Weirdhouse Cinema Rewind: RoboCop (1987)

In this classic episode of Weirdhouse Cinema, Rob and Joe discuss Paul Verhoeven’s 1987 sci-fi action classic “RoboCop,” a film as deeply satirical as it is gratuitously violent. (originally published 12/01/2023)

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Episode Transcript

Speaker 1 (00:04):
Hey, Welcome to Weird House Cinema. Rewind. This is Rob Lamb,
and today we are going to rerun our episode on
nineteen eighty seven's RoboCop. Yes, the ultraviolent sci fi action
classic that is as deeply satirical as it is gratuitously violent.
Originally published twelve one, twenty three. Let's dive right in.

Speaker 2 (00:32):
Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

Speaker 1 (00:41):
Hey, welcome to Weird House Cinema. This is Rob Lamb.

Speaker 3 (00:45):
And this is Joe McCormick. And today we are going
to be featuring a movie that I feel like is
kind of a foundational text for my adult appreciation of cinema.
It is the nineteen eighty seven sci fi action satire
robo Cop, directed by Paul Verhoven. Rob I'm so excited
we're talking about RoboCop today. Did you come up? I

(01:07):
think I knew you came up with this topic because
you recently visited some of the original locations featured in
the movie.

Speaker 1 (01:15):
Yeah. I was on a family trip to Dallas over
Thanksgiving break. We'd never been before. We went there primarily
to go to Mao Wolf and then to check out
various things in the city, museums and you know, restaurants
and whatnot. And I had honestly kind of forgotten about
the RoboCop connection until we were there driving around, and
then I look out the window and I see the

(01:37):
Dallas City Hall, and then I remember, this is the
RoboCop building. This is OCP headquarters, or at least the
lower portion of it. They did a matte painting on
top of that to make it into this enormous skyscraper
that reaches up to the heavens. And yeah, and then
was just generally impressed by the architecture in Dallas. And

(01:58):
then once I got back, you know, we started looking
at RoboCop again and was reminded, like just how present
Dallas is in the background standing in for futuristic Detroit.

Speaker 3 (02:08):
Right, So RoboCop is not actually set in Dallas. It's
set in near future Detroit at the time the movie
was made. But some of the architectural landmarks in Dallas
really communicate the feeling that they were going for in
the world of RoboCop.

Speaker 1 (02:23):
Yeah, and it's unmistakable even if you're not from Dallas.
Like there's a car chase earlier in early in the
film where you see Reunion Tower in the background, which
is very identifiable structure. It's this concrete pillar, you know,
jutting up into the sky, and there's a sphere up there.
It's not a perfect sphere, but you know, observation and

(02:45):
restaurant deck and my family actually went up there. But
it's pretty fun, has pretty pretty cool history, like a
lot of these buildings though, but yeah, it's there in
the background. Anybody who knows anything about Dallas, or even
seen the opening to the TV series Dallas, would have
been able to recognize that this is not Detroit. This
is Staus but you know, nice stand in lots of neat,
futuristic looking architecture.

Speaker 3 (03:06):
So when did you first see RoboCop.

Speaker 1 (03:10):
I saw it, like I think a lot of people
of my generation saw it way too young. I think
it was playing at a friend's house or kind of
like friends of the family at their house, and I
ended up watching part of it. And you know, there's
plenty there to bring in a young mind, to captivate
a young mind. You know, a robot fighting crime, firing

(03:31):
all sorts of crazy guns. But then you know, it's
kind of a notoriously violent film. It's got some really
grotesque moments in it, which we'll discuss. It was not
appropriate viewing at this at whatever age I was, but
you know, I still loved it, grew to love it,
and I think a lot of people have this experience.

(03:53):
Someone I was talking to in the last couple of
years said that their mom had rented this for them
at the store when they were young. They were just like, oh,
they need a film RoboCop. This looks fun. They didn't
like look at it closely enough to realize it was
rated R, and then you know, the violence just washes over.

Speaker 3 (04:10):
Them, and probably a lot of the commentary sort of
went over their heads at that age too.

Speaker 1 (04:15):
Oh yeah, yeah, all that ends up sticking with you
probably is like the cool robot stuff, and there is
some really cool robot stuff in this film, the violence
and probably the profanity.

Speaker 3 (04:24):
So I did a little digging to figure out when
I first saw RoboCop, and I was able to peg
it to a year based on a rather a greasy marker,
so I knew that, and this is also a very
RoboCop sounding reason to be able to know when I
saw this. So I first saw it right around the
debut of The Windy's menu item the Baconator, which would

(04:48):
place this event in the year two thousand and seven,
so you know it's two thousand and seven. I was
I don't know how old I was. I was like
twenty or so. I was hanging out with some friends
and somehow it came up in Converse station that first
of all, I had never seen RoboCop, and second, I
had not yet had one of the new Bacon Eators,
and they were like, okay, we've got to fix both.

(05:08):
So we went to Windy's and then we watched this movie.
And sorry to the Wendy's fans out there, the bacon Eator,
at least this one at this time, was not good.
And I'm not trying to be a food snob. I
totally admit I can enjoy a greasy fast food sandwich.
But whatever I got that day was just not right.
It seemed like it had about eight slices of American

(05:28):
cheese and like thirty strips of bacon on it. Just
too much, too much bacon and cheese. Maybe those things
are different now, I don't know. But on the other hand,
RoboCop was amazing, and this memory I think sticks with
me because the bacon eator I had that day came
to seem like something that you would see an advertisement

(05:50):
for in RoboCop. It's like an in universe RoboCop food item.
It's something e Meal would be eating while he's like
pointing a gun at you and asking if you you
think you're smarter than a bullet.

Speaker 1 (06:03):
Yeah. Yeah, It's kind of the six thousand Sux of Burgers.
It sounds like.

Speaker 3 (06:08):
It'll be hilarious if a Windy's ad runs on this episode.
By the way, So I was struck by how different
this movie was than I had always assumed because I'd
never seen RoboCop, but I was aware of it as
one of these eighties action movies, and I received it
the way it had been I think, generally culturally metabolized,

(06:32):
which was totally missing the point of it, shelving it
alongside these other gory, r rated eighties action movies, maybe
on the level of Commando starring Arnold Schwarzenegger. That's how
I thought of what RoboCop was.

Speaker 1 (06:46):
And I think it can leave that kind of impression
in memory if you're far removed from especially in early
viewing of the film. I mean, the violence is so
violent that it kind of sticks with you, and you
might forget some of the other stuff. Like I was
talking to my wife about this when I was about
to rewatch it. She was very, very supporting of me
watching RoboCop, but did not want to watch it, and

(07:07):
I had to remind her say, oh no, there's a
lot of satire in it. There's more to it than
just the violence. Though the violence is there, and it's
sticking with you for a reason.

Speaker 3 (07:16):
Yeah, I agree, And at the risk of sounding like
a sucker, I think RoboCop has a quite genuine soul
and humanity to it, and amid everything else it is,
it is a hyper violent action movie, that's true. It
is a hair raising depiction of a world in the
hands of a moral egomaniacs. It is also a sort

(07:37):
of light light sci fi speculation about cybernetics. It is
definitely a hilarious fun house mirror to American culture. Amid
all those things, it's about the struggle to keep hold
of one's own humanity in a situation where there is
enormous pressure from every direction trying to transform you into

(07:59):
a soulless mash. So a lot of retrospective appreciation of
RoboCop mentions the satirical aspects of it. So I think
you absolutely could look at RoboCop as a satirical vision
of a dystopian near future from the time that it
was made, which you know, so the mid to late
nineteen eighties. And I think one of the main political

(08:23):
thrusts of the commentary in the movie is if you
ever heard people say, I wish the country could be
run like a business. The situational premise of RoboCop is
to say, Okay, let's see what that would be like.
So it depicts a kind of privatization nightmare where everything
that used to be thought of as a public interest
in a public good is sold off to corporations to

(08:45):
be run for profit. And though that seems to be
happening in pretty much all domains in the world of
the film, RoboCop especially focuses on the police department in
the city of Detroit, which has been bought out by
a corporation called Omni Consumer Products or OCP, and OCP
seems to be using it primarily in a couple of ways.

(09:07):
You get the sense they're looking at it as a
cost cutting center, so maybe they're taking the money for
the contract and then just cutting costs down to the
bone without regard for how this affects people, and then
keeping the difference. But they're also using it as a
playground to test out prototypes of new hardware that is
eventually destined for military use and thus big Pentagon contracts.

(09:28):
And the plot of RoboCop essentially arises as a conflict
between two rival OCP executives. You got Dick Jones and
Bob Morton who are squabbling to get their respective lethal
robot projects online at the police department so they can
eventually step them up, scale them up, and secure defense dollars.

(09:51):
So the things that are happening in the movie are
happening because of what's going on at the corporate board level.
These characters squabbling to get their own pros online and
make bank off of that. And meanwhile, the main good
characters are essentially just street level cops who are unknown
and unimportant to these power players, but whose fates are

(10:11):
controlled thereby.

Speaker 1 (10:14):
Yeah. Yeah, I mean, they're just struggling trying to do
their job. Also, you know, there's talk of unionization. There
are all these other additional elements that are in play
kind of at the street level, but OCP is not
at street level. They're they're they're halfway to heaven in
their enormous skyscraper, and yeah, that's where that's where a

(10:36):
lot of the plotting and a lot of and ultimately
a lot of the action goes down.

Speaker 3 (10:40):
That's right. So I thought RoboCop was great when I
first watched it. I've seen it several times over the
year since then. I've long had an appreciation of it,
but most recently, when I watched it just this week,
I sort of think it's better than ever. And one
thing that struck me on the most recent viewing is that,
in a way, I think the sort of police criminal

(11:00):
justice themes are less essential to the spirit of the
movie then a lot of people would think, and certainly
than I once thought. So, Like, the characters are cops
and some of the villains are career criminals, but they
could be in any line of work of what used
to be public service sector jobs, and the spirit of

(11:20):
the movie would be similar, though I guess it would
be a lot less high octane if this was about
like librarians whose branch is bought out by OCP and
they want to replace all the books with advertisements for
the new six thousand SUX. But I think the deepest idea,
like what's at the heart of this movie is that
it's about people who are doing a job, whatever that
job is, where their bosses do not see them as

(11:43):
human beings. They are treated like inanimate tools or machines
just to be used to their maximum value, exhausted and discarded.
And this metaphor is literalized in the case of RoboCop himself,
and his redemption is in read discovering and reasserting that
he is a human being, not just a mechanism to

(12:04):
be used for profit by somebody else.

