Movie: (1960) An aging woman travels to Africa to gain the secret to renewed (albeit temporary) youth. But murder is part of the recipe.
First shown: 2/8/97
Opening: Crow deals with the SOL’s prairie dog problem
Intro: The Apes discover that devolution can be fun
Host segment 1: The nanites are on strike
Host segment 2: Pearl is forced to give some laws, and asks M&TB for suggestions — and Tom has some
Host segment 3: Crow and Tom have a plan to get Mike’s pineal juices
End: Tom’s “Beverly Hillbillies” sketch ends in chaos, but the Apes are oh-so-civilized again
Stinger: The wily cop outwits his suspect
(236 votes, average: 4.39 out of 5)
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• The last time through, I put this one in the good-not-great category, but, again, I guess I was in the right frame of mind for this — I laughed a LOT this time. Maybe it’s because you can really see them settling in and really feel them enjoying themselves.
• Read Kevin’s take on this episode here.
• This episode is included in “Mystery Science Theater 3000 Collection: The 25th Anniversary Edition, (aka Vol. XXVIII).”
• References.
• Crow still cannot remember Mike. Not too much longer for that.
• Bill’s version of Crow’s voice is still all over the map in this one, but for the first time we begin to hear little snippets of the voice we would soon get to know.
• Cute prairie dog in the opening!
• Kevin is particularly funny in the intro. His mannerisms and his delivery are great.
• The “original Ray Kroc” was a popular piece of Universal set decoration — it was also on Exeter’s office wall in “This Island Earth.”
• Trivia: The African wildlife scenes were reused footage from Universal’s 1954 movie “Tanganyika.”
• Segment one is more clever than funny, but it’s such a change from the sort of host segment we used to get in the CC days that it’s kind of mesmerizing. The voices are Kevin and Paul as Ned and Wade again, along with Mary Jo as Jody.
• Kevin sings a little Zappa, when the soundtrack sounds like “Moving to Montana.”
• In segment two, we once again get hints at how Tom spent his time at the edge of the universe.
• This ep contains the first of what would be a running gag for most of the season: As Mala looks at her hands after becoming young, Tom says “I thought I was Dale!” What does this mean? Well,
• There were a total of 12 “Dale” riffs this season, and there were Dale riffs in 11 consecutive episodes beginning in episode 805- THE THING THAT COULDN’T DIE. (And there were some in previous seasons! For a complete list, visit Ward E.) From this point forward, they will be referred to as “Daleisms.”
• LOTR reference: Tom gets all enty. (Hom-hoom!)
• Local reference: The Blainbrook Bowl. Do a lot of drunk girls dance there?
• Obscure reference: Tom invokes Earl Camenbert, a character from “SCTV.”
• Mike and Servo take another brief swing around the dance floor, something they haven’t done since 612- Starfighters.
• Firesign Theatre reference: Crow refers to “Arnie’s Whole Beef Halves.”
• What is with the HUGE front door on the house in this movie? Very weird.
• In segment 3, Mike crawls up in front of the “hatch.” First (and last) time for that, I think.
• The ending sketch is one of those sketches about not doing a sketch. They liked those. Not everybody did.
• The stinger in this one is rather unsatisfying. Feels like it was quickly plucked from near the end of the movie without much thought.
• For the record, Kevin holds that “Jeeeeed!” for 52 seconds.
• Cast and crew roundup: Producer Joseph Gershenson also worked on “Revenge of the Creature,” “The Mole People,” “The Deadly Mantis,” “The Thing That Couldn’t Die” and “This Island Earth. He was also music supervisor on “Kitten With A Whip.” Scriptwriter David Duncan also worked on “The Thing that Couldn’t Die” and “Black Scorpion.” Story writer Ben Pivar was the producer of “The Brute Man.” Cinematographer Ellis Carter also worked on “The Mole People” and “The Deadly Mantis.” Costumer Bill Thomas also worked on “The Thing that Couldn’t Die.” Makeup guy Bud Westmore worked on a ton of stuff. See last week’s list. Likewise art director Alexander Golitzen, set designer Russell A. Gausman and sound person Leslie I. Carey. Art director Robert Clatworthy also worked on “The Deadly Mantis.” Set designer Clarence Steensen also worked on “Rocketship X-M.” Sound guy Joe Lapis also worked on “The Brute Man.” Score composer Irving Gertz also worked on “The Deadly Mantis” and “Jungle Goddess.”
