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

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CONTINUED!

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AND DON’T FORGET TO RE-VISIT THE FABULOUS CLASSIC MOVIE HISTORY PROJECT BLOGATHON 2016!

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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

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Flight to Mars _1951

Fligth to Mars 1951

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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

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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

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“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.
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

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

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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

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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.

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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

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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

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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

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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

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BENEVOLENT VISITORS FROM SPACE, DREADFUL BEGINNINGS, UNKNOWN WORLDS, FUNNY MEN, LONE SURVIVORS, INVISIBLE BOXERS AND KILLERS GORILLAS.

Two Lost Worlds

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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 Jr.as 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

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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

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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

bride-of-the-gorilla

“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

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🚀 KLAATU BARADA NIKTO

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.

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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

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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
**I.V.

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-

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

Five

Five_Poster

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.”

STAY TUNED FOR PART II OF KEEP WATCHING THE SKIES -THE YEAR IS 1951

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

History-Project-2016-godzilla

“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

attack_of_the_50_foot_woman_3_by_farzelgaart-d4ubn9h

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!

SOME ICONIC GEMS FOR THE AGES THAT I’LL BE COVERING!

Creature From the Black Lagoon

Incredle Shrinking Man vs Cat

THEM! (1954)*INVADERS FROM MARS (1953) *DAY THE EARTH STOOD STILL (1951)*FORBIDDEN PLANET (1956) *THE THING FROM ANOTHER WORLD (1951)*EARTH VS THE FLYING SAUCERS (1956) *THE INCREDIBLE SHRINKING MAN (1957) *INVASION OF THE BODY SNATCHERS (1956) *WAR OF THE WORLDS (1953) * CREATURE FROM THE BLACK LAGOON (1954) * IT CAME FROM OUTER SPACE (1953)* IT, THE TERROR FROM BEYOND SPACE (1958) *EARTH VS THE SPIDER (1958) *THE CRAWLING EYE (1958) *THE GIANT BEHEMOTH (1959) *IT CAME FROM BENEATH THE SEA (1955) *TARANTULA (1955) *FIEND WITHOUT A FACE (1958) *THE MONOLITH MONSTERS (1957)* THE AMAZING COLOSSAL MAN (1957) * THE ANGRY RED PLANET (1959)*KRONOS (1957)* THE CREEPING UNKNOWN (1956)*X-THE UNKNOWN (1956

I’LL ALSO BE TALKING ABOUT SOME GUILTY PLEASURES!

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

dr-jekyll-and-mr-hyde-(1920)

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

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!

Metropolis

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.

things-to-come

96h01/huch/2909/08

“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.

Xenomorph

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?”

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INVADERS FROM MARTS MUTANTS WITH ZIPPERS

InvadersFromMars

invaders-from-mars-

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

the-day-the-earth-stood-still

Day the Earht STood Still Klaatu solves the board 2

Day the Earth Stood Still Patricia Neal and GORT1951-

GORT

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.

the-incredible-shrinking-man-1957-

And of course there is the matter of GIGANTISM!

Earth vs the Spider

EarthVsTheSpider

THEM!

Monster_Challenged

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)

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“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

fiend WITHOUT A FACE

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

I-Was-a-Teenage-Werewolf

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.

Ymir4

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!

metropolis

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

THE FACE OF PANIC_PARANOIA BODY SNATCHERS

Invasion Anxiety

tv3QQht

FEAR OF THE ATOMIC BOMB! The Atomic City 1952 trailer

I see you with my million eyes!

fly

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’

1952

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

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LOST WORLDS AND SPACE TRAVEL

Destination Moon

destination_moon_poster_06

DestinationMoonLobbyCard

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-1950--chesley-bonestell

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…

destination-moon

Dr. Charles Cargraves: You can’t buck public opinion; I’ve tried. Have you seen this?
[Newspaper headline: MASS MEETING PROTESTS RADIOACTIVE ROCKET]
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

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

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

prehistoric_women_1950_poster_02

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!

