Sunday Nite Surreal: The Sentinel (1977) Even in Hell, Friendships often Blossom into Bliss!






I’ve written enough here at The Last Drive-In, to sort of feel more relaxed about letting it rip sometimes. I’m hoping you’ll indulge me a bit while I go off on a tiny rant… I hope that’s alright…

Michael Winner’s film was a failure at the box office. So what!

You will have undoubtedly read 9 out of 10 reviewers who will make too convenient a statement about The Sentinel being a Rosemary’s Baby rip off. In terms of how I experience this film there’s more too it than just a pat dismissal and a flip accusation of being derivative. I had first read Jeffrey Konvitz’s book when it was published in 1974, and then went to the movies to see his adapted screenplay The Sentinel during it’s theatrical release– I was a  ripe 15 year old who was captivated by the grotesque and eerie imagery. I also saw Rosemary’s Baby in 1968 as a double feature with The Mephisto Waltz 1971.


Perhaps there is a conscious connection or homage made by director Winner between the devilish residents of the infamous Bramford Arms with it’s history of murderers and deviants –the facade filmed of New York Cities Dakota with birds eye view of Central Park as Rosemary and Guy Woodhouse move into their house of Hades in Rosemary’s Baby 1968, perhaps my favorite film.


Alison Parker (Christina Raines) does come in contact with a similar Gothic building filled with oddball characters who wind up being the ghosts of murderers who once lived in the impressive Brownstone. I imagine the gateway to Hell would attract an evil ensemble of nasties. And to counterbalance Alison as the women-in-peril who must fight off the paranoia and heady mind games are the devil and his minions who toy with Alison in order to drive her mad enough to once again try commit suicide. Rosemary Woodhouse has a perseverance to keep her devils at bay and hold onto her precious baby even if he was to carry on his father’s legacy. Either way, it’s both buildings filled with eccentrics and the fog of paranoia that tie the two films together for me, but that’s where it ends.

As an amateur film buff and classic horror film aficionado I think I have some authority when weighing in on whether director Michael Winner’s The Sentinel is just derivative dreck and/or dribble.

And I discovered that it’s not just the average chimer-in nudnik on IMBd who feel the need to review this film in such a simplistic way that making the comparison to Rosemary’s Baby feels like just a cop out to me.

It is even referred to as such in writer John Kenneth Muir’s entirely comprehensive book Horror Films of the 1970s– citing two film reviews during the time of The Sentinel’s theatrical release…

Look, as far back as it’s theatrical release and the critique was, to lump all ‘devil’ in the city, good vs. evil tropes with the 1968 seminal film by director Roman Polanski based on Ira Levin’s novel Rosemary’s Baby.



“…a crude and obvious imitation of Rosemary’s Baby, but much creepier and more bizarre. The unnerving ending obliterates the memory of the rest of the film… makes good use of several past-their prime actors in small roles but attempts at psychological insight, subtlety or believability fall flat (it’s a horror story not a autobiographical story of Aimee Semple McPherson for crying out loudbelievability.) The great special effects at the end justify the film’s faults however.” Darrell Moore. The Best, Worst and Most Unusual: Horror films, Crowne publishing 1983.

I say to that, we leave believability outside our un-conscious abject fear chamber that is our most hidden dread drenched mind when partaking in a little collective anxiety ridden purge, right Dr. Jung?

And if critic Darrell Moore is talking about Ava Gardner–a gorgeous 55 year old woman is NOT past her prime, I hate when sexism and agism rears it’s ugly head!, I’m heading toward the number, which continually amazes people, I read these kinds of misdirected comments all the time, some critic or person saying ‘she’ looks so good for her age-40ish!, does that imply that  Ava and I should be embalmed already? Geesh, but in the words of Sophia Petrillo, I digress…

February 12, 1977 from The New York Times written by Richard Eder—“The confrontations are supposed to be terrifying but the most they offer is some mild creepiness… Mr. Winner has sweetened the mess with some nudity, a little masturbation and a dash of lesbianism.”

Interesting that the one bit of titillation Richard Eder manages to pluck out is the lesbianism. In fact that seems to be of most interest to many reviewers. Well, it’s 2016 and if a lesbian pops up in a film, it’s now about as outmoded and the shock obsolete as the landline and mullets… well I have seen people still sporting mullets.


And I’d like to say there’s more than just mild creepiness, there are absolute moments of mind jolting terror. The exquisite color palette and the eye for detail that supports the sense of mystery such as the fabulous Houdini poster in Michael’s apartment -a center piece in plain sight that one might miss though it is there to instruct us on our journey through the dark maze of the storyline


If anything, the film lies closer in relationship to Roman Polanski’s The Tenant (1976) where another protagonist Trelkovsky portrayed by Polanski himself, is being mentally tortured by a group of people (Shelley Winters, Lila Kedrova and Jo Van Fleet) in his building that may or may not exist ultimately driving him to attempt suicide. The fact that our heroine Alison is driven to madness and suicide by her seemingly harmless yet strange and quirky neighbors, that are actually, unholy denizens of hell definitely evokes comparisons in my mind with Roman Polanski’s equally disturbing THE TENANT (1976).

The fact that the main protagonist is driven to madness and suicide by her seemingly harmless but, actually, unholy tenants brings forth comparisons with Roman Polanski’s equally unappetizing in THE TENANT (1976)


I’d even go as far as to compare director Michael Winner and writer Jeffrey Konvitz’s film has something of a Alejandro Jodorowsky flavor to it, with the grotesque imagery and surreal processional. Or might have influenced the very hallucinatory Jacob’s Ladder (1990) that deals with a soul’s nightmarish journey through unfathomable realms of consciousness that conjures demons and angels alike.


With The Sentinel some people are fascinated, some are repulsed and some just think The Sentinel is truly a retread of Polanski/Castle’s superior masterpiece.


Alejandro Jodorowsky’s Santa Sangre (1989)

First off, my impression of classical 70s horror is that it’s hard for that decade to be derivative when it started an entire trend of moody, pseudo-violent social commentary’s that had a limitless freedom to go down an adventurous road. If 70s horror took its cue from older decades and genres, perhaps a nod to Tod Browning, Val Lewton, French New Wave cinema and the surrealists like Jean Renoir and René Clément, Alejandro Jodorowsky and Federico Fellini. But please arm chair critics that spend time comparing a 70s horror gem to a a film without the constructive reasons to support it, or to even hold it up against a contemporary film by saying it lacks a good body count and special effects, I hope I don’t offend thee, but –please!!! You’re out of your element– stick with Saw and films like The Conjuring by James Wan… You don’t understand the 70s decade of horror and it’s unique contribution. Sorry to be so snotty here…

The Exorcist

Now it’s even been compared to The Omen (1976) and The Exorcist (1973) as well. I suppose where ever the devil lurks, it’s automatically a Rosemary’s Baby, Exorcist, Omen rip-off. Well… the element of paranoia exists in the film as Alison Parker goes through a nightmarish journey through a maze of surreal events, while she devolves toward her ultimate fate. There are elements of minions from Hell that lurk and groups of diabolical characters that come in and out of Alison’s orbit. And like The Omen and The Exorcist, the film does open up in Italy with a sense of ancient religious underpinnings hinting at the inner workings of the church. It then brings us to a church in New York City where Monsignor Franchino and a colorful group of acolytes convene in a ceremony, with a quick cut to Alison posing in a post-modern sheer black flowing cape as if moving Martha Graham style, a dark looming allegorical winged bird or augury swathed in black like the angel of death.








The juxtaposition of the old and the modern is a nice touch. BUT… that’s where the comparison ends. The film has it’s own unique story. It has been blamed for being too simplistic a story. Okay fine. Perhaps, too many mainstream contemporary narratives have gotten so convoluted and disorienting that a simple plot is not enough. Then again, there’s the complaint that it’s predictable. Well, then don’t watch it, if the journey isn’t worth the end result. Plot holes is another gripe– Well, perhaps during that simplistic story, they weren’t paying attention. The film explains as much as it can, within the visual narrative. And that’s enough…

The Sentinel is perhaps one of the most engrossing, nightmarish, surreal a horror film as any of the 1970s… with it’s origin based on the story of the Garden of Eden and the angel Uriel who was entrusted to guard the entrance from the Devil. Alison Parker (Christina Raines) has been chosen by providence and by lot for her past transgressions, her two suicide attempts–now to be groomed by the secret order of the Catholic church to redeem her damned soul, taking the place of the blind priest Father Halliran and become the new Sentinel, Sister Theresa to guard over the gates of Hell in– Brooklyn Heights.


Dante Alighieri wrote his allegorical epic poem between 1306 and 1321. Virgil is the guide who takes the reader through the author’s examination of the afterlife, which travels through the Inferno (Hell), the Purgatorio (Purgatory), and the Paradiso (Heaven).-source wikipedia

The Sentinel 1977 is another extraordinary occult film whose ambiance benefits from being shot on location in Brooklyn Heights and Manhattan. 10 Montague Terrace in Brooklyn Heights with the Promenade off Remsen Street. The building is still there…


As writer Jack Hunter describes in his chapter Flesh Inferno from Inside Teradome: The Illustrated History of Freak Film he talked about Federico Fellini’s Sartyicon 1969 and immediately The Sentinel floods into my mind- 
—“His vision of Petronius’ ancient Rome, Fellini willfully fills the screen with a succession of grotesqueries, images both beautiful and bestial, ghastly and gorgeous.”

Aesthetically, the scattered surrealism works, because it supports the religious mythology and dark fantasy of the oddball characters and the story. The moody camerawork by Richard C. Kratina and sense of realism within the disorienting story offered by set design Ed Stewart works to create a surreal atmosphere of anxiety and ambivalence. No one will believe that she isn’t just having another emotional crisis.  The building reveals its dark origins, the entire film is decorated with dread and kitschy late-seventies embellishments filled with hallucinogenic moments of abject agony (a la Alejandro Jodorowsky and Federico Fellini Satyricon 1969, Juliet of the Spirits 1965) soul tormenting— ominous and sinister visions and flashbacks, profanity, debauchery, cannibilistic malevolent Milton’s Inferno and Dante’s Divine Comedy as archetype and the ‘fallen woman’ as fetish.



Dante’s Inferno is a weary journey emblazoned with fire and perdition… a landscape occupied by devil’s, lost souls and shades.


Divine Comedy opening verse—the plaque in the basement of the brownstone that Michael uncovers reads as follows


Now the hint that the brownstone is the gateway to Hell and she has been chosen as the next sentinel to guard over it, as a way of redemption for her past suicide attempt cutting her wrists in a graphically bloody scene while she’s wearing her Catholic girl short plaid skirt white blouse and penny loafers, Mary Janes or black and white saddle shoes. is chosen by a secretive and distant association of Catholic priests to be the next “sentinel” to the gateway to Hell, the idea of blinding these Sentinels is to prevent their eyes to fall upon evil horrors that might induce fear and influence them away from their guardianship. All sentinels had tried to kill themselves, now priests or nuns in the files. They didn’t exist until after their attempted suicides showing up as clergy. Raines’ father is a gnarled, bony old man and he is shown so scrawny as to be suffering from pernicious anemia and putrid bile, his cadaveric screeching mannerisms like a vicious desiccated old buzzard.


Both the operatives of good and the minions of evil, work to try and get her to either take up the mantle of guardian or try to kill herself and become another soul won over by the devil, thwarting the secretive group of the secret sect of the Vatican to protect the gates of Hell from re-opening, watching over her to keep her from being terrorized into another suicide attempt.

Writer Jeffrey Konvitz Produced and wrote the screenplay for the film Directed by Michael Winner (The Nightcomers 1971, The Mechanic 1972, Death Wish 1974) the film was scripted by Jeffrey Konvitz (Silent Night, Bloody Night 1972—-The Stone Killer (1973)) based on his 1974 novel which the film does an excellent job of paying tribute to. The story unfolds beautifully with twists and turns and an extremely creepy and campy bizarre ambience.

Composer Gil Melle created the resplendent orchestral vibe, majestic horn section,haunting woodwinds and resonant strings that cry out. Les Lazarowitz is credited as the sound recordist who creates a sonic landscape of terrifying wails, metallic splashes and waves of dark moody textures.

And Richard C. Kratina (camera work on Midnight Cowboy 1969) worked on the interesting camera angles and cinematography. Costumes and wardrobe by Peggy Farrell, Set Design –Ed Stewart. Film editors Bernard Gibble (The Man in the White Suit 1951) and Terence Rawlings (Our Mother’s House 1967, The Devils 1971, The Great Gatsby 1974, Alien 1979)

Someone on IMBd pointed out that Michael Winner’s audio commentary for the UK DVD spotlights the director regaling you with the tale of how Universal head honcho Ned Tanen rejected Martin Sheen and insisted on Chris Sarandon for the lead only to wonder who was “that awful Greek waiter.”


Director Michael Winner, Chris Sarandon and Christina Raines on the set of The Sentinel 1977 image courtesy of Horrorpedia.


Director Michael Winner caught a lot of flack when it was realized that he had used actual disfigured people who were born with physical disabilities instead of special effects to represent the demons rising up from the bowels of hell. Something that Tod Browning experienced when he released his film Freaks in 1932. Or consider director Erle C. Kenton’s characters adapted from the H.G. Wells story of Island of Lost Souls (1932). Why Tod Browning’s film Freaks was banned for over 30 years, when in retrospect Browning portrayed his ‘freaks’ as sympathetic heroes that we not only saw as very human but empathized with, the accusation that the film was exploitative seems unwarranted.




Dick Smith did the make up which interspersed the real life ‘freaks’ with the make up costumed damned souls from hell. There’s a man who has testicles for a beard, I’d like to know if he was that way real life or created to as one of the denizens to shock. One of the sideshow ‘devils’ also appeared in the Thomas Tryon adapted film directed by Robert Mulligan —the incredibly atmospheric The Other (1972)

With special make up designed by legendary Dick Smith who also worked on The Exorcist 1973 and music by Gil Melle special effects by Albert Whitlock (The Birds 1963, Earthquake 1974, a few episodes of Star Trek, The Thing 1982, a few episodes of Star Trek) additional Make up by-Robert Laden —although people with real facial deformities were also utilized… -a whole crowd of real-life freaks and disabled extras as the denizens of hell.  real-life freaks (some of whom are said to have also featured in Jack Cardiff’s THE MUTATIONS [1974].

Without giving away a few secrets, I can say that the climax is riveting as the devils and damned start to pour out of Hell, unleashed by Chazen at their side.


As John Kenneth Muir aptly puts it, about the controversial use of real life people with actual deformities to plays Hellish monstrosities “it is no doubt the strongest in the film, “The idea of physical deformity (i.e.”evil”) is one of The Sentinel’s more powerful conceits.”

The Sentinel is one of the most definitive horror films of the 1970s decade. The cast of characters, and the story-line, the imagery and the intensity play out like a grim yet colorful nightmare, without shock value for the sake of just being graphically violent.  I do have a bit of an uncomfortable time watching a certain scene with Beverly D’Angelo as Sandra who performs a sexual act on herself while Sylvia Miles goes to get the tea, in order to shock and upset Alison. I wish the scene had been more suggested and toned down, it still would have served its purpose. I understand that the idea was to be vulgar and offensive in order to express how profane these characters were to develop but it makes my skin crawl to watch it, as it’s only moments it seems to last forever until the look of ecstasy and climax washes over the beautiful actresses face. This is an extremely awkward moment for Alison and a very unusual welcome to the building to watch the couple fondle each other in their leotards and wild teased out coiffed hair.

Charles Chazen matter of fact tells Alison as he points with his own flamboyant style “This is where the lesbians live,” and exchanges like Alison asking Gerde “What do you do for a living?” She answers “We fondle each other.”


I suppose in 1977 even the allusion to the idea that lured and sexually explosive lesbians existed on screen was in itself a titillating and provocative notion, today the use of them as a ‘fetish taboo symbol” has lost its luster to shock and tantalize..

Christina Raines plays a young model with an afflicted soul –Alison Parker. Her boyfriend is portrayed by Chris Sarandon as the smarmy mustachioed sketchy Lawyer who was marvelous as Leon -Sonny (Al Pachino’s) lover who wants a sex change so bad, Sonny’s willing to rob a bank for the money–it’s a true story also set in NYC of course I’m talking director Sidney Lumet’s Dog Day Afternoon (1975). Sarandon apparently was not happy with the film post production.


Then there’s José Ferrer as a “Priest of the Brotherhood” Arthur Kennedy as Monseigneur Franchino , the magnificent Ava Gardner in a short cameo is sophisticated and outré Vogue as Realtor Miss Logan who I believe to be literally an ‘outside’ agent in the true sense of the word, working for the secret Catholic society trying to strategically ensure that Alison will be in place and ready to take over as the Sentinel because on the appointed date Father Halliran (John Carradine) who is now fading psychically too weak to uphold his task as Guardian over the Gates of Hell will need a successor. John Carradine looks decrepit and spooky with his fixed gaze and staring off white eyeballs, and although he has a distinctive voice we all love, he has no dialogue in the film which works.

Burgess Meredith  -Ebullient, mischievous  and intellectually charming, a little impish, a dash of irresolute cynicism wavering between lyrical sentimentalism. He’s got this way of reaching in and grabbing the thinking person’s heart by the head and spinning it around in dazzling circles with his marvelously characteristic voice. A mellifluous tone which was used often to narrate throughout his career. Meredith has a solicitous tone and whimsical, mirthful manner.


And his puckish demeanor hasn’t been missed considering he’s actually played Old Nick at least three times as I have counted. In The Sentinel 1977, The Twilight Zone episode Printers Devil and Torture Garden 1967. He also played a malevolent character along side Eileen Heckert as Arnold and Roz Allardyce in Dan Curtis’ equally creepy Burnt Offerings (1976).

While in Freddie Francis’ production he is the more carnivalesque Dr. Diabolo–a facsimile of the devil given the severely theatrical make-up, goatee and surrounding flames… he is far more menacing in Michael Winner’s 70s non humorous gem he’s splendid as the spiffy little eccentric cultivated Charles Chazen.

Veteran supportive actor Martin Balsam the scatterbrained scholar, Professor Ruzinsky, who translates the Latin passages into English for Michael Lerman, Beverly D’Angelo plays Gerde’s girlfriend Sandra a mute pixie, the guttural Sylvia Miles (Murder Inc 1960, Naked City 1961-1963, Midnight Cowboy 1969) plays Gerde the guttural pythoness who adds that bit of titillation everyone seems to like to point out, as they are vulgarian Lesbian ballerinas lazing in their leotards.

And of course the uncomfortable scene where Beverly D’Angelo delightedly pleasures herself in front of Alison while Gerde is getting the tea. When she comes back with the tray and finds Alison getting up to scram -Gerde replies like a Diva “It’s very rude to drink and run” I particularly loved this description of the classic actress- “featuring predatory Teutonic lesbian Sylvia Miles.” I just adore both actresses!

Fred Stuthman who has appeared on more television and theatrical features than you can imagine plays Alison’s horrible, skeletal, degenerate father and an even more repulsive looking damned soul, blueish toned, white eyeballed phantasmagorical corpse.


Eli Wallach plays the sarcastic cynical New York City homicide Detective Gatz who has believed in the guilt of Michael Lerman (Chris Sarandon) who has some secrets and sins in his life meaning he might have killed his first wife. Jerry Orbach plays a director of commercials Alison is working on. Jeff Goldblum plays Jack a fashion photographer.Tom Berenger, the wonderful William Hickey plays the a professional safe cracker Perry that Michael (knowing his share of shady characters and criminals as he’s a defense lawyer) hires to break into the church and grab the files on Father Halliran , and Christopher Walken as Rizzo, Detective Gatz’s partner, who utters this telling line “She went to a party with eight dead murderers” and Deborah Raffin plays Alison’s best friend Jennifer. Hank Garrett plays Brenner the private investigator Michael hires to dig into the back story about Father Halliran and the involvement with the Catholic church.

Kate Harrington plays Mrs. Clark who was at Jezabel’s birthday party and appears in the mug shot that Gatz and Rizzo look at. She murdered her boyfriend violently. Then there’s the Clotkin sisters, Lillian and Emma played by Jane Hoffman and Elaine Shore murderous cannibals and hedonists. All the neighbors become menacing, and nothing is as it appears on the surface. The decorated apartments, wind up being revealed as vacant shells in disrepair.

Christina Raines (The Duelist 1977, Nashville 1975) plays an afflicted soul–Alison Parker a high fashion model in New York City who also does shampoo commercials, who lives with but can’t make a commitment to her boyfriend lawyer Michael Lerman (Chris Sarandon) She craves her independents and holds Michael’s proposal’s of marriage at bay. Soon after an argument with Michael about moving out on her own Alison gets word that her father has passed away at her family home in Baltimore, which triggers memories of her childhood trauma, leading to her first suicide attempt. After the funeral she returns to the city and finds an advertisement for a lovely Brownstone in Brooklyn Heights.






So goes to meet with the chic Realtor Miss Logan (the voluptuous Ava Gardner) unaware that she is being followed by a priest. She finds that the apartment is unbelievably reasonable for a New York rental which is owned by the Catholic church —She agrees to take the place from Miss Logan who obviously wants Alison to move in, dropping it’s price from $500 to $400 as if Alison heard it wrong the first time she complained that it was out of her price range — “I can’t afford $500.” Alison says, with which Miss Logan misses no time in saying  ”$400 is not excessive.”




… The beautiful layout is in Brooklyn Heights right across the water from Manhattan, decorated with gorgeous Gothic furniture, high ceilings and ivy growing up the sides of the building and a blind priest Father Francis Matthew Halliran (John Carradine), who just sits and appears to be looking out the window on the top floor. Although the Brownstone was a steal, and furnished as well, somehow it managed to be lensed by Dick Kratina with a sense of eerie and dangerous foreboding.



Alison’s response to learning that occupant of the top floor is Father Halliran a blind priest “Blind? Then what does he look at?”

Once she moves in, she starts to meet very odd and mysterious tenants who begin to give her the pip and the whim whams. First she meets the droll little character in 4B Charles Chazen…


Alison’s sense of independence starts to deteriorate after a series of disturbing events. Charles Chazen (Burgess Meredith — or the little dapper ‘devil’) is played to the hilt by wonderful character actor Burgess Meredith who runs rampant with his nifty asides and axioms, who has a sovereign reign over his legion of “devils.”


The door bell rings. The animated little puck like old man, which a yellow parakeet on his shoulder and tuxedo cat in his arms flashes his delightful smile at Alison…


“Chazen is the name Charles Chazen. I’m your neighbor in 4B and this is Mortimer. Um he’s from Brazil. And this on the other hand so to speak… this is Jezebel. Say hello to that nice lady Jezebel. (Meowww) That’s it darling. She’s got indigestion.”  Alison introduces herself, “Well hi I’m Alison.” Charles Chazen-“Really, may we uh, (he enters her apartment) oh! what a lovely apartment. Absolutely lovely.” Alison-“I was wondering when I was going to meet my new neighbors.” Charles Chazin-“My, you’re so pretty. Haven’t I seen you before, on television? Now don’t tell me I know you’re in a ” Alison answers – “I’ve done some tv commercials.” Charles Chazen responds unenthusiastic–  “Oh… really, I thought you were an actress…[…] Oh my dear your taste is impeccable. I wish you’d help me redecorate my poor place someday would you, hum?…Were you waiting to go out?” Alison- “I’m waiting for a friend.” Charles Chazen-“Ahh well, friendships often blossom into bliss as they say, and speaking of bliss Mortimer loves his belly rubbed would you..” Alison-“Do you know any of our neighbors”  Charles Chazen-“Yes I know all of our neighbors and they’re very nice, except that priest who lives above me, he’s a… (waving his hands dismissively) well however he’s quiet most of the time.”


Charles Chazen leaves a picture in a gold frame on her fireplace mantle, leaving with her some mirthful advice, “remember you eat and drink in moderation my dear.”

Alison also meets the lesbians Gerde and Sandra…







As soon as she moves into the building her sleep is disturbed by loud footsteps and clanging sounds that make the chandelier swing back and forth. Alison meets the Realtor to find out more about the neighbors in her building, in particular the person occupying the floor above her, as their heavy footsteps and loud banging kept her up all night.

Alison goes to inquire about the tenants and the person who occupies the apartment above her telling Miss Logan about the noises that kept her up all night. Logan is shocked to hear about this as the only tenants in the building are supposed to be Alison and the blind priest, the only tenants who have inhabited the building for years. Alison is disturbed by this news and returns home to find that Mr.Chazen’s apartment is truly vacant and the dust tells the story that it’s been sorely neglected by time.



“My dear Miss Parker aside from the priest and now of course you, nobody has lived in that building for three years.”





Miss Logan and Alison take a cab back after having the conversation in the cafe about being kept up all night by someone making so much of a ruckus on the floor above her. Monsignor Franchino stands behind the blind priest his hand grasping a cobweb covered statue baring an insignia ring belonging to their secret sect, he tells Father Hilliran “I am here holy father I have come so that you may shed your burden in peace.” and Alison takes Miss Logan through the apartment building, showing her vacant furnished rooms that looked cob webbed and dust covered as if it has been neglected for years. Alison informs Miss Logan –“This is where the lesbians live.”- Miss Logan hands Alison the keys dropping them into her hands with a gesture of skepticism before she opens the door.- Miss Logan handing Alison the keys- “Be my guest.”






the continual shot of the stairs leading upward seem symbolic of spiritual ascension and the death journey of the soul as in the story of Jacobs Ladder.

As Alison and Miss Logan begin to walk around the room she tells her that the furniture was different in there before. “Oh come now Miss Parker these pieces have not been touched in years.” Miss insists that she has to get back to the office, but Alison takes her to 4B where Charles Chazin lives, staring out the window she sings to herself, “Happy Birthday dear Jezebel… believe it or not, I attended a birthday party here last night… for a cat.” Miss Logan smiles with a superior air  “Sorry I missed it.”


Then Alison urges Miss Logan to let her into Father Halliran’s apartment as she wants to see the old priest, but she tells Alison that it would be highly improper. The priest is taken care of by The Diocesen Council of New York sees to his needs. Monsignor Franchino breathing a sigh of relief that Miss Logan hasn’t let Alison into the priests apartment.

We then see Alison on a commercial shoot where she has her first fainting spell, begins to suffer from severe migraines, begins looking pale as death.


Charles Chazen throws as sort of a welcoming party for Alison and introduces her to the rest of the odd tenants in the odd old building.









He invites Alison to the birthday party he is throwing for his black and white cat Jezebel, before he takes her inside to meet the guests, he blindfolds her with a red scarf. Jezebel is a perfectly delicious name for a devil’s cat. “Black and White cat… black and white cake…” -quoted by the murderess Mrs. Clark -Jezebel the tuxedo cat wears a pointed birthday hat with streamers at the top, very slick element to the quirkiness of the ghostly damned tenants.














Later on that night Alison hears more clamorous noises from the floor above her apartment which is supposed to be vacant. Alison starts to experience weird happenings in the apartment as well as her health starts to deteriorate as she begins getting striking headaches, looking paler, anemic and practically deathly.

Michael is becoming concerned for Alison’s safety and hires a private investigator James Brenner (Hank Garrett) to keep an eye on her.



