May 28, 2025 • 54 mins
Jay is joined by Howard Casner ( @howardcasner on X ) to discuss the 1974 British aquatic disaster thriller Juggernaut, directed by Richard Lester and starring Richard Harris, Anthony Hopkins, Omar Sharif, Ian Holm and a boatload of recognisable faces! In this episode they talk about a cruise ship under threat from a gentleman terrorist, bad child actors, drunken bomb defusal and wire cutting!
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:16):
Hello, and welcome to Deep Blue Sea the podcast. On
this show, well, I am ja Cler on this show
my regular co host Mark Cofman. I have been through
the entire Deep Blue Sea trilogy, seen by scene when
I'm looking at some Deep Blue Sea adjacent films. That's
film was directed by Ronny Harden, featuring sharks for aquatic action,
and this week is a very much an aquatic action film,
as we talk about nineteen seventy four's Juggernaut, What is
(00:38):
Juggernaut's had a very British disaster movie directed by Richard
Leicster and starring a whole bunch of people, as these
seventies to last movies often do the likes of Richard Harris,
Omarsh Ref, David Hemmings, Anthony Hopkins, Shirney Night, Ian Holme, Clifton,
James roy Keanear just like Julian Glover, loads loads of people,
lots of recognizable faces and recognizable name and it basically
(01:01):
tells the story of ocean liner the s S Britannic,
setting self from my hometown of Southampton. It sets out
it's away to the sea, and then a member of
the Nicholas Porter from the shipping company he receives he
receives a phone call from a guy Gover the nickname
(01:24):
of Juggernaut, who is planted seven bombs aboard the boat
and he'll explode them. He'll definite them unless he receives
five hundred thousand pounds in ransom. So Anthony Hopkins is
the policeman set out to try and find the bomber
in my Shereef is the boat captain, and Richard Harris
is the bomb disposal expert sent to the boat to
(01:45):
try and diffuse the bombs with his team and hilarity
in his use. So I need a guest. I had
never heard of this from my love disaster movies, but
I'd never heard of this one, so I was thrilled
to watch it. And I was first bought to the
attention of this film by my guest, who has been
on the show before. It's when he actually I think
it was on the episode that he recommended it to me.
He joined me last year for our Oscar episodes to
(02:07):
talk about Mutie on the Bounty. So welcome back to
the show from the pop up podcast, Howard cas and
how welcome back to the show.
Speaker 2 (02:13):
Well, thank you very much for taking me back.
Speaker 3 (02:17):
Happy to have you.
Speaker 1 (02:19):
So, Yes, so you recommended Juggernaul you suggested to be
a good film to talk about. So what's your history
with it? When did you first come across it?
Speaker 2 (02:27):
Well, I first saw it when it came out. I
think I was in college at the time. I was
a big fan of Richard Lester because of Our Day's
Night and the Three and four musk Teers, plus some
of his other films. That wasn't the only reason why
I went to see it. Pauline Kell raved about it,
and you tended to see any film that Pauline Kell
(02:51):
raved about. I didn't necessarily agree with her a bit.
She raved about it, then you really should see it,
especially a pop art film like Yes, so I thought then,
and I really liked it. It was. We can debate
whether it's a disaster movie. It was considered a disaster movie.
(03:11):
Paul and Kel called it a disaster movie with intelligence
or something like that. But I would say, yeah, it
probably is just about my favorite disaster movie, though it
doesn't have quite as much disaster as things like Airport
and Towering Inferno and earthquake, sign and Adventure. Sure, it's
(03:33):
much more I think issues say British, it's much more reserved.
Speaker 3 (03:38):
Yeah.
Speaker 1 (03:39):
So I've covered the two Posidon Adventures with Todd leebanaw
On here before. I watched them growing up. I loved them.
I love the likes of Towering Inferno and the more
bombastic ones like Omaged and Deep Impact, that kind of thing.
Speaker 3 (03:57):
So the Day after Tomorrow.
Speaker 1 (04:00):
I've always enjoyed that kind of disaster movie, and so like,
oh great, there's a new one, a new like All Star, the.
Speaker 3 (04:07):
Bottom on a boat. This is very this is speed.
Speaker 1 (04:11):
It was a lot in depth to Juggernut, I think, yes,
it's the same plot but just on a bus. So
as I overjoyed to watch it, and it is as
you say, it's it's debatedly a disaster movie because there's
not a lot of disasters. You know, there's threat, there's tension,
(04:32):
but there's not a lot of actual like disaster. Some
bombs to explode, but there's not a lot of death.
Some some name characters do pass away, but not many.
There's more sickness, sure, but it's it's a film that's
far more about the tension of the sequences. Like the
(04:54):
whole third act is watching Richard Harris and his team
try and diffuse the bombs, and it's all very measured,
it's very focused. There's I think like a thirty second
shot of someone trying to undo a screw head, and
it's like focused on the screw, but it's like, I
(05:16):
was scripped. Is this is this gonna explode when he turns?
Can he turn the screw? He's clamped some he's got
some plies on the side of it.
Speaker 3 (05:24):
Is that gonna have? What's that gonna happen? Now?
Speaker 1 (05:26):
I was like, what's gonna happen? I really enjoyed this film.
Was that's thrilled for the recommendation?
Speaker 2 (05:35):
Yeah, I watching it a second time, I still enjoyed
it very very much. It's it's sort of fun to
watch it a second time and and go, oh, I
know that actor. Oh I know that actor. Oh I
don't remember that actor being in And oh yeah, there
are a lot of actors in this movie that are
really familiar.
Speaker 3 (05:56):
Were there any that stood out to you? Any any favorites?
Speaker 2 (06:00):
Well, everybody has their heart out for the one who's
u trying to cheer everyone off, the master short who
really isn't very good at his job in the first place,
but he's trying, he's drying, and he's in this situation
(06:26):
where how can anybody ever succeed? It leads to a
very nice moment when he dances with Shortly Night and
then everybody finally starts a partying, but he definitely, uh
you know, stands out for me. I think, yeah, I
(06:47):
think this big one. I think this one everybody kind
of uh remembers as well. An Holme is so young.
Speaker 1 (06:56):
I mean Anthony Hopkins as well. Yes, it is the
young Brackets, middle aged Anthony Hopkin.
Speaker 2 (07:04):
I was so surprised to see him young, I guess
because you know, he didn't really make it really big
until yeah, middle age. But he's done all these other
movies before before that, so uh yeah. But and also
Roy kan here has that great line about oh, this
(07:26):
is going to be a night to remember and.
Speaker 1 (07:28):
Then looks to the camera and I pulled at his coat, like, yeah,
I already liked Roy. It was a world film before
I went.
Speaker 3 (07:39):
Like, oh, it's Rucasolt's dad. That's where I know you're from.
Speaker 1 (07:43):
I hadn't clicked, but yeah, Richard Lester used him in
a bunch of films. Apparently this is only my second
Richard left the film. I didn't like A Hard Day's Night.
I know I'm in the minority for that one. Well
I've never been.
Speaker 2 (07:55):
There, and I think we need to in this conversation. Now.
Speaker 1 (08:00):
I've never really been much of a Beatles listener, and
so I kind of watched that film. I didn't know
what it was going into it. It won Movie of
the Month on the LAMB Cast a few years back,
and so I just kind of put it in blind, like, oh,
this is a Beatles film, Let's see what this is.
And I just kind of sat there like, well, this
this isn't I wanted like a plot and a script.
Speaker 2 (08:23):
Now it's a It's actually Arts Brothers.
Speaker 3 (08:25):
Film, right, I've not I've seen a couple of those.
Speaker 2 (08:29):
I thing, Yeah, that's all it is. It's just a
series of skits with a very loose you know, thing
very loose connected read to them, with them trying heading
to heading to a performance on television, which.
Speaker 1 (08:47):
Was not what I wanted when I sat down to
watch that, and I haven't and I haven't gone back
to it, and like I can sit and thinking like, oh,
this is a lot of I'm going to listen to
Beats music at least and I hadn't heard of most
of the songs in A Hard Days Night, which on
that episode, all the other guests were flabbergasted that I
was like, unfamiliar with these.
Speaker 2 (09:05):
Yeah, flat too, It's a little hard to understand how
you just managed to go through life twenty four hours
a day without having heard these at some point. But
even though you are much younger, of course than many
of us.
Speaker 1 (09:21):
But Yeah, when I graduated from university, we had a
summer ball, so I went to the Somall and it
was a bus back from there and everyone had a
few drinks. There's like a bust back to the beach
for a big group photo, and everyone started singing this
song and I was looking around, like, how does everyone know?
Like the worst of this song? I'm learning for the
first time, And that song was Hey, Jude, I had
(09:43):
never heard and I was twenty one.
Speaker 3 (09:46):
I should never come across this. So when I saw.
Speaker 1 (09:53):
When I saw the film yesterday, I was like, this
film makes no sense to me at all. No one
would remember any of these. The Beatles are just not
something like my parents never listen to the Beatles. My
dad's more of a Shakira. He listens to and the Eagles,
So Genesis, it's the band me and my dad's share.
(10:15):
So yeah, I wasn't like Thrilled Ah, another Richard last
of film, but this is much better than A Hot
Days Night in my opinion.
Speaker 2 (10:24):
Well, I think my favorites of his, besides A Heart
Days Night, which is one of my type five top
five musicals, are The Three and Four Musketeers, which I
expected to be bored by because I thought there'd be
some kind of of worshipful BBC MASTERBCE theater production, and
(10:47):
they're not. They're riotous comedies, which I was surprised. It's
very true to the book when I read the books.
The books are actually very funny and very tongue in
cheek as well. And I've liked him. It's when he
got to the Superman films, and that point he sort
of started making films that I just didn't find interesting.
(11:10):
I found less and less interesting, and then he stopped
making films in you know, nineteen eighty nine, apparently because
a death of a friend was really did a number
on Aiman. You just stopped making films. But I did
a Forgotten Film podcast on the Rifts. She came out
(11:33):
in nineteen seventy six.
Speaker 1 (11:35):
When I first watched I watched Juggernaut. Initially, I was
received a copy to review for Blueprint review Back kind
of midway through last year, toward in the last year,
and I watched it and I sent Todd from Forgotten
Film as a message saying, like, it's just watched his
film Juggnal, I think it makes for a great episode
of your podcast, and he had literally, like within the
past fifteen minutes, just finished recording an episode with Richard
(11:58):
Kirkham on Juggernaut.
Speaker 2 (12:01):
So oh yeah, one problem is you couldn't find it.
I mean, yeah, well it wasn't in prime for a
long time because I looked and you couldn't even rent it. It
wasn't even rentable on crime. And then suddenly it starts
showing up and that happens.
Speaker 1 (12:21):
Well, I think it's had a re release because I
received it got a Blu Ray release, So I do
own this on disc now.
Speaker 3 (12:30):
Yeah.
Speaker 1 (12:31):
So, so you also mentioned Ian Holm being like a
standout character.
Speaker 3 (12:36):
Really I really liked you know.
Speaker 1 (12:37):
I feel like his role is what makes is part
of what makes this a very British film, like focusing
on the head of a company and like him being
annoyed with with he wants to pay the ransom and
the police won't let him, and it's just being annoyed
with the higher ups. It feels like a very kind
of English for British situation.
Speaker 2 (12:58):
Well it's it's not just an English situation. This is
a very very big it's there. There's a couple of
other movies where they cover the subject of kidnappings and
sometimes people are held for a year before they come
to an agreement on how much money to pay, And
(13:22):
it is a bit do we pay, do we not pay?
How long? Because if we pay then they'll just keep
doing it. And of course in Captain Phillips, the US
Marines just come in and wham wipe those people out.
So it's a very difficult decision. Do you give in
to terrorists or do you not? But what can you do?
(13:48):
I mean, there are all those people, You've got it.
You can't just let them die.