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Prehistoric Women 1950

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

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GASP AT THE DARING COURAGE… AS THEY THUNDER BETWEEN PLANETS ON A RUNAWAY ROCKET!

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.
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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

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Rocketship XM the crew investigates the landcape

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German director Neumann came to Hollywood in 1925 and became best known for his work on The Fly. (1958) Rocketship X-M is a sober and beautifully filmed piece of science fiction realism blended with romance and crisis. Like Destination Moon ,it features the first manned rocket-ship to the Moon that winds up knocked off course winding up on Mars, stranded on the bleak landscape where the crew led by Dr. Karl Eckstrom stumble upon a dome-shaped structure and an odd metallic mask. They deduce from all the radioactivity that there must have been a superior race of intelligent beings who had once inhabited the planet but fell victim to some kind of atomic catastrophe, leaving only a few mutant savages to forage the bones of the now desolate planet.

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These crazy looking bald Martians sort of remind me of Pluto in The Hills Have Eyes 1977

Rocketship XM attacked by the Martian savages

The crew is eventually besieged upon by the remains of that once thriving Martian race, which in a shocking reveal shows Sherry Moreland the Martian girl to have a lifeless stare as she is blind. The Martian trogldyte attackers kill Dr.Eckstrom, and Maj. Corrigan, wounding Chamberlain. Col. Floyd Graham and Dr. Lisa Van Horn make it back to the ship, but don’t have enough fuel to get back home. In a very intense and poignant scene as the two hold each other and embrace their inevitable fate with a transcendent fatalistic sense of hope, much like Grant Williams at the end of The Incredible Shrinking Man, the lovers watch through the view finder as they plunge toward Earth to their deaths, in a darker film ending– as they crash. Rocketship X-M seems to have brought the warning not to earth in the form of Klaatu the benevolent, but has placed us on a hostile planet much like Planet of the Apes that gravely warns us that our future could very well wind up the same way if we pursue atomic weapons.

Rocketship XM the Crash landing

Lloyd Bridges holds Osa Massen It ends badly for everyone. As they look out the porthole “it’s only seconds now, try not to be afraid” She clings to him-Suddenly she is not afraid anymore. She feels like something is lifting them up and holding them right before they crash…

Osa Massen sees her tragic end as a new beginning she sheds her fears and finds a courageous way to embrace their impending death. It’s a rather poetic scene when they hold each other and look out at the view finder and watch as life rapidly escapes them. It’s a very dark ending.

Doomed to crash and burn Floyd and Lisa cannot control the technology. There is a conflict with the machines and mechanisms we build that can either annihilate  us or set us free to explore and thrive.

‘Their last desperate hope is for transcendence”

ROCKETSHIP X-M — Director John Cameron calls it a ‘dualistic dance’ with technology -referring to the end being so nihilistic potentially– then the head of the program says they’ll start construction tomorrow.

Already on Earth they are planning another mission called Rocketship X-M2!

Rocketship XM no gentlemen the X-M was not a failure tomorrow we start on the construction of the X-M2

PROGRESS MARCHES ON-“No gentlemen the X-M was not a failure tomorrow we start on the construction of the X-M2”

 

Floyd: I’ve been wondering, how did a girl like you get mixed up in a thing like this in the first place.

Dr. Lisa Van Horn: I suppose you think that women should only cook and sew and bear children.

Floyd: Isn’t that enough?

[Floyd and Lisa comfort Eckstrom, who was mortally wounded by a Martian’s axe]

Floyd: Murdering savages!

Dr. Eckstrom: No Floyd. Poor fear-crazed despairing wretches. Pity them. Pity them!

STAY TUNED FOR MORE-coming up! 🚀 The Year is:

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Life Lessons from Barney Fife -“Mad Worm?”

capturfiles_113BARNEY IS AT IT AGAIN… TEACHING HIMSELF THE ANCIENT ART OF KARATE!