We experience her past by way of flashback. Alison has a history of emotional distress, two suicide attempts, once as a teenager, after she saw her father’s sexual antics— a bacchanalian orgy— explicit menage a trios scene with assumed ladies of ill repute and then some time after Michael’s wife apparently committed suicide though detective Gatz (Eli Wallach) has been daunting him since it happened, believing Michael had something to do with her untimely death and it might turn out to be murder!






Alison’s strained relationship with her creepy philandering father who used to bring prostitutes home to the house and gallivant around the house with them, when Alison comes home from catholic school and finds them cavorting with cake and wine… In a protest to her religious schooling Alison’s father rips her silver crucifix from her neck and tosses it on the floor. She quickly runs to the bathroom and slices her wrists.

Since her past childhood trauma, her connection with religion and failed suicide attempts, she leaves her faith and the Catholic church behind.

Alison chases phantoms all through the building like Alice in Wonderland. It is more than mildly creepy as written, it is all out frightening as hell, and still is…

That night begins the first of horrifying visions that assault Alison’s world. Visions of her decrepit father who lurks and lunges in the shadows. Armed with a butcher knife and a flashlight she decides to go investigate the vacant apartment above her. When she sees him!







She is suddenly smack in the middle of a nightmarish sequence as she encounters the specter of her father, a ghoulish corpse, lensed with quick cuts to project an eerie type of movement by the phantom who spurts from behind the bedroom door of the apartment upstairs first hidden in shadow then walking quickly without an awareness of her presence at first, then he appears to come after her prompting her to slash at him with her knife, the blood sputtering out of the bluish corpse.


Slashing at her father’s ghost, she runs screaming out into the night blood splashed across her white slip, as people gather around her. Detective Gatz questions Michael the next day. Michael puffs on his Italian cigarette, “This isn’t police business” Detective Gatz “A girl running through the street at 4am saying she’s knifed her father, blood on her, that’s police business.” he shrugs staring out the window. He gives Michael Lerman a dig, making a comment an inappropriate hand gesture about his wife’s supposes suicide plunging off the Brooklyn Bridge. “The mistress of the bereaved husband took an overdose… but lived.”



Alison is resting at the hospital unable to respond for quite as she’s been drugged to keep her calm. Back at the police station Det. Gatz is discussing the case with Rizzo “She’s in the hospital blurbing about neighbors that don’t exist… except one, a priest, and he wouldn’t know if the building burnt down.”

Yet another theme has been developing that of paranoia and the protagonist experiencing alienation and disbelief by everyone surrounding her.


An un-credited Joe Hamer plays the detective who recognizes Anna Clark’s name. “It’s funny I know that name from somewhere.” Gatz tells him it’s one of the invisible neighbors. Cut to a book with crime history filled with murderers and a photograph headlining the infamous Anna Clark. Michael shows Alison the photo and ask if she’s seen that face before. “That’s Anna Clark she was at Charles Chazen’s birthday party.”  Michael reads, “Mrs. Anna Clark convicted murderess, sent to the electric chair at Sing Sing March 27, 1949 for the murder of her lover and his wife.” Jennifer takes the book from Michael and continues reading  “when he refused to leave his wife, she chopped them up in bed with an axe… charming.”


The quality in terms of how powerful The Sentinel holds up to a big production like The Omen or the vastly mimicked but never successfully redone William Peter Blatty /Director William Friedkin’s striking masterwork that is The Exorcist, The Sentinel is a self contained little jewel that must be seen through a very warped kaleidoscope of horrors. It’s tropes of good vs evil, secret religions sects, and the devil in the city exists for sure, but it’s bursts of horrors from the Id and unsavory characters create a world inhabited by a different set of innocents, angels and demons.

Perhaps the most startling vision in the film aside from the climactic ending which as said I won’t reveal here, is the moment her cadaveric father lurks behind her bedroom door hidden at first by shadow, in an almost paused moment in time, as if appearing from another realm, his movements otherworldly and alien, as she recognizes this ghoulish apparition as her recently deceased bastard of a father. I know it still rattles me to this day. It’s a gruesome scene as she stabs at his face, glazed over whitened fish like eyeballs and deathly comatose stare she thrusts away slashing at him with a large butcher knife.

The night she sees the ghost of her father she also has a lucid vision of killing her recently deceased father by slicing into his face, cutting an eyeball (the surrealist short Un Chien Andalou 1929) and cutting his ghoulish blue nose off!

They find Brenner’s body dumped in a land fill, with the exact wounds described by Alison claiming she inflicted on her father. They also find Alison’s file and Michael’s name in Brenner’s office, connecting them to his murder.



She goes to Church and seeks out counsel from the priest who has been secretly trailing her the entire time. Monsignor Franchino (Arthur Kennedy) tells her that it’s time to ‘embrace Christ’ and that the lord has a purpose for her.

Alison goes to church and lights a candle and prays. Monsignor Franchino who has been secretly trailing her comes to her side, he tells her that it’s time to ’embrace Christ’, “You came to be heard.”



What winds up being revealed is that Alison really killed Brenner and not the apparition of her father, it was the private Brenner hired by Michael. Detective Gatz and Rizzo. (Wallach and Walken) make connections between Michael Lerman, his hysterical girlfriend and now two murders, seem to link them all together some how. During her waking nightmare, running out into the dark streets collapsing in her scant white nighty drenched in her own blood, holding the knife, she is now suspected of murder along with her boyfriend the sleazy attorney Michael Lerman.

Drawing attention to herself by screaming out in the streets all blood soaked leads police detective Gatz (Eli Wallach) and partner Rizzo (Christopher Walken) to investigate both Michael and Alison with certainty that it all somehow leads back to Michael Lerman’s first wife who supposedly killed herself. Detective Gatz  has an eternal hate on for this hot-shot lawyer who once showed him up in court regarding the whole wife’s suicide. That case is really a motivating factor is Detective Gatz’s dogged approach to finding out whose blood was really on Christina and if Michael Lerman has anything to do with it. Alison is taken to the hospital that night.

While the police do some investigating from the descriptions and names of the party guests Alison gives them. The cops uncover that one of her ‘imagined’ party guests and supposed neighbor is Anna Clark , a murderess who went to the electric chair for chopping up her boyfriend and his wife with an axe.





Michael starts to believe that Alison is experiencing some kind of uncanny paranormal phenomena, when she returns home he begins to quiz her randomly pulling out books from the shelf of the vacant apartment 4B… As he shows her pages, she begins to fluently read Latin phrases though it appears to her as being written in English. Of course Michael is suspicious of Father Halliran mysterious blind priest on the top floor. When he tries to question him, there is no answer and the door is locked.

Back at the brownstone she shows Michael the vacant apartment, pulling select books off the bookcase, “The Charterhouse of Parma by Stendahl, Techniques of Torture by Illard.. you’ll like this one for variety, all the pages are the same.” Michael, “Alison there’s nothing strange about this book.” “What do you mean?” “All the pages are different.” “All the pages are the same… all of them!” “Alison either one of us is lying or one of us is seeing something that isn’t there now, tell me what do you see in this book” She slams the book closed… and insists “Latin, I see nothing but Latin, everything in there is Latin” Michael takes a pen out of his pocket and tells Alison to write down exactly what she sees. Michael points with his finger, words like “Though the Church and superstitious” Alison begins to write down what she sees-“TIBI SORTU…” etc. “Jesus Alison you really are seeing Latin.”

They try to get inside Father Halliran’s apartment, but the lock has been changed.



Michael then takes the translation to the dotty absent minded Professor Ruzinsky (Martin Balsam) “You know when you phoned I thought you had a serious problem something challenging. A few word more and I’ll have it Eldridge” Michael corrects him, “It’s Lerman, Michael Lerman” Ruzinsky agrees, “Yes, Eldridge Lerman… there we are, well, -‘to thee thy course by lot is given charge and strict watch that to this happy place no evil thing approach or enter it.’-“


“It’s been a long time Mr. Lawyer you take a high chance.”





“William O’Roarke Father Halliran William O’Roarke disappeared July 12, 1952 after attempted suicide. “ Perry-(Hickey) says “They’re the same man. William O’Roarke became a priest named Halliran.” “Yes but why?” Perry shrugs-“I just open doors” Michael digs through each file expounding- “Before Halliran there was Father David Spinetti,who started life as Andrew Carter declared missing, Carter reappeared as Spinetti  and died the day that Halliran started life as a priest. Before him Mary Thorne becomes Sister Mary Angelica. All of these people going back for years lived ordinary lives and then became priests or nuns. All of them sometime or another… attempted suicide…. […] if these files are right Father Matthew Halliran dies the same day that Alison Parker disappears and becomes Sister Theresa.” (insert sweeping Gil Melle style strings…)

So he hires offbeat character actor William Hickey as Perry the safe cracker and ace lock picker to break into the Diocese and lift the files on the quiet Father Halliran. Before becoming a priest, he too had tried to commit suicide, just like Alison. Michael also finds a file on Alison Parker who is next in line to become Sister Theresa who is due to take over– tomorrow!

This as writer John Kenneth Muir brings out how it begs the question about redemption, does Alison have free will? Was she chosen by God to be a servant or did her fall from grace, her suicide attempt cause her to owe her life to Christ?





Detective Gatz –“Rebecca and Malcolm Stinnet, Sandra (Narcotics Addict) Gerde Ingstrom, Emma and Lillian Clotkin, Anna Clark, all people the Parker girl said she met.” Rizzo-“All killers all dead. She went to a party with 8 dead murderers.” Gatz heartily replies- “Doesn’t everybody?”



Michael goes on to investigate further, rummaging around the old brownstone he finds a boarded up plague in the basement that tells the opening saga of Dantes Divine Comedy revealing that the building has been built over the portal to Hell and the lost souls who wander there. Michael finally goes up the stairs to confront Father Halliran strangling him to death then he himself is struck down by an unseen figure in the shadows who cracks him over the head with a religious statue.

When Alison returns home, she finds Michael there, who proceeds to explain that she has been daunted by ‘devils’ and that she is to be the next Sentinel.



And this is where I will leave off…


The ending is a grotesque morality pageant that might terrify or even offend certain people, but if you’re willing to investigate a rare 70s horror story with a dark atmosphere and a visual journey into darker realms… dare enter!

John Kenneth Muir Horror Films of the 1970s
“Seventies films such as Frenzy (1972), The Last House on the Left (1972) The Texas Chainsaw Massacre (1973), The Hills Have Eyes (1977) were also more explicit, and far more intense, than previous horror productions had been. This was a result of the “new freedom” in cinema to freely depict graphic violence and bloodletting and a shift to the paradigm of existential ‘realism’ over the romantic ‘supernatural.’” continuing Muir writes “Seizing on this spiritual doubt and vulnerability was another blockbuster movie trend of the 1970s, the religious horror film. The Exorcist (1973), Beyond the Door (1975), The Omen (1976), and The Sentinel (1977) and many more that found stark terror in the concept of that the Devil was real, and that mankind’s eternal would was in jeopardy from demonic possession and the Antichrist, among other iconic boogeyman”

A term used called it ‘savage cinema’ and was unique to the 70s although not much anymore since the rising of the ‘torture porn’ movement.

The climax has very disturbing imagery, not unlike a parade of oddities and gruesome atrocities you’d see in a Jodorworsky (El Topo 1970, Santa Sangre 1989 or nightmarishly gory visions of hell from Lucio Fulci.



Once again from Muir’s book he at least insightfully makes the connection between The Exorcist 1973 and The Omen 1976 by endowing the type of good vs evil films coming out of the 70s as they “set forth a conspiracy in the Church, a kind of possession by evil, the corruption of the innocent,and other common elements of 1970s Hollywood supernatural flicks. The Sentinel is not as powerful a film as either The Omen or The Exorcist, but it does feature some startling moments and is a solid horror film despite an overload of clichés. The film’s greatest power comes in its jolting, surprising revelations.”

This is your EverLovin’ Joey saying I’ll be standing watch all night long on Halloween, wishing you and yours a happy and healthy candy binge!


















Halloween Spotlight: ABC NBC & CBS Movies of the Week–the year is 1973 🎃 13 Fearful Tele-Frights!!


From TV Horror: Investigating the Dark Side of the Small Screen by Lorna Jowett & Stacey Abbott



1-The Cat Creature 1973

Aired December 11, 1973 as an ABC Movie of the Week


“Beware the seal of Kah-ub-set, for he who dares to remove it will open the gates of Hell.”


The Cat Creature was directed by horror film icon Curtis Harrington Night Tide (1961), Queen of Blood (1966), Games (1967), How Awful About Allan (1970) tv movie, What’s the Matter with Helen (1971), Whoever Slew Auntie Roo (1972), The Killing Kind (1973), Killer Bees (1974) tv movie, The Dead Don’t Die (1975) tv movie also directed by Curtis Harrington, Ruby (1977), Devil Dog: The Hound of Hell (1978) tv movie.

The Cat Creature was scripted by Robert Bloch based on a story by producers Douglas S. Cramer , Wilfred Lloyd Baumes and writer Bloch himself. 

From Nice Guys Don’t Work in Hollywood written by Curtis Harrington -he talks about how different television executives’ mind-set for tele-films are than major motion picture executives.


Director/writer  Curtis Harrington master at ‘horror of personality’

“I found out just how different on a television movie called The Cat Creature. The script  was written by Robert Bloch, based on an old story he’d published in Weird Tales. In fact, he was one of the horror writers I had discovered in the pages of Weird Tales during my teen years in Beaumont. It was a nice pulpy story about a girl who is the reincarnation of an ancient Egyptian cat goddess. In casting the actress to play the modern incarnation of this beautiful goddess, I got my first nasty taste of  TV executive thinking. I discovered that this new set of black suits was always very involved in the casting of leading roles in the network TV drama. Unlike movie executives whose primary interest was ‘box office appeal’ they were concerned with something they called TVQ” This meant the ratings the stars other television appearances had received. The connection between a star’s suitability for a role meant absolutely nothing, and this was the case of The Cat Creature… […] I recalled that Egyptian women supposedly used henna to dye their black hair red, so we put a dark red wig on Meredith Baxter, and she agreed to darken her eyes with green contact lenses… […] Bloch had written an important supporting role, the proprietor of  a magic shop, for a man. I suggested that he rewrite the role for a woman and that we try to get Gale Sondergaard for the part. Sondergaard was an actress I remembered vividly from my childhood. She had been memorable as the sinister Oriental [sic] woman in The Letter and in the title role of The Spider Woman, a Basil Rathbone/Sherlock Holmes adventure in 1937…



“I had wanted the proprietress of the occult shop to be played as a lesbian to lend a bit of spice to the show. But Standards and Practices , the office of the network devoted to removing any element to a script that might offend Mrs. Grundy, sent a memo after that there must be ‘NO SUGGESTION WHATSOEVER THAT THIS CHARACTER IS A LESBIAN.’ However, my natural propensity toward subversion was given its due when Douglas Cramer allowed me to add a dwarf hooker to a scene in a cheap hotel where Stuart Whitman as the detective interview John Carradine, who plays the hotel clerk. The dwarf lady of the evening is shown seated on the counter in the hotel lobby. Swinging her short legs and batting her eyelashes, she says to Stuart, “How’s tricks, baby!” This was left in, and Cramer was very pleased when the incident was singled out for comment in a New York Times review of the show. It wasn’t the sort of thing they were used to seeing in the bland medium of television.”


The Cat Creature was written by prolific horror-writer icon Robert Bloch, (Psycho (1960), Strait-Jacket (1964), The Night Walker (1964) a few episodes based on Bloch’s stories were used in Boris Karloff‘s anthology television serie ThrillerThe Weird Tailor 1961,  The Grim Reaper 1961, The Hungry Glass, The Cheaters, The Psychopath (1966), The Deadly Bees (1966), Torture Garden (1967) The House that Dripped Blood (1971), Asylum (1972) Bloch wrote for Alfred Hitchcock Presents, Night Gallery, Circle of Fear and Star Trek.)

The story of The Cat Creature


An estate appraiser Frank Lucas (Kent Smith) comes to catalogue a private collection of Egyptian relic, the inventory at an estate –among the deceased’s possessions is an Egyptian mummy adorned with splendid regalia –wearing a large amulet around it’s neck and topped the golden head of the cat Goddess Bast.

Just to be clear as a person who worships cats–The story of The Cat Creature is a creation for a horror tele-play that has no foundation in historical fact. Bast was not a murderous cat nor an evil deity. Bast represents protection and is a sacred symbol of that protection toward cats… She is not a monster!


From Wikipedia–Bastet was a goddess in ancient Egyptian religion, worshiped as early as the 2nd Dynasty (2890 BC). As Bast, she was the goddess of warfare in Lower Egypt, the Nile River delta region, before the unification of the cultures of ancient Egypt. Her name is also translated as Baast, Ubaste, and Baset.[1] In Greek mythology, she is also known as Ailuros.

The uniting Egyptian cultures had deities that shared similar roles and usually the same imagery. In Upper Egypt, Sekhmet was the parallel warrior lioness deity. Often similar deities merged into one with the unification, but that did not occur with these deities having such strong roots in their cultures. Instead, these goddesses began to diverge. During the 22nd Dynasty (c. 945–715 BC), Bast had transformed from a lioness warrior deity into a major protector deity represented as a cat.[2] Bastet, the name associated with this later identity, is the name commonly used by scholars today to refer to this deity.

Shortly after Lucas leaves, a thief Joe Sung played by Keye Luke steals the amulet, the mummy disappears setting off a series of uncanny events and several mysterious murders. Frank Lucas is found dead and Lt. Marco (Stuart Whitman) calls in Prof. Roger Edmonds (David Hedison) as an expert to help identify the missing amulet. Joe Sung tries to pawn this ancient amulet at The Sorcerers Shop an occult shop owned and run by Hester Black (Gale Sondergaard). After Black’s young salesgirl is murdered in the same fashion as Frank Lucas, she hires a new girl to work in her shop. Enter, Rena Carter (Meredith Baxter) who gets pulled into the mysterious happenings and begins a romance with Prof. Edmonds.



The strange killings show the victims all baring the marks of a giant cat attack, as if they’ve been clawed to death. Is it the resurrection of the Goddess Bast who is committing these murders?

This ABC Movie of the Week, showcases the actress whose popularity was rising at that time, Meredith Baxter, who plays the mysterious Rena Carter who may be somehow involved in these strange ritual killings. David Hedison plays Prof. Roger Edmonds an archeologist who is called upon by the detective on the case, Lt. Marco (Stuart Whitman) to assist him in solving the murders. Just a note… I am absolutely crazy about Stuart Whitman, down the road I plan on doing a feature on his work –his credits too long to mention, so see the link to IMBd, I also really want to do a feature on the incredibly mesmerizing actress of the 70s Barbara Parkins who appears in another ABC Movie of the Week Snatched that I’ll be covering in just a bit…


Prof. Roger Edmonds-“Marco is on his way here to arrest you”
Rena Carter “What!”
Prof. Roger Edmonds-“Don’t you see Everything about you adds to Marcos’ suspicious no previous address no social security number A girl who covers her tracks A girl who stops at the shop not by accident but with deliberate purpose. Marcos thinks that you destroyed everyone who stood between you and that amulet.”

Another bonus of this creepy tele-film is that it co-stars the wonderful Gale Sondergaard. as Hester Black the occult shop owner.


In an interview actor David Hedison commented, “All in all, it was a very happy experience. Meredith was a joy to work with, and a fine human being. Stuart Whitman and I talked and laughed a lot about our early contract days at 20th Century Fox in the late 1950s and 1960s. And of course, Gale was a lovely woman and shared so many wonderful memories with me about her early films. And I should add that all the felines behaved beautifully–even in one of the more violent scenes with me at the end of the film. I managed to escape without a scratch!” –“One other memory was of the first screening of the film before it aired. There was a small invited audience at a screening room on the lot. My wife, Bridget, had not read the script or seen any of the shooting, and at one point when the Cat Creature suddenly jumps out to attack, she got such a fright she let out a scream- much to the delight of the producers and director”

From Television Fright Films of the 1970s by David Deal-“here he (Curtis Harrington) successfully recreates the moody thrillers of Val Lewton of the 1940s. Relying on creepy atmosphere and suspense.”

Deal points out one of the prevailing great elements of The Cat Creature, it’s fabulous casting of course Stuart Whitman who is a tremendous actor, his appearances go all the way back to the early uncredited 50s classics like When Worlds Collide (1951) and Day the Earth Stood Still (1951) Whitman was nominated for an Academy Award for his startling performance in The Mark 1961, as a tormented man dealing with his repulsive impulse to molest children and his ultimate redemption. It was a risky role, that he inhabited with dignity and pathos. A prolific supportive actor and leading man he appeared in Cimarron Strip tv series from 1967-1968. One of my favorite films of his Shock Treatment (1964) was another powerfully nuanced portrayal of Dale Nelson an actor who is paid to infiltrate a mental hospital to expose a crazy psychiatrist Edwina Beighly played by the silky and sly Lauren Bacall. Stuart Whitman has appeared in stinkers too, like Night of the Lepus (1972) about giant mutant bunnies, eh not so much… in Jonathon Demme’s Crazy Mama 1975 with Cloris Leachman, and a very slick Italian cop thriller called Shadows in an Empty Room aka Blazing Magnums (1976). And since we’re celebrating these ‘tele-fright’ films of the 70s let’s just mention his other supporting roles, he plays a psychic looking for a missing husband in Revenge! (1971) with Shelley Winters as a deranged mother who lost her daughter and The Woman Hunter (1972).


David Hedison of course was popular with horror fans for his campy over-the top performance as a altruistic scientist who loses his head over his discovery to transport matter in the fantastical classic Sci-Fi hit, The Fly 1958 (which is part of my series to follow Keep Watching the Skies -coming up The Year is 1953) starred in the hit television show Voyage to the Bottom of the Sea (1964)

The supporting cameos are such a treat! Seeing Gale Sondergaard who is terrific as the occult shop owner Hester Black who while reading Professor Edmonds his tarot cards gets into a battle of the wills between skepticism and fanaticism. Sondergaard received the first Academy Award for Best Supporting Actress in Anthony Adverse (1936) I adore her as Emily in the Abbott & Costello romantic comedy The Time of Their Lives (1946) even then she was open to the spirit world! Sondergaard was one of the unfortunate actors who were targeted by HUAC, brought before them she refused to testify and was blacklisted from the industry for over 20 years. She returned in 1969, and The Cat Creature was her first ‘tele-fright’ (as writer David Deal puts it) of the 1970s.


The Deputy Coroner (Milton Parsons) looks like a corpse himself, just one of the macabre details that Harrington likes to throw into his ‘horror of personality’ films and teleplays.

The busy working actor Kent Smith has appeared in so many film and television supportive roles. Best known by horror fans for his roles in Val Lewton’s Cat People (1942) and The Curse of the Cat people (1944)

Here he plays Frank Lucas the cat creature’s first victim. Ironic isn’t it! His other tele-frights include director Curtis Harrington’s  How Awful About Allan (1970) starring Anthony Perkins, Julie Harris and Joan Hackett. He was also in The Night Stalker (1972) and The Disappearance of Flight 412 (1974). One of my all time favorites, is the lovable, ubiquitous the theatrical acrobat likes of Burgess Meredith who could inhabit the role from vagabond to thespian at times quixotic poetic tongued –the sharp, and saturnine character actor John Carradine who plays the manager of a sleazy hotel clerk. Carradine can make the smallest part enormously unforgettable and has graced many a tele-fright– Crowhaven Farm (1970), The Night Strangler ((1973) and Death at Love House (1976) Next to Boris Karloff and Vincent Price, I have such a sweet tooth for John Carradine and he’s another icon I’d love to feature here at The Last Drive In.



From David Deal’s terrific Television Fright Films of the 1970s a movie of the week companion –“Charlie Chan’s number one son Keye Luke is the amulet thief in his only telefright appearance of the decade but most curious is Peter Lorre Jr. who appears as a dying pawn broker Lorre Jr. was really German born Eugene Weingand a notorious imposter who was once taken to court by Lorre for using his name. Lorre died before his case against Weingand was settled, allwoing the impersonation to continue. Relative newcomer but top billed Meredith Baxter was fresh off the Bridget Loves Bernie sitcom and would soon marry her co-star David Birney, where she would heifeenate her name and has become a fixture to television.”

Composer Leonard Rosenman is responsible for the score, he has won Oscars and Emmys for his compelling music, for instance Fantastic Voyage (1966), A Man Called Horse (1970) Beneath the Planet of the Apes (1970) Race with the Devil (1975), Bound for Glory (1976) and supplied the poignant music for the dark disturbing psychological mini-series starring Sally Field–Sybil (1976). He also added his music to other tele-fright films such as Vanished (1971) The Phantom of Hollywood (1974) and The Possessed (1977) starring wonderful supporting actress of the 1970s Joan Hackett.


Though I am a huge fan of the directors body of work, I have to look away from Harrington’s predilection to either kill off cats or make them look sinister in his films, so avoid The Killing Kind (1973) with Ann Southern or if you love rabbits lets not forget the poor bunnies in Whats The Matter With Helen (1971).

Also the sound the cat creature makes doesn’t sound anything like a growling menacing cat, it sounds like an old man who smokes too many cigars and needs to spit up his oatmeal and prunes.

2-The Devil’s Daughter 1973

Satan Has Returned For Her!



Aired January 9, 1973 ABC Movie of the Week

Directed by Jeannot Szwarc  and screenplay written by writer/director Collin Higgin’s whose credits include the cult film starring Bud Cort and Ruth Gordon and one of my personal favorite films–Harold and Maude (1971), he also penned the memorable feminist comedy classic Nine to Five (1980) starring Dolly Parton, Lily Tomlin, and Jane Fonda.

Busy 70s television Canadian born actress –with the girl next door beauty –Belinda J. Montgomery plays Diane Shaw, whose mother has died, leaving her with the revelation that she is actually the daughter of Satan. Diane’s mother Alice Shaw (Diane Ladd) had carnal knowledge with the prince of darkness and Diane is the product of that unholy union. Alice was also friends and worshiped Satan with Lilith who befriends and lures our wayward devil waif into a web of suspense as she spirals toward her fate.



Naturally as the working formula would suggest Diane is then pursued by devil worshipers headed by Lilith Malone played by the grand lady herself, Shelley Winters. Of course there are elements that pay tribute to the far superior classic pre-occupation with devil cults and paranoia in the city Roman Polanski/William Castle’s Rosemary’s Baby (1968) brought to life by the stunning performance by Mia Farrow, and the presence of such greats as Ruth Gordon, Sidney Blackmer, Ralph Bellamy, Patsy Kelly and Maurice Evans.


Shelley Winters having a Ruth Gordon/Minnie Castavet moment!!!

