides. A lot of asides. But you know hopefully, it it
00:35:39
Speaker
It's giving you a little bit of an understanding of the position that Ms. Rose would hold as a stylist. Yeah, the trust of these actresses is going to empower her. in her like ability to be like, this is what's going to look amazing on you. And I know it and the person is going to listen to that because they have a history with her and they've seen the quality of her work and they've seen what she can do. And so it's like the back and forth of trust builds over time. And that is so and important, um especially when you're working at that level because
00:36:20
Speaker
ah with an actress that's so famous they don't have to listen to you at all no they have a lot whatever whatever they want yeah and i don't know i just i kind of like something about and about her style too. like i I loved a lot of these dresses that Altera was wearing in this movie, and oh boy, Altera and Robbie are a dynamic duo. Robbie is the robot. The robot. The robot. like Picture a sci-fi robot in your mind. It literally is Robbie. If you had asked me, did I think that this robot was also a stylist?
00:37:00
Speaker
nice designer gaker No, I would not. But there's a whole scene in the middle of this movie where Altera is just like Robbie. I need a new dress. And Robbie goes, literally this robot says, another one.
00:37:22
Speaker
Walter is like, the shade. And she's just like, let's do it friend. This robot, if the robot could have died, like this robot was so close to being the robot from the Jetsons. Oh, God. Who was just like, ugh, fine. You know, is it like Rosie the robot or something in the Jetsons? I think so. But like she, she would have been the perfect evolution of Robbie. ah You need another one? My God. Where are you wearing these things? Well, I'll tell you, Elle Terra is wearing them for every moment in every emotion. Every shot, it feels like in this movie, she's got a new dress on. I was like, i I kind of gave up counting at a certain point, but I was like, I think that she has more clothes to herself than everyone in the rest of the movie combined. Oh, I mean, like the space crew, they have their uniform and we find out that
00:38:20
Speaker
the ranking crew have two uniforms. They have their like trip and doe quilted V front situation. And then they have ones that look like the other crew that are short yeah with the welted pocket and zip. And they also have two hats. They have kind of this like Kepi style, like soft cap. That's like when it's not a baseball cap, it's a flat cap. And so I always in my head go a communist hat. Yeah, like a Fidel Castro hat. Yes, that's the shape exactly the shape. They have that and then they have another situation that I think only the officers have. that It appears to be a beret like a soft. Yeah, like a like a not quite a news boy, but like it it's like in that almost a shape of like a 70s news boy.
00:39:09
Speaker
where yeah Yeah, the sectioned a lot going on on top. It's very floofy, except it's the the way it sits, it's kind of flat in the front, but it doesn't look like that's necessarily structured. It looks like they were able to kind of get it to sit that way. Yeah. Here's my question about the communist hats. They're wearing them on the spaceship. yes Why do you need a hat with a bill in space? That's like such a beautiful question because What what sun is shining in your eyes? What light are you trying to keep out of it? Maybe maybe they had some crews because they are, by the way, flying a saucer. They're not flying like a rocket based show. It is.
00:39:49
Speaker
100% a saucer. Like picture, like this movie is like sci-fi. Like this movie is what you picture in your head. Like it is a flying saucer. It is the desert planet. It is shi the robot stuff. It's all the things. The sounds, the bleeps and bloops. Like it is sci-fi. And it is glorious. And Yeah, it's just it's pretty wild. There's no reason for these bills except for when they're off the ship. So if they were going to have all these hats...
00:40:28
Speaker
they technically could have gotten away with having another hat that was on like four on board the saucer, if you will, that has no bill. Because unless these crew members are getting migraines from the light in there, there's no reason for them to be protecting their eyes that way. The cook had a full-on sailor cap, like a white sailor cap. I'm a cook on a ship. Yeah. And I feel like maybe if they could, they could have had a hat that was more that shape, who you know, but like obviously and maybe not like a white sailor cap necessarily. Oh yeah. No, they could have done anything. Like there are military style hats that are totally like skull caps and different things. And also that cook always had an apron on, I think. Even when he was off the ship, nowhere near his kitchen.