Barney–“You know where most of the karate moves come from?”
Andy- “No”
Barney- “From Animals…”{…} “Guess what animal this is, ready- What is it?”
Andy- “I don’t know”
Barney- “Guess”
Andy- “A worm?”
Barney- “Andy” (Sighs)
Andy- “Well it was wiggly”
Barney- “Andy… this is a deadly animal, vicious… a killer!”
Andy- “A mad worm?”

Source: Life Lessons from Barney Fife -“Mad Worm?”

Wishing a Happy Grand Birthday to Olivia de Havilland 100 years old July 1st 2016!

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“I don’t need a fantasy life as once I did. That is the life of the imagination that I had a great need for. Films were the perfect means for satisfying that need.” — Olivia de Havilland

Esther Somers, Olivia de Havilland Leo Genn and Mark Stevens The Snake Pit 1948

The remarkable Olivia de Havilland turns 100 years old today. And it tickles me deeply and sincerely that we share the same birthday July 1st, so while I should be celebrating my own turn of the wheel, I felt it important to join in with so many others who recognize de Havilland’s enormous contribution to cinema and whose  lasting grace and beauty still shines so effervescently.

And so… I’d like to pay a little tribute to a few of my favorite performances of this grand lady!

Olivia de Havilland won the Academy Award for Best Actress in To Each His Own (1946) and The Heiress (1949) and nominated for her incredible performance in The Snake Pit (1948), Hold Back the Dawn (1941), and Supporting Actress as the gentle, stoic but powerful strong Melanie in Gone With the Wind (1939).

Melanie and Scarlett

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The timeless beauty and grace of the great Olivia de Havilland at 99 years young!

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You’ve got to love a woman who has the wisdom to be surrounded by Siamese cats! Yet another thing we share… I adore you Olivia-

Olivia de Havilland never shied away from taking on challenging roles, whether she played the archetypal ‘bad’ woman or the ‘good’ woman this astonishing actress could convey either nature with the ease of a jaguar who stirs with inner pride and purpose.

She still possesses that certain inner quality that is a quiet, dignified beauty whose layers unravel in each performance. Consider her heart wrenching portrayal of the emotionally disturbed Virginia Stuart Cunningham thrown into poignant turmoil when she finds herself within the walls of a mental institution but doesn’t remember her husband (Mark Stevens) or how or why she is there. It’s an astounding performance in director Anatole Litvak’s The Snake Pit (1948)

Olivia and Mark

Olivia and Mark Stevens

The Snake Pit

The New York Film Critics awarded Olivia de Havilland Best Actress for The Snake Pit (1948). She was nominated for the Academy Award for Best Actress in a leading role.  

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Leo Genn and Olivia
In an interview Olivia has said, “I met a young woman who was very much like Virginia… a schizophrenic with guilt problems. She had developed a warm rapport with her doctor, but what struck me most of all was the fact that she was rather likable and appealing.. it was that that gave me the key to the performance. “

The Snake Pit photo Alamy

Olivia de Havilland threw herself into the role of Virginia by getting up close and personal with mental health treatments of the time. She observed patients and the various modalities that were used in these institutions like, doctor/patient therapy sessions, electric shock therapy and hydrotherapy and attended social events like dances within the institution.

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Here’s just a mention of some of my favorite performances by this great Dame of cinema, who as Robert Osborne so aptly spoke of her “… the ever present twinkle in her eyes or the wisdom you sense behind those orbs.”

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Olivia de Havilland as Arabella Bishop in director Michael Curtiz’s Captain Blood (1935 ) co-starring familiar screen lover Errol Flynn
It's Love I'm After 1937
That multi layered manifestation of intelligence, courage and majesty… director Archie Mayo’s It’s Love I’m after (1937) co-stars another great STAR… friend, Bette Davis.