Speaker 1 (12:07):
Yeah. Yeah, his rediscovery of his humanity, that he is
a human and not a product. Yeah, I very much
agree with just the how good the movie is. Like basically,
RoboCop shouldn't be this good as I rewatch it in
my mid forties here, you know, because it's a film
that again terrified and enthralled me when I was at

(12:29):
a way too early age, entertained me later on, you know,
as a solid, you know, kind of dystopian action movie
with some laughs thrown in. But yeah, it absolutely delivers satirically,
It delivers with the action, and you know, it delivers emotionally,
like when the film really gets into its its own
emotional depth, I felt like those moments still hit pretty hard,

(12:52):
or I mean actually hit harder than they ever had
because you know, I, for instance, Murphy's son in the
film is about the age of my own, so it's
that resonated in a way that he just wasn't going
to resonate with me when I was a kid. And then,
of course all of this on top of the expected
nostalgia rush of watching a film like this that for
better or where she grew up with.

Speaker 3 (13:12):
Yeah, totally, So I see all that, and at the
same time, I accept RoboCop is probably not for everybody.
This is, to be clear, a hard R rated, hyper
violent film, So you've got to be in the I
don't know, in the right headspace to accept it. But
if it is on a wavelength that is amenable to you,

(13:33):
I think it is excellent.

Speaker 1 (13:35):
All right, Joe, what's your elevator pitch for RoboCop?

Speaker 3 (13:38):
Then Omni Consumer Products has bought out the contract for
Old Detroit and wants to replace its human police force
with one of a selection of different gun wielding robots.
Beat Cop Alex Murphy is killed on the job, and
his body parts, including the remains of his damaged brain,
are used as scaffolding for one of these projects X.

(14:00):
A cyborg called RoboCop. Is he simply a tool now
controlled in full by his corporate masters or is there
still a human being inside who can act of his
own free will?

Speaker 1 (14:12):
All right, let's listen to that Trailorati Old Detroit has
a cancer. Cancer is crime. We need a self sufficient
law enforcement robot. How long will it take?

Speaker 3 (14:29):
We can go to prototype within ninety days. Where are
you from? Stroud?

Speaker 1 (14:35):
Welcome to Hell.

Speaker 3 (14:39):
Alive.

Speaker 1 (14:40):
You're coming with me. You're gonna be a bad mothers.

Speaker 3 (15:00):
Yes, man, this guy's really good machine. Robo cop? What
is he?

Speaker 1 (15:05):
He's a cyborg?

Speaker 3 (15:06):
You idiot? All hero?

Speaker 1 (15:08):
What are your prime directors protect to innocent? Let the
woman go or there will be trouble.

Speaker 3 (15:17):
Hold the law.

Speaker 1 (15:18):
You are under arrest.

Speaker 3 (15:22):
Justice gets an upgrade looking for me, your great RoboCop.

Speaker 1 (15:38):
Thank you for your cooperation. Good night. All right. Well,
if you want to go out and watch RoboCop before
proceeding with the rest of the episode, go for it.
It's widely available as a physical or digital release. Joe,
you watched it on the older Criterion Collection DVD, which

(15:58):
I understand it's pretty awesome. I watched it on the
Aero Blu ray which I ran from Videodrome, which I
really loved. Both are loaded with extras.

Speaker 3 (16:07):
I think I got to upgrade my disc because my
old DVD now is playing in a rectangle inside my
TV screen. But nevertheless, yeah, it was a great rewatch.

Speaker 1 (16:26):
All right. Let's get into the people involved in this production,
starting at the top with the director. Paul Verhooven born
nineteen thirty eight, Dutch director, best known internationally for his
string of major Hollywood genre films of the eighties and nineties.
This is our first Rehoven film. He started out in
Dutch cinema and his first full length feature was the

(16:49):
nineteen seventy one comedy Business Is Business, followed by seventy
three's Turkish Delight. That's his first collaboration with fellow Dutchman
Rutger Howard in his film debut. This was an erotic
drama and the film was a critical success and received
a Best Foreign Language Film nomination at the nineteen seventy
four Oscars. He did three additional Dutch films with Howard

(17:11):
and a nineteen eighty three thriller called The Fourth Man
with the Jerome Krabby, another Dutch actor of note that
he had frequently worked with, that went on to international success.
After this, he transitioned to Hollywood with the Rudger Howard
heilmed nineteen eighty five medieval action adventure film Flesh and
Blood or It's actually the title often looks like flesh plus.

Speaker 3 (17:33):
Blood equals what.

Speaker 1 (17:37):
Cinema I guess. And then then comes RoboCop, which was
a big enough hit, though at the time criticized for
his violence, certainly that He went on to direct Total
Recall in nineteen ninety, Basic Instinct in ninety two, Showgirls
in ninety five, Starship Troopers in ninety seven, and Hollow
Man in two thousand, which was apparently an unsatisfying film Forhoven.

(18:03):
It seems in interviews where he's like, well, this was
the first movie that I made that looking at it,
someone else could have made it. You know. He didn't
feel like his touch was there. So after this he
moved back to Dutch cinema with a string of pictures
that lean more historical in theme less sci fi and
so forth. But I believe he is set to return
to American cinema with a project called Young Sinner, which

(18:23):
is currently in development.

Speaker 3 (18:24):
Yeah, regarding his other big Hollywood movies, it is a
weird string of films, though you can totally see the
as different as they are the creative threads that run
through them, and I would say the thing that they
all have in common is excess. He was a filmmaker
who was into depicting depicting a kind of carnal excess

(18:46):
in terms of sex and violence, but usually to make
a point of some kind. Whether he was successful or
not in all of these endeavors, that's questionable.

Speaker 1 (18:57):
Though.

Speaker 3 (18:57):
I think I would single out Starship Troopers in ninety
seven and as another movie that I think at the
time a lot of people really did not get it,
kind of like what happened with RoboCop. A lot of
people saw it as a kind of excessive, mindless, hyper
violent sci fi action movie that in retrospect a lot
of critics have looked back and said, this is actually

(19:17):
a quite sharp satire and works much better than we
originally realized.

Speaker 1 (19:24):
Yeah, I still need to go back and rewatch it,
because I watched it when I was when it first
came out. I just didn't pick up on all the satire,
and so the fascist themes in there that are there intentionally,
that are being satirized just ended up sitting with me
in a very weird way. I was like, I really
don't like the humans in this, and of course I

(19:45):
don't think you're supposed to like the humans at least
by the end of the film, so I need to
revisit it at some point. Now. Rahuvein was apparently I've
read slow to accept the RoboCop project, apparently because he
didn't really understand the satire at first. And I think
it's been said that his wife likes like like set
him down, was like, no, no, no, see this is what
it's don't you see what it's doing here? And then

(20:07):
he was like, Okay, yeah, I see now. And I
wonder how much of that has to do with the excess,
you know, because it's like he seems like a filmmaker,
you know, who is about pushing for the excessive violence
and or sexuality more the violence in this film, but
also pushing the satire, like making sure that everything's ramped
up enough that you can't miss it, that even at

(20:30):
least subconsciously, it's going to needle your brain and make
you realize something's not right here, or something's being said.
There's some additional way I'm supposed to interpret this.

Speaker 3 (20:40):
Yeah, though, like I said, I mean, I think, especially
in the case of Starship Troopers, it seems like a
lot of people did miss it at the time and
only got it years later looking back.

Speaker 1 (20:50):
Yeah. Now, the writers on this we have. We have
two writers. There's Edward Neumeyer, American screenwriter, producer, and director.
This was his first big hit alongside Michael Minor, who
will get to in a second. He went on to
work on Starship Troopers, Starship Troopers two, and Starship Troopers three,
which he directed. He also co scripted Anaconda's The Hunt

(21:12):
for the Blood Orchid in two thousand and four, and
he's actually the writer of the upcoming Young Center project
that I referenced earlier.

Speaker 3 (21:21):
I have not seen the Starship Troopers sequels, but ooh boy,
that just sounds like I don't know, reaching into a
snake hole in the woods. I don't know if that
was Maybe maybe they're great.

Speaker 1 (21:34):
I haven't seen him now. As for Michael Minor, also
director and screenwriter of various projects, this was his first
big hit as well, which you followed up with with
script work on nineteen eighty nine's Deadly Weapon, which he
also directed lawnmower Man two, and also Anaconda's The Hunt
for the Blood Orchid. He also directed nineteen ninety nine's

(21:54):
The Book of Stars, which looks like I got some
good reviews. I think it's more of a drama. In
his career, he directed a number of music videos for
the rock band Y and T.

Speaker 3 (22:04):
I don't think I know them.

Speaker 1 (22:06):
I was not familiar. Look like some sort of a
rock band or metal band, but I just don't know. Now.
Our star of this is, of course, Peter Weller, playing
essentially a dual role Alex Murphy and then the RoboCop
that Murphy becomes, and then Robocop's attempts to reconnect with
the Alex Murphy he once was. Weller was born in
nineteen forty seven American actor and director who's acting work

(22:27):
goes back to the early seventies and he's still active today.
We previously discussed him in more depth in our episode
on panoscos Monto's The Viewing.

Speaker 3 (22:35):
As we go on to discuss Weller in this role,
a point of comparison that I think is maybe worth
making is to the actors who play Batman, where there's
a dual role where there's like, you know, you have
your face revealed in one sense as Bruce Wayne, but
then also for part of the movie, you are just
a mouth and chin.

