Episode 760: Who's Minding the Mint? (1967)

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
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Speaker 2 (00:20):
Oh gez, folks, it's showtime.

Speaker 3 (00:24):
People say good money to see this movie.

Speaker 4 (00:26):
When they go out to a theater. They want clothed sodas,
pop popcorn in. No monsters in the projection Booth.

Speaker 3 (00:32):
Everyone pretend podcasting isn't boring.

Speaker 5 (00:35):
Got it off?

Speaker 2 (00:56):
What did strongholds? Millions are made here and not a
single dollar has ever been lost until one day. This
bright young man makes an innocent mistake that erupts into
unbelievable consequences.

Speaker 1 (01:17):
Fifty thousand dollars.

Speaker 2 (01:20):
Fifty thousand dollars. Turn yourself in, boy, before someone asks
who's minding them in. We're going through the sore at night.

Speaker 6 (01:29):
Start up.

Speaker 2 (01:30):
The presses run off the fifty thousand impossible. The plates
are locked in the vault, So we get one more partner,
somebody who can open safe A safe cracker ridiculous. Where
do you find a safe cracker? The open A safe
I got to hear it close.

Speaker 7 (01:51):
I need the hearing age.

Speaker 2 (01:52):
A safe cracker who can't hear this one is a
solid value blocked with a school teacher.

Speaker 3 (01:58):
She used it only on weekend.

Speaker 2 (02:01):
You didn't mentioned who was going to get you into
the sewer system. Dean drains in that part of town
are awful deep.

Speaker 4 (02:07):
We need what.

Speaker 2 (02:10):
A boat? A boat to sail a seward. Wait a minute,
no problem, I get just the guy to build this
a boat. Oh no, not a captain of a kiddie park.
Next you'll get a blonde who also cuts money. In
an operation like this, there are a few complications, like

(02:35):
a close call with an electric eye, a nosy little
dog who insists on getting into the act, a vanishing captain. Genuine, beautiful, wonderful,

(02:57):
real money and all tax free.

Speaker 4 (03:02):
Four and a half million.

Speaker 6 (03:02):
Dollars so far?

Speaker 2 (03:04):
Four and a half. Can you make it go faster, Harry,
make it go faster? The most impossible cast of lawbreakers
ever put together. Jim Huffy, Dorothy Proline. I didn't do
this for money, Milton Brow, Joey Bishop, Bob Denver, Victor Bote,

(03:34):
Jack Guilbert, and Walter Brenham has popph.

Speaker 1 (03:41):
You said, Welcome to the projection booth. I'm your host,
Mike Waite me once again as mister Otto Bruno.

Speaker 3 (04:02):
Good day, mister White, how are you?

Speaker 1 (04:04):
I'm good. Also back in the booth is mister Tim Madigan.

Speaker 4 (04:08):
I've worked out a little philosophy for myself. I've learned
to eliminate the necessities and live for the luxuries.

Speaker 1 (04:15):
Buono Palooza concludes with a look at Howard Morris's Who's
Minding the Mint? Released in nineteen sixty seven. The film
stars Jim Hutton as Harry Lucas, a worker at the
US Treasury who accidentally pill for his fifty thousand dollars.
He needs to get it back and uses the help
of a handful of colorful characters, including Verna Baxter played
by Dorothy Provine, who needs to learn how to make

(04:37):
better brownies. Otto, When was the first time you saw
Who's Minding the Mint? And what did you think?

Speaker 3 (04:42):
The first time I saw was a long long time ago,
So I don't remember, So Tim and I because this
is one of doctor Tim's favorite movies, So I sought
it out maybe about five years ago or so, five
or six years ago and watch again for me, and
we've talked about this before. All you gotta do is

(05:06):
look at the cast list, and I know I'm going
to enjoy watching it, whether it's the greatest movie ever
written or not, because there's just so many fabulous character
actors and actresses in it. So I'll let Tim make
the comparison to It's a Mad, Mad, Mad Mad World.

(05:27):
Obviously it's not up to that level, but it's that
type of film, and it's just a lot I think.
I don't remember if all three of us had talked
about this yet, or if maybe Tim and I were
talking about this the other day when we watched it again.
But unfortunately, it's one of those movies like It's a Mad, Mad,
Mad Mad World, that if you're too it's almost impossible

(05:52):
to enjoy it or appreciate. You have to have some
kind of relationship as a viewer with all the actors
that in order to be able to really enjoy it.

Speaker 4 (06:03):
But maybe I don't.

Speaker 3 (06:04):
But that's just how I feel about it, and Tim,
how about yourself.

Speaker 4 (06:08):
I saw this movie countless times when I was a
kid back in the Stone Age, when there were only
three channels, and for some reason there were four movies
that I remember being on all the time, and I
would always watch them, The out of Towners, the Producers,

(06:29):
It's a Mad, Mad, Mad Mad World, and Who's Minding
the Men? And I loved all of them in part because,
as Otto said, they all had actors, character actors, people
that I just enjoyed. But another reason was I watched
them with my father, and he loved these movies and

(06:49):
he would laugh uproariously. And I probably started watching them
when I was too young to even know what the
humor was. But if my father thought it was funny,
it's funny. And Otto, as we know, did a book
on the Barney Miller TV show, and Mike You had
a podcast on it, that too, was something I would

(07:12):
watch with my father, was his favorite show. And just
having rewatched this movie with Otto a few days ago,
it really was like traveling back in time. I happen
to coincidentally be teaching a course. I'm a professor of philosophy,
so I'm teaching a course this summer on metaphysics, and

(07:32):
one of the topics we've been looking at is time travel.
And I don't know literally we'll ever be able to
go back in time, but movies and TV shows and
other popular culture aspects can allow us to do so.
I felt like I was a ten year old again
watching the Spree.

Speaker 1 (07:54):
I had never heard of this film before we set
up this month. So when you guys chose the four
films with Victor Bono, I said, okay, sure whatever this
Who's mine the Mint movie is. So this was a
brand new watch for me. Hadn't heard of it, hadn't
seen it, didn't know anything about it before I walked in.
I really didn't want to know anything about it before

(08:16):
I sat down and watched this and was pretty delighted.
I was getting a lot of Buena Vista type vibes
from it, those live action Disney movies. It felt like
there could be magic in this movie at any moment.
Flubber could be on the table at some point, but no, Instead,

(08:36):
it's a comedy heist movie, which I love heist movies
and I love comedy heist movies as well. So this
really scratching it for me that I didn't know that
I had. And then yes, the cast for this is
just amazing and the way that the plot plays out,
and not to jump too far ahead already, but the
way the plot plays out where it's okay, in order

(08:57):
to do this thing, I need to get this guy
and he needs something and we need another piece of
the puzzle, so we go to another person and he
needs something else, we go to another piece of the puzzle.
It reminds me of one of my most favorite episodes
of Mash Ever, the one where Hawkeye orders those ribs
from Chicago and he has to keep making deals with
people and getting this guy this thing in order to

(09:19):
get to here, to get to there before they can
order Adam's ribs and have them delivered to the four
oh seven seven.

Speaker 8 (09:26):
It's a place in Chicago. You're the Dearborn Street station.
I don't know the name of it. They served ribs
the best in the world. Get a barbecue sauce with it,
a flamboyant devil may Care yet introspective sauce, spare ribs ambrosia.

Speaker 3 (09:41):
The guys on o lipus.

Speaker 8 (09:42):
When I got tired of PG they sent out for
these ribs.

Speaker 3 (09:44):
Hah, yum yum.

Speaker 1 (09:46):
I think he's going to have an accident.

Speaker 3 (09:49):
Get him the barbecue ribs, Henry. I gotta have those
ribs so.

Speaker 2 (09:53):
I get ready to go into labor I'll get them somehow.

Speaker 1 (09:58):
I love that episode, and I really like a movie
like this where it's, oh, here's this person and he
needs this thing. And of course when we get to
Victor Bono and he's obsessed with boats and dresses as
a captain and what was it. He's like one of
the youngest guys in this whole movie, but he looks
like he's the oldest guy, maybe only second to Walter Brennan.

Speaker 3 (10:21):
I mean, this is like a classic plot device, right,
I mean, I'm not a classicist and does this like
Shakespeare or something, because I think.

Speaker 4 (10:31):
It goes back to Alcibiades.

Speaker 3 (10:33):
Actually, you can just tell that you've seen it in
different ways in different vehicles before. It doesn't always work
as well as I think it. Definitely, I remember that.
I'm not a big mash person, but I definitely remember
that episode of Match.

Speaker 4 (10:50):
I always have said to my kids.

Speaker 3 (10:53):
Fires is one of the hardest type of comedies to
pull off. When it's good, it's really really good. But
when it's bad for me, at least personally, it just
falls so flat that it's hard to watch. I know,
you get frustrated along with Jim Hutton in this movie

(11:14):
Hutton basically is the star. He has to Well, I'm sure, Mike,
you're gonna give the plot of the movie. It's just
interesting because he makes you the viewer relate to him
in that way, just sing it the myriad implausibility of
this plot.

Speaker 1 (11:31):
Yeah, we're not going to talk about serial numbers on
these bills at all, because that would immediately just blow
up this home.

Speaker 3 (11:39):
I didn't say it right away. It took me a
few minutes, and then I finally turned him and I said,
wait a minute, aren't the bills gonna be counterfeit anyway
because they all have serial numbers? Don't those have to
be registers.