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Olivia is romanced again by the dashing Errol in They Died with their Boots On (1941)
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Olivia de Havilland as the exquisite Maid Marian in The Adventures of Robin Hood (1938)
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Olivia plays Maid Marian in Michael Curtiz’s The Adventures of Robin Hood 1938 once again co-starring with Errol Flynn. Olivia wears a magnificent wardrobe designed by Milo Anderson

Bette and Olivia in In This Our Life 1942

Reunited with Bette Davis she and Olivia play sisters Stanley and Roy Timberlake, in director John Huston’s In This Our Life 1942 where Bette steals Roy’s fiancée (George Brent).

The Dark Mirror 1946

In director Robert Siodmak’s psychological thriller The Dark Mirror (1946) Olivia de Havilland plays duel roles as dichotomous identical twins, one purely good the other inherently evil.

The Heiress

With Montgomery Clift in director William Wyler’s The Heiress 1949 Oilvia de Havilland plays the timid & naive Catherine Sloper who falls under the spell of opportunist Morris Townsend (Clift).

My Cousin Richard and Olivia

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Olivia de Havilland plays the intoxicating yet lethal Rachel who lures Richard Burton toward a dangerous fate. Adapted from Daphne du Maurier’s novel. The film also co-stars the sublimely beautiful Audrey Dalton!
MY COUSIN RACHEL, Olivia de Havilland (center, wearing veil), Richard Burton (right of de Havilland), 1952, TM and Copyright © 20th Century Fox Film Corp. All rights reserved,
MY COUSIN RACHEL, Olivia de Havilland (center, wearing veil), Richard Burton (right of de Havilland), 1952, TM and Copyright © 20th Century Fox Film Corp. All rights reserved

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In director Stanley Kramer’s melodrama Olivia de Havilland plays doctor Kristina Hedvigson who gets involved with the egotistical Lucas Marsh (Robert Mitchum) in Not as a Stranger (1955)

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George Hamilton, Olivia, Rossano Brazzi and Yvette Mimieux on the set of Light in the Piazza (1962) filmed in Florence Italy. de Havilland plays Meg Johnson whose daughter having suffered a head injury has left her developmentally challenged. Both mother and daughter are seduced by the romantic atmosphere of Florence.

Olivia and Yvette

Now we come to a very powerful performance that of Mrs. Cornelia Hilyard one of Olivia’s most challenging roles as she is besieged upon by psychotic home invaders, James Caan, Jennifer Billingsley, Rafael Campos, Jeff Corey and Ann Southern who hold the uptight American matriarch in her gilded house elevator when the electricity goes out and the animals get in, in Walter Grauman’s brutal vision of the American Dream inverted. Lady in a Cage (1964)

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Olivia de Havilland replaced Joan Crawford when tensions built on the set of the follow up to What Ever Happened To Baby Jane? 1962, the Grande Dame Guignol psychological thriller. Olivia de Havilland brought her own wardrobe and was not a stranger to pulling out the darker side of her acting self, portraying in my opinion perhaps one of the most vile and virulent antagonists the cunningly evil Cousin Miriam in director Robert Aldrich’s Hush… Hush, Sweet Charlotte 1964

HUSH... HUSH, SWEET CHARLOTTE, Bette Davis, Olivia de Havilland, 1964. TM and Copyright © 20th Century Fox Film Corp. All rights reserved.
HUSH… HUSH, SWEET CHARLOTTE, Bette Davis, Olivia de Havilland, 1964. TM and Copyright © 20th Century Fox Film Corp. All rights reserved.