Speaker 1 (22:53):
Yeah. So you know, luckily Peter Weller has a very
handsome mouth and chin, very expressive. I think the other
interesting thing that that was surely intentional is that, especially
at the time, he was a very gaunt actor, you know,
a very thin man, which you know, you need a
skeleton to go at the in the middle of all
of that gear that he ends up wearing in the

(23:16):
RoboCop suit. So I think that that probably was a
huge factor as well. You need somebody that can literally
be the skeleton of this thing. Now. As Murphy, I
you know, he's basically just a likable good cop that
we don't really get to know all that much. We
learn more about him through RoboCop as he tries to
reconnect with his past, and this results in various moments

(23:36):
where RoboCop the cyborg is trying to connect with the
remnants of his own humanity, you know, and his memories
of his family, and I think Weller does a really
great job in those moments, like they I kind of
weld some tears up in those moments myself, and and
and then also just as in terms of you know,

(23:58):
the action scenes, I think it's a very nice physical performance.
So there are certainly times where the robot movements look silly,
you know, walking around as RoboCop, and I think maybe
they're supposed to, but there are also some great flourishes
that really bring this metallic hulk to life. I think
about the way that he positions his hands when he's
firing that enormous pistol of his I don't know if

(24:20):
this is something that actually makes sense in the use
of a pistol, but it looks really good when RoboCop
does it.

Speaker 3 (24:28):
Well, there's a strange kind of ballet to the way
that he moves, Like he doesn't just raise his arm
to shoot his RoboCop gun, if you know what I mean.
Rob there are some shots where he can almost kind
of like he raises both arms, like he raises his
other arm as a kind of counterbalance. Is that what
you're talking about?

Speaker 1 (24:46):
Yeah, Yeah, it does feel very mechanical like this, like
his upper torso is the turret of a tank, you know.

Speaker 3 (24:52):
Yeah, but also so I see, Yeah, it is mechanical
and it almost looks like he's doing a counterweight or counterbalance,
but it all so kind of looks like a dance,
like it like ballet or something where the arms both
go out.

Speaker 1 (25:05):
Yeah. If they had not done those things, I think
RoboCop the character would have been a lot more just
visually unappealing. So I was noticing a lot of that
and rewatching the film. Now. Weller came back to play
RoboCop again in the sequel RoboCop two, but by RoboCop three,
he was played by a different actor, Robert John Burke

(25:26):
of best known probably for Thinner and Dust Devil. I'm
to understand that Weller was unavailable because he was filming
Cronenberg's Naked Lunch at that point.

Speaker 3 (25:36):
You know, I've never so RoboCop two is interesting. It
I think it is quite good, but it's very different
than the first RoboCop and has a different kind of mindset.
RoboCop three I've never seen, but it's on paper seems
like it could be hilarious, so I kind of want
to get into it.

Speaker 1 (25:55):
It has a great cast, and it's and it's interesting
too in that by three they're like, you know, kids
love RoboCop, let's maybe let's make one that's not rated R.
And so that's what they did. But yeah, I've never
I've never seen it, but I would like to love
RoboCup too. It really ups the ante, especially on the

(26:16):
stop motion violence.

Speaker 3 (26:18):
Yeah, so three has. What I know about it is
that I think it has rocket ninjas and it is no,
its reputation is quite terrible.

Speaker 1 (26:27):
Yeah, but it has Stephen Root in it. So it's
kind of got to apply to Stephen Root rule. How
bad could it be if Stephen Root isn't it. I
should also note that Weller has returned to voice RoboCop
in recent years. I believe they put the character into
one of the Mortal Kombat games. And there's a new
RoboCop video game that I am not technologically equipped to play,

(26:49):
but I've read some interesting things about it. Sounds like
it does an interesting job of sort of drawing from
all three films to create a like a fourth narrative
that you can play through. I don't know that the
satire is there. So if you've played this new RoboCop
game right in and tell us what you think, all right.
The next actor of note is Nancy Allen, playing the cop.

(27:13):
Anne Lewis born nineteen fifty American actress who kicked off
her film career in nineteen seventy three is the last detail.
She followed this up with supporting roles in a string
of horror movies, including seventy six Is Carrie, then a
string of roles in films of the films of Brian
de Palma, seventy nine's Home Movies, nineteen eighties, Dressed to
Kill and eighty one's Blowout. After RoboCop, she appeared in

(27:36):
both robo sequels. She was in Poltergeist three in eighty eight,
she was in nineteen ninety eight s Out of Sight,
She was in Children of the Corn six six six,
Isaac's Return in nineteen ninety nine, and her last acting
credit was in two thousand and eight, So it sounds
like maybe she sort of quietly retired from cinema.

Speaker 3 (27:55):
Is Children of the Corn six six six, the six
hundred and sixty six movie in that series.

Speaker 1 (28:02):
It might be I feel like there are that many
of them. I've attempted to look. I don't think I've
ever seen one I love Stephen King's original short story.
It's very creepy, but it's hard to figure out where
to even contemplate. Beginning with the Children of the Corn movies.

Speaker 3 (28:18):
Why would it take Isaac that long to return, I
don't know.

Speaker 1 (28:21):
I think maybe he was out for a movie or two.
I don't know.

Speaker 3 (28:24):
Okay, So I really really love Nancy Allen as Lewis
and RoboCop. Maybe my all time favorite buddy cop partner
in a buddy cop movie. So the movie shows kind
of multiple ways that the police characters react to the
pressures that they're under in this plot. You know, some

(28:45):
of the cops in the movie just become unthinking functionaries
of OCP, Like they just keep their heads down, do
what the boss says. They don't ask questions, even when
they are essentially ordered to assassinate RoboCop later in the movie.
Others are showing how emotional crises, like there's one guy
who just always in every scene seems to be freaking out.

(29:06):
Lewis is an interesting like she she keeps cool under pressure,
and she thinks for herself and she uses compassion. She's
the one who's able to understand what's going on to
see that RoboCop is actually Murphy when she gets in
his face and says, it's you Murphy. Yeah, and to
see that there's some part of him that is still human,

(29:26):
and to save his life when Dick Jones is trying
to have him destroyed in the in the third act
or second or third, I don't know, later on in
the movie. And I think Nancy Allen does a great
job with this role. She's she's tough, down to earth,
plays it smart human. I really like her in this role.

Speaker 1 (29:44):
Oh yeah, she's really the heart and soul of this
movie in many ways, in a very real sense and
an intentional sense, you know. And she's and it's also
great that she's she's not written as a love interest. Yeah,
you know, she's a capable action hero in her own
right in an action movie, but her compassion is really
her main strength. And that's and without her, if you

(30:04):
take her character out of this, you don't get any
kind of a positive resolution for the characters in the setting.
I agree.

Speaker 3 (30:11):
I think a lesser movie would have tried to have
some kind of romantic relationship between the two and it
just that's not what this relationship is about. And I'm
glad they didn't go that direction.

Speaker 1 (30:21):
I watched a featurette on the Arrow Blu Ray where
they're interviewing her about this role, and Nancy Allen does
point out it's very interesting how she ended up getting
the part, and you know, the sort of callback experience
and so forth. But she said she showed up in
Dallas and they were like, how about a shorter haircut,
and because she had longer hair, and she's like, Okay,

(30:42):
goes out gets her haircut, and then she's like, oh
my god, I got my haircut way too short. I've
got a terrible haircut for this movie. I don't think
it looks terrible, but it is very short. So it's
interesting to think about that. Looking at the character, I
think it ultimately works really well for the character. But
at the time I think she was a little horrified.
She was like, I think I've gone too far.

Speaker 3 (31:03):
I think this was the first movie I saw Nancy
Allen in, so I just think of this as her
natural haircuts. When I see her in other stuff with
longer hair, I'm like, oh, here she has long hair.

Speaker 1 (31:11):
Now, all right, let's get into some of the corporate
characters here. We'll also come back to a few cops.
This is. We've talked about this actor before, but Dan
o'hurlehey plays the Old Man.

Speaker 3 (31:24):
Oh boy, the villain from Halloween three shows up as
a I don't know, is he a villain? And yeah,
he's a sort of unwitting villain in this movie. You
don't see him. He's not as direct of a schemer
as some of the other corporate villains. He's more just
kind of like sitting there presiding over all of the
wickedness that goes on, mostly oblivious to it.

Speaker 1 (31:46):
I you know, going into this, and perhaps the character
changes a bit in the sequels, I don't remember. I've
probably seen Rebel Coop two more than I've seen any
of them, so maybe he's more of a villain in too.
But in this one, I feel like he is essentially
God or perhaps Zeus. You know, he's The corporate meeting
rooms of OCP are in a place where skyscrapers touch

(32:07):
the heavens, and his appearance at a meeting is spoken
of in terms of a holy visitation, and we never
hear his name. He's just the old Man. It really
does feel like he actually comes down for these meetings
from heaven or from Mount Olympus, carrying with him the
aloofness and distance of a divine father who wants the
best for his creations. He wants to create Delta City.

(32:29):
Remember he's the idea man. All this robot cop stuff
is just in service to this grand dream that is
going to make the world better at least for some people.
He wants to fix his creation, but he doesn't really
understand mortal existence all that.

Speaker 3 (32:44):
Well, you're right, and I think the comparison does Zeus
is apt because in some ways he is kind of
an arbidure of justice or a moral authority in some way,
but he doesn't really seem to have much understanding of
morality at all. It's like he he's like an a
moral arbiter of justice.

Speaker 1 (33:03):
Yeah. Yeah, So it's an interesting role to look at again,
thinking of it's easy to go in and think about
his role in Halloween three, you know, where he is
this evil corporate guy, and we also talked about him
in the last Starfighter episode we did. He plays he
plays a good guy in that he's covered in alien makeup.

Speaker 3 (33:21):
In this I guess I would say he is functionally
a bad guy in terms of the effects of his behavior,
but he doesn't have bad guy energy on screen. He's
just sort of like an oblivious god who's bumbling around
destroying people without really realizing it.

Speaker 1 (33:38):
Yeah, and ultimately he's not a power to be overcome
by our heroes, but to be appealed to. So we'll
talk about that when we talk about the climax. But yeah,
Dan O'Hurley great actor of stage and screen. He lived
nineteen nineteen through two thousand and five. Ah, but then
we are true villain. Are one of our true villains
on the corporate end of things, here is the character

(34:00):
Dick Jones played by Ronnie Cox.

