The Cool and the Crazy

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
The Cool and the Crazy, the weak and the strong, the leaders and the followers,

(00:05):
the happy and the dangerous.
I know all about you and your reform school background.
I'm not holding it against you.
High school kids, the most, the real gone guys,
growing up and hungry for excitement, any and all kinds.
Hey, you know we need here, huh? We need some broads!

(00:28):
[Cheering]
And because of women like this and their men, victimizing boys,
trouble hits hot and heavy for The Cool and the Crazy.
We're not talking about actors. We need a real monster.
I brought her back. She'll live and I'll get her another body.

(00:49):
I know they’re gonna catch me, but don't let anyone see me like that! Please, doctor, help me!
Biologically speaking, it's a primary importance that man should want to mate.
Hey, that's right!
You don't get all your kicks from surfing, do you?
We want to be free to ride our machines without being hassled by the man.
[Cheering]
And we want to get loaded.
You think you're gonna make a slave of the world?

(01:12):
I'll see you in Hell first!
[Gunshot]
The American International Podcast.
Are you ready?
This is Jeff Markin.
And I'm Cheryl Lightfoot.
From the American International Podcast.
And for this episode, we watched The Cool and the Crazy from 1958.
The Cool and the Crazy was directed by William Whitney,
written by Richard C. Sarafian,

(01:33):
and produced by Elmer C. Rodin Jr. for Imperial Productions.
The Cool and the Crazy stars Scott Marlow as Bennie Saul.
Dick Bakalyan as Jackie Barzan.
Gigi Perreau as Amy.
Dick Jones as Stu Summerville.
Shelby Storck as Detective Lieutenant Sloan.
Marvyn J. Rosen as Eddie the pusher.

(01:53):
It also stars Caroline von Mayrhauser as Miss Ryan.
Ken Plumb as Marty.
Robert Hadden as Charles ‘Cookie’ Tyler.
Joe Adelman as Desk Sgt. Harry.
James Newman as Desk Sgt. Myers.
Anthony Pawley as Mr. Saul.
The film opens outside of high school
and there is a group of girls tying their saddle shoes.
They head inside and then a group of boys follows them.

(02:15):
There's one boy sitting alone.
He's picking up sticks and throwing them at the ground.
Then he stands and enters the school as well as jazz music plays.
He had to wait for his theme song to start.
Then we go inside the school as a credits role.
Or in the school interior now where the late comor
is ambling down the hallway going to the classroom.
He's carrying something in his mouth.
It's piece of paper.

(02:36):
Once inside the classroom, he spits it on the desk of the teacher.
This teacher, Miss Ryan, calls him Ben and hands him a book
as he disruptively chooses the desk to sit at.
Then he magnanimously gives the teacher permission
to continue talking.
Once he sees her expression though, he pouts.
"Oh, if I done it again, are you mad at me?"
A student in the back of the class declares that this exchange

(02:58):
is better than TV and starts clapping.
Ben hops up and accepts this accolade.
Miss Ryan continues her lesson.
Today they're going over the subjugate.
She calls on Jackie since he's in good voice today.
He was the one who made the comment about this being better than TV.
Jackie stands but admits that he don't know nothing about that.
So then she calls on Ben, the new student.

(03:19):
Ben looks up and says, "Please don't ask me about that.
I came here to find out and everyone laughs again and Ben continues.
Now see you all found out about me.
I'm stupid."
Stu, who is sitting directly behind Ben,
tells Miss Ryan to ask him to spell his name.
He probably doesn't know that either.
And then Marty, seated next to Ben, says Ben, J-E-R-K, Ben Jerk,
and the class laughs again.

(03:40):
A bunch of cards here.
Ben stands up to continue his, "We live in a society monologue,
but the bell rings."
The students get up, but Miss Ryan yields at them to sit.
She doesn't want any more out for Sun Monday,
and they better know about the subjunctive by then.
And she has Ben to stay behind.
She wants to talk to him personally.
The rest of the students leave.

(04:00):
And Miss Ryan tells Ben, she knows about his reform school background,
and she doesn't hold it against him.
But they know how to handle trouble makers there.
Ben apologizes for his behavior,
but he doesn't seem that sincere.
Miss Ryan tells them that there have been lots of other boys
who transferred there from other schools,
also with a chip on their shoulder.
Ben says that he said he was sorry.
And maybe he and she can get together and have a beer

(04:22):
and get better acquainted.
Get out, she is at him.
When Ben leaves, because apparently the school days are now six minutes long,
the boys from the class identify Ben as a target and surround him.
One of the gang grabs Jackie and forces him to do a bit,
revealing what the subjunctive is.
After that little act, Marty tells Ben they like him,

(04:44):
because he's stupid.
Ben walks away and the gang follows him.
They engineer a conflict and use it as an excuse
to beat the crud out of him.
They rip his sweater and tease him.
They push Ben into the wall and then Ben pulls on a knife.
They say they just want to be friends is all
and two deers Ben to stab him in the back.
Ben puts the knife against his back and two tells him to get the knife out of his back.

(05:05):
It's not in yet, says Ben.
The others gather around and two tells them to back off.
He turns around to face Ben and says they don't go for violence.
They just like to get together in the evenings and sip sodas.
They tell him where that's pig.
It's right by the police station.
You can't miss it.
Ben accepts this invitation and leaves with stew yelling after him that school is this way.
Stew bets two to one that Ben's going to leave town,

(05:27):
but Jackie says nah, he's got guts.
Next time we see Ben, he's driving up to the Aberdeen hotel.
He parks a car and runs up the steps.
Man seated on the porch stops him.
This man is Eddie the pusher.
What do you think you're going?
Ben tells Eddie that he was looking for him because they're in business.
Eddie says they like him.
They being the organization that.

(05:49):
He deployed him, but not to push it.
Ben tells Eddie that he kept his mouth shut and took the rap for them,
which Eddie also appreciated.
Ben says the guys at school are hungry for some kicks and he's got a date with them tonight.
But there's another problem.
Ben is using as well as pushing Eddie.
Skulls Ben for stinking a pot.
He's supposed to sell it, not smoke it.
Ben turns around and centrally embraces a porch support post.

(06:13):
Eddie goes in the hotel and Ben tells him to the relay to the man that he owes Ben a sweater.
Eddie nods unconvincingly.
Now Ben is at home.
His father, Mr. Saul, is reading the paper and drinking beer.
In his undershirt.
Mr. Saul tells Ben to pick up a six pack for him while he's out.
Ben complains that he's always asked to do things for his bum father.
Anyway, he's going to go out and make some money,

(06:35):
which is something his father, a capy-bother to do.
He tells his father he stinks and he's a mess and pulls the mirror off the wall to show him.
He scuffle and Ben knocks over the old man's beer.
Ben tells him to slap it up as he storms out.
Now we're at Pat's Pig.
Stu, Jackie, Marty and the others are in the parking lot,
harassing the girls who had put their hubcaps in the trunk of a car so they wouldn't be stolen.