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Olivia and Joseph Cotten

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Friends Bette Davis and Olivia

Flawless beauty

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Happy Birthday Grand Dame Olivia de Havilland… You are what puts the shine in the word ‘star’ forever vibrant and beloved by your fans and this girl who is honored to share your birthday! Hope it’s a grand day! Your EverLovin’ Joey

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Olivia de Havilland Visits the Snake Pit

The Snake Pit is an intense film to digest and nuanced star Olivia de Havilland is magnificent as the emotionally troubled Virginia Stuart Cunningham in Atatole Litvak’s excursion into the contradictory institution of mental health! In honor of Olivia de Havilland’s grand 100th birthday on July 1st, a day which we both share, I thought it fitting to feature Ruth’s from Silver Screenings marvelous post about the 1948 film. de Havilland is extraordinary in the film, the images are unsettling as they are memorable and Ruth is always a shining example of a writer who manages to drive home the most salient points with her wonderful insight. Thanks for sharing this great piece on The Snake Pit 1948, as both Ruth and myself wish Miss Olivia a most grand 100th birthday! Cheers Joey

Silver Screenings

Olivia de Havilland... Image: whenwewerecool.tumblr.comOlivia de Havilland is not impressed. Image: whenwewerecool.tumblr.com

Here is one of the most moving scenes in the 1948 drama The Snake Pit:

Residents and staff of a mental hospital are attending a dance. There is a four-piece band  on stage, and chairs line the sides of the floor. Patients dance and flirt and talk with old friends.

If you didn’t know these people had mental health issues, you wouldn’t notice anything different about this dance. Some of the behaviour is a little odd, but have you ever been to a dance where someone didn’t behave oddly?

Towards the end of the evening, a woman on stage sings Going Home, a haunting, yearning lullaby:

Going home, going home,
I’m just going home.
Quiet-like, slip away,
I’ll be going home.
It’s not far, just close by;
Through an open door.

Everyone in the scene is now standing at attention and singing. You can feel their…

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Quote of the Day! Murder, Inc (1960) “I boiled a thousand two minute eggs and never did it right once…”

opening photo of post Reles

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Murder, Inc. (1960)

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This is one of the most searing neo Film Noir police procedural/syndicate treasure hunt and shadow eye candy featuring a truly frightening and frenetic performance by our beloved Peter Falk who not only manifested THE only possible rumpled detective in a raincoat, that– “just one more question” knows who the guilty party is in the first five minutes of meeting them, Columbo (sorry Lee J. Cobb) whose inimitable style began the television detecting technique where we know who did it.

As Columbo Peter Falk usually uses the art of ‘misunderestimation’ and quaint anecdotes about relatives who may or may not exist, as he politely taunts and squeezes with relenting loose end tying questions pushing the culprit into a corner they can not escape from. In Murder, Inc (1960) Falk is so dark and brooding as a little thug with a mad on at the world and no acuity toward right and wrong. The only time I saw him create a darker character that sent chills down the back of my neck was in an episode of The Alfred Hitchcock Hour that aired on December 13th, 1962 called Bonfire where he plays a psychopathic lady-killer who is posing as a firebrand evangelist.

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Peter Falk plays psychopath Robert Evans who has brought on a heart attack in the kindly rich widow Naomi Freshwater (Patricia Collinge) so he can take over her impressive house.

I am planning a very special tribute to the genius of Peter Falk and his unmade bed detective always on the prowl for the jugular, with a very different slant on the show, (no hints please) hopeful getting it ready by the winter 2017 if I can enlist the wit & wisdom of fellow Columbo-worshiping Aurora of Once Upon A Screen to join me in pulling it off!

Columbo

In his 2006 autobiography, Just One More Thing, Peter Falk attributes his performance as the crazed Reles in Murder, Inc. for launching his career! Not to mention that the great stage actress/teacher Eva Le Gallienne highly suggested after Falk was caught sneaking into her acting class as part of the American Repertory Movement, that he stick with it!

Peter Falk received an Oscar nomination for Best Supporting Actor for his ruthless, violent and misogynistic murderous thug real life hit man –Abe Reles.

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Real life hit man Abe Reles

film critic Bosley Crowther wrote:

“Mr. Falk, moving as if weary, looking at people out of the corners of his eyes and talking as if he had borrowed Marlon Brando’s chewing gum, seems a travesty of a killer, until the water suddenly freezes in his eyes and he whips an icepick from his pocket and starts punching holes in someone’s ribs. Then viciousness pours out of him and you get a sense of a felon who is hopelessly cracked and corrupt.”