Feeling trapped by her destiny, she soon meets and falls in love with Steve Stone (another tele-fright favorite-Robert Foxworth). Steve asks Diane to marry him and so life is possibly good again? Well maybe not so much…


Lilith-“Dear, You mustn’t disappoint your mother’s old friends”


Alikhine-“You are your mother’s daughter!”
Mrs Stone (Martha Scott) “She got religion, and turned away”
Alikhine-“You are your father’s daughter!”
Diane –“NO! NO!”
Alikhine- “He is the evil one.”
Mrs Stone-  “The all seeing… he is Lucifer”

First off, The Devil’s Daughter is still entertaining to watch, I adore Belinda J. Montgomery and I could watch Shelley Winters bring in her mail. She’s been lighting up the screen since she played the neurotic Jewish mother Faye Lapinsky in director Paul Mazursky’s sublime Next Stop Greenwich Village (1976) to watching her as Belle Rosen who swims under treacherous waters in The Poseidon Adventure (1972) , as she envision Ma’ Kate Barker in Roger Corman’s Bloody Mama (1970) or the tragic Helen Hill/Martin in Curtis Harrington’s gruesome horror of personality thriller What’s the Matter with Helen (1971)  as the bellicose Mrs. Armstrong in Bernard Gerard’s The Mad Room (1969) as the vengeful and deranged mother in the tele-fright film Revenge! (1971) going back to the luckless love-sick and doomed Alice Tripp in A Place in the Sun (1951), as the delightful singer Binky Gay in Phone Call from a Stranger (1952), the sympathetic Terry Stewart in William Castle’s Johnny Stool Pigeon (1949) or the gutsy and classy torch singer –Joy Carroll alongside Frank Sinatra in the dazzling musical noir film Meet Danny Wilson (1951)…! there it is I just adore Shelley Winters!

Belinda J. Montgomery was one of the more prevalent actresses in the 70s teleplays, like Season Hubley who looked fresh scrubbed and awfully pretty but could play it all damaged and less than pure if you know what I mean.

The Devil’s Daughter plays like a dark comedy, with a surprisingly pessimistic or should I say fatalistic ending, not unlike it’s finer forerunner Rosemary’s Baby.




Directed by Jeannot Szwarc had started out his career working in television and has directed many popular contemporary television series link to IMBd to see his complete credits, in the late 60s and 1970s he worked on Rod Serling’s television horror anthology series from 1969-1973 Night Gallery.

If you’re familiar with the series you’ll recognize the painting of Satan that emblazon’s Lilith’s living room wall, could be a tout to the series that utilized artwork of art director  Thomas J. Wright who painted all of the paintings used to introduce each story.


Szwarc directed a the ‘tele-fright’few Night of Terror (1972) and in 1973 directed the Lovely But Lethal episode of Columbo starring Vera Miles. Some of his notable theatrical releases – Bug (1975), Jaws 2 and the romantic fantasy Somewhere in Time (1980).

What makes The Devil’s Daughter the most interesting to watch are the familiar character actors that populate the film. The nefarious characters that are not quite they seem to be on the surface. Of course there’s the mentioned Diane Ladd as the profane mother who slept with the devil in the first place but in her waning years found religion but was executed by the cult for her transgression. There’s the wonderfully perspicacious Ian Wolfe whose presence always adds an extra depth to any story, here he plays Father MacHugh a kindly priest who while he doesn’t believe the gossip about Lilith would rather see Diane move out of Lilith’s house and live with a girl her own age. When Diane does decide to move in with a friend, Lilith blows her stack…

Fans of Dan Curtis’ cult television horror soap opera of the 1960s Dark Shadows will recognize Jonathan Frid as Lilith’s mute ‘chauffeur companion.’




Film star Joseph Cotten plays Judge Weatherby, Martha Scott as Mrs. Stone, Lucille Benson ( a quirky character actress who was great at playing batty old ladies) as Janet Poole and Thelma Carpenter as Margaret Poole curious twins, a pair that reminds me of the odd relationship between Sylvia Miles as Gerde Engstrom and Beverly D’Angelo as Sandra in Michael Winner’s The Sentinel (1977) which I am highlighting this Halloween month of October! The Poole sisters dress alike, Janet is white and Margaret is black, and they have cats with opposite colors.



The persnickety Abe Vigoda (the irascible Detective Fish from tv’s Barney Miller) plays Alikhine an expert in ancient art of dance, Robert Corthwaite (the fanatical scientist intent on idolizing the superiority of the super carrot in The Thing from Another World 1951) plays pastor Dixon.

Some of the dialogue is as campy and hilariously high brow as all get out–“You are promised in marriage to the Prince, the Demon of Endor.”


And much like the climax of Rosemary’s Baby there is the ensemble of Satanists seen in Lilith’s scrapbook of yesteryear, the cult standing around in living rooms in their robes posing for a the photograph.


Diane struggles to fight back her legacy as the Devil’s own daughter as she struggles with nightmares, manifests her inherited evil nature and wearing her ring with the strange insignia, mentally impels a young boy to walk out into traffic, nearly getting him run down by a car.



There’s a nice touch as she meets her roomate’s horse and they become frightened by her presence bucking and whinnying, a sign that they can see her evil essence. When Alikhine (Abe) leads the ‘ancient dance’ at the party Diane has an instinctual rhythm that guides her movements. Will Diane succumb to her legacy or will she use her power to fight her destiny? I won’t tell… “They actually refer to me as the Devil’s daughter.” -Diane







3-Don’t Be Afraid of the Dark 1973


Aired October 10, 1973 ABC Movie of the Week


“Sally, Sally, Sally… We want you, we want you. It’s your spirit we want, your spirit we need… When will they come to set us free… there’s time enough we have all the time in the world.” 




Don’t Be Afraid of the Dark is one of the most remembered television horror films of the 1970s. It no doubt has left a lasting impression with so many of us. Enough so, that director Guillermo Del Toro remade it with more teeth and polished effects in 2010, renewing a whole revitalized generation of fans of the story and mood of the piece in all it’s palpitating unreality. That’s why it has maintained such a cult status all these years. The creepy atmosphere is partly credited to director John Newland who wasn’t a stranger to stories of the macabre and uncanny as he developed the late 50s series One Step Beyond. which dealt with real life experiences with the uncanny and the supernatural. He also had a hand in directing several of Boris Karloff’s anthology series that blended mystery, horror and noir in his 60s series Thriller.

I love the color palate by set designer James Cane–the purple and blue tones, the reds and pinks, the golds and browns, the lighting and set design is a rich visual set piece to work within the modern ‘things that go bump in the night’ trope.


Felix Silla, Tamara De Treaux & Patty Malone as the creatures: on the set of Don’t Be Afraid of the Dark (1973)

Newland worked steadily through the 60s and 70s with Karloff on Thriller and then with Rod Serling on Night Gallery. In Don’t Be Afraid of the Dark, director Newland has such a grasp on what is eerie and spooky in the classical sense delivers an atmosphere that is rich with a wonderful color pallet. He produces a simple story with spine tingling chills, that are often missing today. Newland’s device works great often due to the lighting and the quick glimpses, as you just catch aspects of these little menaces, rather than have them appear for long periods of time on camera. Another creepy mechanism that I find startling is a device within the make-up developed by Michael Hancock   (The Omega Man 1971, Deliverance 1972, Altered States 1980, Se7en 1995). where the creatures speak but  their mouths do not move, it is as if the voices come from behind their faces.

Don't Be Afraid of the Dark (1973) Directed by John Newland
Don’t Be Afraid of the Dark (1973)
Directed by John Newland

It’s an odd effect, and though it lacks the virtual ‘teeth’ that Del Toro’s savage creatures have, I am filled with such nostalgic shivers for the old look of things. The kitschy decorating for instance. The creature masks also remind me of something you’d see in The Twlight Zone, episode of Eye of the Beholder, in the same way make up artist William Tuttle created masks where their mouths didn’t move when they spoke. The effect just works. The three little devil imps with their shriveled scowling faces and piercing eyes and creep-tastical voices are among the most iconic and remembered creatures from the 1970s.

Don’t Be Afraid of the Dark is “lit like a horror movie–pools of light glow amidst shrouds of darkness and mysterious shadows abound” “Even a darkened party scene is justified as reticence to reveal the house remodeling underway. The truth is fear of the dark is universal., especially when prune-face goblins tug at our bedclothes.”- David Deal: Television Fright Films of the 1970s.


Alex (Jim Hutton) and Sally Farnham (Kim Darby) inherit a eerie old Victorian house from Sally’s grandmother that holds a dangerous secret legacy, as it harbors the spirits of little devil imps who need to be set free by a designated person whose soul they aim to possess. Once Sally moves in to her grandparents garish and secretly ghoulish old house, Sally discovers these little creatures living down in the pits of hell behind the bricked up fireplace in the creepy, musty den. Like her grandfather before her, Sally is next in line to ‘set them free’ by being their chosen sacrifice. She now must convince her success driven husband Alex that she isn’t crazy or a hysterical, bored housewife. Alex refuses to listen to Sally’s pleas to leave the house, or that the strange happenings and sightings of antagonistic little demons are real and not born out of her imagination or a way for her to sabotage his budding career that takes him away a lot. The only person who not only believes Sally but has tried to warn her not to meddle in things she doesn’t understand, is William Demarest as cantankerous handyman Mr. Harris, who worked for Sally’s grandparents. He knows about the little evil gnomes bricked up behind the fireplace and tries to no avail to get Sally to leave the creepy den as is, “Some doors are better left unopened.”






Sally pushes on the bricks of the old fireplace, Mr. Harris the handy walks in, in his
sour-puss scowling manner-

Mr Harris-“It won’t work.! Sorry Miss I didn’t mean to make you jump”
Sally-“It’s alright… well why won’t it work? I mean surely all it needs to be is smashed open”
Mr. Harris- “those bricks are cemented 4 deep and reinforced with iron bars. There’s no way of opening it up.”
Sally-“now who’s idea was that?”
Mr.Harris-“Your grandmother had me do that twenty years ago.”
Mr. Harris-“Well, it, it was after, er (he stops and looks at the fireplace)
Sally-“after what?”
Mr. Harris- “I just can’t open it up.”
Sally-“Now Mr. Harris surely you’re not afraid of a little hard work, hhm?”
Mr. Harris-“Its not the work it’s just that some things are better left as they are”


Sally-“Whats this?”
Mr. Harris-“That’s for cleaning out ashes”
Sally-“it’s been bolted shut”
Mr. Harris-“By me, and that’s the way it should stay!”







Told by both Alex and cranky pants Harris to leave the fireplace alone, naturally she unbolts the ash pit, releasing the creatures who proceed to torment her, making it look like she is crazy, torturing her, gas-lighting her, as we here whispered tones of
“No don’t hurt her, not yet… “but I want to I want to…”

Oh there’s plenty of opportunity and time to torment, hurt and and drag Sally down to hell. Sally, it’s too much fun to drive her mad, messing with the lights whiles she’s taking a shower, then leaving the straight razor on the dark bathroom floor, poking out from behind curtains and bookcases, peaking out of the floral arrangement at the haute dinner party intended to impress Alex’s boss, placing a chord across the steps hoping she’ll fall down the long staircase. Sally sees these little menaces everywhere but no one else does. Alex doesn’t even believe that it’s mice, the place was fumigated right before they moved in. After Alex has a fit and fires Mr. Harris for filling his wife with dread, he finally reaches out to him wanting to hear about the history of the house.








Apparently, Mr. Harris tells Alex, that Sally’s grandfather was heard screaming in the study the night he disappeared presumably as he was being dragged down into the pits of hell. After that, the fireplace was bricked up and the ash pit bolted shut. The wicked little imps have been waiting all this time to be set free.



The simplistic story, everyone at one time has been afraid of the darkness and the unseen terror that it holds and the beauty of this enduring film which moves along in a very quick pace that doesn’t seem rushed, nor empty. Each scene while at times frustrates from the standpoint of stupid things you don’t do if you feel you’re in danger, like at the height of the danger drawing ever so near, just lie down on the bed and take a nap, okay you’ve been drugged with the sleeping pills slipped into your coffee by those little creeps. You will forever ask yourself, go to a hotel, why not just get out of the house. You feel like you want to scream at Sally, get the hell out… now for the love of Mike! And by the end, it tickles you to finally see her being dragged and daunted.


It’s hard to make out in the darkly lit scene but the goblins are climbing the stairs like a mountain.



Sally -“It’s was something like this little ferocious animal grabbed at my dress… Alex’s irritated voice scolds Sally like a child--“Look Sally you’ve got to stop this!!!” 

I must admit, it’s too delicious to see these little nasty creatures bounding up the stairs, rigging them with a chord in order to cause one to trip, fall and break ones neck, and pop out of the luscious darkness wielding what is to them a giant a straight razor. These little evil imps inhabit our world view perfectly of those ‘things that go bump in the night.’



Kim Darby is plain and perfectly whiny within the horror version of Diary of a Mad Housewife, but that works to the films sense of go ahead drag her down the stairs already feeling, though I cheered for Carrie Snodgrass in the afore mentioned film of the 70s. ” Sally trips into a surreal world of gloom and although she never really gets a grip on things, she still shows some resolve.” Buying flashlights and candles instead of a room at a Hotel. sure Sally sure…


Alex and Sally experiencing martial woes and little devil imps in the suburbs!

As Sally puts it when having a heart to heart with her only friend Barbara- “Most of the time she feels like a reasonable adjunct to his getting ahead”


Barbara tells Sally that she knows exactly what’s it’s like to be “left by yourself to brood”
‘Making imaginary mountains out of imaginary mole hills” that’s exactly what her friend Barbara thinks the breaking of the ash tray by the side of the bed and the sounds of something lurking behind the kitchen garbage merely was…

This 70s tele-fright film could work as a horror story that embroiders the dismissal of women, their needs, their perceptions and their entire world into a adult fairy tale/nightmare. How a woman can become discounted when what she thinks and feels is chalked up to being merely her ‘imagination’ or emotional distress, and/or an unreasonable emotional dependency on her man who is trying to make it. Or… she is just plain exuding hysteria. Don’t Be afraid of the Dark consists of blunt hyperbole of the hysterical woman not in it’s undercurrent rather, right out in plain sight a contrast to the ‘shadows’ and goblins that lurk in the dark. Metaphor for women’s desire to be set free? I’ll leave that to scholars…



Kim Darby looks better than ever… no frowzy Sally here!

Actually I read that originally actor George Hamilton was cast as Alex. The chemistry would not have been as well suited as Hutton’s disbelieving soul. Hamilton is too sharp an actor for Darby’s frowzy simple girl next door style. William Demarest gives a well suited supportive performance as the cranky handyman Mr. Harris who knows all to well about the secrets of that bedeviled house with it’s ancient wicked creatures lurking about. It is Sally’s friend Joan played by Barbara Anderson who finally believes Sally isn’t going mad. At first she suspects that it is a mad housewife deal, sexual frustration, martial woes, and just plain hysteria. Anderson won an Emmy for her role on Ironside as Officer Eve Whifield.


Writer Nigel McKeand was sometime actor and was one of the demonic voices on the film. Prolific composer Billy Goldenberg (Columbo) is adept at both classical and pop music and has been in demand, providing music for film and television since the mid 60s. He tele-fright scores include Ritual of Evil (1970), Duel (1971), Terror on the Beach (1973), Reflections of Murder (1974), The Legend of Lizzie Borden (1975), The UFO Incident (1975) and One of My Wives is Missing (1976).

One of the great aspects that work in Don’t Be Afraid of the Dark is the set direction by James Cane, the big old Victorian that creates the mood of a ‘chamber piece’ is so creepily garish with colors that clash, and a mix of neo-gothic, Louis VI and contemporary styles that even Sally decides to hire decorator Francisco Perez (Pedro Armendáriz Jr.) whom the dastardly gnomes accidentally cause to fall down the steps killing him. Still, Alex doesn’t quite see that something is wrong with the house.




Even after Joan (Barbara Anderson) begins to believe Sally, the efforts made to protect her friend are sluggish and frustrating, just to make our skin crawl with anxiety as these wicked little things chant “we want you, we want you, we want you, we want you”, while Sally is destined to go the way of her grandfather. This special Movie of the Week chiller is brimming over with eerie atmosphere.


Felix Silla, who played one of the creatures also played Cousin It in The Addams Family.



4-Dying Room Only 1973


Aired September 18, 1973 ABC Movie of the Week –

Directed by Philip Leacock with a screenplay by Richard Masterson. (I Am Legend, The Incredible Shrinking Man) This iconic writer/visionary has too many credits to list them all, link to IMBd to see the breadth of this genius’ work.



She’s Alone. No One Believes Her. And There’s No Way Out!

While driving across the desert Bob and Jean Mitchell (Dabney Coleman and Cloris Leachman) stop at a desolate roadside diner late one night. When Bob goes to the gent’s room, he doesn’t return, just vanishes completely! The locals including Ned Beatty as Tom King, the wonderful Louise Latham as Vi and Ron Feinberg as Lou McDermott  all appearing unfriendly and downright menacing. The worst of all being diner owner Jim Cutler who considers people like Jean and Bob ‘moron city folk’ (Ross Martin who does sinister really well!)



Jean “You must have seen where my husband went”
Jim Cutler-“Are you telling me I did?”
Jean “He was sitting right there at that table. Right there.”
Jim Cutler-“And I was right there at that griddle, with my back turned how would I know where he went. Maybe he got sore at ya and just lit out. Cause your husband ain’t here ain’t no fault of mine.”


One of the most underrated character actresses Louise Latham!

These uncooperative folks deny even seeing her husband at all. Then as the paranoia and panic builds someone drives off with her car, stranding her there and now are coming after her. Jean goes to the sheriff played by recognizable character actor Dana Elcar but she has no proof of a crime and tries to get him to believe her protect her from the danger she is in and of course find Bob.


This familiar theme of the missing husband had been seen in tele-fright flicks such as Honeymoon with a Stranger 1969 starring Janet Leigh, and And No One Could Save Her 1973 starring Lee Remick.

Richard Matheson’s teleplay, from his short story strikes that universal chord of paranoia, alienation, helplessness and abject fear stuck in the middle nowhere, working like a claustrophobic stage play Dying Room Only puts our heroine in an environment surrounded by hostility with authority figures who don’t believe you all while stuck in the middle of a lonely unforgiving desert.



Cloris Leachman is one of THE most talented comedic actresses, just brings to mind her iconic role as Mary Tyler Moore’s narcissistic and fashionable friend Phyllis Lindstrom from 1970-1977 and her outre brilliant performance as Frau Blücher in Mel Brooks’ Young Frankenstein (1974).

Ross Martin best known for Artemus Gordon of popular television series The Wild, Wild West, and as Garland Humphrey ‘Red’ Lynch Blake Edwards striking suspense thriller Experiment in Terror 1962, and his pretentious art critic Dale Kingston in Suitable for Framing on Columbo’s 1971 episode co-starring Kim Hunter. Ross is just superb as a menacing figure, showing up in another tele-fright film Skyway to Death, before his death of a heart attack in 1981.


Ned Beatty is another marvelous character actor who’s creepy statement to Jean is chilling a complete departure from the cowering victimized Bobby out of his element in Deliverance 1972 who goes through his own ordeal with local hostile types here plays a slovenly cretin, Jean asks for change to use the pay phone, Jim Cutler (Ross Martin) tells her he’s fresh out and Tom (Beatty)- looks straight at her, jingles coins in his pocket and walks over to the pinball machine to play a few rounds. One of his more menacing lines–“The only thing I’m gonna regret, lady, is that I’ll only have ten minutes alone with you before I kill you.”


Dabney Coleman has few lines like this for instance– “These two men happen to be jerks and this… is a dump.” Not quite Bette Davis…

Dana Elcar appears to be a well-meaning but powerless sheriff… Is he part of the conspiracy?

From David Deal’s Television Fright Films of the 1970s –“This story of frustration has the feel of dream logic at first as Jean’s world suddenly turns into a series of unexplainable roadblocks.

Dying Room Only is a film that pushes the trope of paranoia and no-one will believe me. Director Philip Leacock who keeps the film tautly wound, especially during the first half. Leacock worked on many popular television shows of the 1960s. His tele-fright films in the 1970s include When Michael Calls (1972), and Killer on Board (1977).

Composer Charles Fox was twice nominated for Oscars The Other Side of the Mountain, Foul Play, and won two Emmy’s both for Love American Style. Among his credits are Barbarella 1968, The Green Slime 1968, The Drowning Pool 1975. I just learned that he wrote Killing Me Softly with His Song with lyrics by Norman Gimbel in collaboration with Lori Lieberman in 1972, made famous by amazing songstress Roberta Flack, who gives the most stunning rendition.


5-Horror at 37,000 Feet (1973)


 If there are devils, there must also be gods. I don’t know. I have no thoughts…

Aired on February 13, 1973, as the CBS Movie of the Week

With a teleplay by Ron Austin and Him Buchanan -and music by Mort Stevens who worked on many Boris Karloff’s anthology series Thriller… Horror at 37,00 Feet is directed by David Lowell Rich 

Television Fright Films of the 1970s by David Deal– “Horror at 37,000 Feet is either a meditation on the inherent savagery of the human race on the primal fears and ancient behaviors that tether us to the past, no matter how far we advance with our technology or just a silly horror movie.”


Alan O’ Neill –“You know I think I’m gonna put some black stone on the floor here around the altar”
Sheila O’Neill-“Very nice if you’re planning to use it as a bar”
Alan O’Neill -(laughs) “That’s a little nasty”

Architect Alan O’Neill (Roy Thinnes) appropriates the remains of a cursed abbey from his wife’s familial state in England, loads them onto a plane with the intention of flying them to America and using them in their home. During all this time it also happens to be the night of the summer solstice and I might add, a full moon. A foreboding glowing moon that shines over Heathrow Airport. Once the stones and pieces of the abbey are stowed away safely in the cargo hold, ten passengers board the red-eye flight.

Buddy Ebsen as millionaire Glenn Farlee, Tammy Grimes as Mrs. Pinder, Lynn Loring as Manya Kovalik, Jane Merrow as Alan O’Neill’s wife Sheila, France Nuyen as model Annalik, William Shatner as faithless minister Paul Kovalik, Paul Winfield as Dr. Enkalla, H.M Wynant as Frank Driscoll, a little girl Jodi played by Mia Bendixsen who is flying alone with her doll. And then there’s the crew Chuck Connors as Captain Ernie Slade, Will Hutchins as cowboy Steve Holcolm, Darleen Carr as flight attendant Margo, and Russell Johnson as Jim Hawley.






Once everyone settles in, the spirits of the long dead druids break free in the cargo hold and threaten to take over the plane in order to claim their human sacrifice. The tension among the passengers starts to unfold as they try to figure out what the menace is, and what it wants.

Horror at 37,00 Feet is the only credit for V.X. Appleton whose story the film was based on. It was Emmy winning director David Lowell Rich’s first supernatural film for television but he would go on to make the cult favorite Satan’s School for Girls, Runaway! (1973) and another frightening flight film called SST-Death Flight (1977). Rich also made Madame X (1966) with Lana Turner and Eye of the Cat (1969) with Michael Sarrazin, Gayle Hunnicutt and Eleanor Parker and lots of felines…

People might make a comparison with some of the elements of Horror at 37,000 Feet and Cruise Into Terror 1978 on a rival network. While the basic framework, passengers board a cursed ship daunted by supernatural powers, Horror at 37,000 Feet just has a campier, creepier more atmospheric mood and sensational theatrics because of it’s cast. In that film, the passengers of a boat are threatened by the son of Satan. Horror at 37,000 Feet utilizes a more nuanced menace, the spirits of ancient druids, which is a totally more unique narrative, as they howl and cause an eerie frosty freezing burning cold throughout the cabin of the airplane as they hunger for their sacrifice. Barry Thomas in charge of the sound department creates some authentically chilling aural scares as the wailing, groaning old ones, and the supernatural static that encircles them…




The ensemble of this horror film might not be too proud of it but it is quite a diverse cast indeed. Tammy Grimes is deliciously eerie in her unbounded knowledge of ancient cults, Lynn Loring as usual is perfectly intense and tightly wound. It’s all so outlandish and campy. Jane Merrow from Hands of the Ripper (1971) plays architect O’Neill’s wife, Sheila. Among the other great actors is millionaire Glen Farlee played by Buddy Ebsen, a Mrs. Pinder Tammy Grimes, who seems too in sync with all things supernatural and sort of sympatico with the druid mythology. There’s a man of god, who has fallen and is having a crisis of faith- drowning himself in alcohol and self pity. Who else could play that without breaking a sweat by the brilliant to happily hammy master most likely hand picked just to re-visit his role as the tormented man on a plane William Shatner as Paul Klovalik… Shatner is not at all a stranger to being terrorized on a plane by strange creatures–if we just think back to a decade before on The Twilight Zone episode Nightmare at 20,000 Feet that aired 10 years before in 1963. Shatner played Bob Wilson crazed by his visions of a monster on the wing of the plane, daunted by a gremlin who is tearing the wing and tinkering with the engine of a plane when no one, not even his wife will believe him much to the fate of the flight.


A film like Hitchcock’s Lifeboat (1944) , creates a world of tension as the variety of personalities each respond to the crisis in their own way, not to compare this Movie of the Week with the masterpiece of cinema, Horror at 37,000 Feet is itself an ensemble morality play as much as it is a supernatural story. The tensions, conflicts and personal dynamics are tested by the imminent danger and the doomed fate they are faced with.


Alan (Thinnes)  “Are you beyond fear or are you just drunk?”

Paul (Shatner)  –“Both but if I were you I’d worry more about your fellow passengers than what ever it is you brought on board”

Things start to go wrong as soon as the flight leaves London as the plane is being mysteriously suspended in mid air going around and around in circles. The mysterious and uncanny entity smashes out of it’s crate in the cargo hold and freezes Mrs Pinder’s dog Damon. The cold then begins to manifest itself inside the cabin. A green boiling oozing Lovecraftian kind of menace reveals itself.

When Captain Slade and Hawley investigate, Hawley is quick-frozen like a bag of organic cauliflower. The evil power rips through the carpeted floor of the plane and an ugly greenish brown ooze bubbles and smokes as ancient unintelligible voices chant. That is how the malevolent entity shows its presence.


Co-Pilot Jim Hawley “Look at this there’s something like moss on the bulk head.”



An evil unspeakable horror that you cannot really see. From the old school of less is more, and it’s what you don’t see that creates more dread. It’s more creepy and effective that way. Sheila O’Neill (Jane Merrow), whose family built the abbey passes out and speaks Latin and hears voices that torment her, calling her name, which prompts Mrs. Pinder to explain a bit about what’s going on.





Paul- “Do you remember what you said when you fainted? (he speaks a Latin phrase)
Sheila “Yes I heard that, one of the voices what does it mean?”
Alan – “Well do you know or don’t ya?”
Paul “It’s from a Black mass…”
Alan “a prayer… to the devil?”
Manya-“or to that thing back there!”
Alan “My wife is imagining things that’s all

Manya “She’s hearing voices… Paul says she was reciting a black mass”
Paul –“I was probably wrong I was a worse scholar than I was a priest”
Mrs.Pinder “It was a man’s voice wasn’t it?”
Sheila -a crazed look in her eyes-“Yes”
Mrs. Pinder “Do you know who that was my dear… ? In 1407 Lord Compton the owner of the land in which the Abbey stood, your ancestor was burned at the stake for heresy and murder. He worshiped the Druid gods. Offered human sacrifices. Members of your own family.”

It seems the abbey was built on a sacred grove of the druids who had performed human sacrifices. Every hundred years at the solstice, the spirits of the ancient druids come back demanding their sacrifice. Mrs. Pinder asserts that it’s Sheila they want. The panic sets in as everyone jumps to wild conclusions for self preservation’s sake, They decide to make a pseudo Sheila, attaching her fingernail clippings and strands of her hair to the little Jodi’s creepy doll. They paint it’s lips red with Sheila’s lipstick. It’s a grotesque site. They try offering that to the spirits who are drawing nearer, only being held off by a fire the passengers have lit, and their safe space is growing smaller with each hour. They try to substitute the doll for Sheila as their sacrifice. The druids aren’t buying it!