00:41:19
Speaker
Still wearing an apron. I found that helpful because everyone else was dressed the same. I know. The cook strikes up a relationship with Robbie the Robot where he introduces Robbie the Robot to alcohol and then Robbie's like, yeah, sure, I can make as many bottles of this as you want. I can replicate it because Robbie can replicate pretty much anything. It takes in a little bit of whatever substance and then he can just reproduce it. He identifies it and then reproduces it and the chef I'm going to call him a chef instead of just the cook. I'm going to give him a little. Oh, yes, chef. Yes, chef. um But he keeps like sneaking out for these little rendezvous with with Robbie and he's always wearing this freaking apron and it is a stark white like half apron.
00:42:04
Speaker
And he's throwing himself on the ground out of like desperation when he sees this like mountain of booze bottles. And that thing is spotless. But what's even better is that there's a scene where he has like the same belt as everybody else, but without all the utility stuff on it. And he puts that on over for the apron. And I was like, you couldn't even have him take it off for that one minute. We'd be able to identify him by his hat alone because he's the only one with a stark white hat. Did he have, like, a Boston accent or something, too? He definitely had a, hey, I'm a comedic foil accent going on. Yeah, he really did. And it was like, everything about your character is loud.
00:42:46
Speaker
And I kind of appreciated that because this movie is so like philosophically, it's so of this period where everyone just had these like very calm, rational conversations with each other. Even when like the most horrifying things were happening around them, they're like, listen, we've we've just We've got to think this through rationally as the ethos of this type of movie. This monster came from your id and it has murdered countless people. Now you need to figure it out. My crew member is lying dead next to me and I'm just gonna keep talking in a normal tone of voice like nothing is really wrong. the deaths than this. Our chef kiss brilliantly acted. Love it. It's the same level of acting I think I can aspire to, which is... Just fall over. Just collapse and a heap. And then, like, the kisses, of which we see quite a few, are also acted as if it's, like, two Barbie dolls just macking on each other. And that brings me to Altara. Yeah. The she... herself. The only female character in this movie. The only one, unless Robbie. I think they ask at some point what his gender is, and he just kind of goes, I don't understand the question. Yeah, why are you asking? Which is like, yes, correct. Robots don't need gender. Yeah, robot is robot. But Altera is this, like,
00:44:22
Speaker
Well, first, before we're even on the planet, this the the crew members are already griping about the fact that they haven't seen any any women in a hot minute, and they're kind of like, woo, woo, woo, crazy about it. It continues our trend that to travel through space, you have to be a ah creep. You got to be a a horny creep. ah You got to be like, I need to see whatever it is that I'm attracted to. Otherwise, my eyes are going to turn into animated Looney Tunes pinwheels, and I'm going to go crazy. And so like multiple crew members land, right? And it's like the more officers they go to Morbius's house and Morbius introduces himself and introduces his daughter who he's like, why are you here? And she's like, you didn't say I couldn't come in. for Yeah, if he does not tell them about her. Yeah, he doesn't tell them about her at all. And she's like, well, I'm curious. So she comes in in the most mini of mini skirts. And this starts like the theme for all of almost all of her costumes in this movie. There are certain photos like production stills and also just like.
00:45:30
Speaker
trial stills that aren't even from filming, but just from costume fittings and photo shoots of her in different positions with like one of these dresses. And it shows you how short the dress is. Like there's a pose that she struck in a in ah still where she's like got this like sorority girl pose with like hand on hip, but she's leaning backward to kind of like show the smoothness of of her torso and her silhouette. And this dress falls right at the top of her thighs. Like it's incredible. So there's another photo where she's like sitting and leaning forward and you see how high this rises. So this actress so is kind of constantly in what I'm assuming are body suits underneath and then all these like little teeny, teeny, teeny tiny
00:46:18
Speaker
dresses and a lot of like peep toe shoes but so it's or barefoot or barefoot. There's a lot of barefoot going on. And it was so it was kind of shocking when I first saw her, not because, you know, I don't, you know, think that she should be wearing whatever. but Oh, we both go. Oh, my word. 1956. This is a very modest time for women's clothing in the 20th century in terms of day wear is, and I think even evening wear, it's not really, you're not even like seeing the knee most of the time. No, when we think of the miniskirt, we think of the miniskirt from the 60s. Yes. And even like halfway into that decade. This is like 10 years away. This is like 10 years away. So this is very forward thinking. And I mean, I think you have this note too.