Speaker 3 (13:53):
Sure, absolutely, And you know, he.
Speaker 1 (13:57):
In some other instances you might expect, like the head
of the companies people more concerned about this is going
to look terrible for the company, all these people done
in the boat, But he seems far more concerned about
the lives on board rather than or at least he
seems concerned about the letters he's going to have to
write to the survivors of the lives on board.
Speaker 2 (14:13):
Yes, because it's going to have to write one to
each person.
Speaker 1 (14:18):
And but I did I appreciate when we first meet
him when he receives the call about the bombs and
a Roundso he's like halfway through feeding his kids breakfast,
and it's like, yeah, the hassle going on there instead,
it's not just sat there on the phone rings, I'll
take this call. He's like, you know, he's probably half
(14:39):
listening because it's kids trying to eat the cereal. And
that's that's a nice little character moment. We don't really
get more of that, Like after that scene was just
he's in the office. He's dealing with this no more
family stuff, which is kind of the same with Anthony
hopkins character.
Speaker 3 (14:55):
Superintendent John McLeod.
Speaker 1 (14:57):
His wife and children are on the boat, and I
don't think that affects anything he does. He just, yeah,
my kids are on board. Life's a lottery. I'm just
going to keep looking for the bomber. And I if
this were an American film or a more modern film,
I think we would get more scenes like.
Speaker 3 (15:17):
God, damn it, my family's on that bart, We've got
to stop this, a lot more emotion going on.
Speaker 2 (15:25):
Well, I think that's one of the things I like
about Anthony hopkins performance, at least for me. Whenever you
see his eyes, there's this terror and hopelessness in his
eyes because he doesn't know what's going to happen or
if he can help save his kids. And the only
way you can save them is to find the bomber,
(15:47):
to find the one who set it all up. When
it came to the investigation, this is maybe jumping a little.
That is the one area where I think it's sort
of maybe could have been stronger. Someone had to get
those six bombs on board. The bomber couldn't have done it.
(16:10):
I don't think he could have gotten one on board.
He was going to have to pay people to put
all of those on board, and they don't go in
that direction to find out.
Speaker 1 (16:23):
Well, yeah, because like Anthony Hopkins has got two kind
of subordinates with him, and one of them goes like, so,
I don't know how did he get the bombs on board?
And the other one goes like, oh, you know, someone
working for the boat maybe, and they just don't. They
don't pursue that any anymore. But you're right they wouldn't.
That's the direction they should have gone in. So like
that's they said, they get a list of all the
(16:46):
boys to understand Big Bangs, which is nerved down to Arabs,
Irish and anarchists.
Speaker 3 (16:52):
Oh, this is a film from the seventies, and that's
the way to go too.
Speaker 2 (16:55):
That's an equally valid way. But I would be investigating, yeah,
who actually physically brought them on? For some reason, sign
always reminds me of the Dark Knight Rises, where you know,
after the Joker has done all these terrifying things, I
can think is, how did he manage to get all
those bombs on this ferry without anybody noticing? Oh, something's
(17:17):
bringing up a bunch of barrels on everything a terrorist alert.
Speaker 1 (17:26):
Everything the Joker does in the Dark Knight is kind
of you know, Mark has done a piece before of
I think how long it would have taken him to
stack up that giant pile of money that he sets
fire to in the Dark Knight. Just I love Mark's
post and that kind of thing. How long it would
take in I'm not sure which one of the the
(17:48):
Zack Snyder films it is, but one of them, the
Joker has like just a whole floor covered with knives
and swords and all things pointing inwards. And so Mark's
worked out how long it would have taken to sett
all that out, just like.
Speaker 2 (18:01):
Yeah, like those domino things that you see take some
days to sit up.
Speaker 1 (18:07):
The domino things, absolutely, but that's like for something that's
for a YouTube VideA. Then the knife one, I think
it's just he's that's just his house. That's just he's
just done that for himself.
Speaker 3 (18:18):
I think. I think that's one of the suicides called films.
I regret, I forget. Uh.
Speaker 2 (18:23):
I also at the hospital where the hospital, you know,
he starts catching on fire and starts exploding. I'm going,
and that would take a lot of people to set
all that up, and nobody noticed someone was bringing in
all of this stuff.
Speaker 1 (18:38):
But we know he has the ability to hire people
because like the opening bank robbery, he's like hired all
these people and then they will kill each other up
on the one. So I would assume the same thing
has happened in the in the hospital way, He's hired
a bunch of people and they will kill each.
Speaker 2 (18:50):
Other versus the doctor's there who are going Did anybody
order any work to be done on any wiring, any
extra wiring, and uh, you know, things of that nature.
So I feel like thing about The Dark Knight Rice
is it's my favorite of the the Batman movies, and
(19:11):
I love it. But you can't start thinking about it.
Speaker 1 (19:16):
I mean, Gotham Hospital probably wide a busy place, so
I think it could probably so oh yeah, that person
is just fixing something. There's always someone here fixing something
that like, there's always the Red Led just blew a
hole in the hospital last week.
Speaker 3 (19:31):
Someone's coming to fix it.
Speaker 1 (19:33):
Anyway, we have wandered far, and that's fine.
Speaker 2 (19:40):
I also like the talking about people we liked. I
liked the steward who would pretend to be.
Speaker 1 (19:49):
Yes is that Russian seth as As that who played
Chatta Lal in the.
Speaker 2 (20:00):
And it'll get sympathy from all the people theoretically to
get better tips and everything. And then when he leaves,
he just says, this what Southampton Naxent or some sort.
Speaker 1 (20:11):
Of it's more London, but yeah, it's we're gonna get
you in the fall this weekend.
Speaker 3 (20:17):
Yes, Yes, I like.
Speaker 2 (20:19):
That's what I did like about it that I actually
like better than I like a lot of the disaster films,
because in all these disaster films, they do work hard
to give people personalities, but no matter how hard they work,
they all come across this flat or cardboard unless you
(20:40):
have somebody like Shelly Winters go in there, or airport,
you have Marine Stapleton and Helen A's and e Flyn.
The characters, no matter how much they emphasize the personality,
are very flat and one dimensional and interesting. Here, they
don't do much. They just do everything with a couple
(21:00):
of lines, and you understand these people completely, and it's
really not about the personalities. It's about their reaction to
what's going on, is trying to get this bomb disposed.
So I'm not as interested in in depth necessarily. I
want them to be not flat, no one dimensional, and
(21:23):
I think they do a really good job of that here.
Speaker 3 (21:28):
I agree.
Speaker 1 (21:29):
Yeah, there's a lot of kind of small moments that
we have. Imash Re if he's a captain, he's in
a relationship of sorts with I think it was Cherry
Knight's character, and so when he finds out about the
bombs and she doesn't know yet. She comes to see
in his room and he's very short and abrupt with
her and kind of dismisses her. And later on she
(21:49):
finds out about the bombs and she's understanding, but not fully.
Speaker 2 (21:54):
It's like, oh, well, she's understanding. Yeah, she understands that
he'll always be a captain and that she'll never be
able to fully yes her.
Speaker 3 (22:05):
I mean yeah, and I like you forgive she moves on.
Speaker 2 (22:10):
And I like the American senator who says I can
tell with that being lied to because I do it
all the time.
Speaker 1 (22:18):
So that that's Clifton James, who is a sheriff J. W.
Pepper from a couple of the Roger More Bond films
and which amongst the worst part of any Bond movie,
but also some of my favorite stuff. And so when
he cropped up on this, it's like, ah, he's like
a kind of Chicago Mayer kind of characters. Oh great,
(22:38):
this is going to be fun. And he is fun.
Speaker 3 (22:40):
He's I enjoyed him.
Speaker 1 (22:42):
He's like, I can tell when someone's lying, and I
can tell when that lies come up and bit me.
And then later on in the film he overhears as
Stewart said, it's all gonna be fine, Everything's okay, and
he's like, I just got bitten again.
Speaker 3 (22:54):
Is Yeah.
Speaker 1 (22:55):
A few little nice moments with him, and he just
when when the captain is explained in the situation to everyone,
he's just like, so, just to make things clear, everything
is we're all going to die, right, And Captain's like, yeah, okay, great,
thank you.
Speaker 3 (23:09):
I liked him.
Speaker 1 (23:10):
There's a nice, nice mix of kind of believable people
about this this. But there's one guy who I think
he's credited as the Walker Ben Ben Harris. He's got
like a mustache and he just it's just present in
most of the shot. Most of the he's there all
the time, just kind of wandering around, walking around the boat.
(23:33):
Doesn't really have much to do, but he's just always
there and always recognizable as a little little comic moments
here and there.
Speaker 3 (23:39):
I really liked him as well.
Speaker 2 (23:41):
Just he tries to pick up Shirley Night at the
very beginning, and she brushes him off and he walks off.
He's already looking for his conquest, but yeah, and you
start to see panic in his eyes and he starts
to realize this isn't good. This is not good.
Speaker 1 (23:58):
I got a Drew and Brody and Thin red Line
kind of vibes were like, did this guy sign on
and thinking he was going to be the lead, and
he's like he's in every scene, but.
Speaker 3 (24:07):
He just doesn't do anything. And then at the end
of the film he doesn't do anything.
Speaker 2 (24:12):
Anyway. Oh there that was I don't know if you
ever heard the story. Adrian Brody was told he was
a central character.
Speaker 1 (24:20):
Yeah, he filmed a lot of a lot that was
cut out of the film.
Speaker 2 (24:25):
And then took his family to the movie and then
he was barely in it, and that was pretty devastating.
Speaker 1 (24:32):
Yeah, well, I mean that's what happened. I can't remember.
Have you seen Deep Bluecy You're just you're just not
a big fan of deeplusy.
Speaker 2 (24:40):
I haven't seen.
Speaker 3 (24:41):
Okay, problem, that's fine. I think last one.
Speaker 1 (24:44):
So the end of Deep Busy is a character dies
who didn't die first time that they filmed it, and
then he reshot the ending so that the character then died,
but they reshot it without the actor, and so they
they found out they just like see joy that they
found out when they went to the the screening the premiere, like, oh,
(25:05):
I died. Oh I see, so, yeah, that happens more
than you might think. Yes, you know, that's the game.
I guess because they did a test screening and people
didn't like that. Characters survived because they saw the most
of feeling. I mentioned Anthony Hopkins has family on board.
(25:26):
This family includes children. These are possibly the worst chart
actors I've seen in any film ever. I don't have
their names. I'm not going to come up with their names,
but they're terrible.
Speaker 2 (25:38):
Oh, They're just They're just little. They're not except a
little chairst I mean, they're acting like children would on
a ship like that. I mean, this is very This
is if you've you've been on a recent ocean liner. Writer,
I was.
Speaker 3 (25:58):
Like, within the past ten years I have, Yeah.
Speaker 2 (26:02):
Yeah, I was. They're all very, very different. And today,
because they're much bigger, there's so much more to do.
So today the kids would have so much to do.
They would be going off to the kids area to
play oddly, but here they're just sort of lot loose
and they do what kids do. They just run all
(26:22):
over the ship and you I wonder if one of
them is going to slide off into the or not.
And you're wondering if you wish they would.
Speaker 3 (26:33):
Yeah, it's more just like the line delivered. I know
the children shouldn't expect more from them, but just well
it looks.
Speaker 1 (26:40):
Like my action Man. It is action Man. And the
sister replies, it isn't. It's all very wooden and just
I didn't enjoy these children being on board, and I
understand why ant Hilkins wasn't like, yeah I should, I
should definitely say if my kids anyway.
Speaker 2 (27:00):
I wonder if they were related to somebody.
Speaker 1 (27:03):
I mean, they both have the certain it's Adam Bridges,
Rebecca Bridge, so as David and Nancy mcleo.