Glen Farlee (Buddy Ebsen) has a soliloquy “Maybe she’s right. What other explanation could there be. Everything’s gone crazy!”  The plan doesn’t work so the group decides to light a fire on the plane to keep the evil spirits away, and soon the fire burns out and all looks grim. Of course Shatner stands out in this film as the faithless, pessimistic, nihilist defrocked priest Paul Klovalik as he drinks heavily and tries to shut off the chaos surrounding him, feeling helpless and hopeless. “The closer to heaven, the more discordant” and generally dismisses the rest of the passengers bitterly as fools and barbarians.


Paul Kovalik: “You don’t need a priest, Mr. Farlee. You need a parachute….
I’m going to open a bottle of it right now. It might not make me happy. But it will amuse me to think of all of you back here worrying about your lives… as though they were of some importance.”


Shatner certainly isn’t playing this kind of guy, that’s for sure!

At the end Paul Klovalik does find a flicker of faith left and rises to the occasion. But will the ancient old ones, the druids get what they want?




6-The Invasion of Carol Enders 1973

Her task is clear, to find an confront her own murderer!

Aired November 5, 1973, ABC Movie of the Week.

From David Deal’s book Television Fright Films of the 1970s-“Producer-director Dan Curtis had his hand on several intimate productions in the early 1970s, which were shot on videotape in Canada. The Invasion of Carol Enders is one of these. Carol Enders (Meredith Baxter) and her fiance Adam Reston Christopher Connelly are attacked while spooning in lover’s lane and Carol is seriously injured when she attempts to escape. Meanwhile, Diana Bernard (Sally Kemp) the wife of a doctor, is fatally injured in an automobile accident. Both patients are sent to the same hospital. and Carol makes a miraculous recovery just as Diana dies. Upon Awakening, Carol claims in very convincing terms to be Diana. When the police determine that Diana was murdered, Carol/Diana leaves the hospital to find the killer. This mild-mannered story of possession will not appeal to those with a fancy for the macabre. It plays more like a soap opera mystery that happens to have a kernel of the supernatural driving the action.”




The story is by Merwin Gerard whose list of credits include tele-fright films, The Screaming Woman (1972) starring the great Olivia de Havilland, The Victim (1972) and She Cried Murder (1973) The story was adapted by Gene Raser Kearney. Kearney wrote several Night Gallery episodes for Rod Serling and my cult favorite Games (1967) starring Simone Signoret and Katherine Ross, directed by Curtis Harrington and Night of the Lepus (1972)Giant killer bunnies, ehh not so much…

Meredith Baxter was in the midst of her breakthrough television series Bridget Loves Bernie in 1972 when she did this film. She also appeared in Ben in 1972 and the other film I covered directed by Harrington, The Cat Creature. Her most famous roles aside from tele-films were of course as Nancy on the thoughtful nighttime drama Family 1976-1980 starring Sada Thompson and Kristy McNichol then she went on to play Elyse on Family Ties in the 80s.


Peyton Place alumnus the handsome Christopher Connelly plays Adam Reston and familiar character actor Charles Adiman plays Dr. Peter Bernard both are good at playing the perplexed husband routine. Connelly’s Adam Reston even helps the police in their investigation, playing an important part in solving the mystery. Dan Curtis favorite John Karlen plays Diana’s ex-husband David Hastings, the number one suspect in her death. George DiCenzo plays Dr. Palmer and Sally Kemp is Diana Bernard.








Carol-“I knew Diana, probably better than anyone. She was hard on you David, a lot harder than you deserved.”




Dan Curtis has executive producer credit on this film. and an un-credited nod for direction because several snippets of footage–including Diana’s car crash are taken from his tele-fright The Norliss Tapes, which aired the same year. Some sources list the film as having aired on March 8 1974, some claim it was released in 1973. I’m choosing to include it in my feature here as a 1973 release.

Director Burt Brinkerhoff was an actor, mainly on television in the 50s and 60s and this was his first film as director. He would go on to make the horror film Dogs, and yet another television adaptation of Frankenstein in 1987.

The film plays more like a murder mystery/thriller, but you cannot escape the supernatural narrative that exists, references to India where  the air was “thick with the spirits of the dead, it was like incense.”

The Possession of Joel Delaney came out in 1972 and The Reincarnation of Peter Proud came out in 1975, Audrey Rose came out in 1977. The subject of reincarnation was threaded throughout the 1970s as an appealing and uncanny, almost taboo trend.

Continue reading “Halloween Spotlight: ABC NBC & CBS Movies of the Week–the year is 1973 🎃 13 Fearful Tele-Frights!!”

It’s October 2016, the month of Candy Corn and Fiendish Features Coming to: The Last Drive In! 🎃


Halloween Spotlight: ABC, NBC & CBS Movies of the Week–the year is 1973 🎃 13 Fearful Tele-Frights!!!





Image courtesy of: Fangoria-from Torture Chamber (2013)






It Came From Outer Space (1953) | Dir: Jack Arnold | Ref: ITC003BL | Photo Credit: [ The Kobal Collection / Universal ] | Editorial use only related to cinema, television and personalities. Not for cover use, advertising or fictional works without specific prior agreement
It Came From Outer Space (1953) | Dir: Jack Arnold | Ref: ITC003BL | Photo Credit: [ The Kobal Collection / Universal ]

SUNDAY NITE SURREAL: THE SENTINEL (1977) Even in Hell, Friendships often Blossom into Bliss!




To Peter Falk and The Lieutenant

Thanks Aurora for reminding me that it’s Peter Falk’s birthday… He’s truly one of the greats! “Just one more thing”

Once upon a screen...

The remarkably talented Peter Falk would have celebrated a birthday on September 16. Since I’ve been in love with Peter forever – or since I first laid eyes on Lt. Columbo, the unforgettable character he created that debuted in 1971, I just have to post something (else) in his honor.

Peter Falk was a great actor by anyone’s estimation.  He was nominated for two Academy Awards for Best Actor in a Supporting Role.  The first for Balaban and Rosenberg’s, Murder, Inc. (1960) and the other for Frank Capra’s, Pocketful of Miracles (1961).  Falk was also nominated for one Daytime Emmy Award for Outstanding Performer in a Children’s Special for his performance in Showtime’s, A Storm in Summer (2000), twelve times for an Emmy Award, winning five in total.  Four of those were for portraying Lt. Columbo, by my estimation, one of the most iconic, unforgettable characters in television history.  I must also mention…

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🚀 Keep Watching the Skies! Science Fiction Cinema of the 1950s: The Year is 1952


Continuing with my series on Science Fiction Films of the 1950s, though 1952 seems sparse in comparison to lets say 1956 & 1958, there was definitely a prevailing theme… fear of communist invasion! My favorite picture for this year would have to be watching Hildegarde Knef torment Erich von Stroheim in director Arthur Maria Rabenalt’s ALRAUNE, though Brigitte Helm’s 1928 portrayal of the soulless beauty born of sin is quinteseentially sublime.


Alraune aka Unnatural aka Vengeance aka Mandragore


Born outside the laws of God and man!-the fruit of evil!


alraune hildegarde and Erich

Alraune Prologue

Alraune Prologue 2

Alraune 1952 Hildegarde

Directed by Arthur Maria Rabenalt, based on the novel by Hanns Heinz Ewers published in 1913. Starring Hildegard Knef as Alraune, Erich von Stroheim as Dr. Jacob ten Brinken, Karlheinz Böhm ( Of  director Michael Powell’s Peeping Tom (1960) ) as Frank Braun, Harry Meyen as Count Geroldingen, Rolf Henniger as Wolf Goutram, Harry Halm as Doctor Mohn.

Viennese director Rabenalt is better known for his Nazi propaganda films and for countless operettas, lederhosen and heimatschmalz. Considered a tech-noir film import from outside the U.S.A., included among Spaceways (England 1953) The H-Man (Japan 1958) and Atom Age Vampire (Italy 1961)

The story was first filmed in 1918 and then in 1928 & 1930 with Brigitte Helm which was a beautifully films version. Brigitte Helm among dolls — Alraune 1928 silent- possesses an eroticism

Brigitte Helm among dolls -- Alraune 1928 silent

Alraune -von stroheim convent


Stroheim broods and over-acts in his inimitable way and Hildegarde Knef is exquisite. ten Brinken (von Stroheim) collects a the semen of a hanged murderer at the gallows, and takes this seed and inseminates a prostitute. What he creates is a ‘daughter’ Alraune–who is incapable of feeling ‘love’ or having emotional human connections with voracious sexual appetites, portrayed as almost demonic or like a succubus.

ALRAUNE Expressionist

the Cinematography of Friedl Behn-Grund (Murderers Among Us 1946, Confessions of Felix Krull 1957 and Titantic 1943) paints an expressionist foray into a moralistic fairytale of good & evil love & hate sin and redemption.


The film is dark and uncanny as Alraune mesmerizes every male she meets, while ten Brinken becomes more and more perversely sexually obsessed with his beautiful but unfeeling archetypal dark-eve.

The film has an awkward atmosphere about it as if it’s trying to be a the threshold of new medical research blended with the profane and taboo science of artificial insemination, Gothic romance fantasy and man’s desire to conquer reproduction. The fetish of creating life, controlling it as if becoming god-like, the question of individuality, morality and the seed of moral instinct and sin–misfire in shocking and dreadful ways.

Alraune and the gorilla in the lab

Erich von Stroheim—as ten Brinken shows Karlheinz Böhm or Karl Boehm the diary and where Alraune’s mother came from “I made a long search for her in the convent of Hamburg.”

When ten Brinken (von Stroheim) is in the lab and sees Frank out in the garden with Alraune he asks Doctor Moh (Harry Halm) his associate “Did he kiss her”


Alraune-“ They were all in love with me and they all died and I killed them… You mustn’t stay I bring destruction. “


Frank-“You can’t believe that there’s something strange and different about you. You’re a human being like anyone else.”

Alraune- “You could never forget that I’m trained from birth. My life began as a horrible crime that I was part of a foolish experiment.”

Frank –“Alraune how can you say that…  no one is all good or all evil. If only the bad were inherited then the world would be a HELL..”

Alraune-“In me there is no good-look where I came from. I was brought into being by the evil thoughts of a depraved man.”

Frank-“The crime was to bring you into the world and then to raise you without love. The plaything of insanity. Who ever is brought up without love is sick. You were never evil, you were sick. I won’t let you stay here. You must go away.”


At that moment von Stroheim shoots Alraune being carried by Boehm and Alraune begins to die.

ten Brinken (vonStorheim) says-“No one else should have have!”


ALRAUNE’S last words before he dies– “Now the toy is broken-the crime against nature that God didn’t want.”


Alraune 1952

alraune-karlheinz Bohm-


Alraune Gallows


BELA Gorilla poster



Directed by William Beaudine who started out doing shorts in pre 1920s and directed several superior police procedural/noir/ dramatic Naked City television episodes in 1958,  (The Living Ghost 1942, The Ape Man 1943, Ghosts on the Loose 1943, Mystery of the 13th Guest 1943, The Face of Marble 1946, Forgotten Women 1949, Billy the Kid vs Dracula 1966)

This is the only film that actually featured Bela Lugosi’s name in the title. It co-stars the comedy team Duke Mitchell and Sammy Petrillo who is trying to take off on actor/comedian Jerry Lewis with several more doses of whiny asininery and though he might actually look like him, is not at all funny.


Duke Mitchell: You know, someday I’m gonna let you fry in your own grease!

Sammy Petrillo: Could you make it chicken fat, maybe?

Unfortunately the team does not nearly come close to touching the brilliant pairing of Dean Martin and Jerry Lewis. Petrillo only did a handful of bit part appearances, Shangri-La (1961), The Brain that Wouldn’t Die (1962) Keyholes are for Peeping (1972) and Out to Lunch (1977)

As Phil Hardy states about the state of Bela Lugosi’s career at the time, “already bedevilled by management, money, marital and drug problems, is the star of this awful piece.”

Technically a screwball comedy starring, it still seems to want to fall into the mold of science fiction as it involves a mad scientist and a formula.

Mitchell and Petrillo play night club performers who are entertaining the troops in Guam who fall out of an airplane and land on an a South Sea island. Nona (Charlita) finds them and takes them back to her father, chief Rakos (Al Kukime). Nona convinces her father to spare their lives. The unfunny pair also meet Dr. Zabor played by our lovable yet tired actor by this time without some of the nuanced dialogue he had been given in the 30s & 40s… Bela Lugosi. Zabor is a scientist who is performing clandestine experiments on gorillas trying to transform them into people. He is obsessed with Nona, and when Duke catches her eye, Zabor injects him with the serum and turns him into what else but a gorilla!

Sammy at some point figures out that it’s his friend Duke when the gorilla begins singing “Deed I Do” by Walter Hirsch and Fred Rose.

Sammy Petrillo: This looks like Death not only took a holiday, but he got a hangover from taking it.

Captive Women



Captive Women 1952 Prodcution Still

Directed by Stuart Gilmore (44 editor credits including- Sullivan’s Travels 1941, The Palm Beach Story 1942, The Miracle of Morgan’s Creek 1944, Two for the Seesaw 1962, Toys in the Attic 1963, and The Andromeda Strain 1971), stars Robert Clarke as Robert, Margaret Field as Ruth, Gloria Saunders as Catherine, Ron Randall as Ridden, Stuart Randall as Gordon, Robert Bice as Bram Paula Dorety as first Captive, Chili Williams as second Captive, William Schallert as Carver. Once again some of the images are courtesy of matte painter Irving Block (Rocketship X-M 1950, Forbidden Planet 1956, Kronos 1957)

Not to be mistaken with Captive Wild Women (1943) starring John Carradine!

Captive Wild Women John Carradine 1943

In a post-apocalyptic New York City, three tribes of mutants (the Norms, the Mutates and the Upriver people) battle each other to survive.

When Aubrey Wisberg and Jack Pollexfen saw they success they had with The Man from Planet X (1951) (incidentally re-using the cast once again, Margaret Field, Robert Clarke and William Schallert) they decided to try another science fiction story which had a British title originally called 3000 A.D. & 1000 Years from Now which reflect a much more science fiction sensibility that Captive Women which evokes that trend of jungle/adventure pictures. Howard Hughes who was running RKO at the time, decided to use the more sensationalist film title.



After the world is destroyed by an atomic bomb, the survivors in our story concern three tribes who hunt each other down throughout the desolate ruins of New York City. First there are the Norms who by virtue of their name tell us that they haven’t been effected by the nuclear fall out. The Mutates led by Riddon (Ron Randall) , are ancestors who have been deformed by the passing down of their mutated genes, and go on raids of the subterranean tribe of Norms to conquer their women who are portrayed as beautiful and perfect for procreation which the Mutates would like to cleanse their lineage of the mutation they have suffered and begin to have healthy offspring. Then there is the last tribe, the Upriver People who are an evil bunch who are violent and worship the devil- ruthlessly led by Gordon (Stuart Randall)

When the Upriver People attack, the Norm leaders Riddon and Rob (Robert Clarke) take off, finding the Mutates are willing to help them hide out. One of the Norm women Ruth (Margaret Field) falls in love with Riddon.




William Schallert plays Carver who has been banished by the Mutate tribe, winds up betraying them and showing Gordon the secret passage under the Hudson River, a tunnel that leads to the Mutate’s camp in New Jersey. In an ironic twist, during a battle between the tribes, the Upriver People are drowned. Though the story is very dark and brooding, there is a tinge of hope that with the budding romance between Riddon and Ruth they may begin a new civilization where all tribes work together.

Early on in the 1950s Rocketship X-M (1951) and Arch Oboler’s Five (1951) both dealt with the consequences of a nuclear holocaust, Captive Women plays out less about the effects of the atomic fallout  weaving the story around the different factions of tribes that are trying to forge their own society in a post-apocalyptic world. People have regressed back to a time of primal necessity (well they aren’t much different today are they), to survive, to procreate to prevail over other threatening tribes… the nuclear warfare has changed the look and function of the world and it’s survivors. Humanity is all about biological need and the misogynistic tribal-warfare narrative drives the story. Man vs man, man needs woman, woman gets dragged off like a piece of property. Some tribes are worse than others…


The Hollywood Reporter said, “Captive Women was a ‘pretentious, long winded dissertation on the bleak future lying ahead… While the intent is certainly laudable, the pompous, hackneyed dialogue  and the stilted performances make this… a long 64 minutes.” In Daily Variety “Is strictly for the exploitation houses.” 

captive women jpg

In The Monthly Film Bulletin called it an ‘unattractive farrago’ they also said- “preposterous story contrives to be both childish and absurd.”


Invasion U.S.A

1952 invasion usa

Invasion USA lobby card


Producer Albert Zugsmith worked with director Douglas Sirk on a few classics-was at a time the house producer for Universal -International, including Touch of Evil 1955, Written on the Wind 1956, The Incredible Shrinking Man 1957, The Tarnished Angels 1958,

Invasion U.S.A. is directed by Alfred E. Green (Baby Face 1933, The Jolson Story 1946)

What a cast!!!…Starring Gerald Mohr (Gilda 1946, Detective Story 1951, The Angry Red Planet 1959, Funny Girl 1968) as Vince Potter, Peggy Castle as Carla Sanford, Dan O’Herlihy as Mr. Ohman and Edward G. Robinson as the radio dispatcher. Phyllis Coates as Mrs. Mulfory, Knox Manning as the newscaster.

Albuert Zugsmith’s cheap exploitation film is a bleak journey laced with doom, scaremongering and feasting off of the vitals of paranoia of the McCarthy era Communist invasion scare, and plays off the worst of our fears back in the 1950s –the film did more as a propaganda piece than a truly insightful science fiction thriller. Using stock footage from World War II army training films.

From Bill Warren’s book Keep Watching the Skies–he cites In a letter to the New York Times, Larry Evans said the film seemed to be claiming “that peace is merely a space between wars”

Invasion USA lobby card

A largely forgotten film that plays on the fears about communism featuring Dan O’Herlihy as a mysterious stranger who hypnotizes a group of people in a New York City bar and makes them believe that the Cold War is over and Russians have launched an all out atomic attack.

The film opens in a New York City bar littered with a variety of characters, you know the counter-intuitive groups of people who’s sensibilities will no doubt span the spectrum of American taste. They are involved in a heated discussion about the universal draft. Gerald Mohr plays Vince a television reporter interested in controversy and high octane filled conversations that stoke ideas,while Peggy Castle plays Ruth who isn’t too keen on the idea herself. Then there’s the cross section of America, the tractor manufacturer George Sylvester played by Robert Bice who is too pleased with his own success refusing to convert his plant over so the military in order to make weapons. Then there’s the rancher Ed Mulfory played by Erik Blythe who is on the attack against the system. Illinois Congressman Arthur V. Harroway is portrayed by Wade Crosby who goes off on his own rant about tax increases because of all the defense appropriations.

Dan O’Herlihy plays Mr. Ohman who expresses himself very carefully presenting himself as a ‘forecaster’ and tells the group that the future all depends on how we as a people will act presently.

Suddenly the television set in the bar becomes the focus as there is an emergency announcement that enemy troops have invaded Alaska and are now heading toward Washington to attack! The group in the bar scramble to get to where they need to be, the pall of doom hanging over everyone’s certain fate.

Before the various characters involved wake up from their trance they all die horrible deaths, plunging form the top of a skyscraper, drowning etc.

Vince goes back to his television studio to try and report that the enemy troops are invading Oregon, taking over air bases, bombing cities and devastating important landmarks all over the West.

The rancher returns home and he and his family are drowned when Hoover Dam is A-bombed. The manufacturer is shot dead in his office by his window washer who was actually a spy. The enemy is never clearly specified but the idea that they start their invasion with Alaska which is not far from Russia let’s us know who we are truly afraid of in this film.


Finally enemy troops not only descend upon Washington D.C. where the Congressman is shot to death while giving a speech, they reach Manhattan and set off another A-bomb- a scene which the film boasts as it’s only special effects sequence. Carla who worked for the Red Cross dies, and so does Vince, unfortunately there was no time for their budding romance to bud…

With many fantasy/horror/science fiction type stories that allow second chances or glimpses into the dangerous tomorrows, the scene at the bar shows all slowly awakening as if from a trance. Mr. Ohman has placed them into some sort of illuminatory stasis now giving them back precious time to go into the world and perform good deeds in the name of “Eternal Vigilance”

From Bill Warren’s Keep Watching the Skies “Russian MiGs are shown and some of the stock footage used is printed reversed left to right so that the letters are backward This was to make them look Cryillic and therefore, Russian According to Larry Evans’ letter quoted earlier , The American Mercury, then the self -appointed mouth piece of anti-communism , Anti-Unamerican fanatics is shown in the film. The message in Invasion U.S.A isn’t just that we should consider the possibility that another war and one with the communist nations in particular will take place, but that we should actively prepare for one to the point of providing arms & trained propaganda newscasters actually here fomenting the inevitable conflict.?


Hedda Hopper allowed her name to be used with the advertising of the film and it’s posters saying- “It will scare the pants off you” Edwin Schallert in the Los Angeles Times quotes the cheap exploitation picture by saying, ‘there is still a modicum of high suspense running through the production, and perhaps even something to cause audiences to think.”

Newscaster: The big mystery now is why have no cities been attacked? Why did the enemy throw away surprise yet fail to drop a single atom bomb? 

Mr. Ohman: I think America wants new leadership.

Vince Potter: What kind of leadership do you suggest?

Mr. Ohman: I suggest a wizard.

Vince Potter: A what?

Mr. Ohman: A wizard, like Merlin, who could kill his enemies by wishing them dead. That’s the way we like to beat Communism now, by wishing it dead.


Poster - Monkey Business (1952)_02

Directed by Howard Hawks and notably considered a screwball–madcap-zany comedy starring Cary Grant, there is an element of science fiction that cannot be ignored and that’s why Monkey Business is viewed by some belonging to the Sci-Fi genre even with all it’s zany antics. Hawks having accomplished the more terrifying yet camp filled The Thing from Another World the year before certainly wears a versatile director’s cap. With a screenplay by writers Ben Hecht, Charles Lederer and I. A. L Diamond.

Referring back once again to Bill Warren’s terrific book Keep Watching the Skies, I could never write as concise and witty as Warren he puts it like this…After Here Comes Mr. Jordan 1941, light fantasy, comedies became popular and a steady Hollywood product. Generally they took the form of fantasies, such as Heaven Only Knows 1947, and You Never Can Tell 1951, but frequently the fantastic elements was actually science fiction…{…} Cary Grant was one of Hawk’s favorite actors- Bringing Up Baby 1938, Only Angels Have Wings 1939, etc–and Grant was often at his best under Hawk’s direction. Hawks seemed to be amused by Grant’s ability to appear stiffly repressed while suggesting banked fires of frivolity. That is the specific subject of Monkey Business.”

Cary Grant plays Dr. Barnaby Fulton (even his name is delicious!)

Grant plays absent minded professor Barnaby Fulton financed by Oliver Oxly played by Charles Coburn who wants his research to find a way to slow down the aging process. Fulton discovers a youth serum-elixir B-4, but when a chimpanzee sneaks out of his cage and mixes chemicals together, and spikes the water cooler,Fulton accidentally ingests the serum himself. Now listen, implausible you say, I’ve heard said that leave a chimpanzee in a room over the course of years he’d paint the Mona Lisa… true story!

Fulton begins acting like a high spirited college rowdy, buys a hot rod and drives Oxly’s secretary the adorable Marilyn Monroe all over town, and I mean drives her wild!
Problem is Fulton is married to sophisticated Edwina who is shocked by his new behavior, but eventually the serum wears off, but everyone from Edwina, old Oxly and his colleagues start drinking a lot of water! As in the end they revert to childish behavior swinging around the laboratory like chimpanzee’s themselves, they are in contrast with the civilized world, the elixir has caused emotional and moral anarchy and flies in the face of being a responsible adult, the message is quite dire. You not only can’t go home again, you can’t be young at heart again… Gee wiz!

There are no special effects, there are no substitute actors representative of the younger characters, the only signifier of youth is the actors behavior. So science fiction—not so much in terms of technology, but it’s always fun to include a comedy in the mix besides, Abbott & Costello and the bad movies that are unintentionally funny.

With the screwball dialogue and shenanigans the film the story resolves itself at the end with a bittersweet message that youth is for the young and we must accept getting older.

“Youth as presented in Monkey Business seems as much nightmarish as it does anything else”

Monkey Business Cary and Ginger


Barnaby: Hello, Griffith Park Zoo, Snake Department. Sssshhh!

Oliver Oxley: Hello? Hello? What is this?

Barnaby: What do you want?

Oliver Oxley: This is Mr Oxley.

Barnaby: I’ll see if he’s here.

Oliver Oxley: No, I said *this* is Oxley!

Barnaby: Who is?

Oliver Oxley: I am, speaking!

Barnaby: Oh, you’re Mr. Speaking…

Oliver Oxley: This is Mr. Oxley speaking!

Barnaby: Oxley Speaking? Any relation to Oxley?

Oliver Oxley: Barnaby Fulton is that you?

Barnaby: Who’s calling?

Oliver Oxley: I am, Barnaby!

Barnaby: Oh, no, you’re not Barnaby. I’m Barnaby! I ought to know who I am.

Oliver Oxley: This is Oxley speaking, Barnaby!

Barnaby: No, that’s ridiculous! You can’t be all three. Figure out which one you are and call me back!


Lois Laurel: {Marilyn Monroe -at her secretrial desk, responding to Barnaby’s remark that she is at work early} Mr. Oxley’s been complaining about my punctuation, so I’m careful to get here before nine.


Barnaby: Umph! I’m beginning to wonder if being young is all it’s cracked up to be. We dream of youth. We remember it as a time of nightingales and valentines. But what are the facts? Maladjustment, near idiocy, and a series of low comedy disasters. That’s what youth is.

Radar Men from the Moon


Directed Fred C. Bannon

A Republic Serial in 12 Chapters!

Radar Men from the Moon seria

Starring George Wallace (224 credits to this omnipresent supporting actor) is Commander Cody, Aline Towne as Joan Gilbert, Roy Barcroft as Retik, William Bakewell as Ted Richards, Clayton Moore as Graber, Peter Brocco as Krog, Tom Steele as Zerg.

George Wallace wearing the special rocket suit from Republic’s earlier King of the Rocket Men (1949), is Captain Cody, Sky Marshal of the Universe. It’s cheap, really really cheap serial production– Cody must stop the Moon’s dictator the evil Retik from invading the Earth. Most of the action takes place on the Moon. Wallace doesn’t even need a spacesuit, and the lack of gravity doesn’t seem to effect Cody even after Destination Moon two years earlier showed up the problems with weightlessness. In 1966, the serial was condensed into a feature, Retik the Moon Menace.

George Wallace is Commando Cody, Sky Marshal of the Universe — that fantabulous flying super-hero scientist is fighting evil forces from the Moon who are destroying Earth’s national defenses using a strange and destructive weapon. Scientists Joan Gilbert (Aline Towne) and Ted Richards (William Bakewell) design both a special rocket powered suit and helmet that enables Commando Cody to fly, and a rocket that can reach the Moon. With the aide of security head Henderson (Don Walters) our hero uncovers a race of Moon Men who are using an atomic ray gun to target the Earth in order to invade the planet. When Cody, Joan and Ted travel to the cratered Moon to try and thwart the menacing Moon Men –in their rocket-ship they are captured by the Moon minions led by Retik (Roy Bancroft). The serial also stars Bob Stevenson as Daly, Clayton Moore as Graber, Peter Brocco as Krog, Tom Steele as Zerg, Dale Van Sickel as Alon, Noel Cravat as Robal, Baynes Barron as Nesor and Paul McGuire as Bream.