Speaker 4 (11:52):
Another reason I've loved this movie and loved it when
it was on is because of its star, Jim Hutton.
That was one of the glue for that series of
Hal Lyndon didn't really get the laughs, but that allowed
all the other cast members or the Andy Griffiths show.
And in a sense, he's the figure here at the beginning,

(12:16):
he's a playboy. That line I said at the beginning,
it comes from him. Early on he's living this playboy life.
But very early on he's the serious one. And as
the characters get more and more absurd. He's the one
who helps it stay together. And he also appeared in

(12:37):
what was my favorite TV show when I was a kid,
The Ellery Queen Show, because in addition to my father
loving those movies, he loved mysteries and he would get
the Ellery Queen magazine and we had all kinds of
Ellery Queen novels. So soon as I learned how to read,
in addition to Sherlock Holmes, I read so many Ellery

(12:59):
Queen's stories as I could, and suddenly there's a TV
series with Jim Houghton and David Wayne as his dad,
and it was only on one season, so it broke
my heart when it went off the air. But seeing
him again brought back memories of that show too.

Speaker 1 (13:19):
Whendn't he break the fourth wall and say do you
know how they did it? Towards the end of every episode?

Speaker 4 (13:25):
Yeah? That was fun. And of course some of them
I think were based on stories I had read, so
that gave me a leg up. But I would read
the Accual Parrots stories and the Miss Marple and then
I stopped after a point when I realized I was reading.
When I said, I've read this before, I still can't
figure out who did it, but I said, maybe it's

(13:46):
time to move on.

Speaker 1 (13:49):
Yeah, I think that was what Levinson and Link moved
on to. Right after Columbus. I think was Ella Queen.

Speaker 4 (13:55):
I think it came out in seventy six.

Speaker 3 (13:58):
I believe seventy six seventy seven, So sadly, even if
it had not gotten canceled, it wouldn't have lasted much
more than three years because poor Jim Hutton died very
young in nineteen seventy, so.

Speaker 1 (14:13):
I was wondering if he had lived to see the
success of his son, Tim, because as soon as I
see the name Hutton, I was like, Oh, I wonder
if he's related to Tim Hutton. And of course he's
the spitting image at times. There are a lot of
moments in this movie where I'm like, oh, he looks
a lot like Tim Hutton. But then there are other
times where I think he looks like Dean Jones, which
I think adds to the disney ness of this film

(14:34):
for me.

Speaker 4 (14:35):
I just watched on YouTube Timothy Hutton's Academy Awards speech,
and of course he thanks all the cast members of
Ordinary People, and Mary Tyler Moore is one and Jack
Lemon give him the awards. So somebody in the description
said they finally got to kiss Mary Tyler Moore because

(14:58):
in the movie she was just and wouldn't kiss him.
But it's very poignant because at the end he says,
I want to thank my dad, who I wish was here.
He died just before his son won the award. Yeah.

Speaker 1 (15:12):
I really like him as this straight man, but he's
a very flustered straight man through so much of this.
And yeah, like you said, he is this playboy living
this life where he's got deals that he is testing
out limos and he's basically a scam artist and he's
just getting all these free clothes and he's got a
neighbor who comes over and brings him din din. And

(15:35):
I love his distinction between dinner and din din, and
that dinner means that you've got obligations. You know, there's
going to be kids involved at some point. You know,
it's basically throwing the shackles around your arms as dinner,
but means there's a little bit of fun.

Speaker 3 (15:50):
Afterlud he kind of unravels because, like Tim said, starting out,
he's like the cool cucumber and he's you know, I
don't know if I want to say, he's serious about it,
But it's one of those jobs ideas just the same
day in day out. They don't film it this way,

(16:10):
but it's a kind of job that I picture if
you remember that opening shot of the apartment where Jack
Lemon comes into the office, that vast sea of desks
all lined up in a row. So it's this kind
of mundane job that he just does every day to
make some money. But out when he's away from the job,
he's a cool, swinging playboy, having a good.

Speaker 4 (16:34):
Time, no worries.

Speaker 3 (16:36):
And then he accidentally takes fifty thousand dollars out of
the mint by mistake. He doesn't even realize he does it,
and then, to add insult to injury, grinds it up
in the garbage's photal. So he's got to figure out
a way to not steal money, but to just make
enough fifty thousand dollars to replace it so that he

(16:59):
doesn't get in trouble.

Speaker 4 (17:00):
And trying to do.

Speaker 3 (17:02):
That, he has to hire the surfaces of all these lunatics,
and as you said, each one keeps getting goofier and
goofier than the.

Speaker 4 (17:13):
One before them, And now all of a sudden.

Speaker 3 (17:16):
He's the ring master of this service, which is not
something he was cut out for.

Speaker 1 (17:22):
No, and he is very much under the microscope of
his boss, who is I can't remember his first name.
A Link is the last name, so he keeps calling
him the missing link and all of these different sausage link.
I don't know any type of link that you can
possibly think of. And he's great. I really like the
actor of the Place's Boss, And unfortunately I think he
died right after this, because this is his last movie

(17:44):
and his state of death is in nineteen sixty six,
so probably right after the wraps shooting for this one.

Speaker 4 (17:51):
The casting is great because we have the name actors
who we love, but even the bit actors as Otto
and I were watching James, Oh that guy that, by
the way, is jumping to the end. Paul Winfield plays
the garbage man at the end. Witch great seeing him.
I'm sure when I saw the movie on TV long

(18:14):
long ago, I know that was before Sounder, I probably
hadn't seen Sounder yet, so I wouldn't have drawn that connection.

Speaker 1 (18:21):
Yeah, he's not even in the credits, I believe.

Speaker 4 (18:23):
Yeah, that's why it's always fun to go be for me.

Speaker 3 (18:27):
To look at the people who are in the movie
but are uncredited. Like at one point Tim and I
are watching it in the place and I turned to
Tim I said, I look like a Meal Sitka and
Tim said no, really, I said it looked like it.
So I immediately, you know, check it up on IMDb
and I said, yeah, that's who it was. Emil Sitka
was the janitor. Uh yeah, Johnny Silver is in it

(18:51):
but not credited.

Speaker 4 (18:53):
Donald A. Miliar.

Speaker 3 (18:54):
A lot of familiar fits, some of these, some people
I love. Once in a while you can find people
who's entire your career is like four hundred credits, and
three hundred and eighty eight of them are on credit.

Speaker 1 (19:07):
I love the guy who plays the accountant that comes
in and is telling him how much he loves his
bookkeeping and loves his fours.

Speaker 3 (19:15):
That's Brian O'Byrne.

Speaker 1 (19:16):
Oh so good.

Speaker 4 (19:18):
I love that a lot of Yeah, he was in.

Speaker 3 (19:20):
A lot, a lot of stuff when we were young.

Speaker 4 (19:22):
I remember him.

Speaker 1 (19:24):
You know, sometimes those fours can look like nines at
rank crewe to me because I have terrible handwriting, and
my fours do look like nine.

Speaker 4 (19:32):
So when I can, if I write a number down,
then later, so I can't read it. What is that?

Speaker 3 (19:37):
I can vouch for the fact that Tim has some
of the worst handwriting I've ever seen.

Speaker 1 (19:41):
In my wife, the hunting character is doing his job
so well that instead of there being a figure missing,
we've got the overseer coming in and telling him how
neat a s handwriting is, just how wonderful he is, basically,
and that just drives his boss into even more apoplectic behavior.
And yeah, there's this whole thing in here. Why I

(20:01):
brought up the brownies at the beginning. One of his
office mates keeps making brownies, and apparently they are horrible,
absolutely terrible, but she gives them out like crazy, and
he accidentally swipes a couple brownies into a brown paper bag.
He's going to try to pawn them off to one
of the security guards, which is a nice little bit
of business because not only does he sweep the brownies

(20:24):
in there, but he also sweeps this big old bundle
of bills in there, and you think he's just going
to hand that over right to that security guard, but no,
security guard's wise. No more brownies, please. I had them
yesterday and they were awful.

Speaker 4 (20:37):
Not again, please, No, Well, I think he's also going
to put it in a trash can and then it
comes out and stops. He doesn't want her to see
he's throwing away or brownies. I love that.

Speaker 1 (20:50):
Yeah, when he meets Bob Denver, who's the first one
of these lunatics that he gets to meet, and Bob Denver,
God bless him. I watch a lot of Gillis and
of course Gilligan's Island when I was growing up. I
love his face. I just love how expresses his face
is like when he his eyes get really big and
sometimes a little cross eyed, and he just is so

(21:12):
earnest in his delivery all the time. I just love
watching him. And yeah, that little bit of business with
the brown paper bag, how he's about to throw it
in and then throws it behind us back and Bob
catches it and then hands it it.

Speaker 3 (21:26):
I admit I like Bob Denver and stuff like this,
And even in Adobe Gillis more than I did Gilligan.
I was never a Gilligan fan. I did them in
in Dope.

Speaker 1 (21:36):
He was great manner. Chid Krebs was a great, great character.

Speaker 3 (21:40):
And it's kind of neat that he gets get paired
up with Jackie Joseph in this movie, Big Joseph, Tim
and I were saying, she's gotta be It's her and
Jamie Farr certainly the only two of the main casts
that are left, but maybe the only two except for
some of the kids that we saw who weren't credited
in there, who might still be around. But she's still

(22:01):
a right sounds well, she's a Facebook friend and we
have other freshs you know, that know her better.

Speaker 4 (22:08):
It sounds like she's.