00:47:10
Speaker
Because of these minis dresses and mini skirts, the movie was banned in Spain for about 10 years because they were so short and blew people's minds so much. And it's like I can see it being shocking, you know, because it's not something you've ever seen before. I do not agree with it needing to be banned. I think we all, you know, we we all have bodies. That's right. Whatever. But it's just like it is pretty cool to see that this is like ahead of when we're normally thinking about miniskirts in the fashion history timeline. But all of these dresses have something pretty awesome about them. Oh my God, they're so good. And the first one is pretty, is is kind of the blandest of them all. It's just like this white little thing. And it kind of continues the tradition of using like a Grecian statuary, like inspired kind of drapey feeling.
00:48:06
Speaker
Yeah. There's some really interesting little pleats and patterning things going on. Later, there's like some root like delicate ruching in a sleeve. like There's like all these little elements that go into things. and Then there are louder dresses like the gold champagne-y one. I loved it. I loved it so much. It has this like massive cowl boat neck situation going on. and It's got long sleeves and beading and it's just like so great. and Apparently, the the designer, Helen Rose, her sort of like specialty was working with silk chiffons and beading. So this is like this is her wheelhouse, this is her specialty, what she knows how to do. This is a reel of of like here are some different things I've done, and they're all great. and like They're not great for necessarily having to run from a tiger, say, which is something that somebody should have been doing in this movie. before it got ah murdered, vaporized, vaporized, just crazy. But yeah, Altera's styling is is pretty great. And she actually has the opportunity to say, I designed these when Leslie Nielsen, because Leslie Nielsen is in this movie. And let me tell you, watching him as a young man was like watching my grandfather, because same era,
00:49:26
Speaker
Same age is my grandfather and like all of my childhood Leslie Nielsen just had white hair was in yeah the just airplane movie airplane movie like all these other like ridiculous movies. And this is the first thing I've ever seen him in where he's like ah just seriously acting. yeah And I was like, this is like watching my grandparents. And a lot of Morbius's house, a lot of the filming in that house is like watching something being filmed in my grandparents' house. All these giant brass floral things and light fixtures and all this stuff. And I was just like this, I know what all of this feels like.
00:50:03
Speaker
Oh my God, that house. So we're on a desert planet. They make a point of staying as they're trying to land that like they can't find signs of civilization. So we're just like we've got so like dirt, sand, we've got rocks, and then this perfect mid-century modern dream house. It's like a dome situation. So it feels like the walls are curved. And like there's even a point where Morbius is it's like demonstrating what Robbie can do to the initial flight crew that's like coming to introduce themselves. And he's showing that Robbie can dispose of certain items. And he's like, activate the disposal unit. And a curved wall turns. And the inside is like ah a column. you know It's just like, all this stuff is very round. And it's so mid-century.
00:51:00
Speaker
It was amazing. It was amazing to look at and like all of these details are so 1950s. But because we've been watching, you know, from the beginning of this century, the sci-fi evolution in design and stuff, it is amazing to see all of these things that are supposed to be the distant and great future, right? That are so locked. in their era of design. And that's going to continue forever because, you know, that's what sci-fi that just does, what it does. And we're also human beings who haven't been to the future. So we can only use what we know, but throughout the century with more, we're able to get a little bit crazier, like more resources and more research available because more things had been made by the time, you know, movies are being made in the nineties. There's more to pull from, but right.
00:51:51
Speaker
Here, it just feels like everything you see is very landmark. Like, oh, this is the first time I'm seeing this. This is great. This is great. This is great. So, Altera. Altera. And the way that she exists in this world of men is pretty crazy. Like, her dad is like a Steve Jobs espresso blouse unit. then she's exposed to all of these space men in there. Yeah, so they've they've grown up in an environment where so Morbius was part of like a crew of scientists that came to like explore this planet like 20 years ago, I think is what they say. And he came with his wife who
00:52:34
Speaker
obviously died. So I think you get the impression that Altera never even like knew her mom. Yeah, I think as well. And if she did, she was only there for a little while. Yeah, she was like died when she's a baby or something like she's not, you know, she doesn't seem to have like memories or like talk about her or whatever. And all the other scientists were violently killed, torn apart limb from limb. by question mark. We don't know at the time. We don't know. We don't know. but So she's never seen other people before really. So this like crew of all of these like creepy men are her first exposure to humankind. Horned dog men. Who like one of them kind of takes ownership over her.