Radar Men from the Moon

Radar Man from the Moon

"Commando Cody, the Sky Marshal of the Universe," aka, George Wallace, appears to defy the laws of gravity, for a moment at least, as he lands in the arms of a prop man during production of the film " Radar Men from the Moon," at Red Rock Canyon in the Mojave Desert, 80 miles northeast of Hollywood, Calif., Dec. 12, 1951. Gravity may be defied in some the new movie serials based on the fantasies science fiction, but what goes up still comes down, even if the film wont let you see it. (AP Photo)
“Commando Cody, the Sky Marshal of the Universe,” aka, George Wallace, appears to defy the laws of gravity, for a moment at least, as he lands in the arms of a prop man during production of the film ” Radar Men from the Moon,” at Red Rock Canyon in the Mojave Desert, 80 miles northeast of Hollywood, Calif., Dec. 12, 1951. Gravity may be defied in some the new movie serials based on the fantasies science fiction, but what goes up still comes down, even if the film wont let you see it. (AP Photo)

Graber: How ’bout a ride to town, mister?

Motorist: Sure. Hop in.

Graber: There’s a man in a flying suit chasing us. Step on it.

Motorist: Huh?


[Commando Cody, Ted, and Joan are about to board ship for the moon]

Commando Cody: I still think this is no trip for a woman.

Joan Gilbert: Now don’t start that again. You’ll be very glad to have someone along who can cook your meals.

Red Planet Mars

Red Planet Mars

Directed by Harry Horner (Beware, My Lovely 1952, Vicki 1953, The Wild Party 1956, production designer on The Hustler 1961)

Written for the screen by John L. Balderston, Anthony Veiller based on the play by John L. Balderston and John Hoare. John L. Balderston had also written the screenplays for Dracula 1931, Frankenstein 1931, Mad Love 1935, Bride of Frankenstein 1935 and Gaslight 1944. Veiller having written the screenplays for The Killers 1946, and  The Stranger 1946.

Stars Peter Graves stars as astronomer Chris Cronyn, Andrea King as his wife Lynda Cronyn, Herbert Berghof as Franz Calder, Walter Sande as Admiral Bill Carey, Marvin Miller as Arjenian, Willis Bouchey as the President, and Morris Ankrum as Secretary of State Sparks.

Based on screenwriter Balderston’s play Red Planet, the film is overtly focused on the fear of invasion and the insidious spread of Communism in the American consciousness in the 1950s.

Martyrs,Miracles,and Martians
Religion and Cold War Cinematic Propaganda in
the 1950s by Tony Shaw


Consider this script: Chris, a Californian scientist (played by Peter Graves), has established radio contact with Mars, thanks to the invention of a former Nazi scientist, Calder (Herbert Berghof), now serving Lucifer with Soviet money in the Andes. Consequently, the United States learns that Mars has attained a high level of “civilization,” has developed nuclear power, and has dispensed with coal and oil. The news causes pandemonium on Earth, stock markets crash, depression reigns, and Moscow gloats over the threatened collapse of Western society. On the brink of chaos, the world learns that Mars is also a Christian society, ruled by a “Supreme Authority” whose teachings parallel those of the Sermon on the Mount. This prompts a religious revival on Earth and a revolution in Russia, where a group of pious peasants inspired by Voice of America broadcasts throw out the Communists and crown an elderly patriarch as their new ruler. The story ends on a bittersweet note: Chris, his wife, and Calder are all killed in a laboratory explosion, leaving the U.S. president (Willis Bouchey) to announce that the faith of the world has been saved and that peace now reigns. Few films capture the personal and political paranoia so often associated with “McCarthyite” Hollywood better than Harry Horner’s
Red Planet Mars, described by one critic at the time of its opening in 1952 as “a grotesque, almost insane fantasy, told in deadly earnest.–Even fewer films threw all their Cold War eggs—anti-Communism, an ambivalence toward science.”

red planet mars

Graves plays a California scientist trying to establish contact with Mars, soon into the film he and scientists at the observatory discover that the Martians have melted the ice caps in order to irrigate their planet. Graves as Dr. Chris Cronyn surmises that Martians are a superior race. His wife Andrea King who plays Lynda feels worried about the findings believing that her husbands research is like “sitting on a volcano.”

Peter Graves whose specialty is radio waves and King play a husband and wife team of research scientists/astronomers who pick up a television transmission from Mars. The message describes the planet as being a utopian society with a god-like higher power in charge. Here on Earth, this news spreads panic among both Western governments and the Russian Communist government. In Russia, the peasants revolt and place a priest like monarchy in rule.


Narrator opens “This is a story not yet told….”

Observatory is high on a mountain in Southern California the giant telescope… “Searches the heavens for the secrets there contained…”

Red Planet Mars Observatory

Dr. Cronyn (Peter Graves) is the radio man— Dr. Boulting – Mitchell’s Assistant (House Peters Jr.)  is the guy with the spy glass…


“Do you seriously think that you’ve established contact with Mars…?”—Dr. Boulting (Peters)
“Well you take pictures of it, why shouldn’t I talk to it?”—Dr. Cronyn (Graves)

Red Planet Mars the team meets

Photos of the canals of Mars that traverse the entire planet–Lynda asks if Dr Mitchell has had his telescope for years –why is he getting these pictures just now. Mitchell explains that Mars’ journey around the sun is an elliptical curve.

After the next batch of photos are taken… it shows the mountains are gone and the poles are level.

Dr. Cronyn- “You can’t wipe out mountains taller than the Rockies in the space of a week!”

Dr. Mitchell the astronomer asks Boulting to look at the canals with his magnifying glass. Lynda says “They’re different now they reflect light like mirrors.” Dr Mitchell (Lewis Martin) ‘Water reflects light”

Cronyn asks “Are you saying you think those pole formations are ice… and in a week these Martians have melted ice caps thousands of feet high and use the water to irrigate the planet?” “Isn’t that what the picture says?”-asks Dr Mitchell

Red Planet Mars "are you saying you think those pole formations are ice?"

Cronyn would love to ask the Martians who they figured out that amazing way to irrigate the planet…
“It’s Mars I’m getting my signal from, but how do I give that signal meaning… how do I find a means of communication.”

Boulting says, “One man who takes pictures, one man who believes he can talk over 35 million miles… it’s like having a grand stand seat to the creation of the world…”

red planet mars lobby card

Red Planet Mars magnifies the canals

Red Planet Mars
Red Planet Mars prof shows the orbit of mars

There is also an ex-Nazi scientist Franz Calder (Herbert Berghof) who has invented a ‘hydrogen tube’ that he brings with him after the fall of Nazi Berlin. Cronyn (Peter Graves) uses this ‘hydrogen tube’ to contact Mars. The Soviets have planted the former Nazi spy  in order to make contact with Mars. “At this point the Christianization of the film begins.” – Bernard F. Dick


Franz Calder who has believed to been dead since the war, has actually been living in a cabin in the Andes, living in the  ironic and ghostly eclipse of the famous statue of Christ the Redeemer. He taunts his Soviet compatriots —“You can find me only through finding Christ.”

Calder claims that the messages from Mars are actually fakes, telling everyone that he is the one who has been sending them –his plan– to bring about the downfall of capitalism. Calder is being supported by the Russians led by Arjenian (Marvin Miller) urging him to contact Mars before Cronyn in order to help wipe out democracy and bring about the fall of the Western civilization entirely.

Mars is the promised land, powered by cosmic energy. Its inhabitants have a three-hundred year lifespan and enjoy such an abundance of food that rationing is unnecessary. The realization that Mars is the new Eden and Earth is a garden gone to seed results in global chaos  as coalminers and steel mills close and banks default, believing that humankind had suffered enough, delivers an ultimatum: LOVE GOODNESS AND HATE EVIL… {…} Forget the galaxy and the follow the star of Bethlehem. The voice emanating from Mars is none of than God’s, the man of Nazareth and the man of Mars being the same. Suddenly, church attendance rises, and miracles are seen. The Soviet Union which ‘denied God’s word and worshipped false gods” abjures communism, and the patriarch of the Orthodox Church becomes head of the provisional government. – Bernard F. Dick


RedPlanetMars (46)

Eventually Cronyn does receive messages from Mars saying that there has been incredible scientific advancements, this he deciphers from what looks like bar codes on the television screen. Cronyn has photos showing the ice caps on Mars described as mountainous peaks of ice thousands of feet thick, that are now melting at a faster rate, virtually overnight.




When Cronyn releases his findings he is persecuted and blamed for the economic collapse in the West. Secretary of Defense Sparks (Morris Ankrum) tries to stop the flow of information in order to avert the disaster saying, “Our civilization is collapsing around our ears like a deck of cards… I can hear the laughter in Moscow now!”


In Moscow they are celebrating–“We will build our world on the ruins.”

red planet mars peasants revolt

This is pretty harsh straight forward propaganda that utilizes the elements of science fiction to push the fear and anxiety Americans felt during 1952. The President begs Cronyn not to release the information about the messages from Mars, pleading “You’ve shattered the economy of the free world” in which the scientist who is only interested in revealing the truth about his research and the secrets of the universe tells hims “I’m not interested in economics” as he continues to receive messages from the Martians. Another example of science vs –us against them etc.

Admiral Bill Carey (Walter Sande) responds ‘Science has made the volcano we’re sitting on… you’ll be the next to advance science–and maybe us–right into oblivion.”

Admiral Carey Walter Sande trying to convince Dr. Cronyn not to contact Mars nor refer to it as the more advanced civilization Cronyn tells him,  “Me talking to Mars won’t affect Vesuvius.”

Cronyn learns through their coded messages that the Martians have created their utopian society by following a supreme power much like our Christ figure. “Seven lifetimes ago we were told… to love goodness and hate evil.”

Calder shows up at the observatory claiming that he has been the one all along to be fabricating these transmissions from Mars in order to goad the naive into following them, he has sent them himself in order to sabotage the world. Calder assumes that Dr. Cronyn was responsible for the religious themed messages and that those pious missives never would have occurred to him at all since he only recognizes Milton’s version of a Satan who would rather reign as a king in Hell than follow God in a Heaven. He threatens to divulge his lie saying it’s all been a hoax at a press conference but Dr. Cronyn cannot risk that disaster from happening and so sacrifices himself and his wife to save the world.

Red-Planet-Mars God Speaks

“That’s my god-Satan!” he shouts. “I’ll have beaten God!” when he reveals all to the world. Then he quotes Milton’s Satan.


“As when of old some Orator renound
In Athens or free Rome, where Eloquence
Flourishd, since mute, to some great cause addrest,
Stood in himself collected, while each part,
Motion, each act won audience ere the tongue
Sometimes in highth began, as no delay
Of Preface brooking through his Zeal of Right.
So standing, moving, or to highth upgrown
The Tempter all impassiond thus began”-Milton’s Paradise Lost

In the end, Cronyn and Calder fight as proof –a final ‘real’message from the Martians comes through the television screen saying that the supreme being on Mars is God himself.

Red Planet Mars - Lobby Card
Red Planet Mars – Lobby Card

Dr. Cronyn and his wife have secretly released hydrogen into the observatory room in order to blow the place up, preserving the message from the Martians and keeping Calder’s lies from getting out and wrecking the progress of the new world order. Lynda asks for a cigarette and begins to light it –Calder is standing there while another message from Mars comes in just to show that these communications are not fabricated by the evil Calder and the Cronyn’s are now vindicated. Calder pulls his gun out and fires at the monitor, the cigarette already ignites the hydrogen and blows the the three and the laboratory to bits.

The final word from Mars being “Matthew 25:23 “Ye hath done well, good and faithful servant… Enter into the joy of your master.” 

It is an act of Martyrdom and self-immolation The wife boasts to Calder that she possesses free will and she proves it by reducing three of them to charred bones. The article states cite again—“Of course one could argue that the lighting of a match is morally neutral but the laboratory setting makes the act at least morally questionable. Was she merely trying to frighten Calder, who panicked when he saw the match? Did the tactic backfire, literally? The biblical text approves her action elevating it to a sacrificial act. Since Calder identified with the Satan of Milton’s Paradise Lost, preferring to reign in hell than serve in heaven, his wish was granted.” – Bernard F. Dick



Jesus was an alien

Painting “Vintage Contact” by Lawrence Jones

The film bring out an interesting argument that became a cultural fad in the 60s & 70s that pertaining to Erich von Däniken was a leading proponent of this hypothesis in the late …. In Chapter 4 of Chariots of the Gods?, entitled “Was God an Astronaut? … claiming that Jesus was an extraterrestrial, citing John 8:23

The young sons of the scientist Stewart or Roger (Orley Lingren -Bayard Veiller) are later told that their parents were snatched up in a chariot of fire.

After this final message, the people of Moscow dig up old vestments and place their new religious leader in charge toppling the Communist government, a new religious revival arises in Russia taking back their country from the Communists and they place one of the peasants who had been a priest as the new spiritual leader as head of state.

Cronyn now vindicated and becomes a hero with followers who gather around the observatory to applaud and worship him. Then he is reviled as a traitor. By the end he is somewhat of a Christ figure himself being sacrificed, while Calder’s house is destroyed by an avalanche.

During the fight where Calder fires his weapon at the transmitter causing the hydrogen explosion killing Cronyn his wife Lynda and Nazi Franz Calder, Cronyn becomes Christ-like.

The film has an epilogue where the American President (Willis Bouchey) gives credit to Cronyn for delivering the word about the new world order.

The President is making a speech. He says that that final message coming from Mars was “Ye have done well my good and faithful servants.” The rest was silence. We are told the whole Earth is their sepulchre.

During the early 1950s while these anti-communist science fiction narratives were being rolled out, there were religious crusades and sub-texts that bear a trace of what Phil Hardy referred to as ‘religiosity’ lead by high profile preachers like Billy Graham–and politicians like Senator McCarthy who exploited the fear of the spread of communism. This sentiment could be seen in films like Robert Wise’s The Day the Earth Stood Still (1951)

From The Screen is Red: Hollywood Communism, and the Cold War by Bernard F. Dick, he writes that Red Planet Mars 1952 is one of the few science fiction films of the fifties featuring Soviets as characters sharing America’s determination to communicate with Mars.


red planet mars1952

The final title rolls  “The Beginning” Instead of ray guns, monsters from Mars and rocket ships as Bill Warrens says–“it was sermons and a trip to church…”

From Bill Warren’s Keep Watching the Skies-“The writers concur with this the technological advances on Mars, though Bogus almost demolish Earth’s society through simple shame. When Cronyn’s wife expresses doubts and goes back to the house (probably to make coffee) Cronyn sucks on his pipe and sighs indulgently “Poor Lynda, with all her silly fears” The lab scenery is pretty good for the early 1950s. Calder’s hut is covered with ritual masks, which he occasionally talks to. The director tries to make the astronomer’s family important to him, little homey touches.” Warren calls all the Russians esp. Marvin Miller’s character Franz Calder ‘a swinish boor…. he adds The religious messages those woven into the film are monumentally patronizing… (LOVE and HATE )… bored those who didn’t care about the message, embarrassed those who believed in the message and turned off the rest.”


Admiral Bill Carey: I wonder what kind of world we’re opening the door on!

Linda Cronyn: [to Chris] We’ve lived on the edge of a volcano all our lives. One day it’ll boil over.

Franz Calder: He who follows the tyrant’s banner shall wear the tyrant’s chains. He who carries God’s banner shall know everlasting life!

Arjenian: You expect me to to tell them that?

Franz Calder: What you tell them is no concern of mine.

Untamed Women


They Feared No Monster – Yet Fell Before the Touch of Man!

Directed by W. Merle Connell, starts Mikel Conrad as Steve Holloway, Doris Merrick as Sondra. Richard Monahan, Robert Lowell, Morgan Jones, Midge Ware as Myra, Judy Brubaker as Valdra, Carol Brewster as Tennus, Autumn Russell as Cleo and Lyle Talbot as Col.Loring.

Untamed Women cast

Untamed Women -director W. Merle Connell used clips from One Million B.C (1940)–Untamed Women was shot in under a week.

The story- a World War II bomber pilot Steve Holloway Mikel Conrad (The Flying Saucer) crashes and is rescued from a raft, given truth serum better known as sodium pentothal tells doctor Lyle Talbot the strange story of where he’s been. He and three members of his crew had washed up on an Island inhabited by beautiful women, dinosaurs and a nasty man eating plant. Did I mention the beautiful women?


Untamed Women the plant that eats

The dinosaurs courtesy of One Million B.C —The half naked gals, costumes designed by E. Anderson responsible for the scantily clad UNTAM-ERY with their make up by Harry Gillette, not sure who tackled the 50s hair styles… very not- untamed. The women are supposedly descendants of Druids, how they wound up on this Island who knows, it’s just simply—by ancient druid magic one would suppose.

Morgan Jones and Carol Brewster. Jones is NOT a hairy man from the sea!

untamed women Morgan-Jones-and-Carol-Brewster

They fear being savaged again by the ‘hairy men’ from the sea. Doris Merrick who plays Sondra believes in the beginning that Steve and his men are also the hairy men because they haven’t shaven for days. She and her untamed women banish them to the valley of the stock footage dinosaurs in order to put them through a trial by fire, then they pair off with these nice American fellas until the hairy men do actually return. These wooly savages kill some of the untamed women, one of the good guys and then of course a volcano erupts and everyone dies but Steve who has been given a token of Sondra’s love, a medallion that he is found clutching.

Untamed Women Doris-Merrick-1952

untamed women Mikel-Conrad-and-Doris-Merrick

Doris Merrick as Sondra who wears the ancient amulet around her neck.

Bill Warren adds wonderful vintage reviews at the end of each film he covers. Here’s another particularly hilarious summary from The Monthly Film Bulletin called it “remarkable rigmarole”


Zombies of the Stratosphere


Invasion From A Mystery Planet!–the Rocket Man Battle the “Robot from Outer Space”!


Radar Men From The Moon 1952 (Robot)


Directed by Fred C. Bannon, starring Judd Holdren as Larry Martin, Aline Towne as Sue Davis, Wilson Wood as Bob Wilson, Lane Bradford as Marex, Stanley Waxman as Dr. Harding, John Crawford as Roth, and Leonard Nimoy as Narab.

Zombies of the Stratosphere

Lost in Space jetpack

NOW!! that’s a jet pack… Guy Williams as Professor John Robinson — Lost in Space (1965-1968)

This time out it’s Holdren who wears the mask and flying suit. He plays a sort of star ranger. who uncovers and foils the plot of the Martians to blow up the Earth with an H-bomb and then shift Mars into Earth’s orbit. Bradford is the villain Nimoy is a zombie-like henchman and Waxman the treacherous scientist who helps them. The script by Davidson who single-handed wrote the last 13 Republic serials is crude as is Brannon’s direction. A year later Holdren took over the role of Commando Cody first layed out by George Wallace in Radar Men. but the serial was a false culled from episodes of Republic’s Commando Cody teleseries. In 1958 an edited down version of this serial was re-issued as Satan’s Satellites.

Judd Holdren plays Larry Martin a secret agent who can fly wearing his campy rocket suit with a kitschy control panel on his chest with buttons marked up & down (teehee), and not quite as fantastical ala Commando Cody. Martin is on the trail of a Martian spaceship that has been making secret trips to Earth. Seems the invaders working with a villainous atomic scientist with a grudge and they are looking to take over our galaxy by blasting Earth out of it’s orbit!

Zombies of the Strat here's Narab leonard-nimoy1952

Yes that Leonard Nimoy!

Shatner and Nimoy



Coming up…
Abbott and Costello Go to Mars
Abbott and Costello Meet Dr. Jekyll and Mr. Hyde
The Beast from 20,000 Fathoms
Cat-Women of the Moon
Donovan’s Brain
Four Sided Triangle
Invaders from Mars
It Came from Outer Space
The Lost Planet
The Magnetic Monster
Mesa of Lost Women
The Neanderthal Man
Phantom from Space
Port Sinister
Project Moonbase
Robot Monster
The Twonky
The War of the Worlds




































🚀 “Keep watching the skies!” Science Fiction cinema of the 1950s- The year is 1951- Part 2






Click Here for the original introduction to the series!

X MAN, trips to MARS, Lost Continents, Men in White Suits, the man in red silk underwear-SUPERMAN, a Super Intellectual Carrot– plus lots more!

Flight to Mars


Flight to Mars _1951

Fligth to Mars 1951


The Earthlings…

flight to mars

The Martians…

Fifty Years Into The Future!–The Most Fantastic Expedition Ever Conceived by Man!

Director Lesley Selander with a screenplay by Arthur Strawn  (The Black Room 1935, The Man Who Lived Twice 1936) Selander it seems is more known for his work with westerns both on the big screen and television set. The film stars Marguerite Chapman as Alita, Cameron Mitchell as Steve Abbott, Arthur Franz as Dr. Jim Barker, Virginia Huston as Carol Stafford, John Litel as Dr. Lane, and Morris Ankrum as Ikron who became an incredibly familiar supportive player in many of these fantastic films of the 1950s, (Rocketship X-M 1950, Red Planet Mars 1952, Invaders from Mars 1953, Earth vs. the Flying Saucers 1956, Beginning of the End 1957, Kronos 1957, The Giant Claw 1957, Zombies of Mora Tau 1957, Half Human 1958 and How to Make a Monster 1958.)

With special effects and art direction by Edward S. Hayworth, Jack Cosgrove, and cited by Fantascene Irving Block (matte artist for Invaders from Mars 1953, Forbidden Planet 1956, Kronos 1957, The Giant Behemoth 1959) was responsible for the impressive design and over all look of the picture with cinematography by Harry Neumann (The Land of Missing Men 1930, Vanity Fair 1932, The Thirteenth Guest 1932, When Strangers Meet 1934, The Mysterious Mr. Wong 1939, The Fatal Hour 1940, Doomed to Die 1940, The Face of Marble 1946, The Maze 1953 in 3D!, A Bullet for Joey 1955, My Gun is Quick 1957, The Wasp Woman 1959)

Flight to Mars telescope

Flight to Mars 1951 lobby card color


After the reception that Destination Moon and Rocketship X-M got at the box office it’s no big leap to see why there would follow a film like Flight to Mars (1951) though 1951 and the rest of the 1950s decade wasn’t more jam packed with other films that forayed into space voyage. What became more noticeable was that the aliens–came here! Most likely to to budgetary constraints filming on location on Earth seems to make a lot more sense as it was cheaper to pull off. Along comes Monogram pictures, that became Allied Artists, who ventured into the landscapes of Mars, with a story filled with the sub-plot of earthly melodrama and cliché battle of the sexes on board.

flight_to_mars_1951 arthur franz

Flight to Mars offered little pesky problems, like weightlessness, meteor showers, a contemplative pipe smoking Arthur Franz as scientist Jim Barker who spends so much time calculating their trip to Mars that he can’t see that Carol Stafford (Virginia Huston) is hopelessly in love with him. Cameron Mitchell plays newspaper man Steve Abbott, who is the ‘man’s man’ there to act as brawn and counter-balance to the intellectual egg-headedness of the brainy types on board including Dr. Lane (John Litel) and Professor Jackson (Richard Gaines) also scientists on board.

Flight to Mars brain and brawn


“You listening Carol, I think you are a prize package and VERY feminine… {…} I sure do Mr. engineer and I don’t have to look in a test tube to find out.”– Steve

Flight to Mars Cameron Mithell "close enough to the man in the moon to talk to him"

The extent of Steve Abbott’s philosophizing “Close enough to the man in the moon to talk to him.”

Flight to Mars 5

As Bill Warren writes, “It’s as if a law (the law of the box office) was laid down for makes of science fiction films of the 1950s; a man could not be both brilliant and amusing ; he couldn’t be both a genius and a lover, both a scientist and a sinner.; both skilled with his brains and with his fists. Wisecracks, sexual drive and heroics were usually allotted to one or two other characters. The scientist was almost always a loner with the faraway look of dreams in his eyes., never also a down to-Earth regular Joe who was also a brilliant researcher.

It stands to reason then that Carol would run straight into the arms of the hero, Steve Abbott, who notices that she’s “really feminine.”

Flight to Mars crash land orange sky

flight to mars the orange sky and towers

When the ship crash lands on Mars, and the sky burns a brilliant orange things get pretty exciting for the crew and us when they spot strange structures as part of the landscape. Enter steady science fiction player Morris Ankrum as the duplicitous Martian named Ikron, who not only looks very human but is quite eloquent with his use of the English language due to the fact that he has studied us from our radio and television broadcasts, and have know of their impending arrival. Ikron takes the earth men underground to their city dwelling with cars and air ships (animated) to show how advanced their civilization is.

flgiht to mars animated underground technology

Flight to Mars

OSA MASSEN Character(s): Dr. Lisa Van Horn Film 'ROCKETSHIP X-M' (1950) Directed By KURT NEUMANN 26 May 1950 CTW88028 Allstar/Cinetext/LIPPERT PICTURES **WARNING** This photograph can only be reproduced by publications in conjunction with the promotion of the above film. For Editorial Use Only.
Character(s): Dr. Lisa Van Horn
Film ‘ROCKETSHIP X-M’ (1950)
26 May 1950

Incidentally Alamy has mis-marked this photograph as Osa Massen when clearly it is Flight to Mars…

Flight To Mars 1951 B&W lobby card

Flight To Mars

The truth is that the Martians are running out of their precious resource of Corium and without the planet will become uninhabitable and they will perish. The Martians plan on hijacking the Earth rocket, use their technology to produce more rockets like ours and then conquer the Earth! But among these nefarious Martians are those who want to help them escape, like Tillamar played by Robert Barrat (Captain Blood 1935, The Life of Emile Zola 1937, Relentless 1948, and his last appearance as the kind father Stoney Likens in The Alfred Hitchcock Hour’s incredible episode Return of Verge Likens 1964) and his beautiful daughter Alita played by Marguerite Chapman  (Charlie Chan in the Wax Museum 1940, Appointment in Berlin 1943, Strange Affair 1944, The Green Promise 1949, The Seven Year Itch 1955)

Marguerite Chapman


Ikron finds out about the little insurrection taking place as he has a pretty spy Terris (Lucille Barkley) who alerts him to everything that is going on. Alita who has also fallen in love with brainy boy scientist Dr. Jim Baker (Arthur Franz) is a true heroine and helps the crew lift off Mars and away from her treacherous father and his evil plans.

Flight to Mars the spy

Steve Abbott: Dr. Lane, I once heard of a man who climbed a higher mountain than anyone else alive, but he was never able to get down again. What’s left of him is still up there.

Dr. Lane: The point is, Steve, he made it.

Flight to Mars the ship

Steve Abbott: [looking at the Earth through the port hole of the spaceship] Ah, the Earth seems so big when you’re on it… from out here so small and nothing. It’s like closing your eyes in the dark and suddenly you’re alone with your soul.