Speaker 3 (34:02):
Dick Jones is one of my all time favorite movie villains.
I love him, and I love all the corporate villains
in this movie, but Dick Jones is great and Ronnie
Cox in this role. Ronnie Cox was simply born to
play business creeps in Paul Verhoven films. One of my
other favorites is his role as Coohagan, the villain who

(34:23):
runs the for profit in Mars Colony in Total Recall.
And this is a spoiler for Total Recall though if
you don't want it spoiled, closeure ears for a second.
But in that movie, if you'll recall he wants to
prevent the use of an alien device that will make
the atmosphere of Mars breathable because he wants to protect
his racket selling oxygen to the Mars colonists.

Speaker 1 (34:45):
Yeah. Yeah, what a scoundrel. Though it's interesting. I was
digging into it and this movie is you know, you
now think of Ronnie Cox, you think of characters like Jones,
but apparently he was playing somewhat against type on this one.
He'd been mostly known for playing pleasant, white collar type characters.
He made his screen debut in nineteen seventy two John

(35:08):
Borman thriller Deliverance. We see him playing the guitar, and
he's actually playing the guitar in that dueling banjo scene
because he's also a singer songwriter.

Speaker 3 (35:17):
He is the character in Deliverance who has like the
strongest moral compass. The others are are more like ruthless
and practical. And he's like, no, we've got to go
to the authorities and explain what happened and admit what
we did and all that, and you know, Bert Reynolds
has to argue with him and say, no, we got
to cover it up, which again, yes, I guess seems

(35:38):
against type to me because I was more familiar with
him playing characters like Dick Jones. But yeah, I guess
you could look at it the other way around as well.

Speaker 1 (35:46):
Yeah. The same year, seventy two, he also pops up
in The Mind Snatchers, a sci fi film that has
a cast that includes Christopher Walken, Joss Ackland, and Tom Aldridge.
So some interesting names in there. I've never seen it.
A fair amount of TV work followed, but he popped
up in seventy nine Is the Onion Field, eighty two
is The Beast within eighty four's Beverly Hills Cop, it's sequel,

(36:07):
and then he did RoboCop. Subsequent credits include not only
Total Recall, but the nineteen ninety Captain America film, the
TV series Cop Rock Star Trek the Next Generation, and
I don't remember this, but apparently has an uncredited role
in Deep Blue Sea.

Speaker 3 (36:23):
Is he basically playing Dick Jones in that, like he's
a corporate silver lord? Yeah?

Speaker 1 (36:29):
Yeah, because it's kind of like post RoboCop. That's one
of the main reasons you're thinking about casting him. I'm like,
I'm guessing, and you know, basically probably printed money there
for a while.

Speaker 3 (36:37):
You can imagine the deep Blue Sea is just in
the RoboCop universe, like they're making smart sharks. That just
seems like another thing OCP would do.

Speaker 1 (36:48):
Yeah, I don't think I said his birthday. He was
born in nineteen thirty eight, and he's still out there.
I think he still performs as a musician as a musician,
and I think he may still be active as an actor.
I don't recall off han Ah. But we have another
corporate character to talk about here, the character Bob Morton
played by Miguel Ferrer, who lived nineteen fifty five through

(37:09):
twenty seventeen American actor and son of Jose Ferrer and
Rosemary Clooney, which of course made him George Clooney's cousin.
George Clooney apparently showed up with him to a lot
of these auditions back in the day they were oh
living together.

Speaker 3 (37:23):
Yeah, what if a young George Clooney had been in
RoboCop Farrer.

Speaker 1 (37:30):
He had a real knack for playing scoundrels. Started off
in early eighties television and some forgettable films. Pops up
as a first officer in Star Trek three. After Robocopy
appeared in nineteen eighty nine's Deep Star six, one of
the many underwater horror films of eighty nine.

Speaker 3 (37:46):
I think he undergoes a harrowing, explosive decompression in that film.

Speaker 1 (37:51):
Oh man, that's probably right. He was in nineteen nineties
The Guardian, ninety two's Twin Peaks, fire Walk with Me
ninety four is The Stand the mini series this did
three episodes of Tales from the Crypt. I think that's commendable.
I'm not sure who else did that many. He was
also in ninety six is Project Alf ninety seven is
the Night Flyer Mulan. In nineteen ninety eight he did

(38:14):
the voice of the main villain. He was in two
Thousands Traffic, and he pops up in Iron Man three
and twenty thirteen. He did a lot of voice work
late in his career, and appeared in the twenty seventeen
Twin Peaks revival.

Speaker 3 (38:25):
Miguel Ferrer is also great in this movie. Like I said,
I love all the corporate villains. He's a perfect foil
to Dick Jones. So Ronnie Cox is older, colder, more calculating,
and Miguel Ferrera's character Bob Morton is a young hotshot
who thinks he's the next big thing, and they play
off of each other well, but they're like both so detestable.

Speaker 1 (38:47):
Yeah. Yeah, Like Morton comes off as more likable in
some regards, but it's because he's less directly awful and
also doesn't resort to direct murder though is the all
is very culpable for human deaths. So it's like they
are both horrible, but they're different shades and degrees of
the same awfulness. Yeah, Morton's this ambitious, coked up business

(39:10):
bro who's definitely going to high five you in the
men's room, but you know, at the end of the day,
he's totally going to sign off on civilian or police
deaths if it lets him advance up the corporate ladder. Yeah,
these are two corporate characters, one more villainous than the other.
Both of them both I think you could think of
his villains, but they're essentially both lawful evil to a

(39:32):
certain degree. We also have to have a little chaotic
evil in this, and that's where we have the character
Clarence Bodiker played by kurtwood Smith.

Speaker 3 (39:41):
Yeah. This raises another interesting theme of RoboCop, which is
it depicts a world of an alliance between sort of
big capital and big crime, like the criminal bosses and
the corporate bosses essentially are working together against everybody else.

Speaker 1 (39:58):
Yeah yeah, yeah, other antagonists than the film though, or
very much part of the corporate machine. You know, it's
like they're to large degrees they can just be like,
I'm just trying to climb up the corporate ladder here,
I'm just doing what i have to do. I am
part of this company. I'm part of OCP. But yeah,
Clarence bodiker Is is very much all of the criminal

(40:18):
world and is just evil. Just doesn't seem to love
anything in life. It's just full of hate and violence.
Even his cronies are not safe.

Speaker 3 (40:29):
He does seem to genuinely love crime like he loves
his work.

Speaker 1 (40:33):
Yeah yeah. Now. Kurtwood Smith born nineteen forty three is
an American actor of stage, screen, and TV that may
be best known to many for his role as the
dad on That seventies show, but this was his big
breakout film role. And this was another case where, according
to some of the extras I was looking at, you know,
was very much against against type. This is not a

(40:54):
guy who'd done a bunch of villain roles. They were
thinking about other sort of established villainous actors like Michael Ironside,
but they ended up liking kurtwood Smith, apparently because Verhoven
liked how he kind of looked like Heinrich Himmler in
The Little Glasses. He liked the idea of this being

(41:15):
like a more of a cerebral villain to be the
to be the adversary of RoboCop, who obviously nobody's gonna
gonna best RoboCop physically, no human is anyway, as we'll see,
So you need somebody who's more scheming, someone who's more
of a hyena.

Speaker 3 (41:30):
I can see how this movie would have been again
diminished if it had gone in a different direction, if you
had the standard boxy, tough guy in the heavy role.
Not to diss Michael Ironside, I mean, I love Michael Ironside,
but the casting of a slightly nerdy looking but still
imposing actor like Smith here is really inspired for this role,

(41:51):
and it makes the character as memorable as he is
instead of just another violent Hinchman. The Himmler image does
come through. There seems to be something not just brutal
but kind of transcendentally evil about the Bodicker we got,
and it's also there in his name. He's not like
you know, Biff Drago, He's Clarence Bodiker.

Speaker 1 (42:13):
Yeah. Yeah, it's a great performance. He's just so so nasty,
so sadistic, and like the scene where he's eventually apprehended
by RoboCop, roughed up and brought in and he's like spitting,
he spits blood onto the police desk. Just just a
wonderful performance. He followed up RoboCop with Roles in nineteen

(42:34):
eighty eight, Rambo three, Dead Poet Society in eighty nine,
Star Trek The Undiscovered Country, ninety two's Fortress, ninety three's
Boxing Helena, and ninety five's Under Siege Too Dark Territory,
plus lots more.

Speaker 3 (42:46):
Under Siege, Too Dark Territory. That's a movie with hacking
in it. Yes, if you ever seen it, it's about hacking,
all right.

Speaker 1 (42:55):
Getting back into the cop characters a bit. We have
Robert Dukey in this playing Sergeant re With nineteen thirty
four through two thousand and eight, another mainstay of all
three RoboCop movies. His acting credits go all the way
back to the original Outer limits. In the sixties, he
worked a lot in TV and film. He did one
of the voices on the nineteen sixties Harlem Globe Trotter's cartoon,

(43:16):
and he had a memorable turn as the villain in
the nineteen seventy three black exploitation film Coffee, which starred
Pam Greer. He acted in three Robert Altman movies, seventy
five's Nashville, seventy six is Buffalo Bill and the Indians,
or Setting Bull's History Lesson and nineteen ninety three shortcuts.

Speaker 3 (43:33):
In this he plays the police sergeant who is putting
up with impossible pressures imposed by OCP as they've come
in and taken over.

Speaker 1 (43:40):
So yeah, it's a pretty standard role, but a notable actor,
all right. Getting back into the criminal world. Here we
have Ray Wise playing Leon Nash. This is one of
the criminal henchmen to Botiker. Born nineteen forty seven. Wise
is probably best known for his role of Leland Palmer
and Twin Peaks, but he also played the doom Doctor
Alex Holland and Wes Craven's Swamp Thing from nineteen eighty two.

(44:04):
Other credits include eighty two's Cat People Cheevers Creepers two
from two thousand and three, X Men First Class from
twenty eleven, and Wrong Cops from twenty thirteen. Like a
lot of these actors, he was apparently going in a
somewhat different direction here, a little bit against type in
the casting of this movie.

Speaker 3 (44:21):
Yeah, he also has a kind of weird energy as
a henchman that works.

