So Long, Jim- It Was A Nice Long Ride, Wasn’t It?


James Garner is one of those actors who I fell in love with and just couldn’t imagine the day we would lose him. When I got the news yesterday I was struck with such sadness. But I’ll always have those strong shoulders and square jaw, honest eyes and true yet graceful grit that was the man. I always perk up when I hear the Rockford Files theme song. It just makes me smile. We’ll miss you so much. You were a maverick and a hell of an actor. Thanks Destroy All Fanboys! for this tribute.

Originally posted on "DESTROY ALL FANBOYS!":

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I can recall watching the pilot for The Rockford Files on NBC as a ten-year old kid and while not completely understanding everything that was going on, finding the show intriguing enough to come back week after week for almost the entire run of the series. Nothing lasts forever, and I was sad to see it vanish in 1980 (as far as original episodes went), but as with nearly any TV show that gains popularity and notoriety, reruns kept things going if I happened to be around to catch one. Of course, James Garner did much more memorable work in films before and since. Some of my favorite performances of his were in The Great Escape (1963), The Americanization of Emily (1964, the actor’s favorite role), Grand Prix (1966), Marlowe (1969) and Victor Victoria (1982). But, of course, since I was raised more on the tube, it’s Jim…

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The Creeping Terrible! aka known as The Creeping Terror (1964)


This post is part of Movies Silently’s Accidentally Hilarious Blogathon!



I never pay attention to IMDb scores… I like to watch something and get my own feel for a film or television show. So I won’t mention that this film got a whopping 2.1 and is considered one of THE WORST films ever made. Yes, it’s true it’s terrible even when judged by the standards of the most elite cheesy films that have been dubbed a ‘turkey’… So terrible…. in that delicious, so bad it’s good way…It is inane on an Operatic level!

I mean a rambling patchwork carpet monster. The underside of this slow roaming rug whose cotton batting seems glued with excelsior having come unfurled after years of moths gnawed at it… make it look like the stuffing’s coming out of this film itself!

It’s ‘creeping’ head has little hardware coils like dread locks on it’s bulbous alien dome. Reminiscent of creative animator Art Clokey’s lovable green clay guy– it’s almost Gumby-seque face wearing a prairie bonnet of scrap metal or a mutated brussels sprout wearing curlers? One could even imagine a Venutian Raggedy Ann doll’s head…. geesh this creeping nightmare is a wonderful mess!

Gumby Alien


Gumby’s alien grandma Medusy?

not to mention…

When the thing rears up, it looks more like director Nelson, was working on some subliminal Freudian angst about giant gaping vagina’s eating him… a woven vagina I might add with a phallus shaped head! Wow talk about your double entendres.


Neither the acting nor the storyline matter since it’s all about the lumbering carpet monster on the screen… wow, this is sublimely brilliant in an unintentional way, or for the purposes of this blogathon, it’s Accidentally Hilarious!–So many scenes in fact are hysterical, so much so that the folks at MST3K couldn’t resist the temptation to lampoon it.

Let me say I adore this film. The same way that us cult fanatics worship Ed Wood’s filmsBecause they are endearing and engaging and utterly ludicrous yet engrossing. That takes a certain kind of distinctive potion to create a film that both stinks…. yet entertains ceaselessly.

There’s even a documentary called “Creep’ by Colorado film maker Pete Schuermann  which chronicles the behind the scenes going ons of seedy director Art J. Nelson, a con man, pimp, drug addict and purveyor of under aged girls who reportedly ‘auditioned’ for him. He was threatened with jail time.

I know people have written about MANOS: The Hands of Fate (1966) being the worst, or Plan 9 From Outer Space, and of course Phil Tucker’s awesomely ludicrous Robot Monster (1953) befit with a cockamamie ape suit, diving helmet and bubbles, lots of tiny little bubbles. And of course the ever popular ‘Jan in the Pan’, better known as The Brain That Wouldn’t Die 1962

Still… It’s this little creeping gem that gets under the skin a little like ring worm.

The Creeping Carpet

Worm… no more like slug. Yes, the Creeping Terror is a giant monster that looks like the prop department ransacked a decaying mansion’s attic and found Old Granny Holestead’s Persian Rug who mated with a Chinese Dragon Costume from the Chinese New Year’s Dragon Dance designed by Jim Henson.

The best part is the speed at which this monster…. well…. CREEPS. it actually does creep. So slowly, at a slugs pace, that it’s any wonder it gets to eat any people in the film at all.