Speaker 2 (27:13):
So I bet that's the typo. I bet they're related. Maybe,
but no, no, no, Bridges says, anything to do with
the movie maybe not. Oh, kids can't live with them,
can't kill them.
Speaker 3 (27:30):
Yeah, I can't eat a whole one. I'm just seeing
if they did anything else.
Speaker 1 (27:36):
So Adam Bridge has six credits. This was his penultimate credit.
He was two episodes of Hunter's Walk and that one
episode of Warren Peace, a bunch of stuff I've never
heard of, and Rebecca Bridge did some of the similar things.
So I'm guessing, yeah, maybe they were related because they
(27:56):
were a lot of stuff together.
Speaker 2 (27:58):
Probably as soon as they paid off the mortgage for
their parents, so and okay, you don't have to act anymore.
Speaker 1 (28:05):
And they are both from Basingstoke in Hampshire, which is
not far I have I know people in Basingstoke, so yes,
I'm going to guess that they are related. And one
of them has a stage name. Uh good, good for them.
So I think the most action sequence of the film
(28:30):
is trying to get the bomb disposal guys onto the
boat onto the ship. Yes, because it's worth noting the
ship is in a storm. It's like stuck in choppy waters. Apparently,
as based on IDW trivia. In order to get all
of the extras for the boat, they put out a
cool saying like free cruise.
Speaker 3 (28:49):
Come and be on a free cruise.
Speaker 1 (28:51):
Just so you know that we're going to intentionally find
the worst water to sail around in. So it's going
to be a free cruise, but it's gonna suck. And
they had like thousands of applicants they had to cut
down to a couple of hundred. So yeah, that the
boat is like doing circles in the storm. They can't
get the lifeboats out and these people, these seven guys,
(29:14):
Richard Harris and his team need to come in and
they parachute in from a plane and they dropped into
the water and there's these wooden ladders that are dropped
down from the sides of the boat, and it's like
a struggle.
Speaker 3 (29:24):
Can they get to the ladders? Can they get up
the ladders.
Speaker 1 (29:26):
There's a little lifeboat out, but it's not doing anything
useful and most of the people on it die.
Speaker 3 (29:32):
I know, did you enjoy the sequence that? Did it
work for you?
Speaker 2 (29:37):
Yeah?
Speaker 3 (29:37):
I was.
Speaker 2 (29:37):
I did sort of wonder why they weren't pulling the
ladders up when somebody got on them. But no, that
was I mean, it was just so sad. I mean,
one guy dies. One of their group dies before they
even get on board to try to so that's one
down already, and you sort of wonder what these people,
you know, what do they get out of all of this?
(30:01):
I mean, in in the herd locker, you know, he's
he's sort of described as a thrill seeker, as someone
who needs that shot of adrenaline and adrenaline chunkie, you know. Here,
they don't really dig into what these people get out
of being on this bomb squad, well, I.
Speaker 1 (30:23):
Guess I might might guess be it's kind of the
greater good of it, or like you're you're diffusing a
bomb to say people that people need these bombs to used.
You know, if you don't, then these people will die.
So it's kind of why why do people sign up
to be firefighters or the lifeguard or whatever they called
there on the line like all these because the job
(30:45):
needs doing and if you don't, people's suffer.
Speaker 2 (30:49):
And I think most most bombs here that they would
be thinking of in England would be much more easier
to dispose of in their other ways to dispose of them.
It's yeah, but yeah, it's quite a job. I mean,
that's what part of the attension too, is just what
(31:12):
he could die at any second. Everybody could have died
any second, and he just keeps on going.
Speaker 3 (31:17):
He just.
Speaker 2 (31:19):
He only stops when it seems selpless, and then he
makes the existential decision to go back because that's what
he does. That's who he is. That's yeah, that's just life.
Speaker 1 (31:31):
That's what I like about these kinds of ensemble films.
It's like people anyone could not make it. Like there
were times when I thought Richard Harris's character, might you
know he's on he's at risk. I didn't checked, like
the cast hasn't seen he's top build.
Speaker 3 (31:47):
I just think so.
Speaker 2 (31:48):
I think he's going to be pretty sife until unless
it's the last few minutes.
Speaker 3 (31:53):
Yeah, but I hadn't.
Speaker 1 (31:54):
I didn't know he was top build, like I was
working at. There's one of the not to go back
to Bond again, but one of the Roger Moore Bond
films is The Spy Who Loved Me, which features.
Speaker 3 (32:06):
A bomb on a boat.
Speaker 1 (32:09):
I think it's a boat, and Roger Moore is the one.
James Bond is one like diffusing it and it's kind
of I really hate the sequence. IVE heard people say
they love it, but I hate it because it's not
shot very interestingly. It's just kind of Roger Moore knelt
down diffusing a bomb, and the whole time you're watching it,
you're thinking, well, this isn't gonna go off, because like
(32:29):
they're not going to kill James Bond here is like
this is a really boring sequence because he's just doing
He's just sat there. It's kind of it's slow, it's
it's long, it's just James Bond staring down a barrow
and diffusing a bombs. They could shoot this more interestingly,
or they could have somebody else doing it and James
Bond is off doing something else at the same time.
There's no point having James Bond difusing a bomb for
(32:51):
three minutes, because that's three minutes from sat there looking
at my watch thinking move it on, come on on
to the next thing, because this isn't going anywhere whereas
in Jugger or not having Richard Harris and his team
his second command is is Charlie, David Hemmings and the
rest of them that were having them diffuse. It's like, well,
this could genuinely, this could take out these people. David
(33:12):
Hemmings doesn't make it.
Speaker 2 (33:14):
And it is interesting sentence when you see a movie
like this years later when a lot of these actors
weren't these people yet Today we would say, oh, no,
they're not going to kill Anthony Hopkins, but actually back
then he really wasn't Anthony Hopkins, so yeah, they could
have killed him.
Speaker 1 (33:33):
I mean, he's the Jeff Daniels rule, and Jeff isn't
like High, isn't like the top three of these like
fourth build as is Anthony Holkins.
Speaker 3 (33:46):
So it's very much kind of the beast.
Speaker 2 (33:49):
You can even kill oh Marsha Reef as well, And yeah,
you know that. You know though oh Mars Reif was
oh marsher Reef at that time. I mean it was
really He's probably the biggest movie star in the mood
in that movie at that time.
Speaker 1 (34:07):
He's another actor who I've seen very I've seen Doctor Chibalgo,
I've seen Lawrence of Arabia.
Speaker 3 (34:13):
I think that might be the end of my Cherif list.
I don't know what.
Speaker 2 (34:17):
I've seen Funny Girl, and I've seen a couple of
and I've seen Cairo and a couple He's I can
never remember whether he's in the Uh Police, the Leslie Nielsen.
Speaker 3 (34:39):
Oh, he's in top Secret.
Speaker 2 (34:41):
I have seen Secret. Yeah, he's in Toysterical in Top Secret.
That is a brilliant, brilliant set piece there when he
comes back. Yeah, you're just laughing for ages. Uh. And
then I've recently seen him in a couple of Middle
(35:01):
Eastern films, because he would go back and forth, he
would make films in Egypt and around there and then
come back. I was never a big fan of his.
I don't never thought he was a particularly good actor, though.
I think he's much better in his Egyptian films maybe
where the he doesn't have that much problem with the
English language, where he's speaking his own language so that
(35:24):
the English isn't getting in the way. He's pretty good here.
I don't really have a problem. But he is a
very relatively small part here, and it doesn't require a
lot of emoting. I mean, a lot of these people
don't really emote very much. Ridardius does have a couple
of moments of emoting, you know, throws them.
Speaker 1 (35:42):
Oh, he's going all yeah, yeah. Towards the end, he's
going on he's.
Speaker 3 (35:50):
Like, my trade is survival.
Speaker 1 (35:54):
So everyone's being specs of dust in the universe. He's
it's what the think. He's doing a lot of the diffusal.
A few drinks in he's like, I've got to go
and diffuse his bomb. Let's have a drink first.
Speaker 2 (36:09):
I'm now drunk.
Speaker 3 (36:11):
Now let's go do.
Speaker 1 (36:15):
Some real fine tuning of a bomb with screws and
contacts and all these kind of things that require a
steady hand on a boat in a storm whilst half cocks.
Speaker 3 (36:28):
Yeah, I mean.
Speaker 1 (36:30):
The all of the bomb difusal scenes.
Speaker 3 (36:34):
Crucially I found very interesting.
Speaker 1 (36:37):
It's their tents. They're well shot, lots of close ups
of the mechanisms. It reminded me of Raffifi the the
bank robbery scene in that where it's just like you
half an hour of silence and then putting an umbrella
through a hold of catch debris as they drill a.
Speaker 3 (36:54):
Hole in it. That kind of thing.
Speaker 1 (36:56):
Just just watching someone who like knows what he's doing
and doing it well and talking through the process, and
the fact that you know it's Richard Harris, a very
good actor. He's like a captivating screen presence who he's
making quips, he's making jokes, but I always find into
quite a somber presence in anything he does, even like
you know, I first saw him as Dumbledore because that's
(37:18):
the generation that I am.
Speaker 2 (37:21):
He's there, We're going to be on our third Dumbledore now.
Speaker 1 (37:26):
John Lesgo, I'd asked, think it might be, which I mean,
I'm just ignoring that TV show is happening as much
as I can, But I think Richard Harris is in
an Orca mode. He covered Walker on this show, and
that's another as a very similar.
Speaker 3 (37:44):
Role to this, I think where he's just like a
grizzled guy.
Speaker 1 (37:47):
He's not the happiest person to be around at any pointment.
Speaker 2 (37:51):
Adam is sure he ever played a happy person.
Speaker 3 (37:54):
I'm struggling to think, you know.
Speaker 2 (37:59):
I mean, I'm sure done or for the deep.
Speaker 3 (38:01):
Bluec So, yeah, it's good.
Speaker 2 (38:05):
He's not mister Sunshine there, He's definitely not. And then
we did Saturday night and Sunday morning and he's definitely
not mister Sunshine.
Speaker 3 (38:15):
Definitely not there. Unforgiven he has he has some fun
and unforgiven, but not for long. Yeah.
Speaker 2 (38:27):
I mean the most happy it's ever was was this Dumbledore.
And you know it's very different.
Speaker 1 (38:32):
Even Yeah, he's not like the life and soul of
the party. Uh, he's Dumbledore.
Speaker 2 (38:40):
And I guess he did because his grandchildren said, we'll
never talk to you again if you don't do it.
Speaker 3 (38:46):
And then he died.
Speaker 2 (38:49):
Yeah yeah, so are you happy grand kids? Are you happy? Yeah?
Because yeah, I was doing Gladiator at the time. I
mean they had to do they have to do reshirt
or something.
Speaker 1 (39:01):
I believe sir do something because he yeah, he died
and he died after Gladiator.
Speaker 2 (39:10):
Yeah, so they couldn't but they couldn't. It wasn't quite finished,
and I think they had to do some you know,
there's always they go away for a while and then
they have to come back and do things, reshoots and
things like that.
Speaker 1 (39:26):
I thought it was just all read that they had
to cg around.
Speaker 2 (39:32):
Maybe I got them mixed up.
Speaker 1 (39:33):
Maybe it's yeah, I already died mid Gladiator, whereas Harris
died two years after it came out.
Speaker 2 (39:39):
I think you got but yeah, they were all the
drinking batties.
Speaker 1 (39:46):
But yes, yeah, back in the day, yes, ye, and
towns on fire.
Speaker 3 (39:54):
I think something quite literally.
Speaker 1 (39:57):
Uh yeah, So, I mean I enjoyed Juggernaut.
Speaker 3 (40:04):
I had a good time with it.
Speaker 1 (40:06):
I've kind of it's it's one of those films that
it's just kind of a real solid, recommendable experience. Do
you have anything any other parts?