(06:57):
Stu purposefully slams one of the girls dressed in his car door, trapping her.
She asks for assistance and Jackie is happy to oblige,
which he does by opening the car door.
The girl is freed and she and her friends drive off,
leaving a parking spot open for Ben who pulls into it.
And seeing the gang, so just they all pitch in to get matching jackets.
The gang demands that this big man entertain them.

(07:18):
They want something big, Stu says.
Ben suggests beating up an old lady.
That gets in.
He might win.
Should he pull a job at the supermarket across the street?
No, that's not big enough.
Ben thanks for a second and says he's got it.
He slides over to his driver's seat and tells them that he's going to jail.
The guys get in their car and fall in band out of the parking lot as he drives away.

(07:41):
They drive down the street and pull up in front of the police station.
Stu and the others watch his Ben goes inside.
He says hi to desk sergeant Harry and says he's a new kid in town and he's a trouble maker.
So he better get locked up before he causes any real trouble.
Harry just tells him to go home to his mother.
Ben says things aren't good at home and Harry doesn't want to send him back there.
Harry calls out to Lieutenant Sloan that there's another delinquent bugging him.

(08:04):
Ben Ben does a little one man show called drunk and disorderly.
Spilling ink all over the sergeant's desk.
Ben spreads his arms and says he's a butterfly and he wanted blue wings.
From his vantage point, Stu has seen enough.
This guy's crazy.
He says he leaves, but Jackie can't stop staring.
Lieutenant Sloan tries to shoot Ben away and Ben reluctantly leaves.
The sergeant says to lieutenant once they're alone that they should have held him.

(08:27):
But Lieutenant Sloan says no.
That's what he wants us to do.
But then he asks if he say he was a butterfly.
The sergeant who kind of wants to paddle Ben says that the exact quote was.
He wants his wings blue.
Then the lieutenant gets on the phone back at Patsby.
That's Pigg.
Jackie is telling the other guys about Ben's performance.

(08:47):
Ben returns too.
What's the matter?
You checking out?
He asks.
Stu tells Ben that he's not brave.
Just stupid.
Ben agrees and offers to buy drinks for all of them.
That's cool with them except for Stu.
He buys his own.
Then they start to scuffle and Ben punches Stu in the gut and Stu goes down.
I've never done that before.
It was a lucky punch.
He says.
He's going to write in the kidney.

(09:08):
He helps Stu up and says he wants to be friends.
You can't be friends without having to fight first.
I don't understand boys at all.
Ben renews the offer of a drink and everyone including angry Stu peels out of the parking lot.
On the road to wherever Ben is driving erratically with Jackie in the car.
He sees a car approaching and he aims his car at it.
Jackie yanks a steering wheel to get Ben back in his lane.

(09:30):
Ben says that Jackie ruined it.
He was going to drive between those two motorcycle cops.
Jackie is stunned in the silence for once.
So the guys are finally placed to hang out.
It's a park.
Stu and Ben are leaning against a tree and cookies having an existential crisis.
Because every day his mom wakes him up with hot lemon water.

(09:51):
White people problems.
Stu tells Ben everyone likes him because he gave them free beers.
Then Stu asks Ben who his sponsor is.
Ben offers to a drink.
But Stu is just annoyed by everything.
So Ben offers him something else.
He pulls out a special cigarette.
This one has less nicotine and more of the other stuff.
Stu sniffes it and accepts it.
And Jackie suggests they all go dancing.

(10:13):
Ben leaves Stu who's choking on smoke against the tree.
Everyone files into the blue note club.
But on the side we see a bouncer throwing somebody out or being drunk.
The joint is jumping.
Ben pays their cover as the gang gets hand stamps.
And then they hit the dance floor except for Stu who's having some kind of bad trip.
He's sitting at a table banging his head against it.

(10:34):
Jackie tries to take him outside but Marty causes a commotion by crawling under another table
and emerging near some unsuspecting girls under their skirts.
Stu leaves alone.
While Jackie follows a woman going to a phone booth.
Jackie pulls the girl from the phone booth.
Then he cuts the phone's cord and puts one end to his ear saying he just wanted to listen.

(10:54):
As the girl just looks at him very confused.
Then Stu returns to the group but he's now carrying a bus stop sign.
He dances with it and decides it's cold and he puts his jacket on it.
Then he returns to dancing with it.
I love you he says you don't step on me.
Everybody's always stepping on me.
Jackie asks him if he's okay.
You stepping on me Stu asks him.

(11:14):
What no I'm your friend.
Let's go on side and dance.
It's cooler.
Stu seems to think that's a good idea.
So he heads on with his sign.
He knocks over Amy in the process and Jackie helps her up.
She thinks him by name and he's surprised she knows who he is.
She says they were in the same math class last year.
Oh, I'm still in the same class.
He says.
He asked her where her cat is.

(11:34):
The guy she came with.
And she says she came with a couple of other girls.
Stu gets the sign to the top of the stairway.
The falls down himself.
He crawls back up to the top and the two of them go outside.
Jackie and Amy are also outside and they talk.
She asks if Stu is his friend and he denies knowing him.
Jackie offers to walk Amy home.

(11:55):
She declines and she lives pretty close and starts walking off.
Then Jackie yells that he doesn't know her name and chase is after her.
The other guy is watching Stu walk down the street with his sign.
Then tells them that he likes how they handle themselves and he's part of all of them.
And he's got a special treat for them.
And now Stu fully deranged has come across a drunk man lying on the sidewalk.

(12:15):
It's the same kid we saw ejected from the club earlier.
Stu offers to cover him up like a little baby.
And then he raises the sign above the man's head.
At Amy's house she invites Jackie in.
He says no to leaders that her parents are out.

(12:37):
Once inside Jackie picks up a nickname from the mantle over the fireplace.
Amy takes it out of his hands explaining that it's a valuable antique worth a lot of money.
And important to their family.
Then she offers them a drink.
He's afraid of getting caught by her parents, but she tells him not to worry.
Then he starts talking about his gang and Amy looks pretty nervous at the term.

