Robert, Nat, & Cody experience a pair of "cozy catastrophes" this episode with THE DAY OF THE TRIFFIDS (1962) and THE EARTH DIES SCREAMING (1964). Both films are a very English look at the apocalypse at the height of the Cold War and forerunners of the zombie apocalypse genre which would be created just a few years later with THE NIGHT OF THE LIVING DEAD.
https://www.youtube.com/watch?v=Lrin0N8r1Ls
First up is THE DAY OF THE TRIFFIDS based on John Wyndham's 1951 novel. After 99% of humanity is blinded by a spectacular meteor shower, a handful of sighted have to deal with the rise of the triffids, a species of poisonous, mobile, carnivorous plants.
You can see THE DAY OF THE TRIFFIDS as a forerunner of the zombie apocalypse genre. Securing shelter, avoiding the hordes of murderous monsters, and fighting them off when they lay siege are common tropes of any apocalypse story. THE DAY OF THE TRIFFIDS certainly gets points for being an influence. And it does have its moments.
We dive into THE DAY OF THE TRIFFIDS to discuss what works and what doesn't about this very British film. Certainly its influence is evident. But, does being first mean being best? Are the triffids up there with seminal monsters? Does it explore its ideas well? We discuss all these topics.
https://www.youtube.com/watch?v=8Pa_cVQlkEQ&t=15s
THE EARTH DIES SCREAMING pairs well with THE DAY OF THE TRIFFIDS as another British apocalypse that fits neatly in a continuum between THE DAY OF THE TRIFFIDS and THE NIGHT OF THE LIVING DEAD. After a mysterious gas attack, alien robots and the reanimated dead lay siege to a group of survivors holed up in a British public house hoping for the whole thing to blow over. Well, lay siege might be overstating it, but show up occasionally to menace the group of survivors fighting among themselves might be more accurate.
Full of British character actors, including Dennis Price and Throley Walters, and an American for cross-Atlantic appeal, THE EARTH DIES SCREAMING finds Terence Fisher in familiar territory. John Carpenter mentioned the film in an introduction to a book on Terence Fisher and you have to wonder how much it stuck with him with scenes of a blank eyed zombie chasing a woman into an upstairs closet, like in HALLOWEEN, or with a climax involving blowing up a radio antenna, like in THEY LIVE.
Regardless of its influence, SHAUN OF THE DEAD seems to be aware of it, it's a minor entry in Terence Fisher's filmography. It didn't even rate in Scorsese's list of significant British deep cuts that Quentin Tarantino and Edgar Wright talked about recently, even if a significant number of Terence Fisher films figured in the list. And perhaps it's main bit of significance is its relation to better films and masterpieces. But, we found quite a bit to talk about for the film.
No need to hold off a siege. You can give us a play below or Download the episode. Also, feel free to let us know what you think by commenting below or Email Us at skiespocast@gmail.com as we appreciate feedback.
Time tracks:
THE DAY OF THE TRIFFIDS Discussion: 0:00 to 27:47
THE EARTH DIES SCREAMING Discussion: 27:47 to 54:46
Next Film and Outro: 54:46 to End
Next month, we travel to the trippy 1970s with Saul Bass's sole feature film, PHASE IV. We hope you’ll join us.
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Apr 3, 2016
A man needs a code. This month Nat, Cody, and Robert explore the punk rock sensibilities of Alex Cox's code of film with two of his 1980's films, the cult classic REPO MAN and his film about American adventurism in Nicaragua, WALKER.
The life of a repo man is one of intensity. And there's some intense feelings displayed towards REPO MAN in this episode. We dig into the lattice of coincidence that makes up the film, ponder the alien in the trunk's similarities to KISS ME DEADLY, and the punk rock sensibilities of the film. And, perhaps we just like hanging out with Harry Dean Stanton and Emilio Estevez doing speed and pondering what it means to be a man. So, you better pay attention melon farmers!
How can you follow that up? How about with Ed Harris arguing in sign language with a foul-handed Marlee Matlin in Alex Cox's singular WALKER. The true story of the American conquest of Nicaragua by a rag tag group of mercenaries under the command on William Walker is certainly a unique subject for a feature. It's full of deliberate anachronisms and a terrific Joe Strummer soundtrack. But, is it a good movie? It's certainly an interesting one to debate as we discuss the merits and demerits of the film.