Speaker 2 (40:13):
She wants to talk about, but we have to talk
about the ending, okay, please, Well, I mean it's it's
it's iconic now red wire, blue Wire, Oh.
Speaker 1 (40:26):
I see, yes, of course. Yeah, it's been used the
lunchtimes and this was the first time it was used.
Speaker 2 (40:32):
Yeah, and I always thought it was brilliant because he says,
you know, blue wire, and he hesitates and then he says,
I said the Blue Wire, and then you instantly know
it's got to be the Red wire because he didn't
hear an explosion.
Speaker 3 (40:47):
Yes, it's it's very well done. Yeah, because.
Speaker 2 (40:54):
Time and time and time again.
Speaker 1 (40:55):
Yeah, what character was command of Command of Man. It's
a bad name because I played with Julian Glover and
I didn't remember seeing Juding Glover in this film.
Speaker 2 (41:07):
I see that. I get also get him mixed up
with there's another Julian Glover as well, and I always
get them. I'm mixed up. Yeah, I think he he,
I think I remember who he is, but he was
sort of grizzled in the movie, and I think he
you know, it looked like he had a growth beard. Okay,
(41:30):
sort of. But since I always getting mixed up, I
never remember what he looks like. Because there's an American
actor Julian Glover, and and whenever I see Jillian Glovers
and an English fami, I thought, well, I didn't think
Judy and Glover was that old, and you know it's
a totally different Julian Glover.
Speaker 3 (41:51):
Fair enough.
Speaker 1 (41:53):
Ah Okay, yes, yeah, the end, The ending is iconic
with the wires. You know, I did like all the
all of the detective stuff on land On on land
On trying to track down the bomber, like they traced
the phone. Cool, but it's two phones, one into another.
Uh and you know.
Speaker 2 (42:13):
That was the other thing I thought too, that they
just sort of left and I'm going, No, you're going
to go down and interview Aaron free single person.
Speaker 1 (42:23):
That's that topless lady getting changed? You ran past, Let's
just do it.
Speaker 3 (42:27):
Why is that in his what's that doing?
Speaker 2 (42:33):
Yeah? You've seen any strangers around you know who has
access to the top I mean so yeah, I thought
I often see this in movies where going Why aren't
you doing this or aren't you doing that? In investigating
and trying to find something? But uh yeah, And I
(42:55):
also thought five hundred thousand pounds even in those days,
I guess for a lot more than that.
Speaker 1 (43:03):
Well, I mean, you get I got the they thought
that the person behind it, the Juggernaut, is like a
gentleman terrorist in the He's not being greedy. He just
wants he wants enough to be comfortable to go and like,
you know, settle down somewhere else and get what he thinks.
Speaker 3 (43:21):
He's old so will be nice.
Speaker 2 (43:24):
Except they show him in this incredibly nice house, two
story with nice furnishings. Ah, I'm going, where's your many problems?
Speaker 1 (43:39):
I mean this again, this is the seventies. Things were
cheaper then, so you could you could afford a nice
two story house on one salary. And you know, all
the stuff at at the train station or is the
train station with the guy collecting the bags and dropping
them off, and with the bags full of money, it's
just another guy being paid off.
Speaker 3 (43:59):
That was all, you know, interesting as well, and to
watching a play.
Speaker 1 (44:02):
It's all you can see, what you can follow what's
going on.
Speaker 3 (44:05):
It's all entertaining. It's it's like.
Speaker 2 (44:09):
Him, get him. He goes up and they say there's
this charge because it weighs too much and he doesn't
have any money, and he can't go into the bag
and taken if he can knows that there's money in
the bag, and they asked, well, why didn't you use
the money that you were paid? Good thing, it's.
Speaker 1 (44:30):
Already Oh yeah, it's the reason you took this job.
It's because you're a full yes.
Speaker 2 (44:40):
And no, I think it's uh it is, it's it's
it's a very solid, very enjoyable uhbove average film that's very,
very entertaining. That's a lot of familiar faces. I think
the the uh, the screenplay is very strong. I know
(45:03):
that Richard Lester was upset because it kept getting described
as a disaster film and he didn't consider it to
be a disaster film. And I guess it didn't do well.
Speaker 3 (45:22):
I didn't well remember America.
Speaker 1 (45:24):
I believe it did. It did reasonably well in England
and in Europe, but I believe it didn't. It was,
as he said, it was kind of mismarketed in the States,
and they didn't do terribly well. But he wasn't the first.
He was the third director brought onto they the first
two dropped out or a fire, and he was kind
(45:44):
of It's a very Renny Harlin esque set up where
he was like pulled in to do the film a
few weeks before it was they had to start filming it,
and but still delivered it. And then they cut the
budget and he still delivered it on time and under budget,
which is a very reny hardened thing.
Speaker 2 (45:58):
Most of his wonderful Richard Lester's style of filming with
the kinetic and forrenetic editing, where oddly we would say
it makes it look very realistic in documentary. Whenever there's
an events in film, they always say that the previous
thing was more realistic when it wasn't, such as silent film.
(46:19):
Then you got sound and people complain that the sound
film was less realistic and silent film and we're going,
but we have ears and we hear, so sound film
should be more realistic. Then you get color, and they
said that black and white was more realistic the color.
But I'm going, but we see in color, and here
we have this very very frenetic type of edgy documentary
(46:41):
like handel camera even type, and everybody thinks that's more realistic.
I'm going, but when we see things, they're very steady.
Speaker 1 (46:50):
Now will be one long take will be the most
realistic film. Everything is just shot from a Everything will
be nickelboys will just shot from p of the long takes.
Speaker 2 (47:01):
And you know Andy Warhol's Empire Stable just stay ready for.
Speaker 3 (47:08):
Not a film. Wasn't that?
Speaker 1 (47:12):
I think it was originally shot to be like the
back the background for an art exhibition, like this is
you're supposed to sit and watch this, You're supposed to
just this is like on it's like, you know, watch
everything else.
Speaker 3 (47:23):
This is just kind of fitting up this this wall
over here.
Speaker 1 (47:26):
But people, it's on YouTube and its entirety, And I
know people who have watched the whole thing eight times speed,
just to see if anything happens.
Speaker 3 (47:35):
If anything happens, you'd know you happened.
Speaker 2 (47:37):
You know, lights go on and off and things like that.
But it's I haven't seen it, but I don't suppose
it's the most exciting of plots.
Speaker 1 (47:47):
Yeah, if they had put that on the thousand and
one movies you Must See before you Die list, I
would have watched it as fast as I could, which
would have been like scrubbing through with the bar of
the bombing of screen and get into it and goes, yep, okay,
this it's the empire state, you know, the course of
a day.
Speaker 3 (48:01):
Don't watch it. It would be it would be the entirety
of my review.
Speaker 1 (48:07):
But this is not that. This is better than that.
This is an actual film with characters and plot and
spectacle and tension. And if you've made it this far
and haven't seen it, go and watch Juggernaut. It's a
really good film. Did you have any other notes anything else?
She wants to talk about jugging.
Speaker 2 (48:24):
No, I think we I think we covered it all.
Speaker 1 (48:27):
Say okay, great, well we have a feature left to do,
which listeners, this is your first time listening to the episode,
Welcome as we go through these films.
Speaker 3 (48:37):
Because this is deeply see of the podcast. I go watch.
Speaker 1 (48:41):
It again and work out on average, how deep all
the action takes place, how blue everything on screen is.
And this is new since you last on, Howard, how
much the film takes place at sea? So, of course
Deep blu Z is on average fourteen and a half
meters of forty seven and a half feet deep, thirty
one percent blue, and eighty nine percent of DeepC takes
(49:02):
place at sea.
Speaker 3 (49:03):
Howard, do you.
Speaker 1 (49:04):
Think Juggernaut is deeper, bluer, and more at sea than
Deep Blue Sea?
Speaker 2 (49:09):
I doubt it's bluer because from what I've seen of
the movie, it's really technic color, so it could be
wrong there, and I'm sure it takes much more at
sea than Juggernaut does. I don't know if it's any deeper.
Speaker 1 (49:30):
I mean, yeah, you'll, you'll, you're correct, So it's not
deeper because the boat is the ship is pretty big,
and they're up pretty high for a lot of it.
It's only really the bomb. They say that most of
the bombs are below the water line, so it's only
those bits where it's like deep, so fatching that in.
And plus there's bits that are in a plane, which
(49:50):
that always jacks up the height of these things. So
an average it works out being about twelve point one
meters or thirty nine forty feet up in the air,
which is higher than Ravenous and slightly lower than Renny
Harlin's The Bricklayer from a.
Speaker 3 (50:04):
Couple from last year.
Speaker 1 (50:06):
Blueness, it's ten percent blue, just ten percent blue. It's
only really when you see the xterior shots of the
ship that are blue. And I think ohmarsh reefs curtains
were blue, and so people wearing blue clothes.
Speaker 3 (50:18):
That's about it.
Speaker 1 (50:18):
So it's bluer than Muppet Treasure Island, less blue than
Virus and Senus. About seventy two percent of this film
takes place at sea. Lots of stuff on the boat
that's all at sea. So it's more at sea than
twenty twenty five's Wait twenty twenty fours into the Deep,
slightly less it's sea than twenty twenty four's Something in
(50:38):
the Water. A couple of recent shot films we've covered
good So it's our sixth most at sea, ninety first bluest,
and one hundred and ninth deepest. That's where it is
on the on the leaderboards. Good so, Howard, thank you
for joining me, Thank you for recommending Juggernaut, and then
(50:59):
for joining me to talk about it.
Speaker 3 (51:00):
How would you like to plug anything? Where can the
listeners find you?
Speaker 2 (51:03):
My podcast is called pop Art, where as I say,
we find the pop culture and art in the art
and pop culture, my guest, this is a film from
pop culture, and I'll choose a film from the more
art inde forn cid of cinema that xt connection to it.
You've been on quite a few times, sure, my annual
Christmas Guest. The most recent one up now is it's
(51:29):
still the with Richard Kirkham of the Lamb Cast. We
did the Valentine the episode and that was with music
and lyrics, along with Once and the one coming up
it's going to be with Jason Soto where we are
doing Oh Great. I think it's called foul Play the
Chevy Chase Goldiehan.
Speaker 3 (51:52):
Sure, I think it's yes, and.
Speaker 2 (51:59):
The man didn't know too much and they're both about
people get involved in the assassination plot.
Speaker 3 (52:07):
I see, I have never heard of foul play.
Speaker 1 (52:10):
That's that's kind of a problem, isn't it.
Speaker 2 (52:14):
Well, that was the pop culture film, so that's the
one that and yeah, I saw it when it came out.
It's it's it's a lot of fun in spite of
chivy chase. It is. It's a lot of fun. If
you want to see Dadley Moore before he was Deadly
Moore in the movies because he had yeah, he had
(52:36):
a TV career, donnymore Day. This is where he really
came out as acting in movies. And yes, it's one
of those that has lots of people in it like
this one. Wow, And it's a lot of fun. It's
it's a lot of fun.
Speaker 1 (52:54):
Excellent sounds good, great well listeners. You can find me
over the various Christmas episodes of Howar's podcast. Most recently,
I was on to talk about In Bruges and Winno Angels,
two excellent Christmas films about criminals hiding out in foreign locals.