Lost Continent

The Lost Continent

Directed by Sam Newfield (The Terror of Tiny Town 1938, The Mad Monster 1942, Dead Men Walk 1943, I Accuse My Parents 1944) starring Cesar Romero as Maj. Joe Nolan, Hillary Brooke as Marla Stevens, Chick Chandler as Lt. Danny Wilson, John Hoyt as Michael Rostov, Acquanetta as ‘Native Girl’, Sid Melton as Sgt. Willie Tatlow, Whit Bissell as Stanley Briggs and Hugh Beaumont as Robert Phillips. Cinematography by Jack Greenhalgh and Augie Lohman (Barbarella 1968) in charge of visual effects and stop motion animation.

Let’s just get Hillary Brooke out of the way now, as she doesn’t crash land on the Lost Continent, as Marlashe only gets to dance with Cesar Romero before his flight leaves for parts unknown!

Hillary and Cesar in Lost Continent 1951jpg

Lost Continent 1950 lobby card dinosaurs

Somehow dinosaurs seems to go along with rocket ships and exploration of lands without and within. So naturally a lot of fantasy/adventure films are considers little lost continents amidst the Sci-Fi genre. According to Bill Warren, dinosaurs were actually a potential plot mechanism thought of by Robert Lippert for Rocketship X-M, thank the space-gods that the film maintains it’s integrity with just a civilization of savages wiped out by nuclear holocaust.

As Bill Warren cites in his bible for the 1950s genre there was a “tradition of blending phony Old Native Legends with some new, science fictional story elements.”

Lost Continent lobby card

Lost Continent lobby card

An atomic powered rocket craps out over the South Pacific, and so a rescue mission led by Maj. Joe Nolan (Cesar Romero) is sent out to find the crew, aided by his co-pilot Danny (Chick Chandler) and cracking wise Sergeant Willie Tatlow played by Sid Melton who adds the comic-relief (Sophia Petrillo’s smart-alecky Sal, ‘May he rest in peace til I get there’) Along is Ward Clever, no wait he was a Sea-Bee, teehee Hugh Beaumont as top scientist Robert Phillips and scientists Michael Rostov played by the other ubiquitous supportive actor John Hoyt and Stanley Briggs played by the other very familiar face Whit Bissell who is terrified by a giant lizard one night and falls off the side of the mountain.

Major Joe Nolan: Look at the size of that footprint! I’ve never seen anything like it before!

Robert Phillips: I have. Once… in a museum.

Lost Continent Brontasaurus


The crew crash lands just coincidentally in the same spot as the prior ship, and they find themselves on an Island (tinted in glorious green at the mountain top ) not only filled with volcanic activity but is radio-active AND it’s inhabited by the sultry Acquanetta (Captive Wild Woman 1943, Tarzan and the Leopard Woman 1946) a native girl who remained after all the others fled when they saw the great fire-bird fly over head and made the earth tremble.

Acquanetta born Mildred Davenport of Ozone, Wyoming.

Acquanetta_005_(Tarzan and the Leopard Woman)

Here she is in Tarzan and the Leopard Woman 1946

Lost Coninent -Acquanetta

She also warns them not to climb the mountain as it is a ‘sacred mountain taboo’ which is the home of her gods. The crew is also getting a bit mistrustful of Rostov after all he is a Russian ex-patriot and has ice water in his veins. Joe gives him a dig after Briggs falls to his death pondering if he in fact just let the poor man fall, “another one of your–unpredictables?”

Lost Continent crew

The island or Lost Continent is a pressure cooker of vapors, clouds, greenery and uranium fields that might just blow! All this radioactivity must have been what brought down both rockets. and as one of them points out as “powerful as a stockpile of hydrogen bombs…”

The crew shoot a flying reptile minding it’s own business, there’s a gratuitous dinosaur fight between horned beasts and a brontosaurus ( which I thought were leaf eaters hhm, I’ll have to look that up) chases Phillips up a tree. The crew is befuddled by the presence of prehistoric dinosaurs, but Hollywood isn’t so they’ll just have to deal. Phillips asks,  “Who can explain it?… it’s an impossibility, yet here we are right in the middle of it!” 

The film even gets to stick some anti-red sentiment in there as the stranded crew from the rocket-ship come to find out that Rostov not only didn’t sabotage the rocket but is a regular ‘Joe/Mike’, who lost his wife in a concentration camp and considers some of his Russian countrymen ‘villains’ who he wants to go back and fight against them ‘pushing buttons on more rockets.’

Finally they find their ship nose down in the earth, but they can’t get near it because there is a large brontosaurus and a triceratops hanging around, and Willie winds up getting gored to death. Then the earthquakes begin but the survivors make it out to sea on a raft just as the whole mountain blows up!

The Man from Planet X


manfromplanetx poster


Directed by Edgar G. Ulmer (People on Sunday 1930, The Black Cat 1934, Detour 1945, The Strange Woman 1945, Ruthless 1948, Daughter of Dr. Jekyll 1957, The Amazing Transparent Man 1960)

Written by Aubrey Wisberg and Jack Pollexfen (The Secret of Convict Lake 1951, Captive Women 1952, Port Sinister 1953, The Neanderthal Man 1953, Five Bold Women 1960.)

Stars Robert Clarke as John Lawrence, Margaret Field as Enid Elliot, Raymond Bond as Prof. Elliot, and William Schallert as Dr. Mears.

Though this is a very low budget film, I have an affection for it’s unassuming and atmospherically charming tone and I actually had an action figure of the alien as part of a series released in the late 60s, early 70s which included the winged angel from Barbarella!

Man from Planet X jpg

Okay enough meandering down nostalgic Warren Drive, Long Island USA.

The sets were left overs from Joan of Arc (1948) at Hal Roach Studios. Ulmer designed the ship that resembled less of a space craft and more like ‘diving bell that was lowered into our dense atmosphere -Bill Warren. The film’s use of low lighting hides that fact that set and the interior ship design was constructed out of plywood. Inside the alien suit it is suggested was a little person or person of short stature actor possibly Billy Curtis. According to Warren, as described in the script, his face had the look of being distorted by pressure, or as if similar to a ritual mask belonging to a primitive tribe. The lighting adds to the unique quality of his expressionless face.

The_Man_from_Planet_X_ enid sees the ship

The film opens with American reporter John Lawrence (Robert Clarke-The Astounding She Monster 1957, The Hideous Sun Demon 1959) narrating in voice-over his panic over the well being of both Professor Elliot and his daughter Enid who have been taken back to a space craft by the alien from planet X. As he paces the observatory tower floor he begins to relate the strange story that has unfolded in the past few days. He fears for their lives as well as his own.

Lawrence was sent to a remote Scottish Isle Burray in the Orkneys, to see Professor Elliot (Raymond Bond) after a wandering planet called ‘X’ is spotted in our solar system and is approaching Earth, estimated coming close to the Orkneys. John Lawrence stays with Dr. Mears played by extremely likable and oft seen William Schallert, although in this film he plays a rather suspicious and brooding character who has a mistrust of Williams. John Williams also meets his lovely daughter Enid played by Margaret Field. This science fiction gem has a sub-plot as most do where love gets to blossom, as Enid and John they take a foggy drive then a cozy walk along the moors, they encounter a small metallic object and eventually stumble upon an object that they establish is a probe.

The Man from Planet X a fine british love story

As Anthony Newley sings from his and Leslie Bricusse’s song from their award winning musical The Roar of the Greasepaint –the Smell of the Crowd“Look at that Face, just look at it!”

Man from Planet X looks at Enid

Later that night Enid gets a flat tire and walks back across the moors in the shrouded mysterious late night fog where she comes upon a sphere with an observation glass and she looks in, a strange face peers out at her!

X-shows his face

Enid runs and gets her father, and when they arrive back at the ship to inspect it, a light shines in her father’s face and becomes temporarily submissive. The laser gun creates a calming light zone where people not only comply, but can understand the droning language of the alien from X. When Lawrence and Mears go back to investigate the Man from Planet X comes out once again to greet them. In a very interesting scene, this adorable alien attempts to judge whether these earth men can be trusted, so he turns off his air supply until Lawrence realizes what he is doing he turns his air back on and from that point he sees that Lawrence can be trusted.

Dr. Mears is another matter entirely. The Man from Planet X has not come to Earth meaning any harm, and only turns defense and hostile after the greedy Mears bares his viciously aggressive teeth–bad scientist, bad bad scientist!

The Man from Planet X Enid and Dad get zapped by beam


The Man From Planet X 1951

The Man from Planet X

The Man from Planet X Enid is scared

The Man from Planet X alien follows them home

The alien follows both men back to the tower where they’re staying, but he’s left with the greedy Mears who only wants to exploit the poor little gray guy in the cutest little space suit ever. He discovers great cosmic secrets from Mr. alien X conversing within the universal language of mathematics. The nasty Mears tries to subdue him by turning his oxygen source on low but once he revives and takes Mears and Enid with him back to the ship, later taking Professor Elliot and several villagers along with him putting them in the same hypnotic trance forming a wall around his ship.

The man from planet x Dr Mears intimidates x

Dr. Mears: [to the Man from Planet X –laughing] Dr. Mears: To think – a fantastic gnome like you had to hurdle out of space to put this power in my hands. Well, now that we’ve made contact, I’m gonna tear out every secret you’ve got!

the-man-from-planet-x dr mears is dangerous

man_from_planet_x he comes in peae

the-man-from-planet-x-LAwrence and the alien

The Man from Planet X dr under light

the man from planet x villagers and contsable

Planet X is drawing nearer to Earth… Roy Engle as Tommy the Constable calls in the military. John Lawrence manages to awaken the sleep walkers and get them safely away from the ship, while the evil Dr. Mears runs back in the direction of military fire. The space craft and sadly, the alien are blown to smithereens. Planet X in it’s wake creates terrestrial winds, and bright lights — and then disappears into the vastness of outer space once again, perhaps dooming Earth to bad weather?

the man from planet x bad weather

Whether or not The Man from Planet X was an innocent drifter who found himself in a kerfuffle on Earth just trying to survive being in the wrong place at the right time or as Lawrence feared might have been trying to invade the planet… because of his ‘otherness’ he had to be destroyed.

Dr. Mears-” How may we know what processes of thought run through his head? How may we assume he thinks as we do? How may we anticipate what a bizarre and fantastic organism might or might not do?”

The Man from Planet X oxygen tank testing humanity

Down on the ground Alien X has turned off his oxygen to test the earthling’s response. He’s about as aggressive as a kitten going belly up! John turns his air back on.

I have to admit that I am one of the ones who finds Edgar Ulmer’s work fascinating and worthy of it’s cult following as he’s done everything from moody b horror films to film noir. Some more lavish budgets like The Black Cat 1934, and Bluebeard 1944, to film noir masterpieces like Detour (1946) Some poverty row flicks with titles like Girls in Chains, Isle of Forgotten Sins and Jive Junction all made in 1943.

In an interview with film maker Peter Bogdanovich in Kings of the Bs, Ulmer said that he had to do it all for the sake of the money, “I admit to myself that I was somehow schizophrenic in making pictures. On one hand, I was absolutely concerned with the box office and on the other, I was trying to create art and decency with style. I could not completely get out of the commercial though I knew it limited me.” 

The Man from Planet X a diving bell

the man from planet x dr and john look inside the ship

But as Bill Warren says, what ultimately wound up happening because of Ulmer’s hand in The Man From Planet X resulted in ‘the first science fiction gothic horror film.”

An Austrian implant who had a knack for set design. And the lustrous and atmospheric demur of The Man From Planet X  just sets this curious and obscure little gem apart from all the other Sci-Fi films of the 1950s.

Enid Elliot: When I got close to it, it looked like a giant glass ball girdled with something like a steel belt. Three of them, I think. When I got close enough to look in – there it was.

Professor Elliot: It? What?

Enid Elliot: That face! Right on the other side of the glass looking right into mine! I was terrified!

Professor Elliot: A face? A human face?

Enid Elliot: A ghastly caricature like something distorted by pressure. I can’t think how else to describe it – a horrible, grotesque face looking right into my eyes!

Professor Elliot: Your statement has the tinge of fantasy.

the man from planet x diving bell

Enid Elliot: You know, I think that creature was friendly. I wonder what would have happened if… if Dr. Mears hadn’t frightened him.

 John Lawrence: Who knows? Perhaps the greatest curse ever to befall the world, or perhaps the greatest blessing.

The Man from Planet X a curse or blessing



Continue reading “🚀 “Keep watching the skies!” Science Fiction cinema of the 1950s- The year is 1951- Part 2″

🚀 “Keep watching the skies!” Science Fiction cinema of the 1950s- The year is 1951- Part 1




Two Lost Worlds


Directed by Norman Dawn the film stars James Arness as Kirk Hamilton, Kasey Rogers as Elaine Jeffries, Bill Kennedy as Martin Shannon, Pierre Watkin as Elaine’s father, Magistrate Jeffries, Gloria Petroff as Janice Jeffries, Tom Hubbard as John Hartley, Jane Harlan as Nancy Holden, Tom Monroe as Captain Tallman, Michael Rye as Captain Hackett, and Fred Kohler sailor Nat Mercer.

In 1830, on the American clipper ship named ‘The Queen’ first Mate Kirk Hamilton is assailed by bloody pirates led by Captain Hackett. Kirk is brought ashore to treat his wounds, where he meets Elaine Jeffries and the two fall in love. But Elaine is engaged to rancher Martin Shannon and of course a the male rivalry begins. Once again the ruthless Captain Hackett raids and plunder the colony and kidnap Elaine and her little friend Nancy Holden. Which leads Kirk and Martin Shannon to rescue them from the pirates and various dinosaurs that inhabit the volcanic island!

two lost worlds the dinosaurs

Two Lost Worlds Nancy Holden and a dinosaur this aint Alice through the Looking Glass

This ain’t Alice through the looking glass!

Abbott and Costello Meet the Invisible Man

Poster - Abbott and Costello Meet the Invisible Man_02


Directed by Charles Lamont a satirical look at H.G. Wells’ story with our two funny men Bud Abbott and Lou Costello at the center! The film also stars Arthur Franz as boxer Tommy Nelson, Nancy Guild as Helen Gray, Adele Jergens as Boots Marsden, William Frawley as Detective Roberts and Sheldon Leonard as Boots Morgan…

Comedy didn’t escape the horror genre so it certainly didn’t lose time letting Abbott & Costello have a crack at The Invisible Man! By the 1950s they needed gimmicks to seduce their fans into adoring them again. The pair play Bud Alexander and Lou Francis amateur private eyes, hired by boxer Tommy Nelson (Arthur Franz) who’s been accused of killing his manager, to clear his name of the murder. Tommy takes scientist Helen Gray’s serum that produces invisibility. In a hilarious scene Lou poses as a boxer while the invisible Tommy is really doing all the slugging. Of course the duo find the real killer!

Abbott and Costello meet the Invisible Man 1951

ABBOTT AND COSTELLO MEET THE INVISIBLE MAN, Bud Abbott, Arthur Franz, Lou Costello, 1951
ABBOTT AND COSTELLO MEET THE INVISIBLE MAN, Bud Abbott, Arthur Franz, Lou Costello, 1951
ABBOTT AND COSTELLO MEET THE INVISIBLE MAN, Bud Abbott, Lou Costello, Arthur Franz, 1951
ABBOTT AND COSTELLO MEET THE INVISIBLE MAN, Bud Abbott, Lou Costello, Arthur Franz, 1951

Det. Roberts: [Tommy Nelson is gone] How did he get out?

Lou Francis: Installments.

Det. Roberts: Installments?

Lou Francis: Yeah, he did a Gypsy Rose Lee, come here!

[they find Tommy’s clothes lying about]

Lou Francis: That, that’s all that’s left of him.

Det. Roberts: Evidently Nelson changed clothes… what was he wearing when you last saw him?

Lou Francis: Air… nothing but air… and then he asked me how he looked.

Det. Roberts: Wearing air? What are you talking about?

Lou Francis: I went to shake his hand, his hand was gone, I looked up to speak to him, his head was gone. Then he took off his shirt, his body was gone, he took off his pants, his legs were gone! Then he spoke to me, I was gone.

Bride of the Gorilla


Director Curt Siodmak, (director The Magnetic Monster 1953 & Curucu The Beast of the Amazon 1956, Black Friday, The Ape and The Invisible Woman 1940-story/screenplay, The Wolf Man 1941-screenplay, Frankenstein Meets the Wolfman 1943, Son of Dracula 1943-screenplay, I Walked with a Zombie 1943-screenplay )

Bride of the Gorilla stars the gorgeous Barbara Peyton as Mrs. Dina Van Gelding, Lon Chaney Jr. as Police Commissioner Taro, Raymond Burr plays it cool as Barney Chavez , Tom Conway as Dr. Viet, Paul Cavanagh as Klaas Van Gelder , Giselle Werbisek as Al-Long, Carol Varga as Larina, Woody Strode as Nedo the Policeman. and Steve Calvert as the Gorilla.

Bride of the Gorilla lobby card Burr and Payton


“The heart is deceitful above all things and desperately wicked!Klaas Van Gelder

Bride of the Gorilla ape and burr

Raymond Burr plays Barney Chavez who manages a plantation in the jungles of South America. He desires his boss plantation owner Klaas Van Gelder’s wife and in order to get his wife Dina he murders him in cold blood. But he is vexed by the old witch Al-Long who has seen his crime, he believes that he has been cursed to become a nocturnal gorilla run amok

Deep in the South American jungle plantation manager Barney Chavez (Raymond Burr) kills his elderly employer in order to get to his beautiful wife (Barbara Payton). However, an old native witch witnesses the crime and puts a curse on Barney. Does he really transform into a killer ape by night or is the curse just a matter of suggestion, and psychological head games pressing on his guilt. He is driven mad believing that he is the ‘jungle demon-the succarat’.

Bride of the Gorilla old witch Al-Long

Bride of the Gorilla Long Chaney as Taro

Police Commissioner Taro: [narration] This is Jungle – lush, green, alive with incredible growth – as young as day, as old as time. I, Taro, Police Commissioner of Itman County, which borders the Amazonas River, know it as well as any man will ever know it. Isn’t it beautiful? But I have also learned that beauty can be venomous, deadly, something terrifying, something of prehistoric ages when monstrous superstitions ruled the minds of men, something that has haunted the world for millions of years rose out of that verdant labyrinth. Let me tell you how the jungle itself took the law into its own hands. This was Van Gelder Manor, built to stand against the searing sun, built to shelter generations of Van Gelders, it also has become prey to the powers of the jungle, that terrifying strength that arose to punish a man for his crimes.

The Day the Earth Stood Still




day the earth stood stil klaatu and gort arrive

Directed by the master who started out as an editor working with Val LewtonRobert Wise, created this iconic film which gave the science fiction genre a level of artistic authenticity. It’s memorable and sensational for so many of us because of  Wises’ directing, Leo Tover’s photography, acting by a stellar cast led by Michael Rennie and Patricia Neal and the art direction, set design and spectacular visual effects.

Day_The_Earth_Stood_Still 1951 on the set

Day the earth Stood Still the ship shows up in the sky

Day the Earth STood STill the saucer in Washington

Day the Earth Stood Still-Klaatu emerges

Day the Earht Stood Still miliary

Day the Earth Stood Still Klaatu with offering looks like a weapon

Michael Rennie plays Klaatu a visitor from another world, millions of miles away from Earth who brings a very dire yet hopeful message to us earthlings. “We have come to visit you in peace and with goodwill.” Klaatu appears essentially as a heavenly angel on a mission of mercy.

Klaatu has been sent as a representative by an organization of planets who have found a way to curb their tendencies toward war by installing other powerful robots like Gort to police them, “In matters of aggression we have given them absolute power over us!” Well, that’s a very provocative statement to make coming from Hollywood in the midst of The Cold War, but hey it’s one method, albeit a dangerous one, as Klaatu explains that “This power cannot be revoked. At first signs of violence they act automatically  against the aggressor. The penalty for provoking their action is too terrible too risk.” The violation implies that their planet will be destroyed, which is what Klaatu warns the Earth about. Yes, Klaatu you haven’t achieved perfection with this system but you say it works. So does every dictatorship and totalitarian state.

Of course Michael Rennie is also not at all difficult to listen to as he isnt’ a 10 foot one eyed amorphic blob or a grotesque pants monster. Writer/Film historian Bill Warren mentions this inaccuracy in his book and cites Erich von Däniken. He was an ancient alien theorist claimed that if aliens had visited before they could come again. Perhaps they left a few travelers behind who shacked up with earthlings and voilà thousands of years later you have a very sophisticated and silky talking Brit who looks smashing in a custom tailored suit.

Day the Earth Stood Stilll-Klaatu comes in peace

Day the Earth stood still people watch as Klaatu approaches more crowd

Patricia Neal is beautiful in that retiring style of  hers as widow Helen Benson, Hugh Marlowe plays insurance man Tom Stevens, the wonderfully sage Sam Jaffe plays Professor Jacob Barnhardt, Billy Gray plays Bobbie Benson, Frances Bavier runs the rooming house (another Aunt Bea) as Mrs. Barley, and Lock Martin is lurking inside that great robot silver pants-suit called Gort!

There are tiny bitty part for Stewart Whitman plays a sentry, Olan Soule has a bit part as Mr.Krull, Dorothy Neumann as operator Margaret and Richard Carlson as Thomas Stevens Jr. and few more familiar character actors we all love!

Part of the charm of this film for me on a side note is seeing three of The Andy Griffith Show players like Dorothy Neumann who plays Otis Campbell’s wife, Olan Soule who plays hotel clerk / prissy choir leader Mr. Masters, and of course Francis Bavier the lovable Aunt Bea.

Neumann on the line

Dorothy Neumann as Rita Campbell isn’t always just barking at Otis or pouring his hootch down the drain. She’s been a hard working character actress in so many television shows and films you probably love! (The Snake Pit 1948, Sorry, Wrong Number 1948, she was Helen Lawson’s maid in Valley of the Dolls 1967

Leo Tover is at the helm of the camera, and captures the feeling of a world in befuddlement as well as framing many scenes with a noir sensibility as he had shot so skillfully before with The Snake Pit 1948, The Secret of Convict Lake 1951, and A Blueprint for Murder 1953. Art direction by Addison Hehr and Lyle R. Wheeler (Gone with the Wind 1939, Rebecca 1940, All About Eve 1950, Compulsion 1959) The post-modern expressionist Art Deco interior ship design is out of this world by Set direction by Thomas Little (The Grapes of Wrath 1940, All About Eve 1950)

The flying saucer or space-craft which allegedly cost $100,000 was modeled after actual sightings that were very popular and becoming rampant during that time in the 1950s And of course there’s always Bernard Herrmann’s use of the theremin that just quivers my strings.

Thanks to the direction of Robert Wise (one of my personal favorite directors), The Day the Earth Stood Still is considered one of THE best and most beloved American Science Fiction films of the fifties. One of the interesting themes that runs through the movie is how Christ-like or archetypal Savior figure Michael Rennie’s character Klaatu is– as he comes to save the Earth from their violent ways, and from themselves–in the end only to sacrifice his own life for the cause, then to be resurrected –moving on leaving his grave warning in our laps.


Day the Earth STood Still Lincoln

Day the Earth stood Still at the monument washington SAVIOR IMAGE

Day the Earth Stood Still People Watch as Klaatu approaches crowd

Day the Earth stood STill the army aims

Day the Earth Stood Still 1951 Klaatu is shot by the army

Day the Earth stood still the miliary waits

Day the Earth Stood Still Klaatu is down

Day the Earth stood Still Gort comes out of ship after Klaatu is shot

Day the Earth Stood Still Klaatu gets up atfer shot meets the military

The film does work as a allegory during the Cold War era which warns us against our transgressions and wicked tendencies toward violent aggression. Klaatu arrives in his spacecraft with his robot companion a gleaming and imposing silver giant named Gort. Klaatu has been sent by an inter-planetary federation that fears Earth will use the atomic-bomb to destroy the universe in the not too distant future, and warns that if they do not stop their aggressive behavior, they will be blown to bits. Met by the military Klaatu extends an olive branch in the form of a gadget that they interpret as a weapon even though he tells the people of Earth “We have come to visit you in peace and in good will”. But they begin firing upon him wounding him and imprisoning him in a hospital where he escapes and assumes the identity of a gentlemanly earthling. Bernard Herrmann’s signature melodic motif of tumult underscores a wonderful scene as authority figures search frantically for Klaaut, and Wise shows the public in various rapt by their radios and television set, reading newspaper headlines about the missing space man!

day-the-earth-stood-still-prisoner at the hospital

Day the Earth Stood Still-lets just say we're neighbors Mr Hardy-it's hard to think of another planet as neighbors

After Mr. Hardy who comes to interview Klaatu asks where he comes from Klaatu tells him that he’s traveled millions of miles to this planet Klaatu –“lets just say we’re neighbors” Mr Hardy-“It’s hard to think of another planet as neighbors.”

day the earth stood still Klaaut is missing from the hospital


Day the Earth Stood Still the roomers see Mr.Carpenter in the doorway of the rooming house

Day the Earth Stood Still Maj.Carpenter arrives at the rooming house

In the meantime Klaatu takes a small Washington boarding house as a mild mannered Maj. Carpenter where he meets Helen Benson (Patricia Neal) and develops a poignant relationship with she and her son Bobby (Billy Gray). Helen is being wooed by insurance agent Tom (Hugh Marlowe) who turns out to be as aggressive and dangerous as the majority of antagonists in the film.

Taking the name from the tag on a borrowed jacket he’s wearing, Klaatu takes the identity of Major Carpenter. When he arrives at the rooming house everyone is stunned at first, as he stands in the shadows.

Day the Earth Stood Still Maj. Carpenter Arrives

Day the Earth Stood Still rennie neal and marlowe

Day the Earth Stood Still a meal at the rooming house

Mr. Krull “It’s enough to give you the shakes. He’s got that robot standing there, 8 feet tall just waiting to just waiting for orders to destroy us!”

Day the Earth Stood Stil at the dinner table

Helen- “This space man or what ever he is, we automatically assume he’s a menace. Maybe he isn’t at all… {…after all he was shot the minute he landed here } I was just wonder what I would do?” Maj. Carpenter-Well perhaps deciding on a course of action he would want to know more about the people here. To orient yourself in a strange environment.”

Day the earth stood still Mrs Barley -he comes right here from earth

Mrs. Barley-“If you want my opinion he comes from right here on Earth!”

Olan Soule , John Brown as George Barley and Francis Bavier, Patricia Neal and Michael Rennie as Maj. Carpenter are having a meal at the rooming house.

Day the Earth Stood Still Maj Carpenter sits with PAtirica Neal 3

Klaatu wants to walk among the people of earth to try and understand their, ”strange, unreasoning attitudes.” As Phil Hardy says Robert Wise’s film works so well because of his masterful balance of the ‘ominous allegory with the sub-plot of Rennie’s attempt to discover what humans are really like.’

Day the Earth stood Still Klaatu in Bobbys room with Patricia

In an amazing scene, where he shows his benevolent nature, Bobby catches his new friend at the blackboard in the Professors lab and solving a complex equation that he had been struggling with, in a few seconds. Bobby asks if the Professor had done it wrong, Klaatu tells him “It just needs a little help.”

benevolent Klaatu solves a problem

Klaatu also is befriend by the kindly, wise and brilliant scientist Professor Jacob Barnhardt (Sam Jaffe) who recognizes that Klaatu is not a threat nor a false prophet and reflects the better nature of humankind.