Speaker 1 (44:25):
Yeah. We also have to mention we mentioned Emil already.
This is one of the other violent members of the gang.
Has more of a anarchist vibe to him. You know,
he's got the punk haircut and so forth. He is
also a spoiler alert, he's the guy who gets melted
by toxic waste.

Speaker 3 (44:43):
The extent to which RoboCop is a melt movie is
non zero. There is a melting scene, and Emil is
the poor soul who melts.

Speaker 1 (44:52):
Yeah. Played by Paul mccrane born nineteen sixty one. He
made a big splash, you know, unintended because he does
splash in this movie. But he made a big splash
in nineteen eighty's Fame, and he was also a lot
later a long time cast member on Er. He doesn't
melt in either of those films, but he did follow
up RoboCop with nineteen eighty eight's The Blob, So maybe

(45:14):
he hadn't had quite enough melting yet at this point
in his career. I did see in some of the
exits they were like, oh, he was really down for
all this makeup. He was down for this melt scene.

Speaker 3 (45:22):
So he both melts and splashes in the same role.

Speaker 1 (45:27):
Yeah, it's weird rewatching this film knowing how horrible this
character's fate is, and even as we'd shown how horrible
this character is, like he is not a nice guy,
but his fate is so disgusting that you can't help
but feel a little bad for him and see him
at least as some sort of a tragic character. You
want to be like, oh, dude, you're making all these
terrible choices in life, and we know where they are

(45:49):
leading you.

Speaker 3 (45:50):
Well, his friends are like Bodiker in the gang, and
they don't It just shows how unloyal they are to
each other when the way they react to him, like
he's melting and he runs up on ray Wise, and
ray Wise is he goes like help be and ray
Wise is just like, don't touch me.

Speaker 1 (46:06):
Man. Yeah. Now, going back into the corporate world in
the midst of all of these villains and all it's
easy to miss some of how great some of these
other small performances are. Like, you have this character, Donald Johnson,
who's this kind of I guess a corporate o CP
yes man and also just sort of a business goblin.

(46:28):
I don't know. He's he's always there in these scenes.
He's never the the he's never the you know, the
central point of the scene. But he's he's there. He's
attending all these business meetings and he's he makes every
scene better.

Speaker 3 (46:40):
Yeah, he smiles a lot. He just brings a real
positive energy to these board meetings where robots murder his colleagues.

Speaker 1 (46:48):
Yeah. Yeah, and he's largely unfazed by it. He's like business,
business has got to keep moving.

Speaker 3 (46:53):
Looks like we hit a snag, but yeah we'll uh well,
we'll do better next time. Yeah.

Speaker 1 (46:58):
Yeah. This character is played by fel Milton Perry born
nineteen forty five. He was also in nineteen seventy three's
Magnum Force. He did a lot of TV, played a
lot of detectives, and with a cast member on the
nineteen eighty series The Greatest American Hero.

Speaker 3 (47:21):
Now. RoboCop has a lot of great special effects and
one notably terrible but in a lovable way special effects.
So I feel like we got to talk about the
effects a bit.

Speaker 1 (47:32):
Yeah, And as always, we can't mention everybody like this
especially is a film where you had a whole crew
of very talented artists in different fields and we can't
possibly cover them all. So we're just going to cover
I think like three main names that should be mentioned. First,
we've already mentioned the melting and the makeup involved there.
Rob Botein has special makeup effects creded on this. Born

(47:56):
nineteen fifty nine, a true cinematic gore master. I think
this is the first film we've looked at on Weird
House that has directly involved him. His makeup credits include
So Many Great Things, Squirm from seventy six, The Original
Star Wars from seventy seven, The Howling from eighty one,
John Carpenter's The Thing from eighty two, Legend from eighty five,

(48:16):
Total Recall from nineteen ninety. He also did creature designs
on nineteen eighties Humanoids from the Deep, That's a Fishman Movie,
ninety seven's Mimic in nineteen ninety eight's Deep Rising.

Speaker 3 (48:28):
His work on the thing is especially iconic.

Speaker 1 (48:30):
Oh yeah, I mean, this is just a master of
practical makeup effects. You know, these are things that you
got to throw him into the same conversation with names
like screaming Mad George. You know, just an absolute master.
He doesn't seem to have worked much in the twenty
first century at all, though, at least in terms of
being credited on things. And I have to realize, I

(48:52):
don't know, we always stress this, but it's my understanding
that sometimes affects people's names don't actually make it into
the final credits on things. So I don't know. Maybe
he's working in other capacities behind the scenes, but according
to you know, like the databases outside of a working
on an episode of Game of Thrones, yea, his his
his work in recent decades has been sparse.

Speaker 3 (49:12):
Do we do we know or just assume that Beteen
is largely responsible for the emial melting scene.

Speaker 1 (49:20):
I didn't double check it. It's probably there's so many
extras the ARO release, I didn't get to watch them all,
but I assume he had to be have played a
pivotal role in that. It's just too disgusting looking.

Speaker 3 (49:31):
Okay, but another main effect. So there are a lot
of great special makeup effects in the movie. Also, there
are interesting makeup effects clearly involved in realizing the the
unmasked RoboCop effect when he takes his visor off and
you can see Peter Weller's face jutting out of this
robot exoskeleton. I'm sure that took a lot of effects

(49:52):
work to make it look as good as it does.
But there is another big thing in the movie, which
is the rival project to the RoboCop project ED two nine,
one of my favorite aspects of RoboCop, which is achieved
largely with the help of stop motion effects that look
great and are some of the funniest special effects I

(50:14):
can think of seeing.

Speaker 1 (50:16):
Yeah, this is such a great creation. ED two o
nine sometimes referred to in the credits as ED two thousand,
so I guess maybe at some point in production they
called him D two thousand. I don't know. ED two
o nine is better Eed two o nine, if you will.
But Craig Hayes is credited as ads creator and designer

(50:36):
and also designer and constructor of the large prop for
ED two nine, So when we see ED two o
nine in the film, he's either standing there as a
physical practical robot that's I think actually made out of
out of wood and other materials, you know, and he
doesn't move around much like just basically the top half

(50:57):
rotates to point guns at you that sort of thing.
But and then the rest of the time, as we'll discuss,
he's a stop motion effect. But Hayes was involved in
designing it apparently, you know, looked to various things like
looked at trains a little bit and and other mechanical
vehicles and robots to sort of design it, but also

(51:18):
looked at the Orca that the head of ED Tone
two nine is apparently partially based on the Orca.

Speaker 3 (51:25):
I can see that.

Speaker 1 (51:26):
Yeah, So Hayes did visual effects work on other notable
films that he worked on Jurassic Park as part of
Tippet Studio. He also worked on Hollowman, Blade two and
two thousand and three is the Matrix Revolutions. Now I
mentioned Tippett Studio. Yes, Phil Tippett is the is credited
as the creator of the ED two nine sequences, more

(51:48):
specifically the stop motion sequences. If you're not familiar with
Phil Tippet born nineteen fifty one, he is one of
if not the best known living masters of stop motion
and monster special Effet. Somehow, this is our first Tippet film,
I believe on Weird House Cinema. We've mentioned him in
passing you know, connections on other films, but I don't

(52:12):
think we've talked about him in depth before. You know.
This is another situation where we can't list all the
classics that he was involved in, but his creations have
come to life in such films as some of the
Star Wars movies. Nineteen eighty six is Howard the Duck
as a notable stop motion monster at the end nineteen
eighty eight Willow both RoboCop sequels, Jurassic Park in ninety three,

(52:33):
Starship Troopers, and of course his own project, which was
made over many years. I haven't seen it yet, but
finally released in twenty twenty one, Mad God.

Speaker 3 (52:44):
Really good stop motion in this film.

Speaker 1 (52:46):
And we'll come back to talk a little bit more
about ED two nine later on and just how incredibly looks.
But finally, the music here is by Basil Polodorus, who
lived nineteen forty five through two thousand and six, American composer,
best known in film for his work with John Millius,
who he met at USC studying filmmaking and composing. He
also worked several times with Paul Verhooven. He worked with

(53:09):
Millius as early as nineteen seventy on a student film
and then later on seventy eight's Big Wednesday nineteen eighty
two's Conan the Barbarian of course, that, in my opinion,
is his master work, like that is such an incredible
and just perfect score for that movie. But he also
worked with Millius on Red Dawn from eighty four, Farewell

(53:31):
to the King in eighty nine, in Flight of the
Intruder in ninety one. With Verhoven, he worked with him
for the first time on Plus Blood from eighty five,
followed this up with RoboCop and Starship Troopers in ninety seven.
Other scores of note include Renee Cardona Junior's Tinterera from
nineteen seventy four, The Shark Movie or a Shark Movie,

(53:53):
we should say the Shark Movie in any respect, also
the Michael Crichton scripted Extreme Close Up in seventy three,
The Blue Lagoon in nineteen eighty, Cherry two thousand and
nineteen eighty eight. In the nineteen eighty nine mini series
a lonesome dove. So for this movie, you know, solid
catchy and sweeping score. I think a highly effective score.

(54:14):
You know, it has the right bombosity for RoboCop.

Speaker 3 (54:18):
Yeah, I love the RoboCop theme. I think it's perfect
for the film, and it sonically evokes exactly the feeling
of the world and the plot, like it sounds like
a doomed attempt at heroism in a bleak world ruled
by bad men. Yeah, all right, you want to talk
a bit about the plot. Yeah, let's let's dive right
in now. This is one of those where I think

(54:40):
it does not make sense to do a full scene
by scene recap of the movie, but rather in this case,
we're going to discuss a bit about the broad outline
and some themes and highlights from the movie. One thing
we've got to talk about is the are the media
segments in RoboCop. RoboCop repeatedly breaks the action with news reports, commercials,

(55:03):
and clips of TV shows from in universe, as if
we were characters in the world of RoboCop watching the
same TV they do.

Speaker 1 (55:13):
Yeah, and these are extended sequences. I'd forgotten just how
long they are, Like you're watching RoboCop world television for
minutes on end, including right at the top of the film,
and it does a great job of positioning you within
the world of the movie, of course, giving you a
little backdrop for what's going on elsewhere in the world,
what's going on in culture and media, but at the

(55:35):
same time, in some ways counterbalancing the violence that we
see on screen, but also driving home the satire and
like keeping satire on your radar as you are interacting
with the gritty details of the plot.