00:53:24
Speaker
And I use the word ownership pretty strongly ah because he's like dibs. And he just is like kissing her and holding her. And I loved her reactions in this scene. Cause she's like, sorry, am I supposed to be getting something from this? And he's progressively getting like a little bit more insulted every time. And he's like, well, we can try it again. And he's like, it's going to be great this time. She's like, Nope, no good. So whatever. And then Leslie Nielsen discovers her and is like, this is ridiculous. And she's like, what? We were just doing a little harmless, uh, sensory gathering, kind of like trying to get stimulus approaching it scientifically. Yeah. And she's like, what's upsetting you so much? And he's like, but you're wearing these crazy short dresses. You should know better. He's like shaming her for her clothes, like 100%. But what's amazing is that she says,
00:54:18
Speaker
pull yourself together. A, I made all these dresses. What's your problem with them? And B, that's none of my fault. Like I'm just being myself. And if anybody else can't handle that, that's their problem. Like for a 1950s movie in the early part of the 1950s for the female character to say, uh, if your men can't act like men and they're acting like animals, that's not my business. Like, what's the problem with kissing a few people? And there's later a line where she says to him, like, oh, did you want to like kiss me? Everybody else has. And he's like, ha, but Everybody? And she's like, yeah, what's your question? i I felt really strong echoes in that whole interaction with um the movie Poor Things. Yes.
00:55:07
Speaker
And particularly Mark Ruffalo's character's reaction to Emma Stone and how she doesn't feel like i she doesn't feel any shame. And he counts on shame to control her and it doesn't work. And he just loses his mind. I mean, obviously that movie takes it to a much more extreme level. Yeah. And I haven't. I haven't seen that movie. I have like heard people talking about it. And so I'm sure based on other people's observations that there's even more stuff to talk about in that movie. If we ever decide to cover that movie, there's a lot to talk about. But is that thing of a woman doing anything and a man going, bah and the woman going, what's your damage? Yeah, I don't actually. I don't care.
00:55:58
Speaker
I do feel like she, I appreciated that, but at that certain times i I kind of bristled against the way she was portrayed in the movie. So it was sort of like, I feel like that's the most you can hope for from this era, is that it can have like these like cool moments where it sort of takes social norms and like turns them on its head, but it doesn't go age just are as as go nearly as far as we would like but I was i was pleasantly shocked for like little chunks with the character going play yourself together boy. I don't understand what the big deal is. Yeah I don't understand why you're so upset but I i loved
00:56:38
Speaker
her costumes through this. I thought that each one had, because I'm also looking at all of the work that's going into each one. Like so many have beading all over the place. And yes, they're mini dresses. So there's less fabric than if you're thinking about like a full skirted like evening gown or wedding gown or any of those things. But beading takes time. It just does. It's just no matter how good you are, me it takes time. but And so like, this is a lot of stuff that takes time. um And there's a lot of chiffon going on and then like an under layer of something else or like a pleated detail with like a hood that goes over the front silver belt happening well and like the just the the clothing is so sculpted to her body like.
00:57:27
Speaker
that We're in the era of the bullet bra, a very particular shape. and this specific silhouette Yeah, and Anne Francis is fully embodying the ideal of oh what you know was considered like an attractive white woman at this time. yeah and these dresses are like engineered to like her exact body and yet she's still able to move. Yeah and that was the thing is that I looked at them and I was just like I want to know what the composition of these dresses are because anybody who shopped vintage or worn vintage like in high school that was my
00:58:06
Speaker
like half of my personality was just putting together the craziest outfits from vintage shops. When you encounter vintage clothing, and I'm not talking about 30 years ago, I'm not talking about the early 90s or- I'm not talking about the era of friends. No. I'm not talking about post-grunge, I'm talking about pre-grunge, because like the 80s still had this too. A lot of fabric that looked super flexible or movable was actually far more rigid than the stretch fabrics that we know now, because plastics were different. you know Fabric construction was different. Also, by the time that we discovered it in vintage shops, it had started to degrade, so it was like acting even more different than it did like in the 70s or the 60s or the 50s, whatever.