You have faith, Professor Barnhardt?- Klaatu

“Our problems are very complex Klaatu, you mustn’t judge too harshly”Professor Barnhardt

“I can judge only by what I see.” –Klaatu

“ Your impatience is quite understandable’ –Professor Barnhardt

“I’m impatient with stupidity” –Klaatu

Day the Earth Stood Still Sam Jaffe at the blackboard

Professor Barnhardt: It isn’t faith that makes good science, Mr. Klaatu, it’s curiosity. Sit down, please. There are several thousand questions I’d like to ask you.

Day the Earth Stood Still Klaatu and Patricia noir frame hiding from the miliary

Robert Wise and cinematographer Leo Tover know how to paint a film noir canvas within the realm of science fiction The Day the Earth Stood Still bares a striking resemblance to many great noir pictures and their familiar tropes… not the least the misunderstood man on the run forced into the shadows, aided by a good women who has faith in him!

Day the Earth Stood Stil Patricia Neal and Michael Rennie

"The Day the Earth Stood Still" Michael Rennie, Hugh Marlowe, & Patricia Neal 1951 20th **I.V.
“The Day the Earth Stood Still”
Michael Rennie, Hugh Marlowe, & Patricia Neal
1951 20th

Day the Earth STood Still Bobby discovers Klaatus secret

Bobby follows his friend Maj. Carpenter/Klaatu and discovers his secret! In a panic he runs and informs his mother all about it. She tells him he’s been dreaming again, but she also happens to be with Tom (Hugh Marlowe) who is just waiting to get Maj. Carpenter out of the picture and sets the end in motion.

day the earth stood still bobby sees Klaatu with Gort go into his ship

Day the Earth stood still Klaatu goes into ship to stop the earth

Day the Earth Stood Still stunning visual inside ship to stop the earth

The set design and use of lighting lends to the magnificent & moody atmosphere of the film.

Day the Earth Stood Still-Annex - Rennie, Michael

As the title of the film suggests… it’s striking when the moment emerges and everything stops, or stands still.

Klaatu sets the wheels in motion to stop the motion all over the earth! And so everything grinds to halt not only all means of transportation in this modern world, trains, ships, automobiles and buses, tools of industry cease like– farming machines that milk the cows, power stations and factories. Even the creature comforts people take for granted, like washing machines which are left with puddles of sopping clothes, milkshakes that don’t get shook and those poor people at the top of the roller coaster at the amusement park … A nation wide man hunt for the space man begins!

Day the Earth stood Still paper Are we long for this world

New York the streets have clammered to a halt

London all has stalled

London piccadilly circus is shut down people in the streets

Russia nothing works the roads filled with cars

Russia the people stand around

traines stop working

cars in the street and buses wont start

washing machines leave soaking messes

stuck on a rollercoaster

stuck on a rollercoaster 2

Day the earth stood still after thing stop people gather by the ship and GORT

Day the Earth STood Still the reporter

Reporter: I suppose you are just as scared as the rest of us.

Klaatu: In a different way, perhaps. I am fearful when I see people substituting fear for reason.

Day the Earth Stood Still the army plans

day-the-earth-stood-still-Patricia Neal and Michael Rennie

He tells Helen “If anything should happen to me, you should go to Gort… You must say these words, Klaatu Barada Nikto. You must remember these words.”

Day the Earth Stood Still GORT blasts two soldiers

day the earth stood still GORT blasts two soldiers decompose into light

day the earth stood still patricia neal encounters GORT

day the earth stood still patricia neal gets frightened of GORTS imposing nature

day the earth stood still GORT stands at the ready lit up

day the earth stood still patricia neal cowers as GORT hovers

day the earth stood still GORT stands before patricia neal viser closed

day the earth stood still patricia neal cowers in corner noir frame fear

Day The Earth Stood Still Gort Carries

day-the-earth-stood-still-GORT on ship with Patricia Neal

Day the Earth STood Still -the resurrection of Klaatu:Christ

Gort resurrects the Christ-like Klaatu

Day the earth stood still GORT close up

In the end, he is gunned down which summons the ire & wrath of Gort who opens up his metallic visor and lets loose a laser beam killing the soldiers. Consistent with the theme of deliverance and resurrection Gort brings Klaatu back to life and ascends like an other-worldly angel from the Earth to return to his delegation leaving behind the message that they either learn to live in peace or be destroyed that we do not have the temperament to be in control of atomic weaponry.

Day the Earth Stood Still Klaatu ship in the park night shot


Day the Earth STood Still Gort close up

Day the Earth Stood Still-Gort outside the ship

“I will not speak with any one nation or group of nations I don’t intend to add my contribution to your childish jealousies and suspicions. —Klaatu

Day the Earth Stood Still Klaatu and Gort 2

Day the Earth stood Still nations

Day the Earth Stood STill-It is no concern of ours how you run your own planet

“It is no concern of ours how you run your own planet, but if you threaten to extend your violence this earth of yours will be reduced to a burned out cinder… your choice is simple… join us and live in peace or pursue your present course and face obliteration!… We shall be waiting for your answer… the decision rests with you.”–Klaatu

Day the Earth Stood STill ship takes off night

Klaatu and Gort take off in the ship, he ascends back into the heavens our future rests with us!

An ‘ominous allegory’a reflection of our fears and mistrust– a message that it’s not too late to be overseen by giant soulless robots that might malfunction and reduce you to a cinder if you have an angry outburst about your $6 coffee tasting like mud!.

Day the Earth Stood Still Gort

Klaatu’s command to —“Gort! Klaatu barada nikto!”

Gort, Patricia Neal and Michael Rennie



Directed by Arch Oboler (Strange Holiday 1945 starring Claude Rains, Bewitched 1945 starring Phyllis Thaxter, Bwana Devil 1952 in 3D, The Twonky 1953 and another 3D film The Bubble 1966)

Arch Oboler had been regarded very highly for his work in old time Radio primarily on “Lights Out” another show about fantasy/horror & science fiction themes.

Stars William Phipps, Susan Douglas Rubes, James Anderson, Earl Lee and Charles Lampkin.

This independent film has all the trappings of a low-budget art-house film with science fiction over-tones that’s rather dreary and nihilistic in tone. It’s deals with the aftermath of a nuclear holocaust that wipes out the entire civilization except for five survivors. The story has been dealt with either viewed through a campy lens as with Roger Corman’s amusing vision of radioactive fall-out Day the World Ended (1955) with it’s cast of diverse survivors stuck in a canyon who are at risk of mutations out in the eerie fog, some turning on each other as their limited resources.

As with Corman’s beloved cult foray, Five’s characters are also victims of radioactive dust clouds, that kills off the animal life on the planet and essentially vaporizes people down to their skeletons.

William Phipps (Crossfire 1947, War of the Worlds 1953, The Brothers Rico 1957 & a slew of television appearances) plays Michael, a man who survived the nuclear disaster because he was stuck in an elevator at the top of the Empire State Building high enough to shield him from the atomic clouds (perhaps I should re-think my fear of elevators and my fear of heights -hhm) He encounters the only other survivors up in the mountains, Rosanne (Susan Douglas) who is going to have a baby, another recognizable actor from the 50s is the handsomely intense James Anderson, who plays an aggressive neo-Nazi named Eric, a black doorman named Charles (Charles Lampkin, another familiar face and busy television & film actor) and Mr. Barnstaple (Earl Lee), a bank clerk who is complete denial about what has happened, of course he succumbs to radiation poisoning.

With the mixture of personalities left to band together it isn’t any wonder that tensions build especially because there is only one woman left to go around. Eric cannot help but antagonize Charles and try to make an object out of Rosanne. Roxanne is still waiting for her husband to return, safely to her. The film has a filthy strain of meanness in it, as Oboler wants us to feel the desperation and detestable situation for ourselves. Eric kills Charles and grabs Rosanne with her newborn baby telling her that they are going to search for her missing husband in the city. It’s gruesome and dismal as they stumble upon skeletons in mid pose, in doorways, in their cars trying to escape. When she finds out that husband has perished she wants to go back up to the mountains. The two struggle and Rosanne tears his shirt exposing the fact that Eric has radiation burns all over his chest. In yet another very bleak turn of events, Rosanne’s baby dies while she’s making her way back to the mountains. All that are left now are Michael and the distraught Rosanne to be the archetypal Adam & Eve in a not so paradisiacal Eden drenched in atomic fallout.

The New York Times review said of Oboler’s Five- “Mr. Oboler spends so much time scanning the landscape, the sky, the sea and clouds that he can’t seem to bring himself to tangle with the problems fo his meek and baffled crew. And when he does he contents himself with fashioning a little drama of left-over racial hate in a world virtually empty of people, rather than seek the terror in a human void.”























The Classic Movie History Project Blogathon 2016! 🚀 “Keep watching the skies!” Science Fiction cinema of the 1950s


“I bring you a warning. Every one of you listening to my voice. Tell the world… Tell this to everybody wherever they are. Watch the Skies! Everywhere. Keep looking. Keep watching the skies!

Ned ‘Scotty’ Scott — The Thing From Another World (1951)

Keep watching the Skies!

It’s that time of year once again when Movies Silently, Silver Screenings & One Upon a Screen host a momentous event…. The Classic Movie History Project Blogathon 2016 which will begin August 5th -10th, 2016.

Science fiction is a genre of speculative fiction dealing with imaginative concepts such as futuristic science and technology, space travel, time travel, faster than light travel, parallel universes and extraterrestrial life. Science fiction often explores the potential consequences of scientific and other innovations, and has been called a “literature of ideas. –Wikipedia definition of Science Fiction

Robot Monster rocket

This event always promises to be an epic endeavor as there are so many interesting themes and subjects to cover. I am excited to be participating once again with these fabulous hosts who make it possible for all of us to contribute to a wealth of classic film history goodies to devour. Now listen folks, don’t get frightened off! You cast of exciting unknown readers… This has become a real project for me, a work in progress that will unfold over the next several weeks. For the purpose of The Classic Movie History Project Blogathon 2016, I offer an overview that will be a lead in for the entire decade of 1950s science fiction cinema conquering it year by year in separate articles. As I started delving into this project, it began to grow larger and larger as if Jack Arnold and Bert I. Gordon themselves compelled me to GO BIG!

amazing colossal man vegas


50 foot woman at the bar

In order to review an entire genre of such an influential decade and do the treatment it so rightly deserves, I realized that I needed to spread it out as a series. Re-visiting these beloved movies that inspired my childhood with wonder and sometimes tapped into my own authentic fears, I fell in love all over again. And though I tend to gravitate towards the classical Gothic horrors that are steeped in mythology, the supernatural and the uncanny, I can’t help but feel my mind expanding by the iconic themes that emerged from 1950s science fiction! So I’ll be publishing each year as individual posts or chapters from 1952 on… over the next several week or so instead of all at once. Talking about all the films I mentioned here and so many more films & things to come!

It’s a collection–a decade of the sci-fi genre, sub-genres and it’s hybrids– some eternally satisfying because of their remarkable ability to continuously shine a light on fascinating & mesmerizing fantasy stories. Well written and adapted as visual narratives and surreal stories by beloved visionaries who set out to reach inward and outward through all of us dreamers and thinkers.

There are also those lovable Sci-fi films that are charming and wonderfully kitsch. And some… are just downright so, so, soooo awful their… awesome!

That’s what makes so many of these diverging films cut through the cross-sections to become cinematic jewels & memorable cult favorites!

Robot Monster 2

There are many films that I’ll cover more in depth, some are the more highly polished masterpieces that have lingered for decades with us as adult children who grew up watching them on a rainy afternoon on televisions with knobs that only had 9 channels and if you were lucky you didn’t snap the knob off every 6 months! Growing up in New York I had Chiller Theater, on local channel 11 or Creature Features on Channel 5, or Fright Night on Channel 9. That’s how I fell in love, and got my fill of the treasures of films & television anthology series that was lurking out there destined to leave long lasting impressions on so many of us!

Chiller Theater

Fright Night WOR

Or back in the day, you went to the Drive-In theater to explore in the back seat of your pop’s Chevy Impala any double feature, and it was an invigorating and entertaining experience and you didn’t even have to get out of your pajamas.

Retro Drive In

You could spend all day in a musty theater festooned with captivating promotional lobby cards and colorful posters. Too bad, I wasn’t of the age to witness William Castle’s ballyhoo he strategically placed at certain theaters for that interactive live experience , EMERGO, PERCEPTO! You could take in a bunch of the latest scary films, sometimes double & triple features, while sitting on sticky red velvet seats that smelled like hot buttered popcorn and week old spilled Pepsi. A box of Milk Duds in hand and the faint wiff of air conditioner freon at your back. You’d enter the movie theater in the bright light of a sunny Saturday afternoon only to exit into the dark of night, tired and filled with wonder, awe and okay maybe looking over your shoulder a few times. Some films were big budget productions, that contained serious acting by studio contract players, terrific writing that blended deep thoughts and simple escapism pulled from some of the best science fiction, fantasy & horror literature and adapted screenplays, scares and witty dialogue besides and cinematography that still captivates us to this day.

3D Audience

Well… sure some were B movies that have now sustained that Cult film charm and cheesiness, and some… are just downright pitiful, laughable guilty pleasures… and a bunch even came with really neat 3D glasses!


Creature From the Black Lagoon

Incredle Shrinking Man vs Cat



Attack of the Crab Monsters 4

Attack of the Crab Monsters (1957)

not-of-this-earth paul birch

Paul Birch is the alien vampire Paul Johnson in Roger Corman’s Not of This Earth 1957

The Brain from Planet Arous 1957* Attack of the Crab Monsters 1957* The Killer Shrews 1959* The Giant Claw 1957 *Beast From Haunted Cave 1959 *The Monster from Piedras Blancas 1959 *Invasion of the Saucer Men 1957 *The Monster that Challenged the World 1957 *Not of this Earth 1957* The She-Creature 1956* The Man Who Turned to Stone 1958* Invisible Invaders 1959* Attack of the 50 Foot Woman 1958* The Hideous Sun Demon (1959) * Monster on the Campus 1958* The Unknown Terror 1957* Creature with The Atom Brain 1955 * The Unearthly 1955 * From Hell it Came 1957,

Tabanga and Korey

It’s also important to mention some of the ubiquitous actors who graced both the great & guilty pleasure flicks, you’ll be seeing a lot of in the following chapters like John Carradine * Ed Nelson *Allison Hayes *Paul Birch *John Agar *Hugh Marlowe*Peter Graves *Richard Denning *Richard Carlson *Faith Domergue *Mara Corday *Les Tremayne *Marie Windsor *Morris Ankrum * Arthur Franz *Kenneth Tobey* John Hoyt * Whit Bissell and of course Beverly (kicks-ass!) Garland!

One thing is for certain, each film is relevant and all have a place in the 50s decade of Sci-fi / Horror & Fantasy!

So come back and read a little at a time and get some thrills even while you’re sitting under the hair dryer… Do people still do that today? I need to get out more…

1955 hairdryer wants to be a space-age helmet

This 1955 hair dryer is just begging to be a space-age helmet!

It all started with Georges Méliès 1903 fantasy A Trip to the Moon
Le Voyage Dans La Lune 1902 – Georges Méliès

Le Voyage Dans La Lune 1902

Trip to the Moon 1902

As early as 1920 there was the German expressionist film dealing with the arrival of a menacing alien visitor from the planet Algol giveing actor Emil Jannings a machine that awards him unlimited powers. ALGOL aka POWER 1920 directed by Hans Werckmeister

Emil Jennings in Algol 1920

“That which you believe becomes your world.”
Richard Matheson from ‘What Dreams May Come’

Science Fiction emerged out of the “Age of Reason” literature reflected a merging of myth and historical fact. Stories filled with an imagination that had no boundaries. While Science Fiction is a literary movement that can be a separate study all it’s own, story tellers who grasped the concepts of science fiction who questioned the endless possibilities, the far reaching machinations of brilliant minds, this project if focused on the history of 1950s science fiction cinematic and all it reveals. Science Fiction cinema flirted blatantly with ideas and images of a world that reached beyond the known, and contemplated aloud, fantastic stories as early as the silent era. Consider Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, re-envisioned time and time again.

barrymore 1920 dr jekyll


John Barrymore lifts the dark conflicting tale of the inward monsters off the pages of Stevenson’s book. Barrymore so fluently moved through the silent stage, reveals that we all just might be harboring in our sub-conscious hidden dark and primal desires. Unleashed by a concoction, a seduction of science creates a fiend! Dr Jekyll & Mr. Hyde (1920)


Aelita Queen of Mars (1924)

The odd yet visually stunning Russian spectacle Aelita Queen of Mars (1924) aka Revolt of the Robots.e

There were a few early visions of fantasy, magic & Science Fiction films from all around the world- At 3:25 aka The Crazy Ray (1924)  Directed by Rene Clair-a scientist invents a ray that makes people fall asleep where they stand! The German film Master of the World (1934) (Der Herr der Welt) where a German scientist wants to create an army of Robots to do the dangerous work of laborers so, when he is told it’s too risky he goes mad and it’s too late the machine has a mind of it’s own. It features really cool electronic chambers and more!

And Transatlantic Tunnel (1935) Scientists construct a tunnel under the ocean-stars Richard Dix, Leslie Banks and C. Aubrey Smith.

Metropolis 1927 the dystopian masterpiece by director Fritz Lang was the beginning of the fascination with exploring the fantastic and our unbounded imaginations on film, it’s remarkable set design, imagery and narrative sparked the Science Fiction genre in a big way— spanning decade upon decade, in particular revived in the 1950s!


The first influential science fiction film by Fritz Lang created a dystopian societ in Metropolis 1927. It’s influence has maintained it’s powerful thrust for decades. An inspiration for Ridley Scott’s neo-noir sci-fi masterpiece Blade Runner (1982)
Metropolis 1927

“Man is the unnatural animal, the rebel child of nature, and more and more does he turn himself against the harsh and fitful hand that reared him”-H.G.Wells

Island-of-Lost-Souls 1932

Kathleen Burke Island of Lost Souls

Island of Lost Souls charles_laughton

Island of Lost Souls 1943 The House of Pain

Charles Laughton is superb as H.G. Wells Dr. Moreau a sociopathic sadist/scientist with a god complex whose profane experiments on animals and humans tortures them in the ‘house of pain’ trying to create a hybrid race he can hold sway over on his private island hell! Science has never been more evil! Island of Lost Souls (1932)

Then there was the 1936 adaptation of H.G. Wells’ Things To Come (1936) directed by William Cameron Menzies and starring Raymond Massey as Oswald Cabal, Ralph Richardson as The Boss, Margaretta Scott as Roxanna/Rowena and Cedric Hardwicke as Theotocopulos.



“What is this progress? Progress is not living. It should only be the preparation for living.”

Flash Gordon and similar serials provided super heroes for generations of young people in the 30s & 40s, planting the seeds for the future that would give us the Star Wars legacy.

Flash Gordon Buster Crabbe and Ming

Audiences between the World Wars preferred horrors of a Gothic nature– James Whale’s Frankenstein 1931 & Bride of Frankenstein 1935, as they helped exercise demons conjured up from the 19th & early 20th century.

James Whales Bride of Frankenstein 1932

The electrical secrets of heaven, the lighting, the elaborate sets designed by genius Kenneth Strickfaden with his lights throbbing gizmos flashing and zapping, the creepy atmosphere of murky tones. The consummate Universal monster movie with iconic scenes introducing a new face, Boris Karloff who would become the great father of terror stories …

colin clive and dwight frye Frankenstein 1931

Frankenstein's hand it's alive

ColinClive it's Alive

What’s on that slab?,It’s Alive, It’s Alive!…” those monumental words that remain ingrained in our consciousness. Colin Clive becomes hysterical as he has creates life from death, but that life would become a whole new ethical, moral and imposing dilemma for Dr.Frankenstein. A horror film with strong science fiction/fantasy tropes. And the laboratory as gorgeous set pieces would become a staple of the science fiction realm.

Bride & Frankenstein's monster

bride_of_frankenstein 1935

The 1950s Science Fiction genre took root with it’s profouns contribution to our collective consciousness AS a genre its vision & breadth possessed quintessential & ever-lasting sociological and psychological metaphors, iconic tropes and striking imagery.

The splitting of the atom, ushering in the atomic age and the collective anxiety most definitely was the catalyst for the many of the movie fantasy stories known as the 1950s Sci-Fi film.

“But no matter what else it might be, what makes a science fiction film science fiction is the fact that it is, in some sense, about science—and not only science but futuristic science. By that I mean that science fiction movies deal with scientific possibilities and technologies that do not exist yet but that might exist someday. Science fiction is the realm of the not-yet.” — “Cult Science Fiction Films” by Welch Everman

Ridley Scott – (Alien 1979, Blade Runner 1982) “When you come to the second World War You’ve got a very specific enemy. You know what that enemy is, It’s there for all the wrong reasons and it should be prevented…. Then you got the next phase which is The Cold War again which is to do with paranoia . But I think real, it’s real. Movies started to dip into that.”

splitting the atom men in white coats

“The Splitting of the atom…. forces that can only be explained to us by these guys in white coats… All of a sudden the guys in white coats became these simultaneously kind of rock stars and the most evil thing you could imagine.”

In a scene from The Atomic City 1952– The mother’s child sitting at the kitchen table with his breakfast “If I grow up do you know what I’m gonna do?” The mother turns to him, leaving her scrambled eggs on the stove and corrects him nervously, “It’s when you grow up, not if…”

The Atomic City 1952

The Atomic City 1952 trailer

Duck & Cover 1951 classic propaganda film

From the short instructional film Duck and Cover “But no matter where they go or what they do they always try to remember what to do if the atom bomb explodes right then!” (the kids suddenly fall into the brick wall. The narrator says ) It’s a bomb DUCK & COVER!

James Cameron – “All of our fate as human beings, our destiny seems bound up in our technology and our technology is frightening. It’s Terrifying!”

Steven Spielberg- “So there was a great deal of anxiety in the air. It was not just fear of being beaten up by the local bully. But the fear was being NUKED!… But we almost pushed a button on each other during The Cuban Missile Crisis…… I was absolutely prepared for Armageddon and these movies from the 1950s and early 60s played on those fears. And these movies were all metaphors for those fears. ”

George Lucas- “I would say that there was a certain amount of anxiety about that I mean I grew up right in the very heat of that. DUCK & COVER drills all the time… We were always hearing about the fall out shelter. About the end of the world, issues that were always going on about how many bombs were being built. The Cold War was always in the media.”

From The Twilight Zone “The Shelter” season 3 episode 3

Twilght Zone 'The Shelter' s3e3

1950s Sci-Fi films represented a conservatism or ‘reactionary wing’ that seems consumed by a motive to emphasize the values of 1950s America post WWII, in the midst of a McCarthy era witch hunt that prevailed fueling our fears that seeped into many of the Sci-Fi narratives on screen and in literature. Reflecting the growing internal struggles within American society and the developing mistrust about Soviet aggression and anyone and anything perceived as subversive.

“Are you now or have you ever been a member of the Communist party?”

Some films that reflected the paranoia of the period were well regaled by a Hollywood studio system that was itself at the center of the controversial House Un-American Activities Committee (HUAC) targeting screenwriters and actors as ‘communist sympathizers’ and no one could be trusted. -Just like Invaders from Mars 1953, Invasion of the Body Snatchers 1956, X the Unknown 1956, The Incredible Shrinking Man 1957, and I Married a Monster From Outer Space 1958.

X The Unknown

Invaders from Mars

In 1947, in Roswell New Mexico the military reports that they have a UFO in their possession. The phenomena of sightings of UFOs would continue throughout the 1950s, though agencies were fully prepared to explain away the reports. Yet the public had a hunger to and fascination with the possibility of extra-terrestrials.

As Phil Hardy’s insightful take on the genre, all this manifested in a way that the Science Fiction films of the 1950s ‘supplanted horror as the genre that dealt with fear and paranoia.” The films expressed a very realistic look at science within the atomic age, and shed the shadows and expressionism of the earlier Gothic horrors and while not all scientific fact, tried to embrace a world of possibility.

The Flying Saucer 1950 begins the momentum for the decade of Science Fiction cinema’s love affair with unidentified objects and begins to round the edges of space crafts from other worlds that aren’t our American sharp and phallus shaped rockets!

The Flying Saucer -ship

The flying_saucer 1950

DESTINATION MOON 1950 was featured in COLOR BY TECHNICOLOR. Being hailed the 2001, Space Odyssey of it’s time, it attempts to portray a realism trip to the moon. Phil Hardy calls Destination Moon 1950a sober celebration of man’s imminent conquest of space that dominated the decade.’

destination moon rocket

destination-moon-space matters

Destination Moon did attempt to accurately portray a trip to the moon given the technology and knowledge that was stuck in 1950.

Then we shot past the moon in cinema and went straight to the red planet with Flight to Mars 1951!

Flight to Mars

Themes and metaphors that emerged from anxiety about the atom bomb, radiation fallout, the advent of modernity, the space race and the wanderlust to conquer outer space, interplanetary warfare, military vs. science hubris, science meddling with nature, fear of science and technology, invasion anxiety, continued fear of otherness, deviant (in terms of counter-culture not exclusively moral judgement) subversion and xenophobic nightmares.

Sometimes we were even married to a monster from outer space and didn’t even notice much of a difference except for the lack of small talk! Here’s Tom Tryon and Gloria Talbott in I Married a Monster from Outer Space 1958.

I Married-a-Monster-from-Outer-Space Tom Tryon and Gloria Talbott

I Married a Monster From Outer Space

Director Howard Hawk and screenplay by Charles Lederer, created a striking science fiction masterpiece of film noir ambience with it’s chilling back lit set pieces- The Thing From Another World 1951, adapted from John W. Campbell’s story ‘Who Goes There?’, other films that followed the path of paranoia — Invaders from Mars 1953, War of the Worlds 1953, It Came from Outer Space 1953, It Conquered the World 1956 & Invasion of the body snatchers 1956.


bodysnatchers 1956 review

The Thing it's round like a spaceship

The Thing at the door

the thing shadow play

There were also science fiction films that rang the warning bell about cosmic calamity and catastrophic world coming to an end, annihilation fantasies like When Worlds Collide 1951.

War of the Worlds 1953 and When Worlds Collide 1951 had as Phil Hardy states, ‘religious dimensions’ that accused us of bringing about catastrophic punishment because of our misdeeds and transgressions.

War of the Worlds Valley of Shadows

When Worlds Collide 6

H.G. Well’s view of Martian invaders created for the public consciousness the idea of destructive beings from another world. It was a great reflexive move for those science fiction films to portray aliens that were sympathetic, yet non-humanoid in appearance. Most Sci-Fi films show aliens as menacing, not only destructive but dangerous because they also wanted to keep us as captives, zap our resources and colonize our planet, sometimes even take our women, oh god no unhand Faith Domergue you pants wearing Mutant!

This Island Earth Metaluna mutant

invaders from mars b&w

Is that a fireball or something

“Is that a fireball or something?”





Hollywood saw a trend later on in the 50s with Destination Moon 1950 when they came upon a story written by Harry Bates called The Return of the Master this became Robert Wise’s The Day the Earth Stood Still 1951 which has remained one of the best regarded science fiction films of all time. This is one of the rare occasions when the alien Klaatu played beautifully like an intricate clock by the chiseled face, tranquil speaking Michael Rennie is benevolent, bringing with him a sincere and dire warning about earth people’s course and the future of their civilization if they don’t relent about the proliferation of atomic weapons. There were several well intended alien visitors who were met with hostilities as with, Klaatu (Michael Rennie ) in Day the Earth Stood Still 1951, and The Man From Planet X 1951.