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Reles who reigned over the Brownsville district of Brooklyn during the 1930s depression era, was a clever and shifty taker and hit-man who could make people’s murders appear like brain hemorrhages by using an ice pick in just the right way. Lawman Burton Turkus (Henry Morgan) whose book the screenplay is based on, together with Det. Sgt. William Tobin (Simon Oakland) keep track of this psychopathic criminal who is now working for the powerful crime boss Louis ‘Lepke’ Buchalter played as a self-indulgent burlesque man-child by David J. Stewart (Carnival Rock 1957, The Young Savages 1961) who runs the nationwide syndicate known as Murder Inc.

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Simon Oakland as detective Tobin and Henry Morgan as district attorney Burton Turkus.

Directed by Burt Balaban (Lady of Vengeance 1957) and Stuart Rosenberg who later went on to direct the sublimely thoughtful Cool Hand Luke 1967 starring Paul Newman, he also directed The Amityville Horror in 1979.

Filmed in CinemaScope Murder, Inc. possesses a gritty realism painted effectively by cinematographer Gayne Rescher  (A Face in the Crowd 1957, Man on a String 1960, Rachel, Rachel 1968 and Otto Preminger’s Such Good Friends 1971)

The film’s musical score is indeed a great companion to the mood, as Frank De Vol who usually works with Robert Aldrich (What Ever Happened to Baby Jane? 1962) creates a tense and bitter little pill, a flamboyant world within the universe of egocentric criminals, petty thieves, depression era storekeepers like the wonderful character of Mrs. Corsi (Helen Waters who only appeared one more time in television’s Naked City in 1958) who runs the little soda shop or Joe Rosen (Eli Mintz) who live in fear for their lives. De Vol’s score in addition to a live smoking performance by the late Sarah Vaughan make the film’s musical personality work very well with the visual story.

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The viciousness touches the garment district, the Unions, the burlesque clubs all the way up to the Borscht Belt where comedian Walter Sage (Morey Amsterdam) is hit by Reles at the request of Lepke. There’s cops on the beat and the feds looking to finally incarcerate and shut down Murder Inc. The film is seeded with little cameos by some actors first appearances, like Sylvia Miles as Sadie the loud mouth who gets Reles’ hand shoved in her face while in the phone booth.

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Joseph Campanella who is just a guy who gets killed in the hallway for what ever he did or didn’t do… and Diane Ladd as a showgirl.

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A small but slick performance by Vincent Gardenia as the mobs attorney Laszlo, and terrific stage performance by Sarah Vaughan singing Fan My Brow and The Awakening written by composer George Weiss. I saw Sarah Vaughan at the Westbury Music Fair back in the 1980s! she was nothing less than magical!

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The inimitable Sarah Vaughan singing The Awakening at the dance hall where Eadie works as a showgirl…
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Abe ‘Kid Twist’ Reles first meets with Lepke to take the job offer as hit man for the syndicate.

The basic gist is this–Reles (Peter Falk) and his flunky Bug (Warren Finnerty) meet with Garment District crime boss Lepke Buchalter (David J. Stewart) who wants to hire Reles as the syndicate’s new hit man. Lepke’s first task is for Reles to hit comedian Walter Sage (Morey Amsterdam) who has a headline act up in the Catskills. Sage has been holding out money from the slots and Lepke is a petty hothead (who constantly drinks milk) with a literal belly ache. Enter Joey Collins Stuart Whitman (I’ve had a long time crush on this guy and his eyebrows!) a singer, who knows Sage from show business, and since he owes Reles $600 which will soon be $1,000 with every day he doesn’t pay back his loan he feels cornered into helping Reles do him a ‘favor.’ Joey Collins (Whitman) is coerced into driving up to the Borscht Belt in order to lure Sage out of the club so Reles can do his dirty work with his nice clean ice pick!