Speaker 3 (22:09):
In great shape Knockwood, so that's nice that she's going.

Speaker 1 (22:13):
I grew up with her mostly knowing her as Missus
Futterman from Gremlin's and I love that she kind of
fell into that Joe Dante camp and probably was in
that camp because she was all the way back in
Little Shop of Horrors, So she ended up being in
things like Small Soldiers and just these other Dante things
that he did because he loved those old movies. Of course,

(22:35):
Walter Paisley, the name shows up in so many of
the Dante stuff.

Speaker 3 (22:41):
I remember her as Rowena from the Andy Griffiths Show.

Speaker 1 (22:45):
Yeah, there's a lot of connections to the Andy Griffith Show.
We should probably talk a little bit about the director
of this Howard Morris, who was Ernest T. Bass on
the Andy Griffiths show. My God, that guy's hilarious. And
as soon as I saw his picture on Wikipedia, I
was like, oh, yeah, I know this guy. I've seen
him so many times, and I'm not even a fan

(23:08):
of your show of shows, but I know the uncle
goofy character, every holy cap Oh him and Sid Caesar
and that embrace that just will not end. Oh my god,
so good. And then there's all this connection between him
and cartoons and cartoon voices. Same thing with the actress
we were just talking about. She was in a bunch

(23:30):
of cartoons. There's a whole bunch of I think him
and the two writers that he worked with on this
also did a man called Flintstone. They also did with
six You Get egg Roll and a few other films together.
He yeah, I was very surprised that he was not
just the actor but also the actor director. And I
think he does a great job in this. I love

(23:51):
some of the use of the freeze frames and the editing,
which I know is not necessarily him editing that stuff.
But this film comes together very well.

Speaker 4 (23:58):
It moves fast, and which is a virtue because as
you know, comedies in general should be an hour and
a half cops and so many of them, you know,
they wear out there welcome And this lays out the
plot because again going back to your earlier point, it's
kind of a heist movie and a farce because the

(24:22):
first part is saying, how are you going to do that?
And we the audience know it's all laid out, very meticulous.
We had an hour to get in. You do this,
you do that, and then of course it all goes awry.
You know that answer the fun because we know what
they're supposed to do, and then midway through the film
suddenly that twist when oh no, you know, after tomorrow

(24:45):
we're all going to be automated, so he's got to
call everybody up when they're not ready. So I think
the directing is great. It's interesting that Morris, as far
as I recall, doesn't have a little cameo.

Speaker 1 (25:00):
Yeah.

Speaker 4 (25:01):
I didn't see himself in and.

Speaker 3 (25:04):
He did a lot of voice work, so he could
have even just put his voice in there like mel
Brooks did with the producers in his first fit and
he and he doesn't even do that. Was that's like
maybe the only disappointment of this is that he didn't
put himself in there somewhere.

Speaker 4 (25:20):
But go back to the Andy Griffith thing.

Speaker 3 (25:24):
Alan and Bullock, the writers of this were Andy Griffith
Show writers as well, So there's there's a lot of connection.
In fact, think I said to Tim at one point,
I said, Wow, you got Dazzy lou Vat in this movie,
because there's so many of those familiar faces who worked
in those shows in the sixties or fifties. And the

(25:46):
other thing Tim and I talked about, and I was
thinking about this later, was Howie Morris, like you just said,
was famous for Ernest T. Bass on the Andy Griffith Show. Well,
everybody who loves the Andy Griffith Show, if you're honest,
you have to acknowledge the fact that, despite the fact

(26:07):
that the show was set in North Carolina, there are
very few people of color throughout the history of that
show that you get to see. And Tim and I
were saying, there's a lot of people in this movie
of people of color and different backgrounds. How he's got
African Americans playing guards, police officers. No, that's pretty unusual

(26:33):
for the time. Garbage man too, and a garbage man
but yeah, but I'm saying there and I just thought
they was interesting. I'm thinking, yeah, I wonder if you know,
by that time he had already been working on the
Andy Griffith Show for a number of years, if he
was aware like, oh, you know, you got some mixture

(26:54):
of types even in the background, because remember he's stars
with a pretty liberal, progressive group of guy, said Caesar
Kyle Reiner mel Brooks, you know all those people.

Speaker 4 (27:08):
On your show of show.

Speaker 3 (27:09):
I just wondered how, I mean, obviously it had to
be done on purpose.

Speaker 4 (27:14):
You didn't do something like that by accident.

Speaker 3 (27:16):
In nineteen sixty six.

Speaker 1 (27:19):
I real quick want to read a line from his
Wikipedia page because this just blows my mind. During World
War Two, he was assigned to a United States Army
Special Services unit where he was the first sergeant. Maurice
Evans was the company commander, and Carl Reiner and Werner
Klemper were soldiers in the unit. Based in Honolulu. The
unit entertained American troops throughout the Pacific. Can you imagine

(27:42):
that group of guys together. And that sets the stage
right there too, because he also worked not only with
Carl Reiner and then of course with mel Brooks, and
you see him show up in mel Brooks films. I'm
trying to remember if it's High Anxiety where he's like
this crazy professor with the voice and everything, no lil
ol'man okay, thank you. And then ernder Klemper of course

(28:04):
with Hogan's heroes, because all of these guys turn around
and work on Hogan's heroes as well. Yeah, looking at
the writer's credits, you just see the same things between
all of them, like the Flintstones, Top Cat, Wait Till
Your Father Gives Home, Alice, the love Boat, And that's
both in writing and in directing.

Speaker 3 (28:22):
It's crazy Jackie Joseph doing voices. I remember Jackie Joseph
from Josie and the Pussycat. She was one of the
voices of one of the Pussycats. I don't know which one,
but I know that I know for sure that was
her voice. Maurice Evans, if I'm not mistaken. Was Samantha
Stevens father I'm Bewitched, And of course one of the

(28:44):
great Shakespearean actors as well.

Speaker 1 (28:48):
Yeah, and of course doctor Isaiahs. And then wasn't he
also a villain on Batman as well? I know he
wasn't mister Freeze because that was otto premajer. But I
aware that Maurice Sevens was villain. He was the puzzler.

Speaker 3 (29:04):
Ah, there you go, and poor Maurice Evans if Batman
wasn't lowering himself enough. He even ended up doing one
of the last things he did was a love boat episode.

Speaker 1 (29:17):
Like I said, these guys were doing love boat episodes.
The two writers wrote and Howard Morris directed. This is
probably the most restrained I've ever seen Walter Brennan in
a film. He has the ability to go crazy. And
of course we've seen him kind of as that little
old man again, you know, like Rio Bravo and things. Oh,
you guys are just upsetting me, you know, like wearing

(29:38):
an apron and all these things super feminized. But here
I guess, well, he's feminized a little bit insofar as
he's the proud papa to his dog who's about to
have puppies. And that becomes a running thing through the
entire movie. And the other running joke that we have
through the whole movie is Jack Guilford, the inimitable Jack Guilford,
who I just freaking love watching that guy him and

(30:00):
his hearing loss and that he's been working in the
machine shops in prison for so long he can't hear anymore.
So that is really the first thing. Actually, Brennan says,
we need a safecracker. So the safecracker we get is Guilford,
but he can't hear, so then he needs to get
end the hearing aid. So that we had on over
to Milton Burrell. Yet another piece of television royalty.

Speaker 4 (30:25):
That gets back to the question of how all of
these characters how they know each other. Because when Harry
the Jim Hutton character is asked by Pops the Walter Brennan,
how'd you know how to find a safecracker? Says I
asked some cops. I love the headline and say, yeah,

(30:46):
he told me, said this guy's getting out in the
day or stuff. I got the impression.

Speaker 3 (30:51):
And this was one question I had that Hutton had
dealt with Burl's character Luther, that he had done with
him before, and I'm thinking why, like, you couldn't get
a hearing aid from anybody better than Luther. So he's
so Milton Burl or saying Tim and I were saying
it was a perfect role for him. One of the

(31:13):
better things he ever did, because it was so well
written for his type of character. And as I believe
Tim said this that day we were watching it, it's
the type of character that could have easily been played
by Phil Silvers as well. But that was my first thought.
I'm like, oh my god, why would you go to

(31:34):
a guy like this just to get a cheap era
of of hearing aids. I mean, you couldn't have gotten
it from someplace else. But the other funny that I
thought about after, I don't know if you or Tim
just said it about how he lost his hearing because
of all the machine shops that he worked and in prison.

(31:54):
I mean, it's kind of the magic of comedy because
in a sense, you could play that situation as tragic,
but instead they turn it around and it's a comic situation,
you know, because you know it's one of these guys. Okay,
so we spent a lot of time for safe cragging,
but he obviously wasn't a violent man in any way.

(32:17):
Gentle lazed potato chip salesman be a violent you know.

Speaker 4 (32:21):
Crackerjacks.

Speaker 3 (32:23):
Crackerjack, Yeah, and Crackerjack that's yeah, that.

Speaker 1 (32:26):
They have to cheap out and get a used hearing aid.

