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David Kalat

Now, it came out in 1953 and worked some interesting variations on the Kong formula. This time, the giant critter was a dinosaur, revived and irradiated by nuclear bomb tests. It comes to New York, wreaks havoc, and is ultimately vanquished by a genius scientist. Here were the key elements of the genre, as it would develop throughout the decade. Nuclear radiation and nature's revenge, monsters as Cold War parable.

9:24 · jump to transcript →

David Kalat

It's the calm before the storm, a moment of preternatural quiet in which for a full 90 seconds the soundtrack goes dead. There's a lot weighing on these people's minds, too much really to say. Emiko has failed to tell her fiance that she loves someone else because he distracted her with a demonstration of a doomsday device. Ogata is fretting from the sidelines about their illicit love affair. Shinkichi is an orphaned survivor of Godzilla who knows he hasn't escaped the monster at all.

42:17 · jump to transcript →

David Kalat

Ifukube had gotten as far as he ever had by never paying attention to other people's advice. Ifukube's first film composition was for Snow Trail, which happened to be Toshiro Mifune's first film as well. Ifukube later scored The Quiet Duel for Kurosawa and argued with the temperamental director, which was a no-no, so that was his last job, scoring for Kurosawa.

1:17:30 · jump to transcript →

I remember Lawton sent a memo to Agee during the script writing stage saying, I know that Mitchum's uneasy about talking to God there in the car, but frankly, I don't know how else to really introduce the character cinematically. Because there never had been a character quite like this in movies. Yeah. And Mitchum's low-key delivery is so perfect because you could read the words as very overheated on the page and he just delivers them cold.

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that in the in the uh... early draft the a g script the heat

46:17 · jump to transcript →

See, contrast. Christmas music. Exactly. It's a beautiful transition. And this is nice where they're walking with the Christmas music. Merry Christmas. Perfect shot. Mother Goose. Now, in the actual outtakes, this snow machine is making such a racket. Such a racket. It's like D-Day. You can't hear a word that she's saying. So anything you hear her say was post-dubbed, you can rest assured. Yeah, absolutely.

1:28:33 · jump to transcript →

Alan K. Rode

My good friend, the late actor Richard Erdman, who worked with Jay in Cry Danger and Saddle the Wind, told me Adler confided to him that he ran away from the school after setting it on fire. Jay's screen career is filled with these great little character vignettes, of which the killing is certainly one. Maybe even less than that. You know I wouldn't pull a thing like this. I knew I couldn't afford to. I'm glad you said that, Randy. I was going to point out as much myself.

5:49 · jump to transcript →