So look for me and pop out over that. You
can follow this podcast all over social media at deep
(53:15):
blue Seapod dot email this deep Blue seapodt gmail dot
com for any aquatic film suggestions of things you think
you think we should cover next week on the show
where according to a little Forign advance, But next week,
I think it's going to be Pirana to the Spawning,
the James Cameron film, so we'll of course hopefully have
our James Cameron correspondent, Heather Backs and the Wolfshback. Let's
(53:36):
talk about Prana to the Spawning, a film I have
never seen, but I'm looking forward to seeing, even though
I hear it's not good, but we'll see. Continuing our
Pirana Parano look through franchise go through, I guess, so
come back next week for more Piranha action. But as
for this episode, as for Juggernaut, thank you once again
(53:57):
to my guest Howard Kasna. I have been Jake Lue
and I'll deep blue see you next week
Hello, and welcome to Deep Blue Sea the podcast. On
this show, well, I am ja Cler on this show
my regular co host Mark Cofman. I have been through
the entire Deep Blue Sea trilogy, seen by scene when
I'm looking at some Deep Blue Sea adjacent films. That's
film was directed by Ronny Harden, featuring sharks for aquatic action,
and this week is a very much an aquatic action film,
as we talk about nineteen seventy four's Juggernaut, What is
(00:38):
Juggernaut's had a very British disaster movie directed by Richard
Leicster and starring a whole bunch of people, as these
seventies to last movies often do the likes of Richard Harris,
Omarsh Ref, David Hemmings, Anthony Hopkins, Shirney Night, Ian Holme, Clifton,
James roy Keanear just like Julian Glover, loads loads of people,
lots of recognizable faces and recognizable name and it basically
(01:01):
tells the story of ocean liner the s S Britannic,
setting self from my hometown of Southampton. It sets out
it's away to the sea, and then a member of
the Nicholas Porter from the shipping company he receives he
receives a phone call from a guy Gover the nickname
(01:24):
of Juggernaut, who is planted seven bombs aboard the boat
and he'll explode them. He'll definite them unless he receives
five hundred thousand pounds in ransom. So Anthony Hopkins is
the policeman set out to try and find the bomber
in my Shereef is the boat captain, and Richard Harris
is the bomb disposal expert sent to the boat to
(01:45):
try and diffuse the bombs with his team and hilarity
in his use. So I need a guest. I had
never heard of this from my love disaster movies, but
I'd never heard of this one, so I was thrilled
to watch it. And I was first bought to the
attention of this film by my guest, who has been
on the show before. It's when he actually I think
it was on the episode that he recommended it to me.
He joined me last year for our Oscar episodes to
(02:07):
talk about Mutie on the Bounty. So welcome back to
the show from the pop up podcast, Howard cas and
how welcome back to the show.
Speaker 2 (02:13):
Well, thank you very much for taking me back.
Speaker 3 (02:17):
Happy to have you.
Speaker 1 (02:19):
So, Yes, so you recommended Juggernaul you suggested to be
a good film to talk about. So what's your history
with it? When did you first come across it?
Speaker 2 (02:27):
Well, I first saw it when it came out. I
think I was in college at the time. I was
a big fan of Richard Lester because of Our Day's
Night and the Three and four musk Teers, plus some
of his other films. That wasn't the only reason why
I went to see it. Pauline Kell raved about it,
and you tended to see any film that Pauline Kell
(02:51):
raved about. I didn't necessarily agree with her a bit.
She raved about it, then you really should see it,
especially a pop art film like Yes, so I thought then,
and I really liked it. It was. We can debate
whether it's a disaster movie. It was considered a disaster movie.
(03:11):
Paul and Kel called it a disaster movie with intelligence
or something like that. But I would say, yeah, it
probably is just about my favorite disaster movie, though it
doesn't have quite as much disaster as things like Airport
and Towering Inferno and earthquake, sign and Adventure. Sure, it's
(03:33):
much more I think issues say British, it's much more reserved.
Speaker 3 (03:38):
Yeah.
Speaker 1 (03:39):
So I've covered the two Posidon Adventures with Todd leebanaw
On here before. I watched them growing up. I loved them.
I love the likes of Towering Inferno and the more
bombastic ones like Omaged and Deep Impact, that kind of thing.
Speaker 3 (03:57):
So the Day after Tomorrow.
Speaker 1 (04:00):
I've always enjoyed that kind of disaster movie, and so like,
oh great, there's a new one, a new like All Star, the.
Speaker 3 (04:07):
Bottom on a boat. This is very this is speed.
Speaker 1 (04:11):
It was a lot in depth to Juggernut, I think, yes,
it's the same plot but just on a bus. So
as I overjoyed to watch it, and it is as
you say, it's it's debatedly a disaster movie because there's
not a lot of disasters. You know, there's threat, there's tension,
(04:32):
but there's not a lot of actual like disaster. Some
bombs to explode, but there's not a lot of death.
Some some name characters do pass away, but not many.
There's more sickness, sure, but it's it's a film that's
far more about the tension of the sequences. Like the
(04:54):
whole third act is watching Richard Harris and his team
try and diffuse the bombs, and it's all very measured,
it's very focused. There's I think like a thirty second
shot of someone trying to undo a screw head, and
it's like focused on the screw, but it's like, I
(05:16):
was scripped. Is this is this gonna explode when he turns?
Can he turn the screw? He's clamped some he's got
some plies on the side of it.
Speaker 3 (05:24):
Is that gonna have? What's that gonna happen? Now?
Speaker 1 (05:26):
I was like, what's gonna happen? I really enjoyed this film.
Was that's thrilled for the recommendation?
Speaker 2 (05:35):
Yeah, I watching it a second time, I still enjoyed
it very very much. It's it's sort of fun to
watch it a second time and and go, oh, I
know that actor. Oh I know that actor. Oh I
don't remember that actor being in And oh yeah, there
are a lot of actors in this movie that are
really familiar.
Speaker 3 (05:56):
Were there any that stood out to you? Any any favorites?
Speaker 2 (06:00):
Well, everybody has their heart out for the one who's
u trying to cheer everyone off, the master short who
really isn't very good at his job in the first place,
but he's trying, he's drying, and he's in this situation
(06:26):
where how can anybody ever succeed? It leads to a
very nice moment when he dances with Shortly Night and
then everybody finally starts a partying, but he definitely, uh
you know, stands out for me. I think, yeah, I
(06:47):
think this big one. I think this one everybody kind
of uh remembers as well. An Holme is so young.
Speaker 1 (06:56):
I mean Anthony Hopkins as well. Yes, it is the
young Brackets, middle aged Anthony Hopkin.
Speaker 2 (07:04):
I was so surprised to see him young, I guess
because you know, he didn't really make it really big
until yeah, middle age. But he's done all these other
movies before before that, so uh yeah. But and also
Roy kan here has that great line about oh, this
(07:26):
is going to be a night to remember and.
Speaker 1 (07:28):
Then looks to the camera and I pulled at his coat, like, yeah,
I already liked Roy. It was a world film before
I went.
Speaker 3 (07:39):
Like, oh, it's Rucasolt's dad. That's where I know you're from.
Speaker 1 (07:43):
I hadn't clicked, but yeah, Richard Lester used him in
a bunch of films. Apparently this is only my second
Richard left the film. I didn't like A Hard Day's Night.
I know I'm in the minority for that one. Well
I've never been.
Speaker 2 (07:55):
There, and I think we need to in this conversation. Now.
Speaker 1 (08:00):
I've never really been much of a Beatles listener, and
so I kind of watched that film. I didn't know
what it was going into it. It won Movie of
the Month on the LAMB Cast a few years back,
and so I just kind of put it in blind, like, oh,
this is a Beatles film, Let's see what this is.
And I just kind of sat there like, well, this
this isn't I wanted like a plot and a script.
Speaker 2 (08:23):
Now it's a It's actually Arts Brothers.
Speaker 3 (08:25):
Film, right, I've not I've seen a couple of those.
Speaker 2 (08:29):
I thing, Yeah, that's all it is. It's just a
series of skits with a very loose you know, thing
very loose connected read to them, with them trying heading
to heading to a performance on television, which.
Speaker 1 (08:47):
Was not what I wanted when I sat down to
watch that, and I haven't and I haven't gone back
to it, and like I can sit and thinking like, oh,
this is a lot of I'm going to listen to
Beats music at least and I hadn't heard of most
of the songs in A Hard Days Night, which on
that episode, all the other guests were flabbergasted that I
was like, unfamiliar with these.
Speaker 2 (09:05):
Yeah, flat too, It's a little hard to understand how
you just managed to go through life twenty four hours
a day without having heard these at some point. But
even though you are much younger, of course than many
of us.
Speaker 1 (09:21):
But Yeah, when I graduated from university, we had a
summer ball, so I went to the Somall and it
was a bus back from there and everyone had a
few drinks. There's like a bust back to the beach
for a big group photo, and everyone started singing this
song and I was looking around, like, how does everyone know?
Like the worst of this song? I'm learning for the
first time, And that song was Hey, Jude, I had
(09:43):
never heard and I was twenty one.
Speaker 3 (09:46):
I should never come across this. So when I saw.
Speaker 1 (09:53):
When I saw the film yesterday, I was like, this
film makes no sense to me at all. No one
would remember any of these. The Beatles are just not
something like my parents never listen to the Beatles. My
dad's more of a Shakira. He listens to and the Eagles,
So Genesis, it's the band me and my dad's share.
(10:15):
So yeah, I wasn't like Thrilled Ah, another Richard last
of film, but this is much better than A Hot
Days Night in my opinion.
Speaker 2 (10:24):
Well, I think my favorites of his, besides A Heart
Days Night, which is one of my type five top
five musicals, are The Three and Four Musketeers, which I
expected to be bored by because I thought there'd be
some kind of of worshipful BBC MASTERBCE theater production, and
(10:47):
they're not. They're riotous comedies, which I was surprised. It's
very true to the book when I read the books.
The books are actually very funny and very tongue in
cheek as well. And I've liked him. It's when he
got to the Superman films, and that point he sort
of started making films that I just didn't find interesting.
(11:10):
I found less and less interesting, and then he stopped
making films in you know, nineteen eighty nine, apparently because
a death of a friend was really did a number
on Aiman. You just stopped making films. But I did
a Forgotten Film podcast on the Rifts. She came out
(11:33):
in nineteen seventy six.
Speaker 1 (11:35):
When I first watched I watched Juggernaut. Initially, I was
received a copy to review for Blueprint review Back kind
of midway through last year, toward in the last year,
and I watched it and I sent Todd from Forgotten
Film as a message saying, like, it's just watched his
film Juggnal, I think it makes for a great episode
of your podcast, and he had literally, like within the
past fifteen minutes, just finished recording an episode with Richard
(11:58):
Kirkham on Juggernaut.
Speaker 2 (12:01):
So oh yeah, one problem is you couldn't find it.
I mean, yeah, well it wasn't in prime for a
long time because I looked and you couldn't even rent it. It
wasn't even rentable on crime. And then suddenly it starts
showing up and that happens.
Speaker 1 (12:21):
Well, I think it's had a re release because I
received it got a Blu Ray release, So I do
own this on disc now.
Speaker 3 (12:30):
Yeah.
Speaker 1 (12:31):
So, so you also mentioned Ian Holm being like a
standout character.
Speaker 3 (12:36):
Really I really liked you know.
Speaker 1 (12:37):
I feel like his role is what makes is part
of what makes this a very British film, like focusing
on the head of a company and like him being
annoyed with with he wants to pay the ransom and
the police won't let him, and it's just being annoyed
with the higher ups. It feels like a very kind
of English for British situation.
Speaker 2 (12:58):
Well it's it's not just an English situation. This is
a very very big it's there. There's a couple of
other movies where they cover the subject of kidnappings and
sometimes people are held for a year before they come
to an agreement on how much money to pay, And
(13:22):
it is a bit do we pay, do we not pay?
How long? Because if we pay then they'll just keep
doing it. And of course in Captain Phillips, the US
Marines just come in and wham wipe those people out.
So it's a very difficult decision. Do you give in
to terrorists or do you not? But what can you do?
(13:48):
I mean, there are all those people, You've got it.
You can't just let them die.
Speaker 3 (13:53):
Sure, absolutely, And you know, he.
Speaker 1 (13:57):
In some other instances you might expect, like the head
of the companies people more concerned about this is going
to look terrible for the company, all these people done
in the boat, But he seems far more concerned about
the lives on board rather than or at least he
seems concerned about the letters he's going to have to
write to the survivors of the lives on board.