Speaker 4 (32:30):
Hearing aids are expensive, I can attest to that. Who
knows what in nineteen sixty six, so print up another sheet.
There were two comedians I never found funny, Milton Burrell
and Joey Bishop, and yet in this film they're they're
not just bearable, they're actually very good. And also Milton

(32:52):
Burrell and it's a mad, bad, mad mad world. I
liked him very much in both of those film And
also so I don't know if you've ever done The Oscar,
which is one of the worst movies ever made, but
he's smart enough to realize in that movie, where everybody
else is overplaying, he underplays. But this movie, it is

(33:13):
a perfect role for him, because again it is that
Phil Silver's kind of Hi, how are you? You know? Guy?
You know who's gonna take your wallet when you're not looking.
And that's also I think the point in the film
when you realize, okay, now they're in it real deep.
But first it was just Pops who wanted to run
the machinery one more time for old time's sake and

(33:34):
wasn't expecting anything in return. And then they get Jack Guilford,
the safe cracker, but they offer him two thousand dollars,
which we figured outs I guess roughly about nine thousand
more or less. Now not a lot of money, No,
nineteen thousand, nineteen. Now you're talking. But still once they

(33:54):
get Milton Burl and you realize it's this is gonna
get out of hand.

Speaker 3 (34:00):
Burrell is the instinct of the of the money issue
because he's the one who is so greedy. He keeps
wanting more and more, and he keeps pushing all the
rest to want more. To the little devil on the shoulder,
you know, he's put to want more as well. And
I just wanted to quickly say I agree wholeheartedly with Tim.

(34:21):
I never found Milton burrole funny, and yet I loved
him in It's.

Speaker 4 (34:26):
A Mad, Mad, Mad Mad World.

Speaker 3 (34:28):
I think it's one of he's one of the best
characters in that film, and it's by far, for me,
the best thing he ever did.

Speaker 1 (34:38):
And we've talked about this a little bit on the
show before, but as far as comedians that kind of
overstayed their welcome or that were just forced down in
your throat when you're younger, Bob Hope or George Burns,
and then Milton Burrell now I've not gone back and
rediscovered Burrel and found that he was absolutely fabulous, but
I have with Burns and with Bob Hope. But of

(35:01):
course when they're octogenarians, non genarians centurions in on my TV,
I'm just like, get these guys off of here. These
are so cornball, this is awful stuff, and just still
trying to be relevant. I remember George Burns on the
cover of What Was a Penthouse with Vanessa Williams. I'm

(35:21):
just like, what why is George Burns on the cover
of this Born magazine? But Okay, I've never gone back
and rediscovered Milton Berle and been like, oh, yeah, this
is really funny stuff. He's always just been annoying to me,
but he plays it perfectly in this. And he also
introduces probably the weakest link of this whole movie, and

(35:43):
not in so far as his acting chops, but just
the manner of Joey Bishop, because he is in itinerant
gambler who is in for all kinds of money to
so many people. And I love when they show him
that he's on the phone and he's reading the racing
record and just talking with Burrel on the phone, and

(36:06):
then they cut to that wider shot and you see
just nothing else in that room. There's just the racing record,
the crate that he has instead of any sort of
table or anything, sitting in like a folding chair. His
son's in front of the box and just seems very
put out, and then of course the wife is incredibly
put out, and you're just like, oh, this guy's trouble.

Speaker 4 (36:28):
I would not.

Speaker 1 (36:29):
Want him on my crew if I was doing anything.
And don't they use him just for what it is
he getting the truck for them?

Speaker 4 (36:36):
No, he's a sewer worker.

Speaker 1 (36:38):
The sewer worker, thank you.

Speaker 3 (36:40):
He's the one who knows how to men, you know,
how to get out of there. Because at some point
hot and discovers or maybe he already knew it was there.

Speaker 4 (36:49):
It looked up.

Speaker 3 (36:49):
They have the submarine top in the in the basement
of the building that goes into the super for some
unknown Yeah, it.

Speaker 1 (36:58):
Seems like some sort of security breach could happen there,
especially the guy who just comes in is doing his
rounds and closes it up, and you're like, he's not
going to look to see if somebody came in here
that he felt like a stormtrooper. Let's do your job.

Speaker 3 (37:14):
Because it was obviously unlocked. He put the seal back
on it. And well, I said to Timm, he's walking
up the stairs and the stairs had no backing on him.
I said, how is he not seeing those six people
right behind huddle behind the stairs.

Speaker 4 (37:29):
Also, all of those people were soaking wet, so there
would have been water. It stands all around, and he
did the city. But again, you gotta suspend. You just
believe these kind of films. Elim didn't find out about
this because he knew how to work at stewer and
he would have been in and out, but millions of
dollars far less time.

Speaker 1 (37:50):
But he needed a boat, and these guys need a
boat to go through the sewers. So they ended up
hiring Victor Buono here as the captain the kiddie ride.
And he just is very, very nautical. He reminds me
of a character that a rip Torn or somebody would
play later on, just like taking his job way too seriously,

(38:11):
has some sort of mental problems. I don't know if
he's ever really been on a real boat, but I
love that every time we see him, he's standing behind
the wheel of a ship, like even when they cut
from him out by the ride to his private chambers,
and he's got that wheel in front of him and
he's just, oh my god. He is giving some great
speeches about the sea, and all of these nautical things

(38:34):
love this role for him, and I just wish it
was bigger.

Speaker 5 (38:37):
May I say that I've looked forward life time for
this very moment, when at last I'd be commissioned to
construct a substantial lession.

Speaker 6 (38:53):
Won't you be seated? Feel free to smoke? Will you
be blue water sailing?

Speaker 5 (39:00):
Not exactly, mostly inland waterways.

Speaker 4 (39:05):
You might call it that.

Speaker 9 (39:07):
Yeah, you aren't.

Speaker 6 (39:13):
A sleep five three straight rooms brusha folks.

Speaker 4 (39:18):
Show, captain. We don't want to sleep anybody.

Speaker 1 (39:20):
We just want to should fit down a manhole.

Speaker 3 (39:25):
He lives a very vibrant fantasy life and a great.

Speaker 4 (39:28):
Scottish accent too.

Speaker 1 (39:31):
And yeah this is he's still got a little bit
of his hair unless he's wearing a piece, but it
doesn't look like a piece. It looks like his real hair.
And then it does look like he's added a lot
of gray to the sides and to his mustache to
add a little bit more of the age to him.
Like I said, what was he like twenty eighteen, twenty
eight crazy, and he looks older than Jack Guildford. The

(39:52):
only person he looks younger than is Walter Brennan.

Speaker 3 (39:54):
It's crazy, it's amazing, it's kind of funny, but it's
also sad he could that he could. I mean, obviously
they did have to enhance it a little bit to
make them look older, but you know you can do
that with young people, So he doesn't fool anybody. Leonardo DiCaprio, Right,
if you didn't know how young he was, and you

(40:18):
just showed this to somebody who had never seen him
or heard of him before, they would have easily believed
this was a guy in his fifties at least.

Speaker 1 (40:26):
And then Bob Denver comes back into the story and
he's got the best job of all. He just has
to keep the woman in the window busy and that's it.

Speaker 3 (40:36):
He doesn't have to get wet. He doesn't have to.

Speaker 1 (40:40):
Oh, trust me, he's getting a wet that's yeah.

Speaker 4 (40:42):
Well, if that's the unrated version, see what happened in
that room while they're all.

Speaker 1 (40:47):
In the men one night at Imageans.

Speaker 4 (40:50):
We were wondering, what are all of these people living
in this condemned area, there's all these guys condemned, like
it's they gotta be tearing it all down. And yet
there's a couple across the street with a little boy,
and the father and son think it's a sex orgy
going on outside their window. It's like, what's going on

(41:12):
in that part of town?

Speaker 1 (41:14):
I read about it in the magazine.

Speaker 3 (41:16):
She's the artist living in that studio. I get, but
that you're right, it's all they're in this decrepit back
alley and there are on a couple of the buildings
that it's condemned.

Speaker 1 (41:27):
And yet nineteen sixty seven this movie comes, we are
in the free love era, and yeah, she's definitely embracing that.

Speaker 4 (41:37):
Of course, Jim Hutton character too. At the beginning, as
you were mentioning with the din Din, I love that
he's got this beautiful next door neighbor who wants to
have din Din and she brings him as a beef
strogan Off or something, and then you see that it's
just left outside the door.

Speaker 3 (41:57):
Dorothy Provine, who was the woman who were with him
at the mint and makes him the brownies every day,
who obviously has feelings for him, and he knows that
and is doing everything had to avoid getting trapped in
her web. But I mean, she's a wonderful suite. That's
not what he's looking for right now. He's looking for

(42:20):
the wild life, and I think he got all of
the wildlife he needed in that one.

Speaker 4 (42:28):
He's trying to play that tender trap.

Speaker 1 (42:30):
I'd love to she's got that big sunflower dress on
and everything. Of course, I was like, wasn't she in
Please Don't Meet the Daisies? That was such a weird
TV showers.

Speaker 3 (42:40):
You know, I don't know she was in that because
she was very close friends with Doris Day because they
were both animal activists.

Speaker 1 (42:48):
And I'm sorry, I'm still kind of hubbing back to,
not to Dorothy and Provine, but to Jackie Joseph.

Speaker 3 (42:55):
Yeah, Jackie Joseph was, Yeah, she was in the Doris
Day show.

Speaker 4 (43:00):
It doesn't look like Please Don't Eat the Daisies.

Speaker 1 (43:05):
Amazing that she was in one. Was not in one
of those shows.

Speaker 4 (43:09):
She wasn't Gomer Pyle. Well, of course, what I most
remember her in was It's a Mad, Mad, Mad Mad World,
where she plays Milton Burle's wife. I'm sure is a
Dorothy Provine. Dorothy Provine and I remember as a kid
having cognitive dissonance because I would watch both movies so much,

(43:30):
and here's a husband and wife, and yet in the
other movie they don't know each other, and eventually it
worked things out. But when you're young, these things matter
to you.