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Reles can’t believe that Joey lets his wife mouth off to him like this. She tries to throw Reles out.

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Abe Reles: “I’m gonna tell you something about women. I never met one that didn’t need a rap in the head, and often.”

When Reles pays a visit to the small apartment where Joey and his refugee showgirl wife Eadie (May Britt) live, Eadie is not only rude, she tries to throw Reles out. Reles who obviously has an inferiority complex takes Eadie’s dismissal as a rejection of his manhood and he comes back while Joey is out of the apartment and brutally assaults her with his, “dirty hands, his dirty fingers.”

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Even after Joey’s wife is violated by this mad dog Reles, he is still paralyzed by fear and too dug into the lifestyle of making a few bucks from the gang to protect Eadie and just try and get away.

But Joey is so entangled and emasculated himself by the predicament he’s gotten himself into, he doesn’t even try to stand up to Reles, but rather feels he is trapped, though Eadie wants to just run and get as far away from Reles and the whole deal. While the couple stay together because they are forced into a dynamic by Reles, they no longer sleep in the same bedroom nor act as a married couple. The weak and shameful Joey should have listened to Eadie!

Reles sets the kids up in this glamorous apartment as a front.

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CapturFiles_45 "You see what you can get your hands on and you take!! Don’t ask questions… TAKE!!!”
“You see what you can get your hands on and you take!! Don’t ask questions… TAKE!!!”

Now that Lepke thinks he has everything under control he has Reles working full force taking out anyone who can fink on him. Reles gives a maniacal soliloquy about ‘taking’ manipulating the couple into living as a cover in his gorgeous apartment that is furnished with imported stolen goods and dope.

The police want to bring Lepke in because they have found a witness, small business man Rosen who Lepke warned already to keep his mouth shut. He should have had his trusted man-crush Mendy push down the elevator shaft when he had the chance. Rosen is seen brought in by detective Tobin by Lepke, Mendy and their lawyer Laszlo in the halls of the courthouse. Rosen is now, at least this time– a dead man…

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Mendy Weiss (Joseph Bernard) is asked by Lepke to kill Rosen himself, gunning him down right on the street in front of his shop, one pop in the guts, and then a bullet to the back of his head at Lepke’s request. Lepke comes to hide out at Joey and Eadie’s apartment, where he proceeds to demean and treat Eadie like a servant.

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Lepke barks at Eadie “I said two minutes. Do I have to get you a stop watch so you can tell two minutes… What’s a matter with you ha. What kind of a girl are you? Can’t cook. You don’t talk. I don’t understand you. What they teach you over there in Europe?”
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She answers him a stoic statue of ice “To be civilized.”
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Lepke intestinally insane-“Do you think I don’t know two minutes when I taste it? I told you a hundred times I have to be on a special diet. I got the most delicate stomach in the world!… Now go back and bring me another egg. Two minutes!!!!”

While detective Tobin (Simon Oakland) has been trying to shake things up and harass Reles and Lepke, even asking the small shop owners for their help, as Mrs. Corsi explains to Tobin that innocent people are being threatened, ‘acid thrown’ on their wares, even attacked just being seen talking with the police. She refuses to say a word. He can’t break the protective shield surrounding this gang, nor legally fight against a sly lawyer like Laszlo (Vincent Gardenia).

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District Attorney Burton Turkus (Henry Morgan) moves in and begins an all out mission to bring down Murder Inc. which has it’s tendrils in Chicago and Florida (What happened to New Jersey? hhmm)

Burton Turkus is interrogating Reles after he agrees to turn states evidence. He asks Reles how he can simply murder people without any feelings around it. Reles asks him how his first time on the job as a cop effected him. He tells Reles, he was shaky at first but “he got used to it.” Reles gives him a very matter of fact  ‘that’s your answer’ look.