Speaker 2 (14:13):
Yes, because it's going to have to write one to
each person.
Speaker 1 (14:18):
And but I did I appreciate when we first meet
him when he receives the call about the bombs and
a Roundso he's like halfway through feeding his kids breakfast,
and it's like, yeah, the hassle going on there instead,
it's not just sat there on the phone rings, I'll
take this call. He's like, you know, he's probably half
(14:39):
listening because it's kids trying to eat the cereal. And
that's that's a nice little character moment. We don't really
get more of that, Like after that scene was just
he's in the office. He's dealing with this no more
family stuff, which is kind of the same with Anthony
hopkins character.
Speaker 3 (14:55):
Superintendent John McLeod.
Speaker 1 (14:57):
His wife and children are on the boat, and I
don't think that affects anything he does. He just, yeah,
my kids are on board. Life's a lottery. I'm just
going to keep looking for the bomber. And I if
this were an American film or a more modern film,
I think we would get more scenes like.
Speaker 3 (15:17):
God, damn it, my family's on that bart, We've got
to stop this, a lot more emotion going on.
Speaker 2 (15:25):
Well, I think that's one of the things I like
about Anthony hopkins performance, at least for me. Whenever you
see his eyes, there's this terror and hopelessness in his
eyes because he doesn't know what's going to happen or
if he can help save his kids. And the only
way you can save them is to find the bomber,
(15:47):
to find the one who set it all up. When
it came to the investigation, this is maybe jumping a little.
That is the one area where I think it's sort
of maybe could have been stronger. Someone had to get
those six bombs on board. The bomber couldn't have done it.
(16:10):
I don't think he could have gotten one on board.
He was going to have to pay people to put
all of those on board, and they don't go in
that direction to find out.
Speaker 1 (16:23):
Well, yeah, because like Anthony Hopkins has got two kind
of subordinates with him, and one of them goes like, so,
I don't know how did he get the bombs on board?
And the other one goes like, oh, you know, someone
working for the boat maybe, and they just don't. They
don't pursue that any anymore. But you're right they wouldn't.
That's the direction they should have gone in. So like
that's they said, they get a list of all the
(16:46):
boys to understand Big Bangs, which is nerved down to Arabs,
Irish and anarchists.
Speaker 3 (16:52):
Oh, this is a film from the seventies, and that's
the way to go too.
Speaker 2 (16:55):
That's an equally valid way. But I would be investigating, yeah,
who actually physically brought them on? For some reason, sign
always reminds me of the Dark Knight Rises, where you know,
after the Joker has done all these terrifying things, I
can think is, how did he manage to get all
those bombs on this ferry without anybody noticing? Oh, something's
(17:17):
bringing up a bunch of barrels on everything a terrorist alert.
Speaker 1 (17:26):
Everything the Joker does in the Dark Knight is kind
of you know, Mark has done a piece before of
I think how long it would have taken him to
stack up that giant pile of money that he sets
fire to in the Dark Knight. Just I love Mark's
post and that kind of thing. How long it would
take in I'm not sure which one of the the
(17:48):
Zack Snyder films it is, but one of them, the
Joker has like just a whole floor covered with knives
and swords and all things pointing inwards. And so Mark's
worked out how long it would have taken to sett
all that out, just like.
Speaker 2 (18:01):
Yeah, like those domino things that you see take some
days to sit up.
Speaker 1 (18:07):
The domino things, absolutely, but that's like for something that's
for a YouTube VideA. Then the knife one, I think
it's just he's that's just his house. That's just he's
just done that for himself.
Speaker 3 (18:18):
I think. I think that's one of the suicides called films.
I regret, I forget. Uh.
Speaker 2 (18:23):
I also at the hospital where the hospital, you know,
he starts catching on fire and starts exploding. I'm going,
and that would take a lot of people to set
all that up, and nobody noticed someone was bringing in
all of this stuff.
Speaker 1 (18:38):
But we know he has the ability to hire people
because like the opening bank robbery, he's like hired all
these people and then they will kill each other up
on the one. So I would assume the same thing
has happened in the in the hospital way, He's hired
a bunch of people and they will kill each.
Speaker 2 (18:50):
Other versus the doctor's there who are going Did anybody
order any work to be done on any wiring, any
extra wiring, and uh, you know, things of that nature.
So I feel like thing about The Dark Knight Rice
is it's my favorite of the the Batman movies, and
(19:11):
I love it. But you can't start thinking about it.
Speaker 1 (19:16):
I mean, Gotham Hospital probably wide a busy place, so
I think it could probably so oh yeah, that person
is just fixing something. There's always someone here fixing something
that like, there's always the Red Led just blew a
hole in the hospital last week.
Speaker 3 (19:31):
Someone's coming to fix it.
Speaker 1 (19:33):
Anyway, we have wandered far, and that's fine.
Speaker 2 (19:40):
I also like the talking about people we liked. I
liked the steward who would pretend to be.
Speaker 1 (19:49):
Yes is that Russian seth as As that who played
Chatta Lal in the.
Speaker 2 (20:00):
And it'll get sympathy from all the people theoretically to
get better tips and everything. And then when he leaves,
he just says, this what Southampton Naxent or some sort.
Speaker 1 (20:11):
Of it's more London, but yeah, it's we're gonna get
you in the fall this weekend.
Speaker 3 (20:17):
Yes, Yes, I like.
Speaker 2 (20:19):
That's what I did like about it that I actually
like better than I like a lot of the disaster films,
because in all these disaster films, they do work hard
to give people personalities, but no matter how hard they work,
they all come across this flat or cardboard unless you
(20:40):
have somebody like Shelly Winters go in there, or airport,
you have Marine Stapleton and Helen A's and e Flyn.
The characters, no matter how much they emphasize the personality,
are very flat and one dimensional and interesting. Here, they
don't do much. They just do everything with a couple
(21:00):
of lines, and you understand these people completely, and it's
really not about the personalities. It's about their reaction to
what's going on, is trying to get this bomb disposed.
So I'm not as interested in in depth necessarily. I
want them to be not flat, no one dimensional, and
(21:23):
I think they do a really good job of that here.
Speaker 3 (21:28):
I agree.
Speaker 1 (21:29):
Yeah, there's a lot of kind of small moments that
we have. Imash Re if he's a captain, he's in
a relationship of sorts with I think it was Cherry
Knight's character, and so when he finds out about the
bombs and she doesn't know yet. She comes to see
in his room and he's very short and abrupt with
her and kind of dismisses her. And later on she
(21:49):
finds out about the bombs and she's understanding, but not fully.
Speaker 2 (21:54):
It's like, oh, well, she's understanding. Yeah, she understands that
he'll always be a captain and that she'll never be
able to fully yes her.
Speaker 3 (22:05):
I mean yeah, and I like you forgive she moves on.
Speaker 2 (22:10):
And I like the American senator who says I can
tell with that being lied to because I do it
all the time.
Speaker 1 (22:18):
So that that's Clifton James, who is a sheriff J. W.
Pepper from a couple of the Roger More Bond films
and which amongst the worst part of any Bond movie,
but also some of my favorite stuff. And so when
he cropped up on this, it's like, ah, he's like
a kind of Chicago Mayer kind of characters. Oh great,
(22:38):
this is going to be fun. And he is fun.
Speaker 3 (22:40):
He's I enjoyed him.
Speaker 1 (22:42):
He's like, I can tell when someone's lying, and I
can tell when that lies come up and bit me.
And then later on in the film he overhears as
Stewart said, it's all gonna be fine, Everything's okay, and
he's like, I just got bitten again.
Speaker 3 (22:54):
Is Yeah.
Speaker 1 (22:55):
A few little nice moments with him, and he just
when when the captain is explained in the situation to everyone,
he's just like, so, just to make things clear, everything
is we're all going to die, right, And Captain's like, yeah, okay, great,
thank you.
Speaker 3 (23:09):
I liked him.
Speaker 1 (23:10):
There's a nice, nice mix of kind of believable people
about this this. But there's one guy who I think
he's credited as the Walker Ben Ben Harris. He's got
like a mustache and he just it's just present in
most of the shot. Most of the he's there all
the time, just kind of wandering around, walking around the boat.
(23:33):
Doesn't really have much to do, but he's just always
there and always recognizable as a little little comic moments
here and there.
Speaker 3 (23:39):
I really liked him as well.
Speaker 2 (23:41):
Just he tries to pick up Shirley Night at the
very beginning, and she brushes him off and he walks off.
He's already looking for his conquest, but yeah, and you
start to see panic in his eyes and he starts
to realize this isn't good. This is not good.
Speaker 1 (23:58):
I got a Drew and Brody and Thin red Line
kind of vibes were like, did this guy sign on
and thinking he was going to be the lead, and
he's like he's in every scene, but.
Speaker 3 (24:07):
He just doesn't do anything. And then at the end
of the film he doesn't do anything.
Speaker 2 (24:12):
Anyway. Oh there that was I don't know if you
ever heard the story. Adrian Brody was told he was
a central character.
Speaker 1 (24:20):
Yeah, he filmed a lot of a lot that was
cut out of the film.
Speaker 2 (24:25):
And then took his family to the movie and then
he was barely in it, and that was pretty devastating.
Speaker 1 (24:32):
Yeah, well, I mean that's what happened. I can't remember.
Have you seen Deep Bluecy You're just you're just not
a big fan of deeplusy.
Speaker 2 (24:40):
I haven't seen.
Speaker 3 (24:41):
Okay, problem, that's fine. I think last one.
Speaker 1 (24:44):
So the end of Deep Busy is a character dies
who didn't die first time that they filmed it, and
then he reshot the ending so that the character then died,
but they reshot it without the actor, and so they
they found out they just like see joy that they
found out when they went to the the screening the premiere, like, oh,
(25:05):
I died. Oh I see, so, yeah, that happens more
than you might think. Yes, you know, that's the game.
I guess because they did a test screening and people
didn't like that. Characters survived because they saw the most
of feeling. I mentioned Anthony Hopkins has family on board.
(25:26):
This family includes children. These are possibly the worst chart
actors I've seen in any film ever. I don't have
their names. I'm not going to come up with their names,
but they're terrible.
Speaker 2 (25:38):
Oh, They're just They're just little. They're not except a
little chairst I mean, they're acting like children would on
a ship like that. I mean, this is very This
is if you've you've been on a recent ocean liner. Writer,
I was.
Speaker 3 (25:58):
Like, within the past ten years I have, Yeah.
Speaker 2 (26:02):
Yeah, I was. They're all very, very different. And today,
because they're much bigger, there's so much more to do.
So today the kids would have so much to do.
They would be going off to the kids area to
play oddly, but here they're just sort of lot loose
and they do what kids do. They just run all
(26:22):
over the ship and you I wonder if one of
them is going to slide off into the or not.
And you're wondering if you wish they would.
Speaker 3 (26:33):
Yeah, it's more just like the line delivered. I know
the children shouldn't expect more from them, but just well
it looks.
Speaker 1 (26:40):
Like my action Man. It is action Man. And the
sister replies, it isn't. It's all very wooden and just
I didn't enjoy these children being on board, and I
understand why ant Hilkins wasn't like, yeah I should, I
should definitely say if my kids anyway.
Speaker 2 (27:00):
I wonder if they were related to somebody.
Speaker 1 (27:03):
I mean, they both have the certain it's Adam Bridges,
Rebecca Bridge, so as David and Nancy mcleo.
Speaker 2 (27:13):
So I bet that's the typo. I bet they're related. Maybe,
but no, no, no, Bridges says, anything to do with
the movie maybe not. Oh, kids can't live with them,
can't kill them.
Speaker 3 (27:30):
Yeah, I can't eat a whole one. I'm just seeing
if they did anything else.