(12:57):
Jackie says you really meant great group of guys not gang.
Though Amy does seem to press that Jackie has so many friends.
Yeah, friends are nice says Jackie.
Then he says he really likes to lay out here.
It's nice and clean.
Amy looks around and kind of shrugs.
And your mom's a good cookie maker too.
Then Jackie tells her about his family.
His mom was a trapezoan artist and he and his dad travel with her in the circus living in tents.

(13:22):
Amy asks what his dad does now.
Nothing he says.
The son of Cardora slamming outside catches Jackie's attention.
I guess my folks are home says Amy and that's Jackie's cue to split the scene.
But he hasn't even had his coffee yet.
Amy's parents come in and ask who that was.
Jackie bars and Amy says she met him at the dance and she thinks he's kind of nice.

(13:42):
She's got stars in her eyes in Eddie's room at the hotel Aberdeen.
He takes a call in the foreground of the shot.
We see a pair of lovely legs and high heels and a skirt.
Eddie's talking to Ben on the phone.
Eddie says Ben can get the smoke and to try that first before moving on to the harder stuff.
And that one day he'll be driving a big car and sporting blondes just like Eddie.

(14:03):
But tells Ben to remember this is business.
One slip in your through.
They aren't in it for kicks.
You know Eddie hangs up the phone and starts complaining to legs.
These kids you pick them up and buy them a new suit.
You think they'd be smart and stay off the stuff a couple of weeks and they want a needle.
So says legs you got a customer instead of a salesman.
That Pat's pig stew curines into the parking lot and goes inside.

(14:26):
His fellow delinquins are at the counter.
Stew has dry mouth so he orders 10 gallons of water.
He says he's got a nice pick in his brain and someone's twisting it.
One of the other hoods feels the same way.
In fact, they all look a little rough except for Jackie and two enters.
Amazing how bad everyone looks.
I guess they all have one of those famous pot hangovers.

(14:46):
They're brutal.
The guys want to know if Jackie got lucky last night, but a merely sense he had a charming evening.
Then Lieutenant Sloan comes into her ass them all calling them juvenile delinquents.
Ben warns him not to get started.
Lieutenant responds by grabbing Ben's hat crumpling it and returning to Ben's head.
Ben smarts off to the ten Sloan about his three dollar hat.

(15:07):
And Sloan shows Ben is callous palms saying that he could do some damage with those.
They'll bleed though.
And then Sloan wonders if the thought of blood makes Ben nervous and Ben says,
not your blood.
The lieutenant gets to the point a little blue winged fly told him that they like to dance.
In fact, one of them danced to top some kids head.

(15:27):
The kids all have done looks on their faces at this news.
But that kids in the hospital says Lieutenant Sloan.
Ben asks that little fly took pictures and Lieutenant Sloan says he didn't even swear on a warrant.
Ben says smart fly.
Then Sloan asks was Ben going to come down to the station and visit him again?
You're a real big deal.
You know that says Ben?

(15:48):
What are you going to do?
Puping the electric chair?
No, says Sloan.
We don't do it that way anymore.
We use a pill and we drop it in a cup.
And then as a visual aid, Sloan drops his cigarette into Ben's coke and continues.
And pretty soon your lungs fill up and you won't be able to breathe anymore.
Sloan leaves and stew and cookie go to Ben and ask what they're going to do.
What if he finds out Jackie wants to know what they're talking about.

(16:09):
But instead of telling him, they all agree to congregate elsewhere.
As they're leaving, Amy comes in and asks Jackie to buy her a coke.
So he has to stay and miss out on the guy fun once again.
Outside, stew limits Jackie's romantic success.
Cookie says he's jonesy for more stuff and Ben says, "Sure, but I need some money.
Smoking is expensive."
The guys look surprised as they are unfamiliar with the only the first taste is free business model.

(16:34):
Ben walks away leaving stew and cookie, pining for his goods.
Eddie picks up Ben and they drive to a less busy street.
They park and Eddie tells Ben he's through.
Ben tells Eddie how he's infiltrated his group and everything is going just how he planned it.
But it's not the way Eddie planned it.
He never thought Ben was the type to become a junkie.
Ben says he can take it or leave it, but Eddie isn't convinced.

(16:56):
Look at your clothes, he says, you stink.
Ben tells Eddie that he needs some more M and he needs it now.
Tonight those guys are going to be screaming for it.
Let them scream, says Eddie.
Ben's getting desperate.
What am I going to do? What am I going to tell them?
Tell them you're through, says Eddie.
And with that Eddie kicks Ben out of the car.
At school, cookie harasses Ben in the hallway.

(17:16):
He's got to have some stuff. He's really hurting.
Ben says money and cookie says he's good for it eventually.
But Ben's not giving away any more product.
He tells cookie he should get a job or steal something.
And then they go into Miss Ryan's class.
Miss Ryan addresses the class happy Monday.
I heard some of you had a busy weekend.

(17:38):
She read it in the papers.
She attempts to engage the class,
but her attempts at slang go unappreciated.
So she asks about the subjunctive mood again.
But she notices that cookie is passed out on his desk.
So she asks Jackie to wake cookie up.
Then Miss Ryan asks cookie if he had a rough day yesterday.
Cookie says he doesn't know.
He gets up to leave.

(17:58):
Miss Ryan asks him why he even bothered to come to school today
if he's so tired.
That's a very good question, says cookie.
Look for me tomorrow.
As Miss Ryan heads back to the front of the class,
one of the students calls out,
"Talk like us again, teach you're a scream."
And then Ben stands up.
Miss Ryan starts to reprimand him,
but Ben says he wanted to take a stab at that subjunctive thing.

(18:19):
He says it's a thought of impression in that reality
before she can tell him whether he's right or wrong.
The bell rings and classes over.
This school day works like speed dating,
doesn't it?
You're in there for three minutes and then you're done.
Outside the classroom, Jackie congratulates Ben
on his command of the subjunctive.
He was really impressed.
Ben says that he just studied his all.
And the teacher, Miss Ryan, she's a dumb broad.

(18:41):
Ben tells Jackie he's been missing him.
Where's he been?
Jackie begs Ben not to tell the other guys,
but he's got a girl.
She really likes him.
In fact, he's been all Sunday with her.
They went to church and his parents have asked him to dinner.
Ben agrees not to tell the others.
As they walk down the hallway, cookie whales Jackie.
He needs to speak to him alone.
After confirming that Jackie is his pal,

(19:03):
cookie shows him his gun.
Jackie's alarm hasn't put it away.
Cookie explains that he's got to get some money
and he's going to rob a gas station.
Jackie says if he needs money,
well, Jackie has $1.67, that's enough for 16 beers.
Well, cookie can have that,
but that's not going to be enough.
He needs to give the money to Ben.
Jackie tells Cookie to go see a movie
and he'll talk to Ben for him.