There’s so much time to run away from this lumbering human eating carpet slug, but NO!!!!! people get devoured as if frozen in time, slowly caught in their fright scream–as they are consumed by this broadloom land shark, this gaping maw of an area rug on the prowl and the mostly female legs hanging out the hole to prove it!

From John Stanley’s Revenge of the Creature Features Movie Guide- “It depicts an elongated alien monster resembling a clumsy shag rug which devours people through a gaping maw, overturns cars and takes forever to shamble ten feet!”

Yes that’s another fetish aside from the leggy part of the female anatomy that the monster is fixated on, it also has a hankering for cars. Loves to rub up against them, turn them over… and shamble after them…

creeping & car


this man is parked at lover’s lane by himself… hhmm






still just settin’ and smokin’ his pipe at lover’s lane









Something of interest for me is the fact that Byrd Holland plays the sheriff. He was responsible for the make-up in Lemora (1973) and The Baby (1973) starring Ruth Roman and Cronenberg’s Rabid (1977). Holland is a highly intelligent and talented artist, and I love to see someone with their own vision start out in such a uniquely either intentional or inadvertent timeless culty piece of artistic refuse.

Directed by A. J. Nelson aka Vic Savage the actor who plays Martin Gordon. The story is written by Robert Silliphant. The Beach Girls and the Monster 1965 & The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies!! 1964

Martin and his new wife

Vic Savage (director A. J. Nelson himself) plays deputy Martin Gordon, Shannon O’Neil plays new bride Brett Gordon, William Thourlby is Dr. Bradford, John Caresio plays Col. James Caldwell, Brendon Boone plays Barney the Deputy. Jack King is Grandpa Brown, Louise Lawson is the blonde in the gold pants…. And Larry Burrell is our narrator… thanks Larry for the stirring police procedural or army training film like earnestness.

The director of photography is Andrew Janczak, A.J. Nelson did the editing and Clifford Stine is attributed with the special effects. Jon Lackey designed the monster. (Perhaps, After an all night drinking binge woke up under his Aunt Tilly’s Turkish Rug imagined he was being eaten and boom you got a monster!

The opening titles were designed by the uncredited visual effects specialist Richard Edlund.

Frederick Kopp’s scintillating musical score is perfect for the mood, with discordant jazz piano and troubled horns!

There’s some very funky sound effects actually and in spots a grim Hammond organ underscore the scenes with a ironic incongruous hilarity. Then a serious horn section cuts in with the anxious post modern piano stabs that accentuate the rollicking peril….!


Art Direction by Bud Raab… art direction? Teehee that’s a credit worth mocking!

Okay the plot rolled into one tiny little carpet runner– Actually filmed in Lake Tahoe

A rocket crash lands in the fictional Angel County, California. What comes crawling out of the busted hull of the craft is an alien monster that looks like a lumbering Cabaret Kafkaesque metamorphosized Turkisk Rug that mated with a caterpillar and moves at the rate of of 2 inches per hour– wreaking havoc in a small town. As it traipses through the country scenery and urban nite life it munches on all it encounters.

Now the newly married deputy Martin Gordon (the sheriff has been killed while investigating the ship, by a second little carpet monster still inside the spacecraft) must stop it from eating the entire town. Aided by scientist Dr. Bradford and Col James Caldwell and the military. (guys who can’t aim their guns in time or spread out enough or not trip over their own combat boots not to get eaten!) Caldwell gets orders to suppress the news about the monster.

This mindless ravenous rug is actually a probe that is on earth to take samples, analyze and send them back to their alien galaxy before they plan on conquering our planet!

The only film with no dialogue but tons of incongruous narration. Reportedly the original audio tracks were lost. What’s left are scenes that are guided by sober voice-over and the side step here and there to regard the virtues of married life…

Narrator: “Barney and Martin had been bachelor buddies for years. But now that Martin was settling down to marriage, they were slowly drifting apart. Barney, naturally, was still dating all the girls in town, and he couldn’t understand why Brett and Martin didn’t pal around with him more than they did. He couldn’t comprehend that married life brought with it not only new problems and duties, but the necessary togetherness of husband and wife as well. Despite Brett’s most tactful considerations, such as inviting him over to dinner quite often, Barney was growing resentful of her, or at least she felt that he was. Since time began this change in relationships probably happened to all buddies in similar circumstances. Life has its way of making boys grow up, and with marriage, Martin’s time had come. His life was now Brett, a life that he thoroughly enjoyed.