Speaker 1 (27:36):
So Adam Bridge has six credits. This was his penultimate credit.
He was two episodes of Hunter's Walk and that one
episode of Warren Peace, a bunch of stuff I've never
heard of, and Rebecca Bridge did some of the similar things.
So I'm guessing, yeah, maybe they were related because they
(27:56):
were a lot of stuff together.
Speaker 2 (27:58):
Probably as soon as they paid off the mortgage for
their parents, so and okay, you don't have to act anymore.
Speaker 1 (28:05):
And they are both from Basingstoke in Hampshire, which is
not far I have I know people in Basingstoke, so yes,
I'm going to guess that they are related. And one
of them has a stage name. Uh good, good for them.
So I think the most action sequence of the film
(28:30):
is trying to get the bomb disposal guys onto the
boat onto the ship. Yes, because it's worth noting the
ship is in a storm. It's like stuck in choppy waters. Apparently,
as based on IDW trivia. In order to get all
of the extras for the boat, they put out a
cool saying like free cruise.
Speaker 3 (28:49):
Come and be on a free cruise.
Speaker 1 (28:51):
Just so you know that we're going to intentionally find
the worst water to sail around in. So it's going
to be a free cruise, but it's gonna suck. And
they had like thousands of applicants they had to cut
down to a couple of hundred. So yeah, that the
boat is like doing circles in the storm. They can't
get the lifeboats out and these people, these seven guys,
(29:14):
Richard Harris and his team need to come in and
they parachute in from a plane and they dropped into
the water and there's these wooden ladders that are dropped
down from the sides of the boat, and it's like
a struggle.
Speaker 3 (29:24):
Can they get to the ladders? Can they get up
the ladders.
Speaker 1 (29:26):
There's a little lifeboat out, but it's not doing anything
useful and most of the people on it die.
Speaker 3 (29:32):
I know, did you enjoy the sequence that? Did it
work for you?
Speaker 2 (29:37):
Yeah?
Speaker 3 (29:37):
I was.
Speaker 2 (29:37):
I did sort of wonder why they weren't pulling the
ladders up when somebody got on them. But no, that
was I mean, it was just so sad. I mean,
one guy dies. One of their group dies before they
even get on board to try to so that's one
down already, and you sort of wonder what these people,
you know, what do they get out of all of this?
(30:01):
I mean, in in the herd locker, you know, he's
he's sort of described as a thrill seeker, as someone
who needs that shot of adrenaline and adrenaline chunkie, you know. Here,
they don't really dig into what these people get out
of being on this bomb squad, well, I.
Speaker 1 (30:23):
Guess I might might guess be it's kind of the
greater good of it, or like you're you're diffusing a
bomb to say people that people need these bombs to used.
You know, if you don't, then these people will die.
So it's kind of why why do people sign up
to be firefighters or the lifeguard or whatever they called
there on the line like all these because the job
(30:45):
needs doing and if you don't, people's suffer.
Speaker 2 (30:49):
And I think most most bombs here that they would
be thinking of in England would be much more easier
to dispose of in their other ways to dispose of them.
It's yeah, but yeah, it's quite a job. I mean,
that's what part of the attension too, is just what
(31:12):
he could die at any second. Everybody could have died
any second, and he just keeps on going.
Speaker 3 (31:17):
He just.
Speaker 2 (31:19):
He only stops when it seems selpless, and then he
makes the existential decision to go back because that's what
he does. That's who he is. That's yeah, that's just life.
Speaker 1 (31:31):
That's what I like about these kinds of ensemble films.
It's like people anyone could not make it. Like there
were times when I thought Richard Harris's character, might you
know he's on he's at risk. I didn't checked, like
the cast hasn't seen he's top build.
Speaker 3 (31:47):
I just think so.
Speaker 2 (31:48):
I think he's going to be pretty sife until unless
it's the last few minutes.
Speaker 3 (31:53):
Yeah, but I hadn't.
Speaker 1 (31:54):
I didn't know he was top build, like I was
working at. There's one of the not to go back
to Bond again, but one of the Roger Moore Bond
films is The Spy Who Loved Me, which features.
Speaker 3 (32:06):
A bomb on a boat.
Speaker 1 (32:09):
I think it's a boat, and Roger Moore is the one.
James Bond is one like diffusing it and it's kind
of I really hate the sequence. IVE heard people say
they love it, but I hate it because it's not
shot very interestingly. It's just kind of Roger Moore knelt
down diffusing a bomb, and the whole time you're watching it,
you're thinking, well, this isn't gonna go off, because like
(32:29):
they're not going to kill James Bond here is like
this is a really boring sequence because he's just doing
He's just sat there. It's kind of it's slow, it's
it's long, it's just James Bond staring down a barrow
and diffusing a bombs. They could shoot this more interestingly,
or they could have somebody else doing it and James
Bond is off doing something else at the same time.
There's no point having James Bond difusing a bomb for
(32:51):
three minutes, because that's three minutes from sat there looking
at my watch thinking move it on, come on on
to the next thing, because this isn't going anywhere whereas
in Jugger or not having Richard Harris and his team
his second command is is Charlie, David Hemmings and the
rest of them that were having them diffuse. It's like, well,
this could genuinely, this could take out these people. David
(33:12):
Hemmings doesn't make it.
Speaker 2 (33:14):
And it is interesting sentence when you see a movie
like this years later when a lot of these actors
weren't these people yet Today we would say, oh, no,
they're not going to kill Anthony Hopkins, but actually back
then he really wasn't Anthony Hopkins, so yeah, they could
have killed him.
Speaker 1 (33:33):
I mean, he's the Jeff Daniels rule, and Jeff isn't
like High, isn't like the top three of these like
fourth build as is Anthony Holkins.
Speaker 3 (33:46):
So it's very much kind of the beast.
Speaker 2 (33:49):
You can even kill oh Marsha Reef as well, And yeah,
you know that. You know though oh Mars Reif was
oh marsher Reef at that time. I mean it was
really He's probably the biggest movie star in the mood
in that movie at that time.
Speaker 1 (34:07):
He's another actor who I've seen very I've seen Doctor Chibalgo,
I've seen Lawrence of Arabia.
Speaker 3 (34:13):
I think that might be the end of my Cherif list.
I don't know what.
Speaker 2 (34:17):
I've seen Funny Girl, and I've seen a couple of
and I've seen Cairo and a couple He's I can
never remember whether he's in the Uh Police, the Leslie Nielsen.
Speaker 3 (34:39):
Oh, he's in top Secret.
Speaker 2 (34:41):
I have seen Secret. Yeah, he's in Toysterical in Top Secret.
That is a brilliant, brilliant set piece there when he
comes back. Yeah, you're just laughing for ages. Uh. And
then I've recently seen him in a couple of Middle
(35:01):
Eastern films, because he would go back and forth, he
would make films in Egypt and around there and then
come back. I was never a big fan of his.
I don't never thought he was a particularly good actor, though.
I think he's much better in his Egyptian films maybe
where the he doesn't have that much problem with the
English language, where he's speaking his own language so that
(35:24):
the English isn't getting in the way. He's pretty good here.
I don't really have a problem. But he is a
very relatively small part here, and it doesn't require a
lot of emoting. I mean, a lot of these people
don't really emote very much. Ridardius does have a couple
of moments of emoting, you know, throws them.
Speaker 1 (35:42):
Oh, he's going all yeah, yeah. Towards the end, he's
going on he's.
Speaker 3 (35:50):
Like, my trade is survival.
Speaker 1 (35:54):
So everyone's being specs of dust in the universe. He's
it's what the think. He's doing a lot of the diffusal.
A few drinks in he's like, I've got to go
and diffuse his bomb. Let's have a drink first.
Speaker 2 (36:09):
I'm now drunk.
Speaker 3 (36:11):
Now let's go do.
Speaker 1 (36:15):
Some real fine tuning of a bomb with screws and
contacts and all these kind of things that require a
steady hand on a boat in a storm whilst half cocks.
Speaker 3 (36:28):
Yeah, I mean.
Speaker 1 (36:30):
The all of the bomb difusal scenes.
Speaker 3 (36:34):
Crucially I found very interesting.
Speaker 1 (36:37):
It's their tents. They're well shot, lots of close ups
of the mechanisms. It reminded me of Raffifi the the
bank robbery scene in that where it's just like you
half an hour of silence and then putting an umbrella
through a hold of catch debris as they drill a.
Speaker 3 (36:54):
Hole in it. That kind of thing.
Speaker 1 (36:56):
Just just watching someone who like knows what he's doing
and doing it well and talking through the process, and
the fact that you know it's Richard Harris, a very
good actor. He's like a captivating screen presence who he's
making quips, he's making jokes, but I always find into
quite a somber presence in anything he does, even like
you know, I first saw him as Dumbledore because that's
(37:18):
the generation that I am.
Speaker 2 (37:21):
He's there, We're going to be on our third Dumbledore now.
Speaker 1 (37:26):
John Lesgo, I'd asked, think it might be, which I mean,
I'm just ignoring that TV show is happening as much
as I can, But I think Richard Harris is in
an Orca mode. He covered Walker on this show, and
that's another as a very similar.
Speaker 3 (37:44):
Role to this, I think where he's just like a
grizzled guy.
Speaker 1 (37:47):
He's not the happiest person to be around at any pointment.
Speaker 2 (37:51):
Adam is sure he ever played a happy person.
Speaker 3 (37:54):
I'm struggling to think, you know.
Speaker 2 (37:59):
I mean, I'm sure done or for the deep.
Speaker 3 (38:01):
Bluec So, yeah, it's good.
Speaker 2 (38:05):
He's not mister Sunshine there, He's definitely not. And then
we did Saturday night and Sunday morning and he's definitely
not mister Sunshine.
Speaker 3 (38:15):
Definitely not there. Unforgiven he has he has some fun
and unforgiven, but not for long. Yeah.
Speaker 2 (38:27):
I mean the most happy it's ever was was this Dumbledore.
And you know it's very different.
Speaker 1 (38:32):
Even Yeah, he's not like the life and soul of
the party. Uh, he's Dumbledore.
Speaker 2 (38:40):
And I guess he did because his grandchildren said, we'll
never talk to you again if you don't do it.
Speaker 3 (38:46):
And then he died.
Speaker 2 (38:49):
Yeah yeah, so are you happy grand kids? Are you happy? Yeah?
Because yeah, I was doing Gladiator at the time. I
mean they had to do they have to do reshirt
or something.
Speaker 1 (39:01):
I believe sir do something because he yeah, he died
and he died after Gladiator.
Speaker 2 (39:10):
Yeah, so they couldn't but they couldn't. It wasn't quite finished,
and I think they had to do some you know,
there's always they go away for a while and then
they have to come back and do things, reshoots and
things like that.
Speaker 1 (39:26):
I thought it was just all read that they had
to cg around.
Speaker 2 (39:32):
Maybe I got them mixed up.
Speaker 1 (39:33):
Maybe it's yeah, I already died mid Gladiator, whereas Harris
died two years after it came out.
Speaker 2 (39:39):
I think you got but yeah, they were all the
drinking batties.
Speaker 1 (39:46):
But yes, yeah, back in the day, yes, ye, and
towns on fire.
Speaker 3 (39:54):
I think something quite literally.
Speaker 1 (39:57):
Uh yeah, So, I mean I enjoyed Juggernaut.
Speaker 3 (40:04):
I had a good time with it.
Speaker 1 (40:06):
I've kind of it's it's one of those films that
it's just kind of a real solid, recommendable experience. Do
you have anything any other parts?
Speaker 2 (40:13):
She wants to talk about, but we have to talk
about the ending, okay, please, Well, I mean it's it's
it's iconic now red wire, blue Wire, Oh.
Speaker 1 (40:26):
I see, yes, of course. Yeah, it's been used the
lunchtimes and this was the first time it was used.