The Man from Planet X


Day the Earht STood Still Klaatu solves the board 2

Day the Earth Stood Still Patricia Neal and GORT1951-


Many films, even the low budget excursions dealt with our primal fears of alienation, estrangement & loss of identity i.e.,(communism at it’s core, the ramifications of otherness) nothing hits home more than Invaders from Mars 1953, and the quintessential loss of self and individualism in Don Siegels’ Invasion of the Body Snatchers!

they would have changed into people who hate you

“They would change into people who hate you!”

Steven Spielberg talks about the impact of Invaders from Mars 1953, “It certainly touched a nerve among all the young kids like myself who saw that movie at a very young age. That you would come home and that you would not recognize your mom and dad they would have changed into people who hate you!”

I can attest to the persuasion these films could have over the burgeoning imagination of a child, especially one like me who felt very much like an outsider as a kid. One night, as sure as my name is MonsterGirl, I went home, looked at my parents, decided they had been switched by aliens and ran out of the house, walking around the block for at least an hour before I convinced myself that I was being ridiculous. Or was I? These themes did have a not so subtle impact on a young impressionable mind who could easily question the world around them. Who could you trust? Would would believe you anyway?

There is the outsider narrative, diminishing human forms as in Bert I. Gordon’s Attack of the Puppet People 1958 where obsessed and lonely puppet maker John Hoyt loses his marbles. Although mad -bad science has shrunk down people before the 1950s in The Devil Doll 1936 and in the hands of crazed Albert Dekker in Dr. Cyclops 1940.

Attack of the Puppet People John Hoyt and Agar

dr cyclops 1940

There is the quintessential existential crisis, the beautifully thought provoking film by director Jack Arnold starring the eternally transcending man Grant Williams in, The Incredible Shrinking Man 1957.


And of course there is the matter of GIGANTISM!

Earth vs the Spider




The Black Scorpion

Giant insects, sea creatures and people who ran around half crazed and scantily dressed were a by-product of the atomic age!

50 ft Woman

The Amazing Colossal Man

George Lucas —“Out of that fear came I think a lot the monsters which you mess around with stuff and you’re gonna unleash this unknown monster!… it’s making tangible the unknown… A lot of that has to do with the mystery of this silent death that comes along with it that nobody knows exactly what it is or where it came from or can’t see it, can’t touch it. Well let’s make it easier to deal with by making it a giant monster.”

War of the Colossal Beast

Some films show the ascension from violence & hyper-masculinity, Women as professionals & bold heroines who didn’t shrink as hysterical victims. Female dominated civilizations (Cat- Women of the Moon 1953, Queen of Outer Space 1958, Missile to the Moon 1958, Fire Maidens from Outer Space 1956, that threatened to maniacally seduce & subsume male voyagers, dressed by 5th avenue they are outré chic. Wanton warriors & nubile space maidens who often never saw the male species before or wanted to destroy them altogether!

Fire Maidens of Outer Space

missile-to-the-moon-1958 directed by richard-e-cunha

A tagline reads “SEE-Astounding she-beasts of Venus!”

Queen of Outer Space

In Queen of Outer Space 1958 the masked disfigured Queen Yilana (Zsa Zsa Gabor) imprisons the men who crash land on her planet, intending to annihilate the earth with her beta disintegrator, though her beautiful subjects revolt in the name of love.

Mark Hamill –“We sometimes imagined other planets as paradises…. with girls!!! they looked more Hollywood starlets than space aliens, anyway they were eager to please. Their dancing their music their leotards were so Moderne! like Greenwich Village in outer space.” referring to Cat-Women of the Moon 1953.

Cat Women on the Moon May we serve you earth men?

“May we serve you earth men?”

Missile to the Moon-You're the first man I've ever seen.

“You’re the first man I’ve ever seen!” Carol Brewster as Alpha is mesmerized

missile to the moon

Step on it and don't spare the atoms! planets as paradise with GIRLS!!!

“Step on it, and don’t spare the atoms!” from Abbott & Costello Go to Mars (1953)


“Their dance, their music, their leotards were so Moderne!”

KT Stevens as The Lido in Missile To The Moon

Missile To The Moon- Hollwood chorus girls

Missile to the Moon 1958

Missile to the Moon spider maiden

Missile to the Moon 1958

There’s nothing worse than a space Queen–The Lido (K.T. Stevens ) and one of her maidens in distress…

Mark Hamill who narrates the wonderful documentary written and directed by Richard Schickel Watch the Skies! Sci-Fi , the 1950s and Us presented by Turner Classic Movies also reminds us that “50s science fiction may have shot at the stars but the dialogue often remained earth bound tied up with the battle of the sexes.” Many prevailing sub-texts were also love stories, soap operas involving relationships between men and women.They would create love stories in space!

project moonbase 1953

Project Moonbase 1953 Donna Martell as Colonel Briteis (bright eyes?)

they would create love stories in space Lloyd and Osa in Rocketship X-M doomed to crash

Rocketship X-M (1950) starring Lloyd Bridges and Ossa Massen

Osa's character in Rocketship XM is brave in the end not hysterical-she sees her death as a new beginning

Cameron Mitchell plays Steve Abbott in Flight to Mars 1953, who tells Marguerite Chapman as Alita a fellow scientist/astronaut, “I think you’re a prize package and very feminine.”

Flight To Mars 1951

There is always time for romance in outer space!

flight-to-mars with scientist Margaritte Chapman

There were menaces from without, menaces from within. The ordinary world transformed into the monstrous. There were warnings from benevolent aliens and aggressive attacks by aliens who wanted to colonize our planet.

Sometimes the warnings or threats came from disembodied heads and brains, like Donovan’s Brain 1953, Fiend Without a Face 1958 and The Brain from Planet Arous 1957.

Donovan's Brain 1953


Gor from Planet Arous

The indie filmmakers introducing teenagers as both heroes & monsters. Many films were horror/sci-fi hybridizations. And by the end of the decade we were left a legacy of impressive productions that remain timeless masterpieces, the cult grade- B Sci-Fi picture with their indelible charm and kitsch emblems, and the true stinkers that are so bad there too good not to appreciate. Sublime, thrilling, provocative & yes campy!

Teenagers from Outer Space


There were collections of stylized works by Jack Arnold, Bert I. Gordon, Edward L. Cahn and one indie auteur who showed us how to make a memorable movie on a shoe string budget who also launched many a career, the inimitable and grand Roger Corman. And of course those guys at American International Pictures (AIP)

Within the 50s decade shedding the Gothic themes of the 30s & 40s, the poetic shadow plays of Val Lewton,1950s Sci-Fi films had a pre-occupation with the modern world and mostly all the central menaces were transformed into non-human threats that we not only couldn’t empathize with but were revolted against as dangerous, vicious, insidious and potentially nihilistic in vision, they were seen as only a threat to our humanity and ultimately would lead to our destruction.

It came from outer space Xenomorph close up

Within Sci-Fi there are so many films which are complex hybridizations of horror/science fiction /fantasy and have become too insurmountable to dissect or decipher all the nuances between the various free-floating genres. Writer critic historian Robin Wood in his Hollywood from Vietnam to Reagan.—wagers that “the horror film’s radical potential lies in the fact that ‘the true subject of the horror genre is the struggle for recognition of all that our civilization represses or oppresses’ Jancovich states that the monster “must therefor be seen as a profoundly ambiguous figures which challenges social norms and so reveals society’s repressive monstrosity.”

Killers from Space

Killers from Space 1954

This theme is attached to McCarthyism that showed up as coded narratives in the more highly produced Sci-Fi films- “the myth of Communism as total dehumanization—accounts for the prevalence of this kind of monster in that period” -Mark Jancovich -Rational Fears- American Horror in the 1950s.

We can’t forget contributions made by the maestros in the visual effects department, direction, art direction and cinematography from George Pal, William Cameron Menzies and Ray Harryhausen.


20-million-miles-to-earth-creature-ymir and elephant-in-rome

20 Million Miles to Earth (1957) Ray Harryhausen’s Ymir from Venus

it-came from beneath the sea

It Came from Beneath the Sea (1955) Ray Harryhausen’s The Kraken

Cinematographers who brought these visual narratives & landscapes to life- just to name a few!

Clifford Stine (It Came from Outer Space 1953,This Island Earth 1955, Imitation of Life 1959,Spartacus 1960) Sidney Hickox (Them! 1954, The Big Sleep 1946,Dark Passage 1947,White Heat 1949), John F. Seitz (Invaders from Mars 1953, Sullivan’s Travel’s 1941m Double Indemnity 1944, Sunset Boulevard 1950), Russell Harlan ( The Thing from Another World 1951, Red River 1948, Witness for the Prosecution 1959 To Kill a Mockingbird 1962) George Barnes (War of the Worlds 1953, Rebecca 1940, Spellbound 1945) Leo Tover (The Day the Earth Stood Still 1951, Hold Back the Dawn 1941,The Snake Pit 1948, The Woman on the Beach 1947,The Heiress 1949, Journey to the Center of the Earth 1959) Ellsworth Fredericks (Invasion of the Body Snatchers 1956, Hold Back the Night 1956,The Stripper 1963, Mister Buddwing 1966)

And just as key to the atmosphere and attitude of the films were the musical contributions which defined that certain feel of chills and excitement, screwball antics and off-beat perscussion that filled up your head with pulsing visions of laser beams and other-worldly noises that ran up your spine like a finely coiled wire resonating the confluent sounds of the cosmos! Geesh that was a mouthful!

Invasion of Saucer Men bug eyes

There were composers who masterfully underscored some of the BEST films and even the worst!, Dimitri Tiomkin * Bronislau Kaper * Bernard Herrmann *Hans J. Salter and Henry Mancini to name a few.

Instrumentalist Clara Rockmore mastered the Theremin which had a cosmic, universal vibe that was, well out of this world!

The Theremin is an electronic musical instrument created by Russian inventor , Léon Theremin controlled by the performing thereminist who makes the dulcet eerie tones by manipulating the two metal antennas that respond to the hand movements which influence the oscillations or frequency with one hand and effecting the volume with the other hand.

Popular were the films that dealt with the hubris of science that ultimately manifested monsters. There were even pants monsters, yes! pants monsters…! The burning sun turned him into a hideous fiend, but he still had time to put on those Haggars casual men’s trousers!

THE HIDEOUS SUN DEMON, Robert Clarke (in doorway), Patricia Manning (second from right), 1959
THE HIDEOUS SUN DEMON, Robert Clarke (in doorway), Patricia Manning (second from right), 1959

There was a running sentiment —the notion of us against them, and even at times when not working together to fight a common enemy- you’d see the military vs science… And sometimes, though almost always male hero driven, there emerged some anti-damsels, all-powerful women who broke the cliched mold of the helpless hysterical female and arose as smart, intellectual (a socially constructed gendered male quality), mindful and fearlessly driven woman with guts and composure even if it was to hold off from laughing at Paul Blaisdell inside that cucumber monster from Venus.

it conquered the world cucumber close up

Roger Corman’s It Conquered the World (1956) The Venusian cucumber

Beverly Garland anti damsel It conquered the world

Just look at Julie Adams as Kay Lawrence in Creature from the Black Lagoon 1954, Joan Weldon as Dr. Patricia Medford in Them! 1954, Beverly Garland as Dr. Andrea Romar in Curucu, Beast of the Amazon 1956 & and her gutsy Clair Anderson in It Conquered the World 1956, Tina Carver as Dr. Terry Mason in From Hell It Came 1957 and Faith Domergue as Dr. Ruth Adams in This Island Earth 1955 & Prof. Lesley Joyce in It Came from Beneath the Sea 1955, and Lola Albright as Cathy Barrett in The Monolith Monsters 1957 .

Some sci-fi films were visually surreal landscapes or existential masterpiece such as William Cameron Menzies Invaders From Mars 1953 or Ib Melchior’s The Angry Red Planet 1959 and Jack Arnold’s magnificent adaptation of Richard Matheson’s The Incredible Shrinking Man 1957.

angry red planet rat bat spider

The Angry Red Planet (1959) The Rat Bat Spider puppet monster!

Incredible Shrinking Man Grant Williams in the atomic cloud

Grant Williams sails into the radioactive mist in The Incredible Shrinking Man 1957

Invaders from Mars awake from a dream

Invaders from Mars (1953) Jimmy Hunt awakens to a UFO crashing into the sand dunes

“To sleep perchance to dream”-Hamlet-William Shakespeare

This dream-scape is a visual masterpiece, with the appearance of the sublimely brilliant Finnish painter Hugo Simberg, ( I happen to get permission from The National Museum of Finland to use Simberg’s ‘At The Crossroads’ as the cover of my album Fools & Orphans) thanks to the art design by visionary William Cameron Menzies!

the surreal art design looks like a Hugo Simberg painting

A scene from Invaders from Mars (1953)

It is absolutely true about one thing— that it’s wholly complex to begin dissecting what makes a film solely and definitively Science Fiction and what constitutes it being a hybridization of horror & fantasy. There are way too many that fall right on the gray line that either exists in the middle or transects both themes at once.

The Tingler Vincent Price I"m stuck on you

Vincent Price can’t get that pesky Tingler off his arm in William Castle’s terrific horror/sci-fi extravaganza equip with buzzing chairs-The Tingler (1959)

For example, I am covering William Castle’s The Tingler 1959, because, while the central terror surrounds a monstrous ‘horror movie themed monster’ a creeping fiend that lives inside us all and grips our spines the moment we are in abject fear, it is discovered by scientific and medical research. One could say the film is also a crime drama. There are too many nuances and parameters that intersect. James Whale’s adaptation of Mary Shelley’s Frankenstein 1931 is called a Monster movie by Universal and by fans of all generations. But it falls into the deep well of hybridization as so much of it focuses on the very philosophical questions around scientific hubris, the creation of human life and the question of god, ownership of one’s identity, and what is monstrous?

Boris Karloff as The monster

“A lot of science fiction films are also horror films in which monsters are spawned by scientific experiments, but not all horror films are science fiction, because science fiction does not deal in the supernatural. Science fiction takes place in the realm of the not-yet; supernatural horror films operate in the realm of the impossible.” — “Cult Science Fiction Films” by Welch Everman

The enormous influence that Science Fiction cinema had long-lasting effects on the advent of television. Just look at Rod Serling’s Fantasy/Sci-Fi anthology series which aired on CBS from 1959-1964. The show came in on the end of the decade. Stories that were infused by the themes of the 50s and set the tone for future decades to come. The Twilight Zone was groundbreaking and thought-provoking, dealing with issues of war, class, race, it was a socially conscious program that constantly tried to remind us of our humanity. The decade of 1950s Science Fiction also bled into the mindfulness of my favorite early 60s science fiction anthology series The Outer Limits.

Twilight Zone mr dingle martians

The Zanti Misfits

The Zanti Misfits-one of the many fabulous Outer Limits monsters!

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 will control the horizontal. We will control the vertical. We can roll the image, make it flutter. We can change the focus to a soft blur or sharpen it to crystal clarity. For the next hour, sit quietly and we will control all that you see and hear. We repeat: there is nothing wrong with your television set. You are about to participate in a great adventure. You are about to experience the awe and mystery which reaches from the inner mind to – The Orwellian Control Voice from The Outer Limits anthology television series aired from 1963-1965.

Mark Jancovich writes “Again and again, the threats which distinguish 1950s horror
do not come from the past or even from the actions of a lone individual , but are associated with the processes of social development and modernization. In this period, it is the process of rationalization which is the threat, and in this way horror texts were at least as concerned with developments within American society as they were with threats from without… Here rationalization is understood as the process through which scientific – technical rationality is applied to the management of social, economic and cultural life…

… this new system of organization was seen by many as inherently totalitarian system which both created conformity and repressed dissent.”

the last man_on earth zombies

Vincent Price fights off zombies from a plague that wiped out most of the human race in Richard Matheson’s adapted screenplay from his story I Am Legen- The Last Man on Earth (1964)

The outsider narratives– were illustrated as contrasting and conflicting to accepted norms, we see this with Richard Matheson’s writing (I Am Legend which became Vincent Price’s agonizing journey as The Last Man on Earth 1964, and later The Omega Man 1971 and Jack Arnold’s films involving “the reoccurring preoccupation with alienation, isolation and estrangement” -Jancovich- seen in Creature From the Black Lagoon 1954 and The Incredible Shrinking Man 1957.

Creature Black Lagoon

Grant Williams protagonist Scott Carey becomes engulfed in a glittery mist of atomic dust particles in The Incredible Shrinking Man 1957 the film exudes anxiety of his diminishing masculinity by not only losing his literal size, his physical height but he loses his maleness as a husband and as a regular man. This estrangement become a journey of his eternal soul and it’s place in the vast unknown other-world.

grant small in the chair

Grant Williams is feeling ‘literally’ like such a small man.

shrinking sublime transcendance

There would be films that embrace the dystopia narratives, and curiosity with technical advancements like robots!


Fritz Lang’s iconic robot in Metropolis (1927)

Forbidden Planet Robby Robot

Robby the Robot and Walter Pidgeon as Morbius in George Pal’s take on William Shakespeare’s The Tempest as Forbidden Planet 1956

These Science Fiction/Fantasy films have left a deep and abiding impression on so many of us. Whether you grew up actually seeing them for the very first time, or becoming a new fan who is excited to embrace the heart and soul of a genre that made you think beyond what if? Either way, Science Fiction is an exploration of our imaginations, both glorious and often terrifying but it’s a genre that is here to stay, and the 1950s in particular truly rang the alarm bell that is still reverberating today!

Added to the mix in many of these film favorites was the essential mechanism of ‘not being believed’ added to the fear and paranoia of the moment!

The Face of Paranoia


Invasion Anxiety


FEAR OF THE ATOMIC BOMB! The Atomic City 1952 trailer

I see you with my million eyes!


Hey big fella got a light!

Godzilla King of the Monsters

The theremin ‘the dulcet tones’ that wavered throughout sci-fi and beyond!

clara rockmore theremin

‘The modern world’


It’s intermission time! Head out to the snack bar for some 50s refreshments!



Destination Moon



Directed by Irving Pichel and producer George Pal along with a screenplay by Robert Heinlein took a very documentary approach to the narrative and the landscapes. The film stars John Archer as Jim Barnes, Warner Anderson as Dr. Charles Cargraves, with Tom Powers and Dick Wesson. The film was a critical success an revived the Sci-Fi genre.

Destination Moon 1950 was an attempt to show a serious technical side to space travel. based on what science actually knew at the time. Actually it was in response to a spread that ran in Collier’s Magazine of series of paintings done by artist Chesley Bonastell of gleaming space craft.

Steven Spielberg had said of the picture, “DESTINATION MOON is a scientific attempt to create suspense based on no bad guys no villains and no aliens.

Similar to almost Apollo 13 (1995) or Marooned 1969)

George Lucas says “At the time it was a very provocative idea because nobody had ever seen anyone go to the moon.” 

Though it’s been called the precursor to 2001 Space Odyssey, Stanley Kubrick never admitted to having seen the movie. Which is highly possible, and given his genius we’ll take his word for it.
Destination Moon on the surface

In the midst of the Cold War, the film reflects America’s desire to conquer, and according to the generals in Destination Moon, the moon would be the ideal location for a strategic military base of operations. And thus the race for America to get there first. There’s also a conflict seen as there were those who would embrace the new technologies and those who saw the impending modernity as a threat or a ‘bad thing’.

Pichel and Pal wanted to situate this film farther away from the fantastical science fiction ‘soap opera’ serials of the 1930s. Physicists and astronomers were consulted in order to stay true to the realistic view Heinlein, Pichel and Pal desired as their vision of the future. They also used striking paintings by Chesley Bonestell to imagine the gorgeous lunar landscapes along with designer Ernest Fegte who create the realistic cratered look of the Moon.


Destination Moon gear

The film features the first lunar landing that was envisioned as realistic and not melodramatic or surreal. The crew led by actor John Archer manage to land on the Moon but they run out of fuel, that they seem doomed to be stranded. They lose all the excess weight in order to get the ship space worthy again, but till they are over the weight limit. In a noble act of courage and sacrifice Dick Wesson (Tom Powers) figures that he can remove his cumbersome pressure suit and re-enter the ship a lighter and better man in order to save the rest of the crew…


Dr. Charles Cargraves: You can’t buck public opinion; I’ve tried. Have you seen this?
General Thayer: That isn’t public opinion – it’s a job of propaganda!
Jim Barnes: You’re almighty right it is. Manufactured and organized – with money and brains. Somebody’s out to get us.

The Flying Saucer

the flying saucer

The FLying Saucer 1950 saucer

Directed by Mikel Conrad, stars Mikel Conrad as Mike Trent, Pat Garrison as Vee Langley, Hantz von Teuffen as Hans, Lester Sharpeas Col. Marikoff Roy Engel as Dr. Carl Lawton and Denver Pile as Turner! Because we feared the Russians in the early 1950s much of the paranoia around UFO sightings were connected to those pesky Reds! When CIA secret agent Mike Trent tracks a flying saucer to Alaska he finds out that it is a ship built by scientist Dr. Carl Lawton who hopes to sell it to the Americans!

The Flying Saucer screaming woman 1

The Flying Saucer 1950


the flying-saucer-1950--pat-garrison-mikel-conrad

Pat Garrison and Mikel Conrad-50s cool!

Col. Marikoff: Mr. Trent, you’re giving us a great deal of trouble. Why didn’t you stay in New York with your drunken friends of the night club?

Mike Trent: I sobered up.

Prehistoric Women


Laurette Luez

Laurette Luez as Tigri

prehistoric_women_1966_Martine Beswick

Prehistoric Women would find a resurgence in the 60s! Here’s British actress Martine Beswick in the 1966 movie with the same title!

Prehistoric Women (1950) Directed by Gregg C. Tallas Shown from left: Jo Carroll Dennison, Joan Shawlee, Laurette Luez, Kerry Vaughn, Mara Lynn (bending over), Judy Landon
Prehistoric Women (1950)
Directed by Gregg C. Tallas
Shown from left: Jo Carroll Dennison, Joan Shawlee, Laurette Luez, Kerry Vaughn, Mara Lynn
(bending over), Judy Landon

Directed by Gregg  C. Tallas, (Siren of Atlantas 1949) offers an adventure sci-fi fantasy film. Prehistoric Women stars Laurette Luez as Tigri, Allan Nixon as (Mesa of Lost Women 1953, Pickup 1951) Engor, Joan Shawlee as Lotee, Judy Landon as Eras, Mary Lynn as Arva, Jo Carroll Dennison as Nika, Kerry Vaughn as Tulie, Tony Devlin as Rulg, James Summers as Adh, Jeanne Sorel as Tana, and Janet Scott as Wise Old Lady.

As Bill Warren puts it in his wonderful series Keep Watching the Skies published by the awesome McFarland Press-Prehistoric Women “Were this picture not so naive, it would seem more sleazy than it does. It’s not good in any way, but has a certain daffy charm because of it’s unsophisticated unbelieveability.”

Prehistoric Women 1950 Engor and Tigir

Prehistoric Women Engor discovers fire

The Commentator:And Engor called it Firee, which was his word for Fire.”

The film is narrated documentary style because the cast are primitives who Amazonian cave-women and had little to no dialogue, it just adds to the laughable style and god awful Cinecolor production. I’d like to know how they got a turkey vulture to wear a mask poor thing, the film is so blurring it’s hard to tell what the hell is flying up in the prehistoric blue sky… scourge of the skies indeed! Still, prehistoric films, though considered mostly adventure stories seems to be included in books on the Sci-Fi genre. Though it could also easily be branded as a very cheap sexist exploitation romp!

Prehistoric Women 1950 the scourge of the skies

Look it’s a flying dragon the scourge of the skies!

Bill Warren cites a review from the Monthly Film Bulletin: “They assert feminine superiority ruthlessly, setting their captives to hard labour, clubbing them intermittently and cutting off their escape… {Engor-} (the intelligent troglodyte who invents fire) uses a flaming torch to destroy a giant winged dragon (a disguised turkey vulture they must have tortured off set by putting fake ears and beak on it) that threatens their encampment {and}the girls are stunned with fear and admiration and surrender unconditionally.”

Tigri and her clan hate men but realize that they are sort of needed for some things, so they capture a bunch of fellas and try to force them to become their mates. But when Engor, escapes and discovers fire gets re-captured and not only slays the “flying dragon the scourge of the skies” but uses the fire to fight off the ugly brute who threatens their lives Tigri has a change of heart and all is right with the primitive world again. The women start running around panicked and screaming hysterically and the men are once again in charge… it’s ludicrous.

This giant is a real 9 foot giant… named Guadi in the film is Johann Petursson The Viking Giant was the Tallest Man From Iceland and traveled with Ringling Bros. Circus!


Prehistoric Women 1950

The Commentator: “Strangely enough, the swan dive was invented before the swan.





Directed by science fiction story aficionado Kurt Neumann ( Secret of the Blue Room 1933, Half a Sinner 1934, Island of Lost Men 1939, a slew of Johnny Weissmuller Tarzan pictures, She Devil 1957, the outstanding Kronos 1957, and The Fly 1958 ) Rocketship X-M stars Lloyd Bridges as Col. Floyd Graham, Osa Massen as Dr. Lisa Van Horn, John Emory as Dr. Karl Eckstrom, Noah Beery Jr. as Maj. William Corrigan, Hugh O’ Brian as Harry Chamberlain, Morris Ankrum as Dr. Ralph Fleming, and Sherry Morland as the Martian girl.

Cinematographer Karl Struss   (Sunrise 1927, The Great Dictator, 1940, Limelight 1952, The Fly 1958) and art direction by Theobold Holsopple create at times a sublime and beautifully desolate landscape using matte paintings, miniatures among the technical effects. For all the scenes on Mars, the film is tinted a pinkish sepia tone (filmed partly in The Mojave desert). Struss lenses an landscape that is eerie and atmospheric.

Rocketship X-M was a B picture designed to beat DESTINATION MOON in the movie theaters, and even with it’s grim ending, it actually did better at the box office. Director James Cameron called it an ‘Anodyne answer to Destination Moon 1950.’ It was a cautionary tale about how we will not be able to control this new technology. It’s a warning about too much hubris surrounding this powerful technology that sometimes ‘precedes a tragic fall’-Mark Hamill.

The crew finds the remnants of a Martian Civilization that was destroyed by it’s own technology much like the revelation in Ridley Scott’s Alien 1979.

The film though with it’s bleak message is quite a surprisingly interesting science fiction tale about a trip to the moon, by way of Mars that is interesting because of it’s earnestness and visual style. And to be honest a lot more interesting and characters more full of life than with it’s predecessor in 1950 Destination Moon.

Rocketship XM Staffing Lloyd Bridges, Osa Massen, John Emery, Noah Berry Jr. You heard this year's Oscar Winner for Best Actor credit his father for his acting career. Well here he is folks. Third from the left: Lloyd Bridges.
Rocketship XM
Staffing Lloyd Bridges, Osa Massen, John Emery, Noah Berry Jr.
You heard this year’s Oscar Winner for Best Actor credit his father for his acting career. Well here he is folks. Third from the left: Lloyd Bridges.

Rocketship XM Osa and Lloyd and deep thoughts

Rocketship XM the crew inside their ship

rocketship-x-m on Mars