Speaker 3 (43:41):
I remember Dorothy Provine, she's like the chief for that.
I mean, you feel so bad for her at the
end of It's a mad man. I love that little
but she's she's on the whole.

Speaker 4 (43:53):
No, she's a pot of money is buried beneath the
big w and nobody knows what that mean. And then
she sees these trees that are making a w and
Spencer Tracy as she didn't know who he is. We
know he's the cop trying to catch them all. But
she says, I don't know who you are, but if
you and I can get that money, then I can
get away from my awful mother and my awful husband

(44:16):
and my awful brother. And you feel for her because
she's much like in it. She's the only decent person.
She agrees to help. She's really lied to because you know,
Harry does tell her the truth at a fifty thousand
dollars when I don't know if he tells her it's
because of her brownies or not. But he says, I

(44:36):
just need to get the presses going so I can
replace that money. And it's only after they're printing all this,
and I said, wait a minute, this is much more
than fifty thousand. So I feel for her in that
regard too. It's like she's just a nice person caught
up a bunch of scoundrels.

Speaker 3 (44:53):
Well. I felt that that little moment between her and
Spencer Tracy at.

Speaker 4 (44:59):
The end, it's a mad man, man man.

Speaker 3 (45:01):
It just had such a wonderful feeling to it. Without
being Madelin or anything. I just I always loved that
and speaking like you were Tim at the beginning about
how you had a certain number of movies that you
felt like you saw over and over and over again
as a kid. One of the ones that I remember
seeing more than once as a kid was another movie

(45:25):
Dorothy pro Vine was in, and that is Good Neighbor
Sam with Jack Lemon for Sam and Under the Yum
Yum Tree, The Two Jackmen.

Speaker 4 (45:34):
A lot of Jack Lemon in this podcast today.

Speaker 3 (45:38):
A twist of Lemon, twist.

Speaker 1 (45:40):
Of you guys should start your own show just all
about Jack Lemon Films. You'd be here for quite a
few years.

Speaker 4 (45:46):
But no Walter Brennan. But he just say Walter Brennan too.
He's often too much over the top, but he's very
good in this was Pops and with his love for
his eagle, the beagle. Now the beagle was Inky, but
it was played by Peanuts if I recall correctly.

Speaker 1 (46:06):
Well, they had to change the name because some people
had a peanut allergy.

Speaker 4 (46:10):
Oh geez, holy cow.

Speaker 1 (46:12):
And then Inky just makes sense because he's a former printer.

Speaker 4 (46:17):
And Ikey like Peanuts, like she really was about to
give birth at any moment. That was quite some acting
on her part.

Speaker 1 (46:24):
Oh yeah, no, her teats were very small enough.

Speaker 4 (46:27):
Birth she was.

Speaker 3 (46:28):
She was a porker too.

Speaker 4 (46:31):
She's run around you know. The mint there.

Speaker 1 (46:34):
Given some of the best performance, especially running away from
Milton Burle.

Speaker 4 (46:39):
Yeah.

Speaker 1 (46:39):
We really get into a very French farce moment with that,
with the sneaking from doorway to doorway and you know
who's coming out which doorway and who's going in the
other one. I mean, I've seen that on Scooby.

Speaker 3 (46:50):
Dooe, going back and forth. You see the dog the
guard in Milton Burle.

Speaker 4 (46:54):
As dressed up as George Washington for even the suspending ones.
Disbelieve that was a bit much.

Speaker 1 (47:01):
I just love that though. I love the soul. Like
you mentioned before, we have to go a night early
because they're going to automate everything, so everybody stop what
you're doing. So everybody's in a costume of some sort,
with maybe the exception of Hutton and then even Gilford's
got his YMCA outfit on. But then you know she's
in the two to two and Milton Burl's and the

(47:22):
amazing Washington get up. Of course, as I'm seeing this,
I'm just like, Okay, here's the poster image of Washington
crossing the Delaware with Milton Burle as Washington and having
this tiny little boat that they're crossing through the sewers.
It really worked for me, and that poster art is fantastic.

Speaker 3 (47:45):
Was there the famous mad artist?

Speaker 1 (47:48):
It had to have been that looks so much like
his style?

Speaker 4 (47:51):
He Jack Davis, Jack Davis on my walls here, I've
got two of the posters that he did for Mad Mad,
Mad Mad World. I think if it wasn't him, it
was someone like him. Would just loved being able to
do these caricatures that people would have known at the time.

Speaker 3 (48:08):
Did More Drucker do a lot of those two I'm sure.

Speaker 1 (48:12):
I'm trying to remember who did The Long Goodbye, because
that poster was the second poster that they did. They
actually re released The Long Goodbye with a new poster
that was all Mad magazine style, with even the overlapping
word bubbles, those square word bubbles that they would use,
and that was what really helped sell that film, to

(48:32):
show that it was much more comic than this kind
of neo noir thing that they were doing with the
first poster with Ellie Gould and his cat.

Speaker 3 (48:42):
I remember the first time I saw that, and I'm like,
this is an odd movie.

Speaker 4 (48:46):
No, yes, I hated it the first time I saw
it and out.

Speaker 3 (48:49):
Yeah, exactly films totally. The first time I saw it,
I didn't like it, and then went like ten years
and saw it again and.

Speaker 4 (48:57):
Then I loved it.

Speaker 3 (48:58):
So I think I was probably just too young the
first time I saw it.

Speaker 1 (49:03):
As they break into the mint, you know, you mentioned
the orgy scene before the people up on the window
sill looking down.

Speaker 4 (49:10):
The unrated version has that, but we're not talking about
that one.

Speaker 1 (49:14):
Yeah, that's that scene, plus then what happens with Bob
Denver later on. We leave that to the mind, but
I love the whole thing of them breaking in and
having to go through these steps like the electronic eye.
The electronic eye bet with her. That is so good.

Speaker 4 (49:33):
N seven.

Speaker 1 (49:35):
As soon as they started going under that eye, I
was like, Oh no, they gonna get around this. And
then when these throw on her stomach to avoid her
boobs triggering it, and then I'm like, oh no, that
freaking skirt that too too.

Speaker 3 (49:48):
She's in what's gonna right exactly.

Speaker 1 (49:51):
There are a lot of good moments in this film.
I really have to thank you guys for turning me
on to this because even those people looking at the
quote unquote orgy love when the kids sticks his head
out of his looks like they're having an orgy.

Speaker 4 (50:03):
It reminded me of the Producers where they had the
woman outside the building with the Nazi saying I'm not
a concierge. Just these little bits that add so much
to these films.

Speaker 3 (50:18):
So the movie poster for Who's Minding the Mint was
designed by Jack Ricard, No, not the more well known
Frank Frizetta or Jack Davis, as some mistakingly believe. Ricard
was an artist known for his work in Mad magazine
as well.

Speaker 4 (50:36):
So there you go.

Speaker 1 (50:37):
Did you guys know that there was a Dell comic
that was based on this movie?

Speaker 4 (50:43):
No?

Speaker 1 (50:44):
No, They were doing a whole series of twelve cent
comic books to tie in with movies, and this was
one of those.

Speaker 3 (50:51):
Wow, wow, I want that, Yeah, especially if it's twelve cents.

Speaker 4 (50:56):
Yeah.

Speaker 1 (50:56):
I don't think it's twelve cents anymore.

Speaker 3 (50:58):
I was gonna say, sure, won't be twelve cents now.

Speaker 1 (51:01):
Yeah, but no, I did get a copy of that,
so I was able to all Right, it's a CBR
file and those are difficult to read. But if I
change it to a ZIP file. Here's a little hint
for you comic readers out there. If you change it
to a ZIP then you can open it up as
a ZIP file. It is actually drawn out. There's one

(51:22):
on Etsy.

Speaker 4 (51:23):
Oh yeah, because the cover is just not a drawing.

Speaker 1 (51:26):
Yeah.

Speaker 4 (51:27):
Wow.

Speaker 1 (51:27):
Them at the Mint and Samson Link was the guy's name. Okay,
and they even have their little numbers on because one's
twenty two, one's twenty three, wins twenty four. This looks
pretty legit. And then a nice ad for a Daisy
bb gun. On the back cover, they.

Speaker 4 (51:45):
Have the one with the guy kicking sand and Charles Atlas. Yeah. Well,
you know we haven't talked about one last major cast member,
who if has been on your show, the great Jamie Farrm.
You mentioned Mash earlier, but I think that if I
recall Craig, I love that episode too you talked about,

(52:07):
but that might have been before Clinger came on.

Speaker 1 (52:11):
I'm not sure. For season three, episode eleven, I looked
it up so I could actually go back and watch
it and he Clinger. Yep, he would have been perfect
for that, and I think I see a picture of
him in this right now. After they try unsuccessfully to
persuade Klinger to have one of his relatives ship the
order because he's right there in Toledo and he probably

(52:33):
has relatives over there, Trapper remembers a woman he wants
knew in Chicago. He calls her and persuades her to
pick up the order and put it on a plane
labeled as medical supplies bound for South Korea.

Speaker 4 (52:43):
I remember it well, and I think I enjoyed it
the first time I saw it because it did remind
me of who's my ding to mint.