Speaker 2 (40:32):
Yeah, and I always thought it was brilliant because he says,
you know, blue wire, and he hesitates and then he says,
I said the Blue Wire, and then you instantly know
it's got to be the Red wire because he didn't
hear an explosion.
Speaker 3 (40:47):
Yes, it's it's very well done. Yeah, because.
Speaker 2 (40:54):
Time and time and time again.
Speaker 1 (40:55):
Yeah, what character was command of Command of Man. It's
a bad name because I played with Julian Glover and
I didn't remember seeing Juding Glover in this film.
Speaker 2 (41:07):
I see that. I get also get him mixed up
with there's another Julian Glover as well, and I always
get them. I'm mixed up. Yeah, I think he he,
I think I remember who he is, but he was
sort of grizzled in the movie, and I think he
you know, it looked like he had a growth beard. Okay,
(41:30):
sort of. But since I always getting mixed up, I
never remember what he looks like. Because there's an American
actor Julian Glover, and and whenever I see Jillian Glovers
and an English fami, I thought, well, I didn't think
Judy and Glover was that old, and you know it's
a totally different Julian Glover.
Speaker 3 (41:51):
Fair enough.
Speaker 1 (41:53):
Ah Okay, yes, yeah, the end, The ending is iconic
with the wires. You know, I did like all the
all of the detective stuff on land On on land
On trying to track down the bomber, like they traced
the phone. Cool, but it's two phones, one into another.
Uh and you know.
Speaker 2 (42:13):
That was the other thing I thought too, that they
just sort of left and I'm going, No, you're going
to go down and interview Aaron free single person.
Speaker 1 (42:23):
That's that topless lady getting changed? You ran past, Let's
just do it.
Speaker 3 (42:27):
Why is that in his what's that doing?
Speaker 2 (42:33):
Yeah? You've seen any strangers around you know who has
access to the top I mean so yeah, I thought
I often see this in movies where going Why aren't
you doing this or aren't you doing that? In investigating
and trying to find something? But uh yeah, And I
(42:55):
also thought five hundred thousand pounds even in those days,
I guess for a lot more than that.
Speaker 1 (43:03):
Well, I mean, you get I got the they thought
that the person behind it, the Juggernaut, is like a
gentleman terrorist in the He's not being greedy. He just
wants he wants enough to be comfortable to go and like,
you know, settle down somewhere else and get what he thinks.
Speaker 3 (43:21):
He's old so will be nice.
Speaker 2 (43:24):
Except they show him in this incredibly nice house, two
story with nice furnishings. Ah, I'm going, where's your many problems?
Speaker 1 (43:39):
I mean this again, this is the seventies. Things were
cheaper then, so you could you could afford a nice
two story house on one salary. And you know, all
the stuff at at the train station or is the
train station with the guy collecting the bags and dropping
them off, and with the bags full of money, it's
just another guy being paid off.
Speaker 3 (43:59):
That was all, you know, interesting as well, and to
watching a play.
Speaker 1 (44:02):
It's all you can see, what you can follow what's
going on.
Speaker 3 (44:05):
It's all entertaining. It's it's like.
Speaker 2 (44:09):
Him, get him. He goes up and they say there's
this charge because it weighs too much and he doesn't
have any money, and he can't go into the bag
and taken if he can knows that there's money in
the bag, and they asked, well, why didn't you use
the money that you were paid? Good thing, it's.
Speaker 1 (44:30):
Already Oh yeah, it's the reason you took this job.
It's because you're a full yes.
Speaker 2 (44:40):
And no, I think it's uh it is, it's it's
it's a very solid, very enjoyable uhbove average film that's very,
very entertaining. That's a lot of familiar faces. I think
the the uh, the screenplay is very strong. I know
(45:03):
that Richard Lester was upset because it kept getting described
as a disaster film and he didn't consider it to
be a disaster film. And I guess it didn't do well.
Speaker 3 (45:22):
I didn't well remember America.
Speaker 1 (45:24):
I believe it did. It did reasonably well in England
and in Europe, but I believe it didn't. It was,
as he said, it was kind of mismarketed in the States,
and they didn't do terribly well. But he wasn't the first.
He was the third director brought onto they the first
two dropped out or a fire, and he was kind
(45:44):
of It's a very Renny Harlin esque set up where
he was like pulled in to do the film a
few weeks before it was they had to start filming it,
and but still delivered it. And then they cut the
budget and he still delivered it on time and under budget,
which is a very reny hardened thing.
Speaker 2 (45:58):
Most of his wonderful Richard Lester's style of filming with
the kinetic and forrenetic editing, where oddly we would say
it makes it look very realistic in documentary. Whenever there's
an events in film, they always say that the previous
thing was more realistic when it wasn't, such as silent film.
(46:19):
Then you got sound and people complain that the sound
film was less realistic and silent film and we're going,
but we have ears and we hear, so sound film
should be more realistic. Then you get color, and they
said that black and white was more realistic the color.
But I'm going, but we see in color, and here
we have this very very frenetic type of edgy documentary
(46:41):
like handel camera even type, and everybody thinks that's more realistic.
I'm going, but when we see things, they're very steady.
Speaker 1 (46:50):
Now will be one long take will be the most
realistic film. Everything is just shot from a Everything will
be nickelboys will just shot from p of the long takes.
Speaker 2 (47:01):
And you know Andy Warhol's Empire Stable just stay ready for.
Speaker 3 (47:08):
Not a film. Wasn't that?
Speaker 1 (47:12):
I think it was originally shot to be like the
back the background for an art exhibition, like this is
you're supposed to sit and watch this, You're supposed to
just this is like on it's like, you know, watch
everything else.
Speaker 3 (47:23):
This is just kind of fitting up this this wall
over here.
Speaker 1 (47:26):
But people, it's on YouTube and its entirety, And I
know people who have watched the whole thing eight times speed,
just to see if anything happens.
Speaker 3 (47:35):
If anything happens, you'd know you happened.
Speaker 2 (47:37):
You know, lights go on and off and things like that.
But it's I haven't seen it, but I don't suppose
it's the most exciting of plots.
Speaker 1 (47:47):
Yeah, if they had put that on the thousand and
one movies you Must See before you Die list, I
would have watched it as fast as I could, which
would have been like scrubbing through with the bar of
the bombing of screen and get into it and goes, yep, okay,
this it's the empire state, you know, the course of
a day.
Speaker 3 (48:01):
Don't watch it. It would be it would be the entirety
of my review.
Speaker 1 (48:07):
But this is not that. This is better than that.
This is an actual film with characters and plot and
spectacle and tension. And if you've made it this far
and haven't seen it, go and watch Juggernaut. It's a
really good film. Did you have any other notes anything else?
She wants to talk about jugging.
Speaker 2 (48:24):
No, I think we I think we covered it all.
Speaker 1 (48:27):
Say okay, great, well we have a feature left to do,
which listeners, this is your first time listening to the episode,
Welcome as we go through these films.
Speaker 3 (48:37):
Because this is deeply see of the podcast. I go watch.
Speaker 1 (48:41):
It again and work out on average, how deep all
the action takes place, how blue everything on screen is.
And this is new since you last on, Howard, how
much the film takes place at sea? So, of course
Deep blu Z is on average fourteen and a half
meters of forty seven and a half feet deep, thirty
one percent blue, and eighty nine percent of DeepC takes
(49:02):
place at sea.
Speaker 3 (49:03):
Howard, do you.
Speaker 1 (49:04):
Think Juggernaut is deeper, bluer, and more at sea than
Deep Blue Sea?
Speaker 2 (49:09):
I doubt it's bluer because from what I've seen of
the movie, it's really technic color, so it could be
wrong there, and I'm sure it takes much more at
sea than Juggernaut does. I don't know if it's any deeper.
Speaker 1 (49:30):
I mean, yeah, you'll, you'll, you're correct, So it's not
deeper because the boat is the ship is pretty big,
and they're up pretty high for a lot of it.
It's only really the bomb. They say that most of
the bombs are below the water line, so it's only
those bits where it's like deep, so fatching that in.
And plus there's bits that are in a plane, which
(49:50):
that always jacks up the height of these things. So
an average it works out being about twelve point one
meters or thirty nine forty feet up in the air,
which is higher than Ravenous and slightly lower than Renny
Harlin's The Bricklayer from a.
Speaker 3 (50:04):
Couple from last year.
Speaker 1 (50:06):
Blueness, it's ten percent blue, just ten percent blue. It's
only really when you see the xterior shots of the
ship that are blue. And I think ohmarsh reefs curtains
were blue, and so people wearing blue clothes.
Speaker 3 (50:18):
That's about it.
Speaker 1 (50:18):
So it's bluer than Muppet Treasure Island, less blue than
Virus and Senus. About seventy two percent of this film
takes place at sea. Lots of stuff on the boat
that's all at sea. So it's more at sea than
twenty twenty five's Wait twenty twenty fours into the Deep,
slightly less it's sea than twenty twenty four's Something in
(50:38):
the Water. A couple of recent shot films we've covered
good So it's our sixth most at sea, ninety first bluest,
and one hundred and ninth deepest. That's where it is
on the on the leaderboards. Good so, Howard, thank you
for joining me, Thank you for recommending Juggernaut, and then
(50:59):
for joining me to talk about it.
Speaker 3 (51:00):
How would you like to plug anything? Where can the
listeners find you?
Speaker 2 (51:03):
My podcast is called pop Art, where as I say,
we find the pop culture and art in the art
and pop culture, my guest, this is a film from
pop culture, and I'll choose a film from the more
art inde forn cid of cinema that xt connection to it.
You've been on quite a few times, sure, my annual
Christmas Guest. The most recent one up now is it's
(51:29):
still the with Richard Kirkham of the Lamb Cast. We
did the Valentine the episode and that was with music
and lyrics, along with Once and the one coming up
it's going to be with Jason Soto where we are
doing Oh Great. I think it's called foul Play the
Chevy Chase Goldiehan.
Speaker 3 (51:52):
Sure, I think it's yes, and.
Speaker 2 (51:59):
The man didn't know too much and they're both about
people get involved in the assassination plot.
Speaker 3 (52:07):
I see, I have never heard of foul play.
Speaker 1 (52:10):
That's that's kind of a problem, isn't it.
Speaker 2 (52:14):
Well, that was the pop culture film, so that's the
one that and yeah, I saw it when it came out.
It's it's it's a lot of fun in spite of
chivy chase. It is. It's a lot of fun. If
you want to see Dadley Moore before he was Deadly
Moore in the movies because he had yeah, he had
(52:36):
a TV career, donnymore Day. This is where he really
came out as acting in movies. And yes, it's one
of those that has lots of people in it like
this one. Wow, And it's a lot of fun. It's
it's a lot of fun.
Speaker 1 (52:54):
Excellent sounds good, great well listeners. You can find me
over the various Christmas episodes of Howar's podcast. Most recently,
I was on to talk about In Bruges and Winno Angels,
two excellent Christmas films about criminals hiding out in foreign locals.
So look for me and pop out over that. You
can follow this podcast all over social media at deep
(53:15):
blue Seapod dot email this deep Blue seapodt gmail dot
com for any aquatic film suggestions of things you think
you think we should cover next week on the show
where according to a little Forign advance, But next week,
I think it's going to be Pirana to the Spawning,
the James Cameron film, so we'll of course hopefully have
our James Cameron correspondent, Heather Backs and the Wolfshback. Let's
(53:36):
talk about Prana to the Spawning, a film I have
never seen, but I'm looking forward to seeing, even though
I hear it's not good, but we'll see. Continuing our
Pirana Parano look through franchise go through, I guess, so
come back next week for more Piranha action. But as
for this episode, as for Juggernaut, thank you once again
(53:57):
to my guest Howard Kasna. I have been Jake Lue
and I'll deep blue see you next week
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