Deputy and Wife tre sexy

That’s okay guys, I’ll just let myself out. Thanks for the drink…

In a remote part of the county a first in a series of tragedies.. the narrator says with happy jazz underscoring it

Narrator-“In a remote part of the county a first in a series of tragedies..” delightful jazz score





Veiled warnings against the ills of sexual freedom and singlehood considering most 50s & 60s Sci-Fi/Horror films show that the victims are eaten while in the throws of youthful raging hormones or libidinous acts of desire. Evidenced by the shots of the female legs that lay sprawling out of the gaping orifice of the wonderfully asinine monster’s mouth. He also eats a girl in a bikini, several couples at a picnic, grandpa and little Bobby fishing!

Narrator: “That afternoon, in Mungreeve Park, a group of neighbors got together for a hoot-e-nanny.”

And of course the rudimentary neckers parked at the local lovers lane.

Trepsing at the hootenanny

Trepsing Terror

One of the most bizarre and ‘creepy’ scenes that stuck out for me is where the mother hanging her laundry is about to be the carpet-pillar’s snack, just prior to, she shows us the thermometer before she’s about to take her baby’s temperature rectally ‘off camera‘… Oy vey!!! No not that way please!!!!!

Betty Johnson blows a good bye kiss to her husband ... but for the last time

Narrator-“Betty Johnson blows a good bye kiss to her husband … but for the last time”

Poor baby let mommy take your temperature

the thermometer

the poor baby

why is this baby crying?

betty laundry eaten

Please don’t eat me now… my baby’s inside and he’s got a terrible temperature! Is that you junior?Mommy will be there in a moment darling! Nice to have met you carpet monster!

But perhaps the most surreal, and favorite scene for me is the killer (literally) dance sequence when the carpet monster invades the dance hall. People are twisting and gyrating all groovy and early rock n’ roll 60s like and this plodding monstrosity manages to devour all of these hapless souls who just stand there waiting to get eaten… remember the stampede from The Blob!!!!  this is the antithetical-flight– the languid stand there and wait to be eaten group death scene.


Grandpa and Bobby went fishing… poor Grandpa and Bobby… Bobby? Bobby? Bob–bee!!!!!



Swinging at the dance hall

Swinging at the dance hall!!!


Trepsing toward the dance hall 2

girl in the gold pants

credited as the girl in the gold pants!


"My god what is it?" that's what we'd all like to know!

actress flew in from Newark NJ for this memorable piece of dialogue-“My god what is it?” that’s what we’d all like to know!









when a giant alien carpet monster invades the dance hall festivities it just goes without saying… there should also be a bar room brawl!



Clear the dance floor… Hot soup coming through!-And did someone order the Lobster Newburg?


Yummy… another pair of female gams to crunch on!




CapturFiles_56 the third pai r of ladies legs jutting out of the monster's hole

He’s on his third pair of lady legs!!! just loves ‘em!



no survivors

though the crowded dance floor scrambled to get away as fast as mannequins in a store window-there were no survivors!


At Perswigian’s Rug Bazaar there’s no rug too big for our craftsmen to appeal to your good taste!–we deliver even on Sundays!

CapturFiles_62 there were no survivors lol

Oh gosh… these men’s slacks always repeat on me!


Traipsing…. shamble… traipsing… shamble… plod along… traipse some more….



And of course that oh so awkward scene of the giant Persian rug, or pieces of rugs sewn together that attacks an automobile with passengers… looking like it’s actually making whoopee with the car spray painted 23 Skiddoo– for the third time we see a pair of female legs (an obvious fetish of director Nelson’s, being consumed by the great sluggish beast–oh my this film’s got so many wacky tid bits.



This creeping carpet thingy just leisurely eats it’s way through people til you’re scratching your head asking why and how? because the pace it shambles is more emblematic of a Bergman character contemplating life and not a 60s sci-fi monster. Well with the exception of Corman & Blaisdell’s cucumber monster in It Conquered the World who sort of just trundled out the cave barely flapping it’s rubber arms at the flame throwers!

Martin was outraged by the governments intellectual approach to a monster that had already killed and caused  the disappearance of his two close friends.

Narrator- “Martin was outraged by the governments intellectual approach to a monster that had already killed and caused  the disappearance of his two close friends.”

Aside from the moral message, get married… the film isn’t somber, intense or foreboding. It’s not nostalgically exhilarating or dreary or even tragically triumphant… it’s just darn hilarious! And there you have it….

So much carpet monster eating carnage!!!