(19:25):
You don't talk to Ben says cookie.
You feed him.
Do.
Jackie tells him,
okay, just go home and take a shower
and Jackie will get the money for him.
Just don't do anything stupid.
This Ryan comes out and eyes the boy suspiciously.
Jackie tells Cookie just to do what he told him
and he'll take care of his part.
Now we're at Amy's.

(19:50):
Jackie's there, standing by the mantle.
Amy's in the kitchen pouring coffee.
Jackie swipes the valuable antique off the mantle
and stuffs it in his jacket.
Amy walks in carrying the coffee pot
just as he's closing up his coat.
He begs off holding his stomach.
He can't drink coffee.
His stomach is bothering him
and he's just going to go to Pat's for a bromo.

(20:10):
That's like alka filter.
I guess they serve that.
She walks after him onto the porch as he leaves
and she goes back inside and starts tidying up,
picking up some mugs from various places in the room.
Didn't she looks at the mantle
and notices the missing chachki?
She sets the coffee pot down on the wooden mantle
and dashes after Jackie.
Oh, we love damaging that house.

(20:31):
Jackie arrives at Pat's pig
with the figurine still tucked into his jacket.
He's looking for cookie, but no one has seen him.
Stu is sitting alone at a booth holding his head.
Jackie asks Stu if he's seen cookie.
It's really important that he finds him.
Stu hasn't seen cookie either,
but he does see that Jackie is hiding something in his jacket.
He grabs the figurine and says it looks real delicate.

(20:52):
He tosses it to the guys with the counter
and they toss it back in a game of keep away from Jackie.
Stu fumbles his catch and it statuates.
Chatters on the floor.
We see Amy at the door.
Jackie starts pummeling Stu.
Amy comes up to them after Jackie has stew on the floor.
She picks up the biggest piece of the wreckage
and subs Jackie and then runs out and Jackie follows.

(21:13):
He catches her but only asks if she wants a coffee.
Amy says why Jackie?
Jackie doesn't know.
He doesn't know.
He says Amy doesn't know what it's like when you're high.
Jackie doesn't know either though.
On what?
Ask Amy?
The smoke man.
The smoke.
When you're hooked, you're hooked.
He says everything twice.
He makes his movie twice as long as it needs to be.

(21:36):
He checks to see if this is working on Amy.
It isn't.
She calls him a liar and a thief and runs off.
Jackie starts after her.
Let's do a Marty come out and corner him.
Where's Ben?
They ask, but how would Jackie know?
Marty says if Ben doesn't show up soon, he'll kill him.
As for Ben, he's sitting at home in his room.
He pulls the music box out from a chest of drawers
and he sits down, smiles and listens to Brahms Lullaby.

(21:59):
Mrs. Saul calls out from the other room that Ben has a visitor.
So Ben puts the music box away and goes to see who might be calling.
He doesn't seem happy when he sees the visitor.
And we'll find out why now.
A cop car parks at the station.
The Patreon gets out and pulls Ben out after him.
Is there going into the station?
Mrs. Ryan is standing outside.

(22:19):
Ben tells the cop to lay off as he pulls him through the front door.
And Mrs. Ryan anxiously walks away.
Lieutenant Sloan greets Ben with a welcome back
and Ben asks the lieutenant to get him an ice cream cone.
But the lieutenant isn't amused.
He pulls on a chair and tells Ben to sit down.
"I'll pay for it," Ben says and lieutenant tells him again to sit down.
So Ben sits.
The lieutenant tells Ben that his friend Charles Tyler

(22:41):
was killed holding up a gas station.
That's terrible, said Ben.
Who's that?
[LAUGHS]
"There have been no too many Charles' to know who he's talking about."
The lieutenant says, "You knew him as cookie."
And that he mentioned Ben's name before he died.
He also kept mentioning M, but the police can't figure out what he meant by that.
Ben suggests there must be mother in.

(23:02):
Isn't it sweet that he was thinking of poor old mom when he died?
And what are you picking on me for?
I didn't shoot him.
Sloan agrees that he didn't shoot him.
They just thought that he might know something.
He tells the officer to take Ben back home.
After Ben leaves, the lieutenant Sloan sends the sergeant Myers
to tail Ben on the charge of narcotics.
M stands for marijuana.

(23:24):
Don't, don't, don't.
Petrolman drops off Ben on the sidewalk outside his house.
Jackie runs up to Ben and begs for Ben's help.
Ben tells him to flake off, but Jackie, in his repetitive manner,
says Ben has got to help him.
The police can't find out.
The police asked Ben, frozen in his tracks.
He better come inside.
Jackie tells Ben he just needs to borrow some money and pay him back.

(23:47):
Ben says, "Sure, we're pals.
What do you need, a thousand?"
No, says Jackie, just a couple hundred.
Ben says this feels like a shakedown and he punches Jackie in the face.
Spitting blood, Jackie tries to explain their pals and he's good for it.
He just needs it because he's broken antique belonging to his girl.
At that remark, Ben slaps Jackie in the back of the head, sending him to the floor.
"What does she know about me, shall it spend?

(24:08):
What did she say to the cops?"
Nothing says Jackie.
I told her it was me.
I was on the stuff.
I did it for Cookie.
Cookie's dead, says Ben.
Cookie's not dead, says Jackie, and Ben glows at him.
I ought to kill you.
He throws a joint at the bruised and bloody Jackie laying on the floor and then storms off.
Then it hits Jackie.
Cookie's gone.
Ben gets in his car and speeds away, followed by the cop who's tailing him.

(24:32):
Ben parks at the Aberdeen Hotel and goes inside.
The cop picks up his radio transmitter.
Said we see Ben going into Eddie's room over his protests.
Ben complains that the whole scheme is falling apart.
Ben gives Eddie as best James Dean impression and begs for some relief.
When Eddie has none to offer and sends Ben home, Ben draws out his pocket knife and flips it open.

(24:53):
He stabs Eddie in the gut.
Ben opens Eddie's drawer and smiles.
He's found Eddie's stash.
It's cash and a hypodermic needle.
A beaten up Jackie returns to Pat's pig.
The guy starts to razz him, but he's not into it.
Cookie's dead, he says.
He needed money, but he doesn't need it anymore.
The payphone rings and it's for Jackie.
Jackie takes the call.