00:58:47
Speaker
But there was not as much stretch as we're used to. So these dresses look like they're super constraining. And my imagination goes, yeah, they probably are because of the fabric. But the way she moves is as if it's as if she's wearing lycra in some of these things. And like maybe she is wearing like a an earlier version of like, stretch yeah, yeahby because it's just like, this is fantastic. Like these are so specific, these dresses, but like quite a few of them are super flowy. And then the ones that I'm specifically talking about are the beaded ones that still move and seem kind of like they shouldn't move as much as like the the first one we see her in, which is flowy and Grecian inspired. These things are great. I love them.
00:59:35
Speaker
and I love that she had a costume for every emotion and every moment. Towards the end of the movie, after Morbius has offered her um a choice, you stay here with me or you go away with these men and everything is ruined forever and you're a terrible person. And she goes, yeah, I've made my choice because you look like a real a-hole right now. um I'm leaving with Leslie Nielsen. And she does this like, goodbye. But she runs to her room. And then you're just kind of like left as the audience member goes, wait, is she packing?
01:00:07
Speaker
I hope she better be. This seems like a very desperate moment where this like unnamed creature that has torn people apart through this movie is like coming into the the the house somehow but you're gonna go pack and then the next time we see her she has changed her dress and into a farewell planet dress and it's like Yes, that feels like but feels like drag queen drama. like oh yeah I need a different outfit for a different emotion in full wig change. I can't possibly be feeling this in this dress. I have to feel it in chiffon. It's just like so great to see this ridiculousness.
01:00:45
Speaker
and At the end of the movie, Morbius and his like Steve Jobs uniform of espresso on espresso on espresso, he seems to jazz it up with like a a Jedi robe, which I am saying Jedi robe very lazily because I know that Star Wars really borrowed from a lot of indigenous cultures and a lot of Asian cultures. yeah so It's more like a kimono that is not tied. But yeah i I basically look, oh, and there's a Jedi. There was a lot, I mean, obviously this movie deeply inspired Star Trek, but there were some serious Star Wars moments. oh I think particularly in the set, I was feeling it when we go down and learn about the the ancient inhabitants of this planet, the Karel. Two thousand centuries ago, I believe. Yeah, they that was such a weird way of phrasing it that they just kept saying over and over, but yeah.
01:01:41
Speaker
They built this like huge underground structure like in a cube that had like thousands of levels and all these like bridges with no railings going across, and it was pure Sith Star Wars it was like absolute and could not deny. The effects of like the zapping colors and stuff also was like not that far off from the 70s technology of zaps. with the Emperor. Yeah, these big like energy beams of light and things seemed very Death Star to me. Yeah, you could definitely see the the the, what am I trying to say, like the inheritance. Yeah, the legacy. The legacy, thank you. You could see the familiar line. Just to go back to Altera's costumes really quick, her last costume that she wears when she's on the the flying saucer as they're like preparing to leave.
01:02:37
Speaker
She's wearing a a dress with like a hood on the back, and I was like, little silver silver riding hood. like she Every outfit had something that applied to the the location the actress would be standing in. like it matched in some way, and it matched the purpose or it matched the environment, and that could be with color, with texture, whatever. But like that this one, it was just like, she's going on a journey, so she needs a hood. Inside of a spaceship, the same way the crew needs build hats inside of the spaceship. Exactly. We don't need to protect her feet or legs, but we do need a hood to go over her perfectly coiffed hair, oh obviously.
01:03:24
Speaker
The hair in this movie was very, very 1950s, both the men and the women. It was very set styles. Perfectly sculpted. Perfectly quaffed. Yeah. Did not go anywhere. Morbius had like quite a little quaff going on. It was pretty great to see some of these costumes. like it's it's just The movies that we've been watching recently It feels like it's a very set small crew. So it's like we're not seeing, like cast rather. So we're not seeing millions of things, right? And that also goes into the the studio operation at the time where it's like pumping movies out, go, go, go. So it's not like you're gonna make every single movie with a million extras. right So it's cool that we saw Metropolis with all those extras, but we saw how they dealt with all those extras and it made sense for the world that they were building.