In front of the camera: Coleen Gray was also in “The Phantom Planet.” Gloria Talbott was also in “Girls Town.” Arthur Batanides was also in “The Unearthly.” Murray Alper was also in “Lost Continent.” Charles Keane was also in “Project Moon Base.”
• CreditsWatch: Jim retains the producer title, but Kevin is listed as director and associate producer. For the last time ever, Jim is listed as “contributing writer.”
• Fave riff: “We’re all just so RESTLESS.” Honorable mention: “She’s lettin’ the hair play her.” “Are you okay? How many fingers of whiskey am I holding up?”
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This is a fairly weak episode, maybe the weakest since mid-Season 6 (Racket Girls, maybe?), as it just doesn’t really do anything for me. The movie and the riffing start to loose steam early on, sometime after all the African stock footage. The opening of the movie is fun, if just for the incredulous smugness of Dr. Talbot. Sheesh, what a jerk.
The Host Segments are a mixed bag of weak sauce. The opening with the prairie dogs is cute and stupid (Servo in a cowboy hat, always fun) but the Host Segments proper don’t offer any laughs. HS#1 with the nanites? zzzzzzz. HS#2 with the Lawgiver giving laws? They should of tried writing some jokes for that skit…. HS#3 is okay, if just for Tom and Crow’s bitter disappointment in not getting Mike’s pineal gland.
Servo gives at least 7 “JEEEEEEEEEED”‘s during the movie, plus another 16 or more in the closing segment, and of course, the long hold during the end credits. It tends to get less funny as it goes along.
RIFFS:
screen credit for director Edward Dein,
Crow: “ED GEIN! Oh. . . .”
Mike: “Everyone is in my dreams of blood, so it’s not that big a deal.”
Crow: “You know, he’s a master of not-acting.”
Servo: “He’s got built-in smug.”
Mike: “Don’t worry Joan, it’s just the DTs!”
Servo: “I really hate how these guys are ripping off David Byrne.”
Mike: “Wake up and don’t look at me!”
Crow: “Neeeeeiiiiiilllllll!!!!!”
–
The Leech Woman kinda sucks.
BADA-BOOM!
I give it a less-than-good rating
2/5
fun episode…i need to pull this out and give a replay.
Goofy, condescending movie aside, the host segments shine in this one. Mary Jo as the union orphan, Bobo doing his best Alistair Cooke as he tries to convince us he is civilized; Peanut joining in “I raaaather doubt they do, ha ha…”; plus Bobo as loyal lackey to the Lawgiver (“and that proboscus monkey; do you like him? I don’t…”
I was looking forward to seeing this one again, because I heard a lot about “JED!” and I didn’t remember what that was in reference to. Since then, I had named my own son Jed and was disappointed to see how annoying this use of his moniker was. I did quite enjoy Servo’s strange willingness to take it to another level when he pull a gun on Mike. (“NOW!”)
Despite the issues the writer or director had with domestic abuse and women in general, this is one of my top favorite episodes! I keep watching it over and over. And you can’t deny the first line in the film: “Well that’s a novelty, you refusing something with alcohol in it.” is a definite hook you into watching line!
Just to be nitpicky, the character’s name is “Granny Moses,” NOT “Granny Clampett.” She was Jed’s mother-in-law and thus did not have the same last name as him (the same confusion arose on “The Munsters,” where “Grandpa Munster”‘s name was actually “Grandpa Dracula” because he was Herman’s FATHER-in-law; what Marilyn(the daughter of Lily’s unseen sister*)’s last name really was is anybody’s guess).
Of course, if Servo had said “Granny Moses,” almost nobody would’ve known what he was talking about.
===
*Herman, to Lily: “She’s YOUR niece, you know. She’s YOUR sister’s kid. Nobody on MY side of the family ever looked like that.”