Narrator: “The Sergeant, a shaken man, returned babbling about what had happened. Realizing the full danger of the situation, decided he had only one means left to stop the monster: Grenades. Now Bradford made a drastic move. Acting on his superior authority, he forbade Caldwell to destroy the creature. The Colonel, more concerned with saving human lives than advancing Science, told Bradford to “Go to Hell.”






From IMDb trivia-

  • According to rumors, a more impressive looking monster was originally designed and built for the movie. However, only a few days before shooting was to begin, the monster was stolen. Pressed for time and out of money, director Vic Savage and his crew hastily threw together the infamous “pile of carpets” monster that appears in the film.
  • The stock audio of the monster’s growling was also used in Battle Beyond the Sun (1962) and Jack the Giant Killer (1962).
  • Filmed at the Spahn Ranch infamous Manson gang residence.
  • The opening titles were done by then-unknown Richard Edlund. He is uncredited in the film.
  • Evidence is lacking that this film ever received a theatrical release. There were no advertised theatrical showings in The New York Times, the Los Angeles Times, or The Chicago Tribune before it began to be shown on television circa 1976.



There is nothing wrong with your television set… Do not attempt to adjust the picture, we are controlling transmission: The Transendental Heartbeat of The Outer Limits 1963-1965


As much as I am passionate about Boris Karloff’s anthology television show THRILLER, I throw my enthusiasm to all things science fiction & fantasy toward the 60s series that brought to life some of the most memorable monsters and thought provoking story lines that was The Outer Limits.

As a kid I remember how the shivers of excitement ran through my veins as soon as the control voice began to usher in a new segment as the wavy white lines trembled on the screen. The voice was odd, yet familiar like an intimate stranger who could read your thoughts and knew your deepest fears.

I knew I was in for something majestic and beyond the realm of belief. While THRILLER tapped into my core fears of things that lurked in the shadows of this earthly domain, somehow The Outer Limits managed to propel my fears into the outer reaches of the universe. Still the things that go bump in the night, but more like the night sky.

And so I fondly assign a few of my favorite stories here at The Last Drive In, with follow ups to some more down that unknowing wavy road of life. If you’re not already a fan of this uniquely mind broadening show, then do yourself a favor and a try and catch an episode or two. You’ll see some favorite actors I’m sure, and I bet a Zanti under your bed… if you’re not even moved just a little by it’s poignant– strange and at times grotesquely whimsical way of painting a fantastical moral with some gorgeous visual cues and dynamic acting style to drive the message home and articulate thought provoking & philosophical themes.

The ground breaking postmodern metaphysical world of science fiction & fantasy from the brilliant mind of executive producers Leslie Stevens and Joseph Stefano was far ahead of it’s time. Created by Leslie Stevens. Story consultant Lou Morheim and transcendent musical score by Dominic Frontiere (first season from 1963-64 ) The heavenly awe inspiring music never fails to make my chest heave, as the celestial melody creates the mood of a living breathing universe expanding, a near religious experience of the magnitude of awe that Science Fiction evokes in the hearts of dreamers.

The music for the second season was scored by Harry Lubin. There were 49 episodes in total….

Perhaps the first television show that was truly pioneering, unprecedentedly radical, inventive and even sociological in it’s contribution to the genre. It boasted some remarkable visual effects, and still remains a memorable collection of thoughtful plays that stretch the boundaries of imagination.

The Outer Limits could be considered Science Fiction/Fantasy genre, An anthology series created by Leslie Stevens and narrated by Vic Perrin who was the voice behind the Control Voice. Similar somewhat to The Twilight Zone with more of an earnest tone given rise to more Science Fiction oriented stories

A Daystar Productions–Villa DiStefano. United Artists Television originally aired on ABC with a run from September 16, 1963 – January 16, 1965

The show used writers like Leslie Stevens, Donald S Sanford, Lou Morheim, (The Beast From 20,000 Fathoms 1953) Harlan Ellison, and Seeleg Lester.

With cinematography by Conrad L.Hall, (American Beauty 1999, Marathon Man 1976, In Cold Blood 1967, Cool Hand Luke 1967, Butch Cassidy and The Sundance Kid 1969) You can imagine the vision that framed the stories behind the camera from the genius of Hall’s cinematic eye. John M Nickolaus (House of the Damned and The Day Mars Invaded Earth 1963 both very unique films partly due to the way they were lensed by Nickolaus) and Kenneth Peach.