01:04:15
Speaker
And then now we've been getting closer and closer and closer with our storytelling so that there's not necessarily 500 costume changes except for Altera. And yet there's enough detail to kind of carry visual interest and to make sense for what the characters are doing throughout the story. so like props to the the mostly unnamed costumers aside from the two designers who we do get their names and a lot of information about their history. That's pretty cool this time around. Yeah, they did wonderful work. And yeah, you definitely see especially this movie because this movie is about like the individual and the mind and psychology and all that stuff. So it makes sense that we would explore the characters
01:04:59
Speaker
more in-depth through clothing than just having a thousand people in the same jumpsuit, even though we do get plenty of similar jumpsuits in this, but in the context of it being more of like a an official like organization uniform, it kind of works. But yeah, you you get more, I think we're, as as the decade is moving on, we're getting new ideas like brought into what sci-fi is, and you can like see that visually in this movie. um which was great. and I definitely recommend it ah for a watch um because if you are interested in sci-fi, you will be able to pluck from pretty much every scene some sort of inspiration for Doctor Who, for Star Trek, for Star Wars, countless other projects that happen. The Twilight Zone. They literally reused some of these costumes for the Twilight Zone and for like Man from Uncle.
01:05:55
Speaker
And um a couple other things like these costumes. Oh, oh was it like the Queen queen from space? there's There's a specific movie that's like super ridiculous that they reused a bulk of these costumes for. which is pretty amazing. And there were also costumes made for Altera's character that did not make it into the movie that were just used for ah advertisements or you just have like stills of them. And some of them are pretty wild, like shower curtain skirts. you know like Yeah, which would look again looked very sixties in a way. Oh, so sixties.
01:06:30
Speaker
Those 60s with like vinyl adjacent stuff going on and would have been interesting to see her working in those ah in the movie because it advertised the idea that she would be in space more, but really she was planet bound the whole movie. And so I see why they cut them because it was too spacey when she was supposed to look grounded. Yeah, her character is kind of defined by her ignorance of anything beyond her immediate experience on this planet with her dad and this robot. Like, yeah, that's kind of important to understanding her characters is her feeling like someone who hasn't been out exploring like the rest of the crew. That was super effective because you believed it. Another there's.
01:07:18
Speaker
Aside from just seeing you you know how other things have borrowed from or you know been inspired by this movie, there are two specific things that I recommend this movie for. One is, oh my God, the death and the dummy for the character Austro after he dies from enhancing his brains. aha eat They're in a moment of panic where they're like, we have to figure out why this crazy monster's here and we have to talk to Morbius, what's going on, what's going on. And in that hubbub, this side character takes the opportunity to go into Morbius's office and enhance his brains instead of dealing with the problem at hand. And then his brains get so enhanced that his last words are, it's all in the id. And then he does.
01:08:08
Speaker
I will say Monsters of the Id. Incredible band name. Incredible band name. Somebody should have. I hope somebody did use it at some point. I hope someone did. And the dummy that they have Robbie the Robot carry away is... So phenomenal. It feels like early Disney Pirates of the Caribbean dummy, like haunted dummy. And then there's a line that Morbius says, what man can remember his own dreams? I don't know. I think quite a few. Morbius, I think that's like not an unheard of thing. You've been on this planet a long time. Historically, for like thousands of years, that's kind of a thing that humans have done. I think it's been a conversation that people have had before. But okay, Morbius. Okay. Oh, and we didn't even talk about Robbie the Robot very much. will Yes, super iconic visually. Amazing. and Technically, so cool. Was sold at auction for like way over $5 million. dollars Was like one of the most expensive things made for a movie. like He is iconic. He influenced sci-fi going forward like so much.
01:09:15
Speaker
And he was made by the props department and so not made by costumes because like there was so much vacuforming that had to happen. And like the many, many moving parts that go into this costume are so cool. And I recommend looking at the Wikipedia page because I'm not just going to read that. There's a lot of detail because this is one of those costume pieces that's so iconic that people have researched the ever-loving hell out of it. But just as an idea of how many working pieces go into this, the legs are not a solid piece. Each like bubble, because they're kind of like bubble shapes, each bubble piece is a separate vacuum form piece that interlocks. And then there's like a hinge deal at the hip.