Re:#89,#79
Interesting question Sitting Duck. Although all the principle characters in Leach Woman would be right at home in a Coleman Francis Film, Coleman’s movies had some characters who were not terrible people. The wife in Skydivers, Chastain/Justine in Red Zone Cuba, and the Family in Beast of Yucca Flats all came across as basically decent, if dull, boring, and stupid individuals. They gave some contrast to the liars, adulterers and murderers around them. Also a lot of what makes Coleman Francis Films so oppressively dreadful is the way they were shot to look like they were filmed on location in Hades. The world of the Leach Woman is remarkable for being populated exclusively by hateful sociopaths. I find that there is no one to root for, sympathize with, or feel bad about when they meet a dreadful end. Kind of like Married with Children. Still it’s a hilarious episode. What with Paul Simon’s backyard bar-b-q’s getting out of hand, and those darned Africans that just don’t understand Africa ripping off David Byrne’s music and all.
The film does seem to have a tenuous grasp of cranial anatomy, but the scriptwriter probably didn’t go to medical school for 8 years in order to pen movies like this.
I just tried to do my longest JEEEEEEEEEEEEEEEEEEEE…D, but I was upsetting my cat so I stopped.
See my old post at #79 for my thought’s on anagathics (age suspending or reversing substances/devices) like the Fountain of Youth or the Picture of Dorian Gray.
***** episode. Entertained myself last night with this. It has been, well, at least 3 years since I saw it. The jokes are non stop. The print of the episode is fresh, the host segments- well, not bad, and, of course..JEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEED.
If I ever rethink my position on motherhood and become a Depressing Mom, I will name my kids Jed, Dale, and Neil. Not necessarily in that order.
#103, hey….you beat me!!! Well, just Dale and Neil then. :) Thanks for making it so I only need 2 kids, I kinda dodged a bullet there.
said it before, will say it again. love this episode.
It’s a rainy night here in the Big Town, wife’s away.. just me and the cat… order in some chinese food… let’s watch it again tonight.
JEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEED
I love this episode.
One more thing:
JEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE…D
This might be my favorite of the Sci-Fi era, with riffs being throw left and right. The riffs at the start of the movie (“Here’s two bucks baby cause that’s all your worth!”), the meeting at of the guide (“your five dollar down payment is impressive!”), the last scene (“Does she have to make weight with that suit?”) are all great, with the ever present Kevin ready to belt out a JEEEEEEEEEEEEDD!!!! at any moment.
This may also be the most depressing movie, with no redeeming value whatsoever (except for its riff quality). A woman tortured by a feckless husband who’s off on a cure for aging turns bad, kills another woman for a man she can’t marry, only to die when ingesting the penieal juice of the woman she killed. Great idea for a movie!
You know, reading Kevin’s description of how awful it was to wear that ape suit, I have to say, it still sounds better than actually having to watch the ape-skits. Ugh.
Monkeys and small children are not funny. Dressing up as either is even less funny.
pretty simple comment 113 Dont Watch.
I’m among the minority here that doesn’t care for this one. The jokes fall mostly flat. I found myself kind of bored, which hasn’t happened since, wow, probably Crash Of The Moons. Oh well, onto next week’s, which I remember liking more.
It cracks me up imagining a befuddled looking Ed Gein wandering around a film set and the crew wondering what he was doing there.
If there’s no parking on Sunday does that mean I have to telekineticly keep it levitated all day long?
Why was the scientist so surprised to find out that the ancient tribe that had always violently refused any contact with the modern world wouldn’t just sell him their sacred secrets and let him leave? Talk about a failure to anticipate “the other guy’s point of view”. Did he think they’d take a check? Maybe some beads? They may have been primitive but apparently they figured out a long time ago that it was in their best interest to not let the world at large know that they had something remarkably special that no one else had.
In the 2nd paragraph above, “it” is referring to my car. Sorry for the indefinite pronoun reference.
This is among the first MST3k movies I ever saw. The first one was one of those miserable dudes-in-skirts-in-the-sand epics that drive me up the wall. I saw this one on my parents’ direct broadcast satellite in the late 1990’s sometime. I think I have it on VHS somewhere. So it’s among the episodes that taught me to love the show.
I have to agree with everyone who says that THIS should have been the first episode.