(25:14):
It's Ben on the other line.
Jackie has Ben if he still mad at him.
How can I be mad at you?
Ben says he just wants to talk to him and his girl.
It's late but Jackie tells Ben they'll be there.
Stu wants to go with Jackie, but Jackie doesn't want him along.
But Stu insists on going with to see Ben.
However, first they have to make a stop at Amy's to beg her to come along.

(25:34):
Has Ben insisted on that.
Amy doesn't want to see him until he explains about Cookie and the dope.
And he shows her the marijuana cigarette that Ben threw at him.
And that's what he stole the figurine for.
But Amy still doesn't want to go.
She says that Jackie isn't like the other hoods.
He's a good guy.
Might be a little crazy, but he's nice at heart.
He says he really likes her and she says she likes him too.

(25:57):
Jackie wants her to come with anyways though to help Ben.
And she reluctantly agrees.
She takes the join out of Jackie's hand and throws it on the ground.
And then goes into grab a sweater.
The night is cold.
Full of peril.
Now there are a few cops sitting outside the Aberdeen hotel.
Lieutenant Sloan joins them.
He's in there, says one of the officers.
And Ben comes out and immediately notices the cops surrounding the building.

(26:20):
Ben jumps into his car and speeds off.
Meanwhile, Jackie and Amy are rushing to meet Ben with Stu in the back seat.
They see a car headed toward them.
It's Ben.
He thinks we're two motorcycle cops says Jackie.
They swerve at the last minute and stop at the side of the road.
Ben's car flies down the hill and erupts into flames.
Jackie rushes over to try to save Ben despite the fire.

(26:43):
But Lieutenant Sloan is there and hauls him back.
Lieutenant Sloan commands them all to look at the flaming wreck of Ben's life.
Is this what you call kicks?
He says it could have been any of you.
Jackie sobs Stu Stairs and the patrolman rushes up to say that the pusher man is dead.
Lieutenant Sloan grimly says they'll be another one.

(27:03):
There always is.
Lieutenant Sloan tells one of the officers to take the kids home and then he pulls on a cigar.
He puts it to his mouth and thinks better of it and throws it to the ground.
And that's the end.
You were listening to the American International podcast where we're discussing the cool and the crazy from 1958.

(27:27):
Producer Elmer wrote in junior was president of Commonwealth theaters.
A chain of motion picture theaters with cinemas in Missouri, Kansas, Arkansas, Iowa, Nebraska and South Dakota.
In 1956, Rodin thinking along the same lines as the newly formed American International Pictures.
Wanted to produce films for teenagers.
According to box office magazine, he got quote,

(27:48):
"a considerable amount of publicity by revealing a dominant percentage of his circuits patronage came from teenagers.
And by airing some in-fatic opinions as to what types of film fair attracts these younger generation ticket buyers.
In Vernon Scott's syndicated column on with a show published March 1, 1958,
Rodin is quoted as saying,
"My reason for making teenage pictures is very simple money.

(28:10):
The kids are the ones who are keeping theaters open.
And said at 70% of the steady movie audience attending a movie at least once a week are persons younger than 24 with an average age of 18.
Rodin defended his low budget approach by saying big stars don't mean a thing anymore.
The kids just laugh when they see a leading man in his 50s making love to a young girl.
Rodin established a small film complex in Kansas City to produce low budget teen exploitation films,

(28:34):
primarily for showing and driving theaters.
He found success with his first film, The Delinquents,
which was directed by Kansas City filmmaker Robert Altman, released by United Artists in 1957.
It grossed $1 million.
So Rodin put up about $170,000 to make a second film in Kansas City.
Beginning with the title, The Cool and the Crazy,

(28:54):
He hired Altman's friend Richard C. Seraphian, another Kansas City writer to draft the screenplay.
A September 1956 Hollywood reporter news item reported that actress Dorothy Criter was to star in Altman's film The Big Smoke.
This could have been a working title for Cool and the Crazy.
As within the film, the teens all refer to marijuana as smoke or M.
The word marijuana is spoken only once in The Cool and the Crazy by Lieutenant Sloan.

(29:18):
The film was shot in two or three weeks on location in Kansas City at the end of 1957.
Locations included a Kansas City high school where most of the students appeared in cameos.
The rundown Aberdeen Hotel in downtown Kansas City.
A greasy spoon called Pat's Pig.
Penn Valley Park and the Indian Scout statue overlooking the city and the Blue Note Club,

(29:39):
the Kansas City Jazz Hall, as well as several real homes in neighborhood.
Rodin had cooperation from many local businesses and also from the Kansas City Police Department.
Shelby Stork, who played Lieutenant Sloan.
Joe Adelman, as Death Sergeant Harry and Jackie Stork, who played Amy's mother were all local talent.
That police cooperation didn't prevent them from interfering with the production though.

(30:00):
While standing on the street between takes Dick Bacallion, who played Jackie and Dickie Jones, who played Stu,
were both the West at for Vagrudsey and for having long hair in public by Kansas City Police.
They spent several hours in the local jail before someone freed them by explaining that they were just acting for a film.
In the on with the show article Rodin said, "There are some difficulties in making teenage pictures.
It's not easy to find experienced young actors.

(30:23):
And you break your back attempting to keep up with the lingo.
They won't go see a picture of the dialogue is square."
My pictures of stories about wild kids who always pay for their crimes in the final real.
But I don't think they contribute to delinquency.
Rodin had the cash to have the cool and the crazy post-production done professionally in Hollywood,
with editing by Helene Turner and enough money to order an original music score,

(30:45):
written and conducted by Film Composer Raul Cross-Hour.
Cross-Hour Score featured recurring versions of the film's theme song, written by Bill Nolan and Ronnie Norman,
done in an upbeat fast tempo at times and others performed in a slower, bluesier style.
Rodin did a distribution deal with American international pictures.
Prior to the release, AIP made no mention of the drug plot and the trailer are on the poster

(31:07):
and tagged on disclaimers at the beginning and ensuring parents that this was a film made for the purpose of warning teenagers about drugs.
The film was released with a Gala World Premier in Kansas City on April 17, 1958,
accompanied by a live radio broadcast, house lights, live music, a dance contest,
and a parade of the Kansas Cityians involved in the film.
It was released on a double bill with tracks to briot there and other markets on the same day.

(31:31):
Fox Office Magazine recommended theater owners capitalize on the names of former child star Gigi Perot
as well as that of Richard Piccaleon, who appeared in similar teenage pictures.
They also recommended that they ask a local narcotic squad to address the teens at special screenings of the film.
I bet that was super fun.
Taglines for the cool and the crazy include, seven savage punks on a weekend binge of violence.