Speaker 3 (55:49):
There's a way that like when you see the news
reports in the media segments sort of just lightly gloss
over what sound like actually horrific events that sort of
makes you see the event of the violent events of
the plot differently.

Speaker 1 (56:03):
Yes, yeah, but anyways.

Speaker 3 (56:05):
Yeah, but a big part of what they do, especially
at the beginning of the film is just world setting,
you know, establishing what kind of world is this taking
place in? And I would say the news segments from
the world of RoboCop depict a kind of hyper Reaganite
near future. So there is an idea that there's escalation
of the Cold War, massive military build up, a lot

(56:26):
of focus on weapons technology, and a supply side free
for all where everything is run by for profit corporations
and cash is king. And the first thing we see
in the movie after like a sweep over the city
and the title is a news segment, and so to
set the scene of this world, it mentions before there's
a segment about how the remaining enclave of the apartheid

(56:48):
government in South Africa has unveiled their possession of a
French made neutron bomb and has announced their willingness to
use it against the people to protect white minority rule.
There is another report from the new quote star Wars
Orbiting peace Platform, and this appears to be a play
on the so called Star Wars missile defense initiative, except

(57:11):
in the movie the quote peace platform seems to be
just some kind of like general orbital weapons system which
they call a peace platform. And then in a later
news segment in the movie, we find out that it
quote accidentally fired a laser barrage at Santa Barbara, California
during a test, and that kills hundreds of people, including
two former presidents who are not named. And then the

(57:34):
anchors just say the nation mourns for Santa Barbara, and
then they move on to something else.

Speaker 1 (57:38):
And I mean it's implied that that's Ronald Reagan. Yeah,
we see Ronald Reagan's body there on the ground. So
the satire is at times pretty grim.

Speaker 3 (57:50):
But then it cuts straight from these horrific reports to commercials,
and the commercials are for things. One is for the
Family Heart Center, which is a clinic folk using on
heart transplants with new mechanical artificial hearts. But the doctor
in the commercial, at first he's like, you know, oh,
it's time for a heart transplant, and then he transitions
into sounding like he's pitching a customer on jet skis.

(58:13):
He's like the series seven sports Heart by Jensen Yamaha,
you pick the.

Speaker 1 (58:18):
Heart, which I guess also positions where we are in,
like the cybernetic world.

Speaker 3 (58:25):
Yeah. Then there is an ad for a family board
game called New Coom, a game that looks kind of
like Battleship, except it's for four players, and it seems
like the way you win the game is if you
are the first player to use nuclear weapons. The tagline
of the game is get them before they get you, Graham, Graham.
Then there are ads for a car. This car has

(58:47):
a big footprint in the movie. It is called the
six thousand SUX. So that's kind of low hanging fruit joke,
but you know, I wouldn't change it. This is apparently
the hottest new car in the world now. It is
extremely ugly, it gets eight miles per gallon, but it's new,
it's huge. You've got to have one. The commercial makes

(59:08):
the point that the car is bigger than Godzilla.

Speaker 1 (59:11):
Yeah, we have this nice commercial that has the stop
motion monster in it, like very much in the Harry
Housen style obviously created by Phil Tippett here, which is
a nice nod to those movies that are in a
very large way and inspiration for the creation of N
two nine.

Speaker 3 (59:26):
But then also we see the TV content TV shows.
The most popular TV show in the world of RoboCop,
which we see multiple times, involves a man with glasses
and a mustache ogling women in bikinis and then turning
directly to the camera to utter his beloved catchphrase I'd
buy that for a dollar. So, according to an article

(59:49):
that I turned up, though it is not mentioned in
the movie, the name of this TV sitcom is It's
not my problem exclamation point and it's interesting. So the
show is portrayed as just uh, insipid trash, But multiple
times we see characters watching this show, such as there's

(01:00:10):
one moment where this sadistic murderer Emil is watching the
show on a TV through a shop window and he's
I think he's like sitting in his car watching it,
drinking a liquor bottle or something. He seems to find
it marvelously entertaining, and then he ends up breaking the
glass in the window so he can turn the TV
up louder and laugh along with the laugh track. So

(01:00:32):
something's interesting about the way RoboCop depicts this world of cruel,
sadistic men who kill without a thought and then in
their downtime are sedated and entertained by mindless, repetitive sitcoms
that just seem to be looping the same scene and
catchphrase over and over.

Speaker 1 (01:00:48):
Yeah. Yeah, that and Neil scene especially is interesting, you know,
because they intentionally took time to show you his enjoyment
of this show, that that this this bttom of the
barrel misogynistic comedy that seems to be everybody's favorite, and
I guess it also I'd buy that for a dollar
like it just it also kind of ties into the

(01:01:11):
overall capitalist, corporate world of RoboCop. Everything can be bought
for a dollar, right.

Speaker 3 (01:01:18):
It's almost like a mantra delivering the hidden message that
my trust and allegiance is cheap. Just give me the cash.

Speaker 1 (01:01:25):
Yeah, all right, Well let's talk more about the setting here.

Speaker 3 (01:01:38):
Yeah, so the media segments are used to establish a
lot about the broader world. The specific setting of the
movie is the city of Detroit in Michigan, where it
seems the situation is there's some overlap with reality that
the city was a thriving metropolis, but it has suffered
a lot because a lot of the industry that used

(01:01:59):
to be based there has moved offshore or shuttered in
some way. So the film is just full of abandoned,
empty factory buildings that continually visually communicate this theme of
just like the loss of former prosperity and so forth.
So huge portions of the city have been left out
of work, impoverished, and desperate, and the city is essentially

(01:02:22):
on the brink of collapse. So the job of running
the local police department has been outsourced to OCP Omni
Consumer Products. But OCP has set its sites higher than
just running the police. Essentially, they have a plan to
demolish the existing Detroit and replace it with a new,
completely privately owned settlement called Delta City, where they will

(01:02:45):
run everything. So in a way, you can see how
it is in OCP's interest for things in Detroit to
get as bad as they possibly can be so that
they can buy up all the property cheap and privatize
all the local government.

Speaker 1 (01:02:59):
Yeah yeah, but at the same time they need a
little bit of muscle. And also they are, as we're
told at one point, they basically are the military, so
they're working on all of these various military projects.

Speaker 3 (01:03:10):
As well, right, And so amidst this backdrop, we see
the OCP headquarters, which is this strange looking building that
has a kind of inverted triangle architecture near the bottom,
but then it just goes straight up from there, and
so it's a very weird looking skyscraper architecture. But it
does seem on theme somehow because it's like all of

(01:03:30):
this concrete that comes down to a point near where
it meets the ground. So it's the idea of like
this corporation just like crushing the people on the ground.

Speaker 1 (01:03:39):
Yeah yeah. Again, the bottom part of this is Dallas
City Hall, but by creating this map painting of it
rising the rest of the way up into the sky.
It's like it's stabbing into the earth, like it's a
sword come down from the heavens. And we eventually see
multiple shots at different points in the film of people
ascending or descending elevators and some sort of you know,

(01:04:01):
vast atriums of this building. And these are also created
with Matt paintings. And in the extras on the Arrow
Blu Ray they mentioned that Forbidden Planet was one of
the influences here in creating this kind of vast interior space.

Speaker 3 (01:04:16):
I never would have made that connection, but that's really good. Yeah,
But anyway, Okay, so here at OCP headquarters, we come
in this corporate board meeting, which is a great scene.
We've got OCP Vice President Dick Jones played by Ronnie Cox.
He is showing off his plan to move on to
the next stage in their control of the Detroit Police Force.
He wants to essentially replace the remaining human police force

(01:04:39):
with a violent police robot called ED two nine. He
brings ED two O nine out for a demonstration that
turns horrific robot. I don't know if you want to
describe this scene. It's it's an iconic scene from the film,
maybe the most remembered part of all of RoboCop.

Speaker 1 (01:04:56):
Yeah, I mean for starters, it has we have to
mention that that ed to A nine And if you
don't know what ed to nine looks, two nine looks
like do do do yourself a favor and find an
image surch or or video clip because it does not
look like a policeman, looks like a weapons platform is
and that is not what an illinoid and ship. Yeah,
it's just a weapons platform that they're clearly eyeing for

(01:05:18):
a larger military market. It was not created expressly with
police work in mind. It is a frightening bestial machine.

Speaker 3 (01:05:30):
So Dick Jones is setting up the demonstration. He gets
one of the one of his colleagues from the boardroom
here to uh to point a gun at ED two
o nine for the demonstration. And there's a little detail.
A lot of people notice that he hands a gun
to this guy. He's like, all right, let's see if
we can make him do his job. And so the
other guy points the gun at Dick Jones and ED
two o nine does not react to this like of

(01:05:52):
like people threatening each other, but then Dick Jones is like, no, no,
pointed at ED two o nine. And so then when
he when he threatens the herd, where then ED two
o nine comes online and like points his turrets at
him and says, you drop the weapon. You have twenty
seconds to comply. So the guy he said, you know,
he is goaged on by Dick Jones. He says, better

(01:06:13):
do as you're told. So the guy drops the weapon,
and then ED two o nine says, you now have
fifteen seconds to comply. It clearly has not registered the
loss of the weapon. So in a horrifically violent turn
of events, the robot malfunctions and then ends up just
liquefying this guy. It shoots him like hundreds of times.

Speaker 1 (01:06:34):
Yeah, just notoriously graphic scene, and some cuts of the
film have the extended goification of this this poor dimmed individual.
But yeah, and it's a frantic affair. He's trying to,
like hi, run to for cover, and they're pushing him
back in the way because no one else wants to
get shot and caught the crossfire. And yeah, and then
finally an utter failure of the program here, So.

Speaker 3 (01:06:57):
The old man looks at Dick Jones, it says, I'm
very disappointed and you, Dick, and Dick Jones says, sure,
it's only a glitch, like completely unconcerned with the threat
this would pose to people. Is just kind of like, ah, yeah,
we'll figure it out, don't worry about it. But this
does seem like a pretty catastrophic failure to the old Man.