Revenge of the Creature was alright, but slow and rusty. I was afraid that the hiatus left the cast and crew to out of practice and may have dulled their will to get the show rolling again. Leech Woman was a welcome episode, and while not a top 10 for me, showed that MST3K was still in good hands.
My sister Hilary gave me a bottle of Love’s Baby Soft (which the bots attempt to lure Gypsy with) for my birthday after we saw this episode. I still use the stuff, and think of Gypsy every time.
I was a bit worried — though glad — to hear they’d been picked up by SciFi. Their premiere on SciFi, using one of my favorite old monster flicks from my ’70s adolescence — I first saw Revenge Of The Creature on the old Count Gore DeVol Show on Channel 20 here in DC — helped ease me into it, but it was this episode that convinced me that f%ck yeah, my boys are back and that Bill Corbett was going to be a damned fine Crow.
I hadn’t laughed as hard as I did for sustained periods of time since Racket Girls. I hardly had time to recover before they threw down another one of those riffs that makes me laugh uncontrollably, until I’m in pain, until I think my head’s going to explode. Leech Woman is one of those old stinkburgers that’s just begging for it, and Mike’n’ the Bots friggin’ served it up, man.
“Our drink special tonight is you stand by me, and I breathe!”
Several of my all-time favorite MST3K riffs come from this episode, including one that’s simple and elegant: when June pulls the guide out of the quicksand only to nail him in the neck with the pineal-lancing ring, the incidental music “stings” DUH-DUH-DUUHHNNN, and Servo sings along, “Pi-ne-AALLLL!”
I must’ve watched this episode a hundred times, and that riff still cracks me up.
I have a difficult time watching this episode, what with the movie’s racism, sexism and general contempt for humanity, along with my personal discomfort at watching a woman murder and cannibalize men.
However, as an attorney I loved the jokes at the wimpy lawyer’s expense, especially “I”m going to have to bill you for this visit” and “I just read a really funny subclause in the Uniform Commercial Code…”
That’s a good point, 2009 me. I’ve always cited this movie as one that could be remade with some tweaks and better effects to be a very effective horror/thriller. A woman obsessed with youth who must kill men to retain her looks? There’s a doctoral thesis in that premise. In the wrong hands, of course, it could be a disaster. Not everything in the version we have works of course, but I do want to single out Colleen Gray as giving her best to what she was given (even if it’s a bit over the top at times–but it fits with the b-grade milieu of it all).
The Leech Woman passes the Bechdel Test. June mocks Sally on her lack of caution, with the latter responding with a sez you.
All too often, movies and TV tend to forget about the necessity of search warrants in police investigations, so it’s nice to see this one actually bother to do so. It even had some decent probable cause to base the issuing of the warrant. However, warrants tend to be fairly specific in their intended targets, and are not meant to authorize a general search. There’s also the question of discovering evidence of an unrelated crime during a lawful search. I’m not sure what the precedence for that is, but I’m sure it’s complicated.
Tom yelling, “Jed!” seems to have aggravated Mike’s chronic headache. It was quite annoying (and I could have done without it over the end credits), so I sympathize.
No kidding about the stinger. It definitely is one of the weakest ones they’ve used.
Favorite riffs
I see a lot of spilled ink, congealing in random patterns.
That means you’re a sexual predator.
And now a moment of silence for booze gone by.
“I know this is painful, but it’s one of those things that have to be done when you plan a divorce.”
You have to be married.
You are looking live at sold out Serengeti!
Filmed entirely on location at Bachman’s Floral.
Babar in Southern Comfort.
“Sorry’s not enough.”
I want candy.
Meanwhile, thousands of miles away in actual Africa.
He’s not a very good mohel, is he?
“When I die, you too shall die.”
Did you guys know about this?
It’s not stock footage. It’s more like stock mileage at this point.
“Give me the leather pouch.”
You are the leather pouch.
“Do you know where my aunt keeps the liquor?”
Well there’s never enough left to keep. I could show you some stains by the couch.
Grandma decorations make me so hot! Cover me in doilies and read me Ann Landers.
“I had a drink with Terry and took her bags upstairs.”
There was a bushman in the luggage and he attacked.
This is the Fifties. Why am I explaining something to a woman? Get in the car!
It’s so upsetting to see your grandma trolling.