(31:54):
They learned about narcotics the hard way.
Chill and thrill story of crazy kids and cool violence.
It was pretty cool, wasn't it?
The cool and the crazy was a box office success.
It grew to see more than $5 million for AIP and it was called one of the most popular delinquency films of 1958.
And I think there were many.
The Kansas City star, reviewing their hometown produced film, said cool and the crazy possesses a degree of provincial interest and a curiosity value.

(32:20):
But these assets fade away under a barrage of mounting violence.
The youthful cast are incited into wheeling with unflagging spirit through a comprehensive curriculum of unbridled lawlessness.
Before the sorted courses bound up with a required moralizing finale, which in this instance,
recalls the old adage about locking the barn door after the horse is gone.
The performers have been introduced to whiskey beer orgies, public brawls, junkens, supers, theft, strong arming, murder, dope usage and peddling and other assorted misdeeds.

(32:49):
Box office magazines review said one no-worthy performance that contributed by promising new faceer Scott Marlow is the best asset of this exaggerated and sometimes hysterical treatise on juvenile delinquency.
The review said that the double bill of crazy and directs a riot quote, although far from the best to be wrapped up by AIP, should serve satisfactorily in its field and enjoy the same quantity of booking and the profitable business that has been the lot of its predecessors.

(33:16):
Another Kansas City paper, the weekly star farmer called cool and the crazy a shadi repellent melodrama that was obviously produced for the sole purpose of earning the proverbial fast buck.
While not a review, the Harold Preston and St Joseph Michigan printed a letter from a reader on April 18, 1958 that had some strong opinions on the AIP double bill just released there.

(33:37):
Mrs. Tanya Hunter-Yager of Three Oaks Michigan wrote,
"Cool and crazy," that was her term, "was another teenage horror. Here youth were shown fighting, brawling, carrying switchblade knives, stabbing a man.
Young girls in a necking party were shown with their legs kicking into the air and hysterical laughter. Another scene showed a girl pulling up her dress over her thighs, to which the announcer said,

(33:59):
"And this is not verbatim. See how this dungery doll excites the teenage boy." Mrs. Hunter-Yager, who based her opinion solely on the trailer for the movie and was not entirely correct about the content, concluded by saying,
"Why pay thousands of dollars to put out movies like drag strip and cool and crazy? Why run a movie that shows degeneration of morals, principle and decency? Why do you as a community and we as parents permit such things to be put on screen for our youngsters to see?"

(34:25):
Okay, Karen.
In William H. Moring's Hollywood and Focus Column, the author claimed that,
"And a recent Hollywood dinner party, a prominent executive was telling me that neighborhood theaters, which used to cater to families, now make money when they show teenage trash.
Even films like drag strip riot, cool and crazy, I was changed Frankenstein and others, the very titles of which tip off their lurid content.

(34:46):
The type of film comes from independent peddlers and importers, not from the big Hollywood studios."
Moring quoted the head of the Hollywood movie code, who just heard from J. Adker Hubert, who was begging movie producers to soft pedal films about youthful gang violence as it triggers juvenile crime.
But Moring concluded that it might be well to show that the blame for teenage liquid see-off and rest with parents, who by shocking moral example and parental negligence create in their own homes the conditions and climate of immorality, violence and crime.

(35:14):
In Sam Arcoff's autobiography, he joked that the melodramatic withdrawal scenes could have scared Timothy Leary into abstinence.
He also notes that at the end of the cool and the crazy, there was even a disclaimer to pacify the little ladies and tennis shoes.
It took the moral high ground proclaiming that the producers hoped the film would "raise the guard of teenagers and their parents against the awful peril of narcotic addiction."

(35:36):
And he said, "We also hoped it would raise a little money for AIP."
Variety said the cool and the crazy is a low budget exploitation item, but it has the irritating itch of reality about it.
In some good scenes, the viewer gets the feeling that these are real kids with terribly real problems.
Despite the fact that the story of teenage exposure to narcotics has been covered before, which would see Seraphians screenplay is often very adept at recreating the kind of language with which the young communicate or fail to.

(36:03):
The Columbia, Missouri, and reported on Monday, April 21, 1958 that Miss Betty Jean Cummins and Mrs. Francis Irene Jacobs were arrested in front of the theater showing both drag strip and cool and the crazy, or fighting in the street.
According to the story, Jacobs asked Cummins to step outside for a fight.
The cool and the crazy is said to have gained a devoted cult following for its rabid anti-Murawana message and Dick Bacallion's performance.

(36:28):
When shown on television in the 1970s, it first began to attract its following, and it was released on video the next decade.
In the early 1990s, the Showtime cable network produced a series of films loosely based on several 1950s AIP juvenile delinquency pictures.
In 1994, Showtime aired "Cool and the Crazy," which was directed by Ralph Bakshi, and starred Jared Leto and Alicia Silverstone in the lead roles.

(36:51):
[Music]
Well, Sheryl, I think the cool and the crazy was the first juvenile delinquent film we watched for the American International podcast.
You knock out drag strip girl?
Okay, I'll give you that one. But the crime here seemed a lot darker than it did in drag strip girl.

(37:13):
Well, the consequences were a lot more final. That's for sure.
We mentioned how the word marijuana was only spoken once in this movie, and it's kind of funny when it actually is spoken aloud.
Maybe that's why they didn't do it. Although I'm sure it wasn't as funny in 1958 as it is now.
But the same thing happened when we watched Riot on Sunset Strip.
Yeah, that's juvenile delinquency there. I mean, there's a pretty bizarre asset strip going on in that movie, but

(37:39):
a bunch of kids get arrested for being grass smokers.
Yeah, I think a lot of producers have no idea what these drugs actually do to people.
And so they just take the worst case scenario, amplify it by about a million, and then proclaim that this is what drugs will do to you.
You don't have trips on marijuana. You don't have withdrawal to the point where you're going to knock over a gas station to get more and get killed in the process.

(38:06):
It just doesn't work that way. I mean, been a while for me since I was a partier, but even a few decades later, that wasn't the case.
It mellows you out and makes you have the munchies. That's it.
Well, not in this world, they were all had really bad headaches and...
Yeah, like a hangover combined with a bad trip.
Cookie seemed to have a really scratchy throat. He kept on rubbing his throat.

(38:27):
It was very ridiculous that acting choices that they made, but I'm sure that's what they were told to do.
They were told to behave like they just got off smack.
The heroin level withdrawal.
I don't know. This seemed like kind of an interesting approach to try and reach the teenage audience, because I think the people who might relate to this weren't going to get the message that it was trying to present here.