Speaker 1 (52:51):
I can see that, and then yeah, Jamie Farren here
with very little dialogue and even less dialogue in English,
and I love to see those Lemonese guy and Joey Bishop,
obviously Jewish, just going back and forth like they're native Italians.

Speaker 3 (53:10):
I used to write for a Chicago magazine called Fra Noi.
It was an Italian American magazine. It's still around. I
still write for them every once in a while. But
years ago I wrote a piece for Mother's Day about
all the Italian American mothers on television over the years.

Speaker 4 (53:31):
The editor wanted me to do one for Father's Day.

Speaker 3 (53:35):
So I'm trying to think, you know, and I didn't
want to just do negative people like Frank Barone and
stuff like that. I wanted to find someone positive, and
I said, you know, for me as a little kid,
although I wasn't consciously aware at the father that seemed
to me to be the first Italian father I saw

(53:56):
on a television show was actually Damn Williams of The
Danny Thomas Show, who of course was Lebanese and who
help ours career because they were both from Toledo. They
were both Lebanese. He said his character on Make Room
for Daddy was make an Italian father, because in that

(54:17):
time in the fifties, remember you, Yeah, Ward Cleveland, Ozzie Nelson,
Ozzie Nelson, Robert Young and father knows Best. So you
had all these real waspy, milk toast kind of guys
who were these armchair philosophers. And then you had Danny Williams,
who would yell and scream at his kids at the
same time he would hug and kiss them. He'd kissed

(54:40):
his son Rusty. I don't think you ever saw Ward
kiss the beaver. It's a family podcast, out of ease.
But as an Italian American kid, you know, our fathers
kissed us, We kissed our uncles. It was very common
for I like that that he was to me like

(55:01):
the first Italian American father. So yeah, you can look
at Jamie Foarr. He certainly had the nose to be
an Italian as well as did Danny Thomas.

Speaker 4 (55:09):
They give him kudos for his enthusiasm. He throws himself
into that role.

Speaker 3 (55:15):
And of course, as Tim can tell you, I have
a deep personal connection. I got on a question and
answer episode of Gilbert Godfried's Amazing Colossal podcast and Tim.
Do you remember it had to be Gil. I don't
know who else would have said. Yeah, gil Gil for
whatever reason, was convinced that I sounded like Jamie Farr.

(55:40):
No one had ever told me that before. I've been
on the radio for twenty five years here in Rochester,
no one has ever said that. But Gilbert Godfried for
some reason put me together under the same category for
vocal stylings as Jamie Foss.

Speaker 4 (55:54):
So I wore that as a badge of honor.

Speaker 1 (55:57):
Can you say something about the mud No.

Speaker 3 (56:01):
I didn't say anything about them.

Speaker 4 (56:04):
I knew who the mud Hens are.

Speaker 3 (56:05):
I mean I saw them play for many years here
in Rochester because they were in our league, the same
league with the Rochester Red Wings the Toledo.

Speaker 4 (56:13):
Now Jamie Fowre had also been a guest on the
Gilbert Godfrey Amazing Colossal podcast, and he told an interesting story.
He didn't unlike many of the guests, he didn't like
to bad mouth people. And of course they were trying
to get into bad mouth Joey Bishop in particular, and
he said end because he's Joey Bishop's brother. Oh cousin,

(56:37):
that's right, but he doesn't speak English, and so he
mistakenly thinks that the garbage collectors are the police, and
he runs in and all the characters are together, and
he said, I had to do it in one take.

Speaker 10 (56:54):
And how he wanted me to come into the room
and he was going to have the camera just follow
me from one person to the to to explain in
Italian that the money has gone off, you know, and
I need somebody. And Joey, of course is my cousin.
He's the one that brings me into the the caper.
And Joey's not in the room at the time. He's
trying to get some ink off of his face that

(57:15):
he had gotten when they were trying to get print
money in the mint. And so I had to go
to Victor Bono, Walter Brennan, Dorothy Provine, Jack Guilford, Milton
Burrell and everybody explaining to him, and finally come out,
Joey comes out, and I finally I have one line
to Joey, and Joey comes to me actually, and he
comes to me and I have ready to give my

(57:36):
one line now because we're only doing this in one take.
We're not doing any cover shots at all, and Joey
stops the thing he says, hey, you're standing in my
key light. So and now I have to do the
whole thing all over again, going to everybody, everybody again,
and we get to Joey. We come out to do
the thing, and again he stops the camera. All I

(57:57):
had was one line to him, creve hold up, so
let's see. Yeah, and he stops it again. He was
doing it on purpose. And finally Howie Moore said, you know, Joey,
you're not working with the rat pack, and he says,
the next one I'm gonna print.

Speaker 3 (58:12):
Don't you dare?

Speaker 4 (58:13):
Don't you dare? Cut this.

Speaker 10 (58:15):
So we got to the thing and I made sure
that nobody was in anybody's key light or anything else,
and finally got the line out. But he really wasn't
very nice at that point. That those are got to
rest his soul.

Speaker 4 (58:29):
He passed on.

Speaker 10 (58:30):
But you know, those are cheap tricks that you do
in the business when you don't care for somebody and
you pull those those stunts on people.

Speaker 4 (58:39):
Yeah.

Speaker 1 (58:39):
I've seen a lot of comparisons between this movie and
Ocean's eleven, the original Oceans eleven, which I still haven't watched,
even though I like the Soderbergh Ocean's eleven a lot,
not twelve, not thirteen. I'm okay with eight about eleven.
I like a lot.

Speaker 4 (58:54):
I like the eleven. The Soderbergh the original one not
so much.

Speaker 3 (59:00):
Yeah, the original Oceans eleven is not a great movie.
The best part about it is Dean and Sammy's songs
and the end and Angie Dickenson wow, oh yeah, and
Antie Dickinson. But no Ocean of the original Oceans eleven

(59:20):
is the best part of the whole story. And in
that way, yes, there's similarities to this one, absolutely well.

Speaker 4 (59:27):
And it's similar also to Mad Mad, Mad World in
a sense that here you have these elaborate plots. They
look like something who's gonna send them awry, but then
they succeed, they get the money, but then at all
three movies they lose the money. So it's almost the
remains of what was left of the Hollywood code. I

(59:49):
guess the crime doesn't pay. We can't let them get
away with it. But if we could jump to the
end of Who's Minding the Mint? I love the last
scene during the credits, because all of the money that
was stolen gets taken by the garbage men who don't
know that these boxes are filled with the dollars and

(01:00:11):
they dump it into the river. And then the last
scene you see the characters all in scuba gear, including Inky.

Speaker 1 (01:00:21):
That is one hell of a way to end this movie,
to have your credit roll call being with them wearing
these scuba masks. And of course you know they're nowhere
near water at all.

Speaker 3 (01:00:35):
It's supposed to simulate them being underwater. So I said
to Tim, why are they all taking the thing, the
mask out of their mouth.

Speaker 1 (01:00:45):
So we can see their faces a little bit?

Speaker 3 (01:00:47):
Bactly are they committing mass suicide because they can't find
the money.

Speaker 4 (01:00:53):
I can't remember if Victor Bono has his pipe in
his mouth when he yeah.

Speaker 1 (01:00:57):
I think that's what broke the illusion for me, because
otherwise I bought hook, limb and sinker pun intended well.

Speaker 4 (01:01:02):
And Victor does a great job earlier after his boat
sinks dutiful, so he's got to go get another boat,
and he's doing a backstroke. I mean, that's not a
stunt actor. That's Victor himself.

Speaker 1 (01:01:15):
And holding aloft that American flag for fear of getting
it wet.

Speaker 4 (01:01:18):
Too, very patriotic.

Speaker 3 (01:01:21):
I thought that little with Buono going to get another boat.
I kind of liked how earnest he was about his
responsibility to these people. It wasn't just the money, it
was also you know, like Tim Smike, he just loved
anything to do with the sea or with boating or whatever.

(01:01:42):
He took it very, very seriously. And as soon as
that boat fell at part, he's like, oh, I gotta
go and get something, figure out something. I think I
read in the trivia on IMDb. Then when we see
him coming back with presumably all the boats that he
had stolen from the kiddie park ride that he worked on,

(01:02:04):
I think they said we see him coming in with
four boat and then them going back out with six
or something.

Speaker 1 (01:02:12):
Well, these nitpicks, jeez.

Speaker 4 (01:02:15):
They planned this out so well.

Speaker 3 (01:02:16):
But obviously they didn't plan it out so well because
even if that boat hadn't fallen apart with just them
in it, which obviously it was going to because there
were too many of them, how did they think it
was gonna stay together when they had the I mean,
you're printing like six million dollars and one hundred dollar bill.

Speaker 1 (01:02:37):
Yeah, the weight of that money, even as how ane
hundred dollar bills would have been way too much. And
I just kept thinking about that while they were printing it.
I was like, how are you guys going to carry
this thing out?

Speaker 3 (01:02:49):
I said that to Tam while we're watching them. I'm like,
that's so heavy. That is really really, really and plus
you know, God forbid you get it any water on it.

Speaker 4 (01:02:58):
Now it's going to really be Yeah.

Speaker 1 (01:03:00):
I guess it just dries instantaneously too. But we can't
pick a partible.