01:10:01
Speaker
so that the actor who's in there can hinge at the hip and so that the legs can move more naturally, albeit with smaller steps. So there's just so much that's going into the construction of this. And most of my knowledge about vacuforming is basically just stormtroopers from Star Wars. Sure. like yeah All I know about vacuforming is that it does degrade over time. And so because this costume was sold in really good condition. I didn't do any research on this, but it says that it's been taken care of really well if it could be sold whole yeah in the 2000s and for that much money and that it has so many parts to it that like either the process must have been
01:10:49
Speaker
a little bit different than was used in Star Wars or yeah it was taken care of in like a crazy, legendary way. And perhaps oh and i both? Perhaps both. It's definitely like not a given for like and TV and film robot characters that there is a person inside, but there is a person inside here walking around. Yes. And that's actually kind of jarring to see when you first see Robbie pull up and then get off the little like cart that he's driving and just like. ah think see well And that that is one of my things that is kind of unmissable must be seen is the Robbie mobile in this movie. The entrance of Robbie is
01:11:35
Speaker
amazing, 10 out of 10. 10 out of 10. So good. I found that the inclusion of these like wild animals very confusing and I was like, I don't really understand what this is doing other than just being like some insane visual that like is surprising and delightful. I don't really know. Every time I see animals in these movies, I don't like it. yeah i i don't like into that and I don't like what's happening to these animals yeah and so I'm just like, yeah every time I see it. But overall, what what good experience for you? Yeah, I think so. i mean i We're still in the era where I have a little trouble with pacing of story in terms of me watching it as a terrible person with a terrible attention span for older films. So there are definitely scenes in the movie where I was like, we could be moving a little faster. We could be getting to the point a little bit quicker.
01:12:31
Speaker
And I must admit, for myself, I skipped through those moments because I went, let's skip forward 10 seconds, 10 seconds, fill the same costume. Great. I need to know. yeah i I didn't do that, but only because I was sort of like too exhausted on the couch to even pick up the remote watching it. But it's nice to get to a point where, first of all, we're again watching movies in color, which I love. Yes. It feels like luxury. It feels so good. um And then it's also kind of fascinating because there isn't actually that much color in the costumes for this movie. But it is very vivid. And I do kind of enjoy this sort of exploring
01:13:16
Speaker
psychological concepts of sci-fi just personally find that interesting. So it kind of started getting into the type of sci-fi that I just personally enjoy a little bit more. yes um The 40s were a little tough in terms of like it was all very sci-fi horror, which can be fun but is not my personal favorite. So so turning to it's starting to have its own identity now instead of being shock or horror. Communist it's now starting to evolve. Yeah, and there's ah there's multiple like we can we can explore different things. We don't always have to pick the same thing. Yeah. ah But I'm excited to keep going forward. Do you have any final thoughts before we wrap up talking about Forbidden Planet?
01:14:02
Speaker
i definitely recommend it as a watch i like the other movies i recommend you can listen to something else if you want to if like if you're not fully engaged in the the watching of this as a movie but i recommend even just the visuals and the effects the effects are pretty great. um But I do recommend watching it. There's a lot to talk about that happens in it, and we've we've hit some of those points and we've gone on some side tracks. But I recommend it. I think it's a good thing to have in your and your bag of tricks and knowledge. Yeah, it's so influential. I think it's it's an important one too. Even if you're like, oh, that wasn't my favorite movie. It's like yeah you see how it influenced the sci-fi that is your favorite movie. Yes.
01:14:46
Speaker
And it's just good to know the ancestors of, you know, where things come from. um That's a good, that's a grammatically correct sentence. I will take no notes. So what are we watching next? Okay, well, I think you know what my vote is. is Are we in agreement? Yes, we are. Okay, next time we will be visiting Barbarella. Oh. So excited. The first time I saw this movie, I was 11 years old or a little bit younger at my grandparents' house when my grandma went down.
01:15:21
Speaker
Keep saying went down for a nap, like how you talk about it with a child. She took a nap and I watched Barbarella and I did not watch the beginning of Barbarella. So I watched a bunch of Barbarella with no context and had no idea. And then I tried to watch it again later. And this one is going to be hard pacing wise because we're back in the weeds of pacing. But oh, I'm so excited to talk about this movie. I think for the decade of the 60s, I don't think you could pick anything more iconic than this movie. Jane Fonda all day with this, like, angel man. Oh, so ready for it. I'm excited. I don't think I've ever seen it all the way through. So we're both going to see the beginning of this movie and finally know what's going on because I'm sure that will make everything make sense, right? Oh, I'm sure. I'm sure it's not going to feel like a cocaine fuel fever dream at all. No. No way. Okay, well, that's it for today. Next time we'll be talking about Barbarella. Yes, we will. Thank you so much for listening. Bye. Bye.