(38:51):
No, I think that there's too much in here for parents to make it really effective for teenagers.
So by painting the bad guys like really bad, and the teenagers is innocent victims that must be protected by parental intervention, they kind of took all the cool out of it.
It was crazy for sure, but it wasn't that cool.

(39:13):
Yeah, I don't know if there really any sympathetic characters in this movie.
Jackie, I think Jackie's very sympathetic.
He's still not that likable.
Oh, I liked him. He's an idiot, and he doesn't deserve someone as nice as Amy, but I liked him.
I thought he was fun. I think it was the acting more than anything, not the character, because he did something really bad.

(39:34):
He stole that figurine and broke it or got it broken and broke him. He's heart in the process and she was a nice girl. She didn't deserve that, but he did it for good reason.
So he's trying to keep his friend from getting arrested, or well, in this case, he was killed.
So he wasn't effective, but his heart was in the right place.

(39:55):
Yeah, Richard Bechalian, who credit here as Dick Bechalian, played Jackie, is a pretty well-known face.
You've probably seen it before. He was in a lot of Disney films. He would always play the henchmen to the main evil bad guy in the Disney comedies.
He has kind of a dick miller quality to him, the good second banana, and just a fun actor to watch. I don't know. I really liked him.

(40:19):
I thought he was the one likable character, and I liked Scott Marlow as Benny, his performance, although I didn't like his character at all.
He was obnoxious and stupid and bad, bad guy. And we don't know why, except he had a drunk dad and a drunk mom.
And I guess he had no choice but to turn out to be a drug dealer. But I thought it was pretty commanding acting performance on his part.

(40:41):
And the other standout is probably Gigi Perot as Amy.
I don't know if she really stood out for me, aside from being the only girl.
She was very innocent and pure and sweet, and kind of a stereotype.
But I guess she came through in the end, and she forgave Jackie, and went on as crazy little adventure with him.
Well, I think that casting her was kind of a coup for this film. She had been a child star, and started working at the age of about two years old.

(41:08):
Oh, wow. I didn't really know much about her before watching her in this movie.
She played a lot of younger versions of leading characters, like flashbacks or early scenes.
So she was kind of the mechanic grace of the 1940s.
Oh, wow. That's funny.
She played a young Betty Davis.
Really? What she looks nothing like her at grown up? Well, not Betty Davis, but Betty Davis is character in a movie.

(41:31):
And the thing that I would have recognized her from is she was Greg's crush in the Brady bunch when he had a crush on his teacher, Linda.
Oh, really? Well, as an older woman.
Yeah. So that'd be about 10 plus years later.
I'll have to see what she looks like there. And none of these kids really had parents except for Amy.
They didn't really even have home lives, except for Benny, that is terrible home life.

(41:54):
But we didn't go home with Jackie. We didn't go home with stew. We didn't go home with cookie and his lemon water pushing mother.
So we don't know why these kids are so bad.
Why they're so aimless and just drifting around with no purpose whatsoever in life.
Yeah, the only parents we see besides Amy's and we know they go to church is Ben's parents.
Right. And their drunkards.

(42:15):
Well, his father, his mother is an off screen voice.
Right. But he says she's a drunk. And I believe him.
And his dad is too. Lying around his undershirt on the weeknight, reading the newspaper,
asking his son to pick up a six pack for him. Good old days when you could have your high school or bring home beer for you.
Well, you know, they had to be at least 18 to buy liquor, including beer.

(42:38):
So Ben was a repeat offender in school, I think.
Well, they can play the Jackie was held back to. He was taking the same math class two years in a row.
That's right. That's right. And they all admit freely to being stupid.
So obviously the pursuit of education is not something they're really into.
I bet they all go to Vietnam in short order.

(43:00):
That for cookie is no longer with us. I think by making that happen off screen, I think that was a real cheat.
It had no emotional impact on me.
No, I had more of an emotional impact from the kid who was laying there unconscious who got brained.
He was a bus stop sign, which he didn't see. Stu just raises it over his head and then it fades to black.
Yeah, that was a very odd reaction to being high.

(43:22):
And the strange choice by the filmmakers, I think.
I also thought it was interesting that that kid survived because he was in hospital.
Yeah, the first time I watched this, I thought there was a scene where they said that he died,
but I think I'm thinking of another movie.
Because that would have been more impactful, I think.
But then Stu would have or somebody would have had to go to jail for that for sure.

(43:43):
I'm surprised nobody did get picked up for that assault.
They thought Benny did it, but Lieutenant Sloan just seemed to come around with warnings and never really did anything to actually keep crime off the streets.
I think a big disappointment in this film is that it's just not as funny as I think it should be.
It is kind of funny.
There are some.
It has some unintentional humor, but I want a lot more.

(44:07):
Right.
Then this one was offering.
Well, I think if you just look at the historical overreaction that everyone's having to one joint.
But that's all that it's here is just that.
Yeah.
As a whole, it's kind of amusing, but there are no individual moments of hilarity.
That's true.
It's not to the degree that a film like Refer Mann this shows us.

(44:28):
Oh, yeah.
With all these different set pieces of people acting completely nuts.
You have playing piano at 3,000 times normal speed.
They allude to a lot and we see a lot of melodramatic performances, but nothing really hilarious happens.
I thought, well, the two motorcycle cops thing, that was pretty funny when Benny's trying to drive between the lights.

(44:54):
I mean, that's just.
Well, it's funny is Dick Bacchaleon's reaction because he just looks at him and goes, "Whoa."
Yeah.
For once, yeah.
Nothing to say.
At least two of the characters said everything twice.
And I thought that was very annoying.
So Jackie did everything he said was like repetitive.

(45:15):
And I think Ben did a few times and maybe it was Stu as well.
I thought that was kind of an improvement because we recently watched the glorious tempers where Dennis Hopper said everything three times.
Well, you know, once his best, that's maybe could have been a little shorter.
It seemed to drag at one hour and about 18 minutes.
Generally, I just feel that this movie left me wanting more.

(45:36):
I don't know what more of, but there's something lacking that I feel should be here to make this a really good movie.
Yeah.
I think a dose of reality would help.
Or if they're going to do it cornball, then like you said, it needs to be funnier.
They need to choose a side.
So they've kind of straddling the fence between being completely outrageous and being a real important movie about drugs.

(46:03):
They're an after school special territory here where everything has to be neatly wrapped up in a matter of minutes.
And they can't really delve into character and backstory and consequences long term.
It's just a morality play, a cautionary tale.
And it was done quick and just to make money.
They didn't really want to make a great movie.