Now it’s Hot Jazz Murder Music!
June Cleaver after the divorce.
When two girls fight, who wins? The American viewing public.
Neil, I’m in the hope chest. She killed me. Get me out of here.
Good night, everyone. Old women are evil.
This is an interesting movie in that it is transitional. The “1950s” in cinema can be said to extend into the mid-50s, but there were blips here and there of a profound shift in tone and subject matter, and this movie is one of those blips, made more significant by its big studio parentage (I’m not saying this movie actually had any kind of real budget, just that Universal was a big player and therefore gave this one some cred by association).
At any rate, what I’m getting at is that this movie is relentlessly nasty in tone and characterization. It wallows in the misery of its characters and doesn’t flinch from any of their despicable actions. I call that interesting, not necessarily admirable or even good.
Just like the similar problems of trying to correctly divine Wilma Flintstone’s or Morticia Addams’ maiden name/family-trees.
Still…..we get the point. If Servo had said “Granny Moses”, we’d have thought he was referring to the namesake 100-yo. folk-artist, because, like, she’s really old.
Yeah, the “G’night everyone, old women are evil!” and ruthlessly-youth-obsessed-femme-fatale plot does sort of come out of the 50’s, where postwar attitudes (namely of guys who had to settle down in the suburbs and get ball-and-chained, and started to miss their old WWII days by the time Korea came around) produced a LOT of uncloseted misogyny, especially where the bad girls of B-movies were concerned.
Unfortunately, that also gives some of the movies a double-edged sword, where M&tB’s high-school attitudes toward chicks can both laugh at ugly over-the-top characterizations, while similarly decrying it as So Un-PC.
(But then, this is Universal Int’l, unlike the Roger Corman American Int’l movies where Corman had a fetishistic respect for empowered female sheriffs, escpaed convicts or Viking women, especially if they wore Daisy Duke shorts.)
As the show was getting into S8-10, though, we also started to get more self-aware “meta” host-segs about the guys kidding themselves about thin host-seg premises or running jokes too far into the ground, like that was supposed to make it better, if the characters are deliberately annoying each other about it.
So, while they joke about Servo running the JEEEEEDDDD joke too far into the ground (which would later be Bill-Crow’s job on the show), it’s not just because the main character is old and nasty, but also just because Kevin Just Likes Screaming Things.
Ugh, acting so smug and high and mighty in your ivory tower.
In EricJ’s world, Roger Corman can now do no wrong and is the Joel of MSTied film makers.
He makes a really good straight vodka…
It was a long time before I finally saw this one in its entirety. As I was first discovering this show I saw the last half or so (after pineal juices shipments start across the globe!), but not having seen the nastiness of the first half I just enjoyed the rest. So there is something of a soft spot for an episode that played a key role in getting me hooked on the show, even if the whole thing just makes me want to go ‘sheesh!’
But the host segments (for the most part) counter the depressive atmosphere of the movie. Mary Jo steals the show as Jody the Nanite, and I love the Apes getting in touch with their inner primate (“I’m a monkey, dammit!”).
Fave Riffs
“Terri” makes small talk with lawyer
Servo: Ha ha ha, take me now!
He’s gonna die of nonchalance.
Dur, I meant to write “into the mid-60s.” What a doofus.
After all these years, I finally realize what it is about the Sci-Fi era that I dislike so much. It’s not Bill, it’s not the way the set looks, it’s not the lack of letters, it’s not Bobo or Brain Guy, it’s not even the harsh meanness directed towards the movies. It’s the movies themselves. Starting with this episode, MST3K (probably through no fault of it’s own) started featuring movies that are completely wrong for the show. Season 8 is littered with them. This is most likely due to Sci-Fi not giving them many options to pick from, IMO. Leech Woman is way to harsh of a film for this usually friendly show. I’d say about 2/3 of season 8 are movies that are just not inherently funny on their own merits (especially towards the end of the season). Even on a recent rewatch of Time Chasers, I realized the only thing I really like in that episode is the host segments. The movie itself is dull, and the riffing is uninspired, just like the episodes that surround it. Thankfully, once season 9 hits, the riffing gets back on point, and some energy comes back to the program. But you can just feel the board room pressure in a lot of the season 8 episodes. It’s like the Brains are bored with themselves at this point, and it all starts here. It’s not all dull, though. There’s a handful of season 8 episodes I rather enjoy, that evoke the feel of the CC series. This isn’t one of them.