Utilizing some of the greatest directors like Byron Haskins (Arsenic and Old Lace 1944, War of the Worlds 1953, Robinson Crusoe on Mars 1964) John Brahm (The Lodger 1944, The Twilight Zone, Boris Karloff’s Thriller) Laslo Benedek (The Wild One 1953), Leslie Stevens, Gerd Oswald, Paul Stanley, John Erman, Robert Flory, James Goldstone, Leonard Horn, Felix Feist, Charles Haas, Alan Crosland Jr. and Abner Biberman

Featuring some of the greatest character actors like Martin Landau, Sally Kellerman, William Shatner, Cliff Robertson, Jacqueline Scott, Sidney Blackmer, Robert Culp, Geraldine Brooks, Donald Pleasence, David McCallum, Jill Hayworth, John Considine, Shirley Knight, Jeff Corey, Harry Townes, Harry Guardino, Gary Merrill, Salome Jens, Ed Nelson, Martin Sheen, James Shigeta, John Anderson, Scott Marlowe, Ed Asner, Kent Smith, Joan Camden, Mark Richman, Nina Foch, Phillip Abbott, Gladys Cooper, Ralph Meeker, Jay Novello, Michael Tolan, Bruce Dern, Olive Deering, Henry Silva, Carroll O’ Connor, Barry Morse, Miriam Hopkins, John Hoyt, Marsha Hunt, Don Gordon, George Macready, Neil Hamilton, Walter Burke, Simon Oakland, Ruth Roman, Alex Nicol, Tim O’Connor, Warren Oates, Luane Anders, Gloria Grahame, Nellie Burt, Russell Johnson, Nick Adams, Nancy Malone, Marion Ross, Macdonald Carey, Sam Wanamaker, David Opatoshu, Joyce Van Patten, Signe Hasso, Allyson Ames, Leonard Nimoy, Robert Duvall, Vera Miles, Barbara Rush, Cedric Hardwicke, Malachi Throne, Peter Lind Hayes, Joan Freeman, Abraham Sofaer, Eddie Albert, June Havor, Howard DaSilva, Marianna Hill, Warren Stevens, Robert Webber, Michael Constantine, Crahan Denton, Grant Williams, and Peggy Ann Garner to name some of the acting highlights.

The Galaxy Being

Cliff Robertson appears in the shows first The Galaxy Being…

The Control Voice: There is nothing wrong with your television set. Do not attempt to adjust the picture. We are controlling transmission. If we wish to make it louder, we will bring up the volume. If we wish to make it softer, we will tune it to a whisper. We can reduce the focus to a soft blur, or sharpen it to crystal clarity. We will control the horizontal. We will control the vertical. For the next hour, sit quietly and we will control all that you see and hear. You are about to experience the awe and mystery which reaches from the inner mind to… The Outer Limits.

Much of the episodes could be considered stagey and theatrical, with the acting a bit dramaturgical or heavy handed for a science fiction/ fantasy television drama, but as writers David J Schow and Jeffrey Frentzen say in THE OUTER LIMITS:The Official Companion “… embroidered quality of their performances. At times the dialogue seems hammy and intemperate, but since good theatre is not a reflection of the world, but a mirror distortion of its exaggerated for-point-making purposes, the bigger-than-life nature of the players is fitting.

THE ARCHITECTS OF FEAR-broadcast date September 30th 1963





First let me say that I’m a huge fan of Robert Culp! So naturally this episode is very special to me. Culp appeared in a few more episodes of the series, this one being my favorite. At time his performance going beyond sublime. Directed by Byron Haskin with Conrad Hall as director of photography. Dominic Frontiere’s gorgeous score.

One of the most compelling of all The Outer Limits episodes. With Allen’s dilemma torn between his love and devotion to his wife Yvette and the scientific ideals he adheres to. Out of hubris –These misguided scientists trying to do a good thing for humanity, make huge mistakes and wind up destroying one of the blessed things about the world… a family (Yvette finds out she is pregnant right before Allen fakes his death) who has a right to life and love.

The Cast- Robert Culp as Allen Leighton, Geraldine Brooks as his wife Yvette, Leonard Stone as Dr. Phillip Gainer, Martin Wolfosn as Dr Herschel

Is this the day? Is this the beginning of the end? There is no time to wonder, not time to ask, “Why is it happening, why is it finally happening?” There is time only for fear, for the piercing pain of panic. Do we pray? Or do we merely run now, and pray later? Will there be a later? Or is this the day?