(01:07:18):
And right there next to him, waiting in the wings
is Bob Morton played by Miguel Ferrer, who steps in
with his rival project. He's like, clearly ed two nine
is not ready for prime time. We've got something ready
to go, the RoboCop program, And he tells the old
Man about it. It's ready to go as Plan B.
All they need is a donor, and he thinks they
should have one pretty soon. What does that mean, We're

(01:07:40):
about to find.

Speaker 1 (01:07:41):
Out, Yeah, it may not be here. Maybe it's a
little later that we learned that, Yeah, not only are
they eyeing donors, but they are making sure that prime
police candidates are being reassigned to dangerous zones so that
they're going to be more likely to encounter some sort
of fatal injury that would deliver their bodies.

Speaker 3 (01:08:00):
The RoboCop program, Yeah, they do they do like a
physical and they're like, okay, Peter Weller, he would be
a good candidate to go in the RoboCop suit, So
we're gonna send him after Clarence Bodiker and deny him
back up. Yeah, So here we meet our hero Alex
Murphy and Peter Weller. After OCP transfers him to a
new Metro division, he gets paired with his new partner Lewis.
That's Nancy Allen. They get to know each other. They

(01:08:22):
have some nice friendly banter, but early on maybe it's
his first day at the new division, not exactly clear.
They respond to a bank robbery in progress and it's
Clarence Bodiker's gang and Botaker is just the nastiest, meanest
criminal on earth. While Murphy and Lewis are chasing them,
there's this one part where you see Bodiker just like

(01:08:42):
the gang, has no friendship or loyalty even to each
other of their One of the gang is injured during
the shootout when they're in a chase, and Bodiker just
like grabs him and goes can you fly Bobby and
throws him out of the van into the police car,
which briefly delay them and eventually Murphy and Lewis pursue

(01:09:03):
the gang all the way to an abandoned foundry, and
while attempting to make an arrest, again no backup is available.
As usual, Murphy is caught and then brutally executed by
the gang, an awful, horrifically violent scene. His body is
recovered taken to a hospital, but he can't be revived.
He is dead.

Speaker 1 (01:09:24):
Yeah, I think shotgun dismemberment is worth mentioning in terms
of Murphy's death because, you know, because it's like, it's
that extreme like that. It's another example of the violence
just ratcheted up to an unbelow to a degree where
it almost takes some of the punch out of it
because it becomes an obvious Hollywood gore fest. I don't know,

(01:09:44):
everyone's mileage is going to vary on this sort of thing.

Speaker 3 (01:09:47):
Now, next, we get a really interesting sequence in the movie,
which is we have Murphy's death, but from here we
start seeing something from some point of view through a
kind of grain any almost computer or CRT image. We
see these views of scientists messing with somebody from their

(01:10:09):
point of view, like drilling around on their head and
adjusting his vision. So we're seeing Robocop's point of view,
and this is the project run by Bob Morton. Rob
do you anything you want to identify about these scenes
where we're like watching Murphy's physical remains become become able
to see as they are becoming RoboCop.

Speaker 1 (01:10:30):
I mean, it's almost like he's being he is being
born again. You know, it's like early memories, childhood memories almost.
That's some sort of sense as he's watching the scientists
work on him, as he's eventually seeing you know, there's
like an office party, a Christmas party or something that's underway,
and they're interacting with him a little bit. But also
there are bits of dialogue though on the other hand

(01:10:51):
that far from discussing him as a child. I think
Morton in particular is like he's dead now. We can
do whatever we want with him, Like he's no longer
a human. He is a product.

Speaker 3 (01:11:01):
Yeah, he signed the rights to his remains away. That
was part of his contract to be a cop, and
we can do whatever we want with them. He's not
him anymore.

Speaker 1 (01:11:11):
Yeah.

Speaker 3 (01:11:12):
Also in these scenes, we learn about robocops three prime directives.
They say, you know, he's guided by the directives to
serve the public trust, to protect the innocent, and uphold
the law. And then there is a fourth directive that
is not spelled out. It just says it's classified, but
it does flash on the screen. They say nothing about
that out loud. It's just something that RoboCop sees on

(01:11:33):
his own heads up display.

Speaker 1 (01:11:35):
Yeah, this will become important later on.

Speaker 3 (01:11:37):
So after this RoboCop is unveiled, they put him out
on the beat, and there are just a bunch of
scenes of RoboCop out on patrol, intervening when crimes are
in progress. We see him stop an armed robbery at
a convenience store, he intervenes when two men are attacking
a woman in an abandoned lot, He resolves a hostage
situation at city hall. And in all of these scenes,
RoboCop is shown to be in some ways highly effective

(01:12:00):
in other ways not like he is successful at stopping
the crimes, but he does so via the application of
brutal violence in every case, and he has shown to
be cold and mechanical in his relations to victims.

Speaker 1 (01:12:15):
Yeah, we see the media segments of him being celebrated,
but also, yeah, at the same time, he's not really
doing the ideal version of police work here. He's just
like a blunt instrument that reaches through walls to grab
criminals and so forth.

Speaker 3 (01:12:31):
There's one part where I think they're asking, like there's
like school children clearly being terrified by RoboCop during some
kind of outreach program, and they're like, do you have
any message for the children, and he says, stay out
of trouble. But all of this builds up to a realization. Lewis,
Murphy's old partner, sees through the machine mask. She sees

(01:12:54):
that it's Murphy underneath, noticing little ticks, little sayings and
movements that mirror things Murphy did. One giveaway is that
Murphy was practicing this kind of, you know, a cowboy
gun holster move that was from a TV show that
his son liked, called TJ Laser, And then she sees
RoboCop do the same move, so she realizes who it is.

(01:13:16):
She's like, that's Murphy in there, and she goes up
to him. At one point she like approaches him in
a hallway and says, Murphy, it's you, and this causes
a crisis. RoboCop is not supposed to have a personality
or any memories. Bob Morton again. He explains that like,
it's just physical scaffolding. They just need some brain tissue.
Murphy no longer exists, it's just brain tissue owned by OCP.

(01:13:39):
That's not a person, it's a machine. But nevertheless, RoboCop
begins to malfunction by having memories and dreams and glitches,
and this leads up to a scene where he visits
his former home that he shared with his family, which
is now empty and for sale. There's like a robotic
salesman who starts talking when he comes in the door, like, oh,

(01:14:02):
this could be your new dream home. And I think
some critics at the time might have sneered at these
sequences of him, you know, this machine with these strange
robotic motions, trying to reclaim his past life and remember
what it was. They might have seen that as ridiculous.
But I found this stuff quite moving.

Speaker 1 (01:14:20):
To each their own, I guess, yeah, yeah, this is
one of the segments that really hit me in the fields.
I liked it. I thought it worked.

Speaker 3 (01:14:28):
Also, somewhere in here there's a scene where Dick Jones
sends Clarence Bodiker, who works for him by the way
to Bob Morton's house to kill him. He's just like, Okay,
I'm done with Morton.

Speaker 1 (01:14:40):
Yeah. Yeah, Like Morton really didn't know what he was
messing with it clearly didn't really think that Dick Jones
would send a goon to his house to murder him
in cold blood, and that's exactly what happens.

Speaker 3 (01:14:52):
Then there's an interesting middle section of the movie in
which RoboCop, in this process of redis discovering that he
might have been a person at one point and who
that person was. He starts to systematically solve Murphy's own murder.
So he like encounters Emil, one of Clarence Bodaker's gang

(01:15:14):
in the middle of like robbing a gas station, and
he encounters him, and from him he traces him to
other members of Botacker's gang and eventually to Botaker himself.
And when he when he captures Bodiker, Bodeker claims that
he can't be arrested because he has a protection agreement
he works for Dick Jones, and Dick Jones runs the police.

Speaker 1 (01:15:34):
Yeah, this whole solving Zone murder series of sequences is great.
Like there's a scene where he goes to the nightclub
to collect Ray Wise's character Yeah, that one's a lot
of fun. Yeah. It builds nicely until he's yeah, he's
already found Botaker that Bodika. This is where there's a
He roughs him up quite a bit and drags a bloody,

(01:15:56):
snarling Boticker into police headquarters.

Speaker 3 (01:15:59):
But so now he has evidence that Dick Jones is
behind it all. So he tries to go up the
chain to arrest Dick Jones and it doesn't work out
so well. He walks into the office Ronnie Cox is
sitting there, and Ronnie Cox like holds out his hands.
He says, sounds pretty serious, you better arrest me. But
RoboCop is somehow unable to act. Something is preventing him,

(01:16:22):
and here we see the activation of Directive four, his
secret guiding principle, which is that he cannot act against
the interests of OCP, so he cannot will himself to
arrest one of its officers.

Speaker 1 (01:16:36):
Oh yeah, and then this is where Dick Jones, with
villainous charm, brings out ED two O nine. He's like,
I going to introduce you to a friend of mine.
Boardroom doors open and out comes this glorious stop motion creation.
ED two O nine is here to finish off RoboCop.

Speaker 3 (01:16:52):
So yeah, for a bit, there's this fight, the struggle
where RoboCop is sort of immobilized. It's these two killer
robots versus each other, but one of them still has
a shred of humanity inside it and it manages to
barely escape ED two O nine. And then there is
a detail in this fight that I've always loved since
the first time I saw the movie. What how is

(01:17:13):
ED to O nine defeated In this confrontation by stairs?
ED two O nine gets to the stairwell and RoboCop
runs down it and ED to O nine clearly this
is a contingency that the designers of ED two O
nine had never thought of, and it is unable to
navigate going down a staircase and ends up turned on
its back and unable to get up. And it's hilarious.

(01:17:37):
It feels so right, and it's the best possible conclusion
to this fight.

Speaker 1 (01:17:42):
Yeah, yeah, it hits all the right notes, and in
a sense like it does get into this again sort
of light sci fi about cybernetics and robotics. The idea
that ED two nine is a military application that is
clearly clearly was not designed for police work. It was
not designed to interact in a human world, and an
important part of police work is interacting in a human world.

(01:18:03):
That involves obviously things like stairs, as well as other
nuances like being able to tell the difference between a
perpetrator who is an active threat and someone who has
already surrendered and so forth.