That being said, JEEEEEEEEEEEEDDDDDDDDDDDD!!!!!!!!!!!!!!
Well, I’d have put Bill, Bobo, the network-enforced S8 plot, the harsh meanness and the snarky complacent boredom in their riffing deliveries AHEAD of the movie choices as the main fault, it’s still pretty much a mixed bag–We’ve gotten mixed bags in almost every season; it’s not the all recent color movies of S11, and it’s not all the B/W movies of S1. The network, or the Mike-era Brains, wanted more symbolic show-titles; in S8 there’s a selection of Universal’s Jack Arnold, Amer.Int’l Roger Corman, an obligatory Russo-Finnish fairytale movie, two Sandy Frank-free Japanese titles, and a few cheap PD titles like Space Mutiny, the TV compilation, and the It’s All PBS’s Fault one.
Whether M&tB know what to do with them once they’ve got them, however, is another issue.
The movie is nasty, yes, but at least it falls more within the Universal-scifi genre than “Girl on Lover’s Lane” or the Coleman Francis epics.
Gosh, I’d have to disagree with both of you.
You know, they say there are no wrong opinions. But…..
Sorry ChristmasApe you are the one that’s wrong. Johnny Drama is right. Time Chasers is on my list as one of the worst, boring films they ever did, and I have seen every episode but a handful of KTMA ones.
Gosh, I’d have to disagree with you.
Just remember, opinions are like *ssholes, everybody’s got at least one of them.
Must be a couple of Gen-Corp employees on the message boards
Morticia’s maiden name was “Frump.” At least four episodes confirm this. ;-)
Okay, now you folks are just trying to collectively yank somebody’s chain. Three seconds on a search engine will offer you way stranger manifestations of romance in the real world.
Love doesn’t make sense. And, as I’ve mentioned once before elsewhere, people do STUPID things. And those things are never STUPIDER than when they relate to love.
ADDENDUM:
Or to put it another way:
“Love isn’t *brains*, children, it’s BLOOD, blood screaming inside you to work its will…”
Well, it’s no longer yesterday — in fact, yesterday’s gone — so I feel no compunction about posting right after myself.
In case no one else felt like doing the math, Mala (at what age we’re not told) and her mother were abducted by Arab slavers in 1820 (“A hundred and forty years ago” in 1960.). Seems like it’d be hard to live for a century and a half or so without having at least a few interesting experiences (although there are doubtlessly any number of people who could manage it). Too bad she didn’t think to ask for money for passage back home from not an endocrinologist but from a PUBLISHER…
10th week on the bestseller list: MY DREAMS OF BLOOD, by Mala Nando
The fact that Mala’s dreams of blood evidently predicted the entire first half of the film (she knew Paul would be killed and June “wouldn’t escape” the fate that awaited her) just sort of…snuck out of the movie, didn’t it? Oh well.
Not even in (ironically enough) “Attack of the Giant Leeches”?
Yes, just the thing for today’s drunk driver who’s constantly on the go…
Maybe it relates to the Ray Kroc original.
BTW< it seems safe to presume that it was not, in fact, a meatball, so what *was* the object in the inbox?
No, I assure you, it’s quite optional. ;-)
Paternal or maternal?
Yeah, bolting like a leopard was a bit of an overreaction, wasn’t it? What, did he think it was contagious or something? Where did he think he was running to (other than to meet himself when he got there)? Then again, June DID kill him almost immediately after catching up with him, so maybe he was onto something there…
Wonder what June told the British consul or whoever employed David. “He was, uh, eaten. By…elves. NAZI elves. Yes, eaten by Nazi elves, the poor devil. Sad, really.”
Speaking of the guide, why is it that June keeps calling him “David” when the credits give his name as Bertram Garvey?
She thought he was Dale.
Or perhaps Granny Clampett?
“Love-me-nots and daisies, Maaary Kaaaaaay
Spin the bottle crazy, Maaary Kaaaaaay…”
At least they used a fictional tribe; nobody can claim the movie isn’t an accurate depiction of Nando culture because it is in fact that ONLY existing depiction of Nando culture. So, there’s that, anyway.