(46:24):
They just wanted to make something that people would go see.
Well, Ben is the only one who was admitted to being a juvenile delinquent.
He'd been in a reform school.
The others are mischievous for sure, but I don't know if they'd do any real damage until they get on the stuff.
They smoke, smoke the smoke because they just sip colas.
No, they weren't they drinking because Jackie says he bought somebody some beer.

(46:49):
They did drink alcohol.
Right, but it wasn't illegal.
But if you did a little overboard, they're still in there over 18.
The ones who bought it were over 18, but the ones who drank it weren't.
This Jackie had to buy it for them.
And being held back, he was old enough.
And the others weren't.
But yeah, they just loitered and maybe a little light vandalism and they bothered girls.

(47:10):
In sexual harassment, yeah.
But apart from that and being a pain and misri inside, they weren't all that bad kids.
The sameless, purposeless.
So yeah, I think this movie just didn't commit enough.
I can understand it not wanting to go over the top and be funny.
Because that would take away from the message.
Right, it wants to be taken seriously.

(47:32):
But looking at it from today's perspective, if I'm looking to see an enjoyable film of this type,
I wanted to be amusing.
I wanted to be dated.
I wanted to be over the top.
Well, nobody's thinking of that when they make movies in the '58.
And they did offend a lot of people judging by the reviews that we found in the newspapers.
And that strongly were to let her to the editor.

(47:55):
But the woman who saw just the trailers and I don't even know what trailer she saw.
Because the love scenes that she described weren't in this movie at all.
It is.
It's when her dress gets caught in the door and it flies up over her.
Oh, is that it?
Yeah.
Well, she described it as something like really seductive.
And nobody was, I didn't even see a necking party and nobody's legs were thrown in the air.

(48:17):
There was just the one girl that we called legs.
Right.
And I believe that's in the trailer.
So that's probably what she was referring to.
Oh, that could be.
So yeah, it all jumbled.
It's a lot of context so she can't make that judgment.
Right.
But she can write a letter about it.
And that letter was about 10 times longer than I condensed it for our notes.
But she went on a whole tear about movies these days.
And why aren't they going to see the 10 Commandments?

(48:39):
That's the popular movie that's got a good message.
It was really funny.
Well, that was funnier than the movie, honestly.
So, Cheryl, I think we've gone back and forth a little on how we feel about this movie.
But how would that equate to a rating using our AIP scale?
Where A is awesome, I as intermediate and P is pathetic.
Well, I would be surprised if you gave an A. I'm not giving in an A.
But I don't want to give it a P either because there were some good performances.

(49:03):
And I did enjoy parts of this movie.
I really liked Dick Bicalion as Jackie, like I said.
And I did enjoy Scott Marlowe's performance as Benny, just because he really committed to the bit.
And I think that he's a good actor and I'd like to see him in something better than this.
But as for the movie, it just didn't give us enough of what we need out of a movie to be considered good.

(49:29):
So, I'm going to give it an I.
As Lieutenant Sloan said at the end of the movie, two of the kids,
is this what you call kicks?
Well, you can't say that the cool and the crazy is what you call kicks because it's not.
It's a decent movie.
It's not great.
Not terrible.
It's an I.
What do you think?
I'm going to agree with you.
I didn't know exactly what I was going to be getting when I sat down to watch the cool and the crazy the first time.

(49:54):
I wasn't really familiar with the film.
I've seen the poster of course, which has nothing to do with what we see in the movie.
I didn't know that it was a drug movie.
The idea of being a juvenile delinquent movie that didn't come as a big surprise.
But I thought it was going to be a lot more fun, funnier, enjoyable, crazy.

(50:16):
Crazy.
Crazy, yeah.
Or cool, which it was neither.
I definitely wasn't expecting a bunch of kids with New York accents.
Because that's something we don't see in a lot of A.I.P.
No, and it was filmed entirely in Kansas City.
So that is a bit odd.
But like you, it wasn't a bad movie.
It wasn't what I expected.
And it definitely wasn't a great movie.
So I'm going to give it a nigh as well.

(50:38):
What's funny is on the poster, it's a picture of a girl.
A woman is prominent.
And the women aren't prominent in this movie.
And certainly not the one in the poster.
Oh, absolutely not.
She looks nothing like Gigi Perrreau.
There's not a blonde in the movie at all.
Nope.
That's the AIP way though.
They make the poster.
They sell the movie and then they make the movie.

(51:00):
So they don't match.
Well, that's too bad.
But they didn't make this movie.
This was just an acquisition.
So I don't really understand their timeline for doing their promotion for the stuff that they didn't produce themselves.
So I kind of like to find out more about that if we ever can.
Oh, yeah.
If we ever get to the Samuel Arkoff archive in Los Angeles, maybe we'll have a better clue as to how the timeline worked.

(51:24):
But what I think is they know the movie's coming and they know the title and that's all they need to generate something.
And once they see the movie and they see it doesn't really match, well, too bad.
That marketing material is already in the can.
And the key are for the cool and the crazy has been used on album covers and posters and all kinds of other things.
So it's iconic.

(51:46):
It's iconic and it obviously works.
It made me interested in watching this movie. I was just disappointed in the final product when I got to see it.
And the movie itself made a lot of money.
It surprised me.
It seems like just a routine picture to me.
So the fact that it made a ton of money, really surprising.
If that figure's accurate, I don't know.

(52:07):
That sort of thing.
I don't know if it made that money on its own or if some of that is attributed to Dragstrip Riot, which it was paired with.
I think that it is a combo number.
I think that's combined figure.
But what I don't know is that the initial box office take or is that up to now, including home video sales and re-broadcasts, stuff like that.

(52:29):
I don't know if so I just lean what I can from various sources.
If you would ever like to know more about American international pictures and the movies that we've covered, check out our website, appod.com.
There you can find every episode of the podcast up till date.
This is number 94. There's quite a few episodes you can check out as well as lobby cards, posters, trailers, and more.

(52:53):
And there's a way to contact us if you ever want to suggest a movie for us to watch.
You might not do it right away, but eventually we might.
Or tell us how we are right or wrong in our opinions.
You can go there. It's aippod.com.
And that's going to wrap up this cool and crazy episode of the American National Podcast.
I'm Jeff Markin.
He's the cool one.
And I'm the crazy one, Cheryl Lightfoot.

(53:15):
And we'll meet you at the drive-in.
Follow the American International Podcast on Instagram and Letterbox @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast
The American International Podcast is produced and edited by Jeff Markin.
A man whose mind is distorted by hatred.

(53:37):
And Cheryl Lightfoot.
A girl hungry for too many things.
The American International Podcast is part of the Pop Culture Entertainment Network.
[Music]

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