Speaker 3 (01:18:16):
Yeah, and so I think that I think part of
the vision of ED two nine is that it is
a very dangerous lethal robot, but in many ways it
is poorly designed. So it's like it is designed to
appeal to the people who award defense contracts more than
to like actually be good at its job.

Speaker 1 (01:18:36):
Right. But again, great great finish to this initial combat
between RoboCop and ED two to nine.

Speaker 3 (01:18:43):
But at this point, so RoboCop is he's able to
get down the stairs. But at this point the OCP
controlled police Force arrives and they have been ordered to
destroy RoboCop, and so they try, but Lewis saves him.
She comes to the rescue. She takes him off to
the abandoned foundry we saw earlier and helps him rediscover
who he is. And this sequence, his mask comes off,

(01:19:04):
like he removes the bolts and takes off his visor
and reveals that Murphy's face is still underneath there to
some extent. His brain still is Murphy's brain, though it's
different and there, I don't know. There's like a really
tender scene where she helps him recalibrate his aim and
it just kind of gives him encouragement. He doesn't know

(01:19:25):
what he is, but whatever he is, she's there to help.

Speaker 1 (01:19:28):
Yeah. Yeah, I really liked this part. Also, the part
where after the mask has come off and he has
to be left alone. You know, it's it's a tender moment.
That is, it's well acted by both actors involved here,
and you know, I totally totally buy into it, and
it made me tear up just a little bit.

Speaker 3 (01:19:46):
Meanwhile, Dick Jones hooks Bodiker's gang up with some kind
of military grade weapons that they are going to need
to destroy RoboCop. Jones of course wants RoboCop dead for
two reasons. First of all, RoboCop has evidence against Jones
and his memory banks, and he doesn't want to be implicated.
But the second thing is, of course, if RoboCop is eliminated,
that'll put ed to nine that project back front and center.

Speaker 1 (01:20:09):
Yeah, yeah, he's promising to have an ED two o nine,
like on every street corner. So there are already a
lot of these in stories just ready to roll out
into the city in force.

Speaker 3 (01:20:18):
So Botaker and the gang now armed with these, with
this heavy artillery, they come to hunt down RoboCop at
the foundry. But there and this leads to a bunch
of great action scenes. There's like a car chase and
there are these shootouts and all that together RoboCop and
Lewis managed to defeat Bodiker and his gang. This is
the sequence that includes Emil getting doused with toxic waste

(01:20:41):
and eventually melting. So it's incredibly gory action scenes. We've
said that a million times now, but like you be warned,
this is an incredibly bloody, violent movie. But as action scenes,
they work pretty great.

Speaker 1 (01:20:54):
Yeah. Yeah, I mean I've seen my shareff Gorfest and
I've seen this film before obviously, but yeah, when I
was rewatching the emeal melting sequence, it's just like like
I had a just like a grimace fixed into my
face for like a good solid five minutes because it's
so grim and it's so gross, and it seems to
go on forever until he's finally hit by a car

(01:21:18):
by a boticker's car and just explodes in a splash
of slime. It's awful.

Speaker 3 (01:21:24):
Yeah. So after all this, RoboCop goes to arrest Dick
Jones because you know OCP is behind it all, working
on Dick Jones's orders. So RoboCop comes into a board
meeting and he turns the old Man against him by
playing a tape of Dick Jones admitting the murder of
Bob Morton. Now you know, OCP may not be very

(01:21:46):
sensitive to the harm they caused to regular people, but
this is the murder of one of these corporate guys themselves,
and I think they're unsettled by that. So so now
Dick Jones actually feels afraid. He tries to take the
old Man hostage to flee the scene. And here there's
an interesting conflict because RoboCop is still bound by Directive four,

(01:22:08):
so he cannot act against OCP. He can't act against Jones.
But then he he essentially hints to the old Man
what the problem is, and the old Man then announces
that Jones is fired from his position. So RoboCop immediately
shoots him out of the skyscraper window. So that's an

(01:22:28):
interesting twist, and then there is a special effect. Well,
the special effects generally in this movie are fantastic. There
is a famously bad one as Jones falls out of
the window and it looks like he has really long
arms for some reason.

Speaker 1 (01:22:41):
Yeah, this is a stop motion effect. They use a
stop motion model of Dick Jones, which I mean basically,
I guess you have to think about about stop motion
a lot with this film, Like stop motion is here
and used in this film, not so much because it
is loving and well Craft did and is like an
art form all its own. It was the best way

(01:23:03):
of delivering this particular effect at the time. And so
with Dick, even with Dick Jones falling out the window,
like what are your choices? You either don't show it,
or you use like a Dick Jones lying on a
blue mat and do like a green scaring kind of
a thing where he's like, ah, you know, like Mortal
Kombat too falling into the pit, which can also look

(01:23:25):
pretty bad. Or you go first stop motion, and in
this case it didn't quite work, like they were trying
to create something that was too lifelike. But I wouldn't
change it. Yeah, I wouldn't change it still admired.

Speaker 3 (01:23:36):
I love the long arms that it gives me a
tickle every time.

Speaker 1 (01:23:42):
This was a time period too where like that sort
of shot, I feel like happened a lot. You had
a lot of bad guys falling to their death, Like
didn't the Joker go down the same way? Maybe a
slightly more convincing effect. I don't recall, yeah, falling off skyscrapers.
They'll do it well anyway.

Speaker 3 (01:23:59):
So after this, the old man says, he says something
like nice shooting, son. What's your name? And RoboCop does
not say RoboCop. He says Murphy. And that's the end
of the film. And it's an interesting ending because Murphy
has somewhat reclaimed his humanity, Like he has acted against

(01:24:22):
the direct interests of his one of his bosses in
this case, so he has somewhat done the right thing
despite what he's being told to do by the by
the organization that controls him. He has to some degree
recovered part of himself in that like he you know,
he remembers his family, he remembers his life. Even though

(01:24:42):
he's not fully the Murphy he was, he realizes some
part of him is Murphy, but he's still not completely free,
and I think that makes the ending more interesting and
bittersweet than if he just had like a total victory
over the bad guys. He's still not fully free because
he's not able to remove direc he just has to,
like outsmart it, find a way around it by getting

(01:25:04):
the old Man to fire Dick Jones so he can act.

Speaker 1 (01:25:07):
But again, thinking of Dick Jones as kind of a
god or Zeus figure, it's like he has he has
scaled at the top of Mount Olympus once more, and
I guess we also have a Satanic figure literally falling
from the heights here. But then the old Man has
to acknowledge him, and in asking him his name, there

(01:25:27):
is kind of like a power there. It's like like,
this is your chance to reclaim some portion of humanity
that we took from you. And he does reclaim at
least part of it.

Speaker 3 (01:25:37):
Yeah, but like we said, it's not a complete victory,
you know, It's not like OCP is completely defeated and
the world has changed for the better. I mean, it's
a small, limited victory, but at least it is that
in this otherwise bleak and horrible world.

Speaker 1 (01:25:52):
Yeah, I mean there's so many great little moments, like
the final showdown with Bodiker, of course, where he stabs
him in the neck, which apparently they wanted to do
something grizzlier, and this was the this was thing, the
less grizzly version, you know. And I guess you don't
actually see him stab him in the neck. You just see,
like way too his blood splashed unto Robocop's chest and

(01:26:13):
then you see Bodiker stumbling away with blood gushing out
of his Neck's still incredibly violent, but I'd forgotten that
you don't actually see it going into his neck.

Speaker 3 (01:26:24):
The spike that he uses to kill Bodiker there is
not actually meant to be a weapon. It is the
jack that he uses to interface with the police computer.

Speaker 1 (01:26:32):
Yeah, and when he busts it out again to load
the incriminating evidence, it's still bloody with Botaker's blood. But
shortly after that there's that scene where Lewis is all
is shot up and you know they've they've defeated the
bad guys there, and this is at the industrial site
and RoboCop says to her it's like, don't worry, they'll
fix you up. They always do, or something to those.

Speaker 3 (01:26:54):
Effects which they fix everything.

Speaker 1 (01:26:57):
They fix everything, which which ties into this feeling of yeah,
the sort of the the partial victory, like the powers
that the are still very much in charge and are
very much the deciders of life and death and resurrection,
but some monicum of victory, some some shred of humanity
has been reclaimed.

Speaker 3 (01:27:16):
So that's RoboCop. Would you buy that for a dollar?

Speaker 1 (01:27:20):
Yes, I would. I would buy it for thirty plus
dollars whatever the going rate for the Blu Ray is,
you know, or you know, rent it digitally or physically
for somewhere in the neighborhood of four or five dollars.
Well worth it, well worth the time.

Speaker 3 (01:27:35):
Okay, that's all I've got.

Speaker 1 (01:27:36):
All Right, We're going to go ahead and close out
this episode. I think we have one more episode before
our Christmas selection, so you know, keep your eyes open
to see what we're going to be covering. You can
follow the films that we cover on Weird House Cinema
by going to letterbox dot com. That's l E T
T E R b o x D dot com. Our
username there is weird House, and we have a nice
list of all the movies we've covered so far and

(01:27:58):
sometimes a sneak peek at what's coming up at least
in the week to follow. We're primarily a science podcast here,
it's Stuff to Blow Your Mind with core episodes on
Tuesdays and Thursdays, but on Fridays we set aside most
serious concerns to just talk about a weird film film
here on Weird House Cinema. Follow us on social media
if you use social media. On Instagram, we are STBYM

(01:28:20):
podcast and I have to say that the social media
team has been putting up some cool like trailer audio
visual trailer samples of the films covered on Weird House,
so that's another place where you can get a little
taste of the movie we're talking about each week.

Speaker 3 (01:28:34):
Huge thanks as always to our excellent audio producer JJ Posway.
If you would like to get in touch with us
with feedback on this episode or any other, to suggest
a topic for the future, or just to say hello,
you can email us at contact at Stuff to Blow
your Mind dot com.

Speaker 2 (01:28:55):
Stuff to Blow Your Mind is production of iHeartRadio. For
more podcasts from My Heart Radio, visit the iHeartRadio app,
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