An altruistic group of scientists theorize that in order to unite all the people of the earth, there must be a common enemy! Sounds feasible right… So they re-configure in larger size an alien being called a ‘Thetan’ rhymes with cretan…

To unify all the nations around the world against a frightening invasion of extraterrestrials. Essentially, they design to manufacture a ‘scarecrow.’ After pulling names out of a bowl to see which one of the scientists will undergo the grueling intensive physiological transformation by surgical transplantation, reassignment and exposure to environmental conditions similar to that of the planet Theta so he can be turned into a larger version of the little Thetan they keep in a cage. Although the creature is mostly seen in shadow, the sound it makes is hilarious and yet compelling at the same time. Somewhat as if you put a gag on a nasty muppet…

Physicist Allen Leighton (Robert Culp) gets to be the lucky guy. Once transmogrified into the alien, he will pilot a spaceship that will land in front of the UN while in session to confront the General Assembly with a laser gun…




Allen-“You know what we really need to stop fighting among ourselves. Something else to fight, Somebody else. Really something else has to come along that will scare us all out of our skins!” Yvette- “We stop fighting each other, we start fighting a scarecrow… that’s a gorgeous solution” Allen-“Well we don’t exactly fight it, but we fear it… So we unite against it. And if the threat continues long enough we gradually become used to being united. We actually grow to like it. Yvette-“Some scarecrows don’t even scare… crows!” Allen-“One might”


“Mark against Evil”








Allen goes off on a tangential soliloquy induced by the wrong reaction to the drugs he’s been given. He mentions Prometheus… how fitting that these mad scientist are creating a modern day monster by playing God...


“Listen there’s more to this levitation than just the physical. I’m really able to fly. Are you aware of that! No, you’re no Phil Gainer, Professor Gainer, Dr Gainer. Hello Dr Gainer, allow me to present (in a german accent) these mad doctors here. Constant as you are of the space time continuum. There’r globules of solid (cackles in a whisper) propellant To send me on my long journey…. through the underworld or the —listen you gotta put pegs on my eyes Phil tells him to lye down According to ?’s law ( makes like his hands like ray guns and shoots…) laughing “I see you all, you got fat faces you know that. Baby eyes over baby pouts. Come on. Skidder along on your little rats feet. I am Callahan, Callaban. (he chuckles to himself) with a PhD. Ba Ba Black Sheep Have you any krell upstairs, downstairs in my baby’s nightshade. All around the town crying through the lochs how the children in their beds know it’s 8’O’Clock Stay back, stay back you think your putty little hands can hold Prometheus Odysseus Tycho Star…”









































Of course the idea is that every nation will band together to fight this one enemy, but ahhh often the best laid plans of mice and men often go astray… Allen’s ship accidentally lands by the United Labs facility, and as he moves through the woods, with his oversized scaly arms, giant head , bug eyes and backward -jointed bird like clawed feet he is a lumbering monstrosity with a tube up it’s mouth breathing in nitrogen. He uses his laser gun to disintegrate a station wagon to scare a pack of hunters and their dog. The men wind up mortally shooting him.

First the group fakes Allen’s death, whose wife is not only a little psychic but deservingly cynical about the facts surrounding her husbands plane crash. Yvette insists on hanging around the research lab. She has a special psychic link with Allen, and feels sympathetic pangs when he is near. In a touching scene in the beginning the two have a gesture they share where Allen uses his fingers to mark her forehead “Mark against evil”

At the end when Allen finds his way back to the lab, Yvette again feels her husband’s presence and his pain. She runs to the lab where she fins him dying. Just before as the monster, he makes the ‘mark against evil’ on her head. This very special ritual confirms that this was her husband.

Scarecrow and magic and other fatal fears do not bring people closer together. There is no magic substitute for soft caring and hard work, for self respect and mutual love. If we can learn this from the mistake these frightened men made, then their mistake will not have been merely grotesque. It will have been at least a lesson-a lesson at last to be learned.

The monster suit created a huge outpouring of fan mail for the show. Byron Haskin brought in a Hungarian stuntman and acrobat named Janos Prohaska to play the alien. He used stilts that raised him up nearly two feet off the ground. Within the costume, he gripped armatures inside the elbows, he balanced himself to look like a man leaning forward on his crutches. The giant head was designed by Wah Chang, and included functional eyelids, pulsating veins and a bellows-mouth all propelled by air cylinders. Prohaska was literally sealed inside the rubberoid skin, then situated forward on his stilts- he was able to see out of the nose!

Everyone at Projects Unlimited contributed to the costume, though Byron Haskin designed it.

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