Speaker 4 (01:03:06):
Yeah, this film start picking that thread, it all falls
to be. You know. The Captain reminded me. We talked
earlier about Robert Aldrich and filmed The Flight of the Phoenix.
As you remember that, the Hardy Krueger character who has
this elaborate plan for how they're gonna rebuild the plane,

(01:03:27):
and then it turns out all these built our model planes.
So here you got the Captain. It's like, you know,
he's finally got this chance to you know, he's asking
about how big of a boat and then when they
tell we just need something to fit in the sewers, okay,
but he seems to be one of the few characters
who would have done this for nothing, just because it

(01:03:48):
appealed to his love that could finally do something with boats.

Speaker 1 (01:03:54):
And despite Inky leaving the room and all of the
shenanigans going on with Milton Burn and then Jim Hutton
having to come after him, things are going okay for
a point until I don't remember if it's Inky starts
to have babies, and then things just kind of blow
up from there because then we've got the ink. Joey

(01:04:15):
Bishop fucks around with the machine, he gets a whole
thing of ink in his face, Jim falls in the machine,
he gets his shirt ripped off and has money being
printed up on his shirt instead. It's just everything starts
to go to hell pretty darn quickly, and yet they
make it out. They make it out okay with nobody
catching them, and it's really just the whole misunderstanding of

(01:04:41):
the garbage men that really fucks these guys over. I
was surprised that there's chase scene in the middle of this, though.
They're chasing each other because they're trying to get away
from that revival van, which I think if they had
just sat a little differently, they probably could have just
all sat in like the two vehicles that they had,
the ice cream truck and the open jeep that they have.

Speaker 3 (01:05:03):
I don't remember now, why they had that but didn't
have to do again with what we were talking about
earlier because the plans got changed and they had to
all just come that night, so they had to come
with what they had. In fact, we talked about that earlier.
How basically almost all of them other than hunt And
are costumed in one way or another. Of course, Bob
Denver was costumed to begin with, as was Victor Bono

(01:05:25):
ice cream Man, as was Victor Buono, but then you
get everybody else. Tim kind of likened it to that
Twilight Zone episode of the.

Speaker 1 (01:05:34):
In the six characters in search of an up.

Speaker 4 (01:05:38):
He's right, exactly the ball.

Speaker 3 (01:05:42):
We had a Scotsman in both cases, Tim Soldier, Yeah,
I think why they ended up that van, which was
kind of funny.

Speaker 4 (01:05:51):
We loved that. Shall we get into Auto pointed I
was one of john Ford's favorite tunes. Apparently a lot
of john Ford movies.

Speaker 1 (01:06:00):
That would have been a perfect time for the director
to do z audio commentary and have him be the
one giving the sermon.

Speaker 3 (01:06:06):
It's a Lollo Shiffer in score, and Tim correctly pointed
out that you can hear shades of the Mission Impossible
theme at the beginning of it, and of course Missing
Impossible I think went on the air the next year.
I liked the score of this as well.

Speaker 4 (01:06:25):
I thought it was really good for me.

Speaker 3 (01:06:28):
Something that's kind of important for conn added if you
have a great score that fits with the movie, well
then it's just gravy.

Speaker 4 (01:06:36):
And this was the worst thing in comedy movies is
when they add a silly score or when they you know,
speed things up. But we don't need that. It's much
better to have the jazzy score or mad mad Mad
Mad world that's got a great score too. Oh, I
love this score on that.

Speaker 1 (01:06:54):
Yeah, it's really surprising that there is the inevitable breakup
between Jim and his love interest, but it takes less
than ten minutes for them to come back together. Usually
it's the entire third act or the beginning of the
third act there's some sort of misunderstanding and then they
come back together right towards the end and embrace and

(01:07:16):
all that. But no, it's just ten minutes. He finally
gets confronted about all the money they lose, the money,
they go after the money, don't get the money back,
and then he's about to go in and turn himself in,
which is surprising, and then they all show up with
fifty thousand dollars that had been stuffed into Inky's box

(01:07:37):
while she was giving birth. We don't want to think
about what else is on that money.

Speaker 4 (01:07:41):
I think that is a good point. But it's nice
to see all of the characters. Jim Hutton is surprised
that they're giving up this money, and they're all like
waving giving him a thumbs up.

Speaker 1 (01:07:55):
It's nobody was more surprised than me. And I kept
waiting for a punchline for that. I kept waiting for
them to say, Okay, good thing, we got all the
rest of the money back, or something not necessarily the
deep sea diving thing that they're doing. But I just
thought there would be some sort of Milton Burle punchline

(01:08:15):
there to be like do you think he knows it's
counterfeit or something like that. Like I was waiting for
some punchline.

Speaker 3 (01:08:23):
The scuba diving scene at the credits as the punch punchline,
because because, like Tim said, such a it's really sweet
because these guys like Evan, you know, like you always
see in these movies, had gotten carried away with their greed.

Speaker 4 (01:08:37):
But then at the.

Speaker 3 (01:08:38):
End, you know, they had forged some kind of camaraderie
with this guy, and they felt bad that he was
going to be in trouble and go to jail.

Speaker 4 (01:08:45):
For really that was that.

Speaker 3 (01:08:48):
Was intentional, and they'd come together and say, here we
found this, we forgot we had this fifty thousand youd
take it And you're thinking, oh my god, that's so
nan Yeah. Then for me at least, the punchline was
they're not giving up though, because they're going and looking
for that. They're not going to just let it go.

Speaker 1 (01:09:05):
When I just verified Victor does not have his pipe
at the end, but Milton Borl does have his cigar.

Speaker 3 (01:09:12):
Not going to go without that. The guy Tim You
might cut out for a minute before. What is that
famous Ford song that we were talking about?

Speaker 4 (01:09:19):
Is it Shall we Gather at the River?

Speaker 1 (01:09:21):
Yes?

Speaker 3 (01:09:22):
That's it, Shall we Gather at the River? That's what
it was, Yeah, because that was one of Ford's favorites.

Speaker 4 (01:09:29):
I bet you he.

Speaker 3 (01:09:30):
Uses that in at least half a dozen films.

Speaker 4 (01:09:34):
Well, we'll credit Howard Morris with knowing that, and watch
the Jock Ford.

Speaker 1 (01:09:39):
And then to tie things up at the very end
when she is there to give back the money, Pop
comes up and all this, and she says, oh, let's
have dinner, and he goes dinner, and we realize the
implications of what dinner is going to mean for him
for the rest of his life, and it's finally time
to settle down and put down some roots with this

(01:10:02):
wonderful woman with horrible brownies.

Speaker 3 (01:10:05):
Technically speaking, it was his playboy ways, because remember he
comes in with the sexy neighbor and he's so busy
paying attention to her that when he's putting the brownies
down the disposal, he doesn't even notice that the money's there.

(01:10:27):
That was of the beginning of his problem. So better
you should have the domestic bliss problems with Verna than
all these other headaches.

Speaker 1 (01:10:37):
I don't know. I blame Verna for not being a
better cook. I think it's really a woman's responsibility to
learn how to cook and plays a man, and by
her failing in those motherly and wifely duties, she really
is the one that screwed up this whole thing.

Speaker 3 (01:10:53):
Those times I'm glad I'm on Zoom with you and
not sitting next to.

Speaker 1 (01:10:56):
You, punch me in the.

Speaker 3 (01:10:58):
Mouth, nokening lightening my comments.

Speaker 1 (01:11:02):
She should have been a better tread wife, is what
I'm trying to say.

Speaker 3 (01:11:05):
If you're going to go for that traditional ideal, technically
you should blame Verna's mother then, because in those days
the daughters learned how to cook from their mothers, so
maybe her mother was a terrible cook.

Speaker 4 (01:11:18):
Of course, Berna thought her brownies are great because she
thinks he's eating them all the time. No, he's Cassidy
throwing him out or giving him the security guards who
will not take him a second tick.

Speaker 3 (01:11:30):
Once is enough, despite Jacqueline Suzanne.

Speaker 4 (01:11:33):
Because I was thinking out and our watching it that
that Top Copy had just been year or so earlier,
which has similar you know, a group of disparate characters
come together to perform a robbery and then things start
to go awry. So I don't know if that was

(01:11:54):
deliberate or coincidental, but I'm sure when I saw Who's
Minding the Men long long ago, I didn't know that
other film or wouldn't have made that connection.

Speaker 1 (01:12:04):
It's funny I grew up on Top Copy and not
this film.

Speaker 4 (01:12:08):
I love Peter houstonof so Yeah.

Speaker 1 (01:12:11):
And then for a little while I was like Top Copy,
we're fife these but very different. One absolute classic. The
other one, okay, it's good for a Sunday afternoon.

Speaker 4 (01:12:23):
Never on a Sunday.

Speaker 3 (01:12:25):
Oh but you know, there are those movies. They're a
Saturday afternoon movie or a late Saturday night movie, you know,
and of course it has everything to do with what
you remember from your childhood and stuff. But they're not
great movies. Well, Tim and I used the phrase when
we're watching this this week. They're comfort movies, you know,
in one way or another.

Speaker 4 (01:12:45):
Yeah, no, and a lot of them. Of course, they
have lines that you then use. I remember the out
of Counters with Sandy. Dennis keeps saying tobout, Oh my god,
we would use that my father and mother and I
when things are going wrong. And do you get the references?
Or there's countless ones and the producers but one white

(01:13:06):
white is the color of our carpets. It's these just
silly lines that do you use, almost like to connect
with people obviously wouldn't get the reference if they didn't
know the movies.

Speaker 3 (01:13:18):
Well, Tim and I still regularly will.

Speaker 4 (01:13:22):
He just did it to me this week.