See, obscure is subjective, as I’ve noted many times. ;-)
That didn’t really convey itself to me. She wanted her last “moment of triumph” before she DIED, that’s hardly all that vain. She gave Paul the info in exchange for passage back to Africa, a fair deal. Going home to die was the sum total of her ends, and she did that before the others even entered Nando territory.
The lesson: Accept the droppings life offers.
Maternal or paternal?
Yes, but we’re not going to do that. ;-)
Does Mala talking to June about her dreams of blood not count? Wasn’t that kind of a separate conversation from telling her she wouldn’t need to divorce Paul? Or not, or…?
They’ve got websites for that stuff now, y’know…
Just like in real life, then.
Because he’s a Condescending White Guy who can’t quite grasp that people just MIGHT not think and behave in exactly the way that he wants them to think and behave. History’s full of ’em. Maybe he also presumed Mala would be up for anything that would mean money, lettuce, mazuma, el dinero, that green ammunition. It kind of slipped his mind that Mala had returned to her homeland to DIE, I suppose.
Notice that he encourages June to undergo the ceremony despite the clearly demonstrated fact that a man will die in the process. He couldn’t care less (just like that guy in “Jungle Goddess,” remember him?). Credit where it’s due, June (who didn’t even know the reason for the expedition at first) was initially repulsed by the idea of choosing a total stranger to sacrifice for New and Improved Youth (admittedly, she got over that fairly quickly). Only Paul’s willingness to leave her in the hands of the Nando while he and David went back for guns OSLT finally had her ready to kill HIM.
So, it seems safe to presume that most of the Nando didn’t speak English, and here’s Mala telling June she can kill any man she wants with the basic presumption being that she’d choose a Nando man.
“Psst! Dave, what’s she saying to the white people?”
“Beats me, Chet. Not sure I like how she’s looking us over…”
When I look up The “original Ray Kroc” I don’t get a picture of a burger on the wall but pictures of McDonald’s franchise creator Ray Kroc. Weird.
Oh and what do you think Mike was doing down that hatch? What was it used for for I forget, he sounded winded but I really don’t recall Mike doing any work that required any skill or even menial.
While I do occasionally miss one, I have some vague remembrance of it not counting as a pass. I’ll have to rewatch to see why.
But June didn’t kill Sally over Neil. She attacked Sally (whether with lethal intent or not) because Sally was, you know, an obviously unstable person who’d barged into her home and was holding her at gunpoint. It was self-defense.
As for taking her pinealapple juice, well, hey, she was dead ANYWAY, right? That saved the life of some random character actor wandering the streets, didn’t it?
Her last words were “I killed Sally for nothing,” meaning that even if she did intentionally kill Sally, she did it not for Neil but for the pinz.
What I can’t figure out is why she thought a woman’s pineal colada would work in the first place; Mala TOLD her it had to be from a man, told her she could pick any MAN she wanted for the sacrifice. Using Sally’s female pin-g is probably what made her turn super-old-looking at the end. IF she hadn’t killed Sally (regardless of reason), things would probably have worked out noticeably better.
Kind of odd how she told Neil and the cops she’d “become beautiful again” when as far as I could tell, she hadn’t started to LAPSE yet. Heat of the moment and all, I s’pose.
One possible take on that is that none of that was there before Mike, Tom, Gypsy, and Cambot energized away, that Crow added all that stuff while he lived on the SOL alone (just think of how bored you’d have to get before it occurred to you to put a grain silo in your den), then informed Tom, Gypsy, and (presumably) Cambot about the new decor by downloading updates into their gigabytes of ram or whatever. It’s a robot thing, we probably wouldn’t understand.
Crow didn’t remember Mike, though, and thus didn’t apprise him on the changes in the SOL’s contents because he had no reason to think Mike knew anything about the SOL’s contents in the first place. Crow left Mike in the dark and Mike never quite managed to emerge…
Well, they’d just, y’know, DONE IT the previous night, and who wants to call out the name “Bertram” while in the throes of passion?
“Oh, Buh…Ber…uh, you have a middle name, right?”