Speaker 3 (01:13:24):
I don't remember who it was, but he'll text me
and they'll say he's still, which of course is from
the Godfather when Solozzo unsuccessfully tries to take the Godfather
out at the beginning of the meeting and he comes
back to the meeting with them and he's still alive.
You know, that's the stuff that sticks with you, man.
You know, there was a.

Speaker 4 (01:13:44):
Time, as going back to the early days in nineteen
sixties and seventies, when the same movie would be shown
like five days a week because I got four point thirty,
and that was before we had videotapes or other ways
to kind of preserve them. But they were preserved in
my memory. I mean, I knew these movies I mentioned

(01:14:06):
earlier by heart because I just saw them all the time.
And Otto mentioned The Godfather or The Shawshank Redemption. There's
certain kind of movies that you just see them, even
if they're already in the middle when you turn the
TV on, You'll just watch them. You know everything about them.
But they're well made, you know. In the case of

(01:14:30):
the ones I mentioned earlier, I don't think I wouldn't
make the case that Who's Minding the Mint should be
on the one hundred Greatest Movies of All Time, But
it's certainly one of my ten most favorite movies, and
you know, everyone has their own choices such matters, but
in a way, it's like you can't even argue because

(01:14:53):
it's like, you know, arguing whose baby is prettiest. I
love this movie, and I'm very grateful thanks to our
tribute to Victor Blono that we got to revisit it again.
And I'm not going to wait another thirty years or
so before I watch it the next time.

Speaker 1 (01:15:12):
Nor should you, because it is It's a lot of fun,
and I'm really glad that you guys turned me onto
this movie. I feel better for having watched it.

Speaker 3 (01:15:20):
You are better for having watched it, Mike.

Speaker 4 (01:15:23):
Well, as we finish our month long tribute to Victor Blono,
it was nice to end on a comedic note, and
some of the other movies we watched were pretty disturbing.
I'm glad we chose this one to end the month with.

Speaker 3 (01:15:40):
And as I think we said last week, all three
of those first movies we watched work of you know,
creepy movies. And if Victor Blono is remembered at all
by anybody outside this circle of three, I think it
is primarily for his comedic roles more than anything else.

(01:16:04):
He really was a great comedic actor. I mean, obviously
he could do drama without any problem. But I'm one
of those people who believe comedians can do drama successfully,
probably more not than a great you know, tragedian what's

(01:16:26):
the word, can do comedy, you know, zezy comedy as
hard as what was his name?

Speaker 4 (01:16:32):
Edmund?

Speaker 3 (01:16:32):
Something said, who's the guy that played Sam? It's a
miracle on thirty fourth Street when.

Speaker 4 (01:16:39):
Gwen, yes, Edmund. Gwen was apparently the guy.

Speaker 3 (01:16:43):
Somebody went to see him when he was on his
debt and he said, they said, how are you doing?
And he said, dying is easy, comedy is hard. I mean,
I know that's been attributed to many, many, many people.

Speaker 4 (01:16:54):
I think Aristophani said it first. Victor brought us a
lot of joy, and it's been a lot of on
paying tribute to his memory. I gotta miss this. We
might have to do an all Victor Blono podcast, All Victor,
all the Time.

Speaker 1 (01:17:10):
All right, guys, let's go ahead and play a preview
for next week's episode right after these brief messages. Looking
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(01:17:31):
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And rediscover the wonders of physical media.

Speaker 7 (01:18:01):
Rosmos and Anti the Kinish far Lady nembro Yacks PARTI
a enthocratic so I thought that is a snow managed.

Speaker 4 (01:18:12):
Mister brat qu Yak last.

Speaker 9 (01:18:18):
Settle travel TEMs part of a grandis not far Their
Palish rob Paddles were party to track USA School over.

Speaker 4 (01:18:47):
The Soul Kiss on your.

Speaker 7 (01:18:51):
Lab and I'm saying with Jerry so Droozy.

Speaker 2 (01:19:03):
And the Shimbo.

Speaker 1 (01:19:12):
And sorry, We'll be back next week to kick off
our check Timber Extravaganza with Cozy DNS. Until then, I
want to thank my co host for this month, Otto
and tim So Otto. What is keeping me busy?

Speaker 4 (01:19:22):
Sir well?

Speaker 3 (01:19:24):
I just discovered last night on Amazon McFarland has my
new baseball book up there for pre order, so they're
saying it will be available in the end of August,
which is August twenty twenty five, So looking forward to
that and just get to and write.

Speaker 1 (01:19:42):
Fantastic and Tim, how about yourself.

Speaker 4 (01:19:44):
I'm going to help Auto promote his book when it
comes out. So we need to go to the Baseball
Hall of Fame. It's been a long time. We give
our tribute to Abbot and Costello when we get there.

Speaker 3 (01:19:55):
Well, you usually when I do a podcast with Mike,
I wear my Jackson Booth T shirt, but today I
have to wear my Pirates thirty nine T shirt because
just today, long overdue, Dave Parker was inducted into the
Baseball Hall of Fame. And of course, as always, the
Hall of Fame dragged their feet and waited about twenty

(01:20:20):
five years too long. So at least Dave got to
know that he was going to go in, but he
didn't live to see it because he died about three
weeks ago because he had been very sick with Parkinson's disease.
Always kind of made me mad because I thought he
should have been in many, many years ago. But again,
you go back to those things that meant so much

(01:20:40):
to you as a kid. The nineteen seventy nine Pirates
we are Family Sister Sledge was their theme song. We
are family. I know you two don't care anything about sports.
I know you come from a big sports town, Mike.

Speaker 1 (01:20:57):
It was very big in nineteen thirty three.

Speaker 3 (01:20:59):
Come on, the Vigers have won of World Series more
recently than the Pirate I.

Speaker 1 (01:21:03):
Was watching in eighty four, so I definitely saw that
as the eighty four Tigers. Thanks again, folks for being
on the show, and thanks to everybody for listening. Do
you want to support physical media and get great movies
delivered by mail, head on over to scarecrow dot com
and try Scarecrow Videos incredible rent by mail service, the
largest publicly accessible collection in the world. You'll find films

(01:21:25):
there entirely unavailable elsewhere. Get what you want, when you
want it, without the scrolling, and yes, who's minding the
mint is available at scarecrow dot com. If you want
to hear more of me shooting off my mouth, check
out some of the other shows that I work on
today are all available at Weirdingwaymedia dot com. Thanks especially
to our Patreon community. If you want to join the community,
visit Patreon dot com. Slash Projection Booth. Every donation we

(01:21:47):
get helps the Projection Booth take over the world.

Speaker 6 (01:21:51):
My name is Victor Blano and I'm fat I've always
been fat. I was a fat baby, the fat boy.
Now I'm a fat man. My acquaintances seldom used the
word fat in my presence. They feel that it would

(01:22:13):
be as unkind as using the word drunk in the
presence of an alcoholic, and so they use other words plump, stout, chubby,
big boom. For a long time they said it was
baby fat and would burn off sometime an adolescence. But

(01:22:38):
along about my thirtieth birthday, that particular theory bit the
dust because it was evident that it had not burned
off and was not about to burn off, and that
any attempt to burn it off would constitute a public
fire hazard. I was happy to see that particularly adolescence

(01:23:03):
theory die. Anyway, the age of thirty, there's nothing more
unsettling than the thought of a delayed attack of puberty.
I'm resigned being fat, and I wish people would stop
using euphemisms because I'm fat. I'm fat, That's all there

(01:23:24):
is to that.

Speaker 4 (01:23:26):
You might think it.

Speaker 6 (01:23:26):
Etiquette to say that I am heavy, set a just
big bone. You want to bet I'm fat, I'm fat,
I'm fat, portly, chubby, plump, and stout. Everyone's a diplomat.
Why not let it all hang out and go ahead
and call me fat? So please don't think you're being
kind by pretending to be blind. Just take a look

(01:23:48):
at my physique. There's only one word, fat, and I'm
not really unhappy being fat. There are times when it's inconvenient,
such is what I'm trying to ladle myself into a
theater seat, or trying to get all of me through
a turnstile at one pass, or calling the lobby to

(01:24:12):
tell them that the bed has broken again. I'm fat.
It would be untruthful to deny it. It would also
be impossible because my failing is my flag.

Speaker 1 (01:24:30):
Some men can sin and conceal.

Speaker 6 (01:24:32):
It they're bandits, but no one gets wise. When I sin,
my seams will reveal it. My crime is proclaimed by
my size. Some folks are awful and lawful. They're loaded
with loot, but who'd know it. I try to sneak
in a waffle, and five minutes later I show it.

(01:24:54):
The fella who sells marijuana can walk down the street
like a saint, and his sister may Seema Madonna, the
vice squad can prove that she ain't. Since pounds are
like crimes, they can nail me on well over three
hundred counts and try me for each pound and jail me.
I hope I'm not fined by the ounce. I'm guilty

(01:25:15):
of imperfect diet. My weight shows I'm pizza pie prone.
I know it's no good to deny it. Now, who
wants to cast the first stove for to be a
bit more blunt? Although my belt may not be swelt,
I've never felt disgusted. The kind of part that I
have got will never get me busted.

Speaker 4 (01:26:23):
And sat and.

Speaker 3 (01:26:28):
Ing and sensing such.

Speaker 5 (01:27:16):
You know

Speaker 9 (01:27:30):
By

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 760: Who's Minding the Mint? (1967)

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Stuff You Should Know

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Episode 760: Who's Minding the Mint? (1967)

Stuff You Should Know