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Before the police finally pick up Lepke, while in hiding Lepke gets paranoid about his people squealing so he orders a hit on anyone in Brownsville that can connect him to the syndicate, especially Joey Collins and his wife Eadie who are living with him and now know too much. Finally Eadie can’t bear it anymore and goes to the police and becomes an informant. Turkus takes Joey and Eadie into protective custody. Which isn’t so protective but hey, I won’t ruin the film for you.

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Once Reles realizes that Lepke is on his trail he agrees to spill the entire can of Murder Inc. beans on the operation too, knowing the law very well, and making a deal with Turkus for a lesser murder sentence and his promise of protection.

So Reles is also hidden away at the less than fortress-y Half Moon Hotel room watched over by disgruntled uniformed cops in Coney Island. I won’t give away the defenestration climax, but I will say that Lepke does finally face execution for his part in several unsolved murders. His last meal must have included a gallon of milk for that upset stomach disorder

You can absolutely say that it’s Peter Falk’s incendiary performance as the high strung little punk with a Napoleonic complex based on true life Brooklyn gangster “kid twist’ Abe Reles earning him the Academy Award nomination for his combustive performance and his myriad of colorfully vicious asides.

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Joey Collins: (Stuart Whitman) “Why’d you do it? Why did you kill him? Abe “Kid Twist” Reles: “Because he had bad breath.”

It’s what makes Murder, Inc (1960) work so well, but there’s a lot of little inlaid gems that make this neo-noir crime drama a conflagration of mind gripping tropes and wonderful little characterizations.

Murder, Inc is a neo-noir/documentary style/crime-drama masterpiece featuring not only Falk’s searing performance, but David J. Stewart as the despicable complainer -Lepke who ran the syndicate in New York City and was connected to all the major city crime bosses who oversaw big money, murder and mayhem like a miserable business, taking out potential stool pigeons, or little shop owners who just can’t pay their protection fees — Vicious brutal and utterly mesmerizing the film plays like a nightmare while the well intended but at times inadequate good guys who just can’t seem to legally or physically pin down the bad guys without getting their witnesses murdered. Or it’s suggested that there are also insiders in the police department and government that shield these criminals from prison time. Murder Inc spreads like an insidious disease taking over the city, but like all things violent -they must eventually self-destruct as Stuart Whitman who plays Joey Collins: says to Reles, after he is arrested “I’m gonna watch you fry! I’m gonna watch you fry! I’m gonna watch you fry!”

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Eadie (May Britt) is the film’s sufferer and sacrificial lamb as a woman who is either consistently abused and mistreated or woefully looked after by all the men in the film. She is surrounded by dread and ruin.

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Talking about Lepke–“He came in the door like a king. He came with a hole in his stomach. All the time he stayed I was his house maid. Two Minute Eggs… (she closes her eyes)….  I boiled a thousand two minute eggs and never did it right once…”

Edie "He came in the door like a king. He came with a hole in his stomach All the time he stayed I was his house maid. Two Minute Eggs (she closes her eyes) I boiled a thousand two minute eggs and never did it right once…”

“I boiled a thousand two minute eggs and never did it right once…”

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This is your EverLovin’ Joey saying I gotta go make a two minute egg! 

Nature’s Fury Blogathon: 🐜 Alfred Hitchcock’s The Birds (1963) Melanie Daniels as Metaphor: Wanton With Wings-“What are you? I think you’re the cause of all this, I think you’re evil!”

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The clever & cheeky Barry of Cinematic Catharsis has summoned this great and powerful idea for a Summer Blogathon! Whether it’s the weather, or giant mutant bugs, blood hungry sharks, large animals run amok, or the elements gone awry–Nature’s Fury can be seen in so many fascinating and awe inspiring feature films and those lovable B movie trends that showcase the natural world in chaos. I immediately thought of Alfred Hitchcock’s The Birds as it is a film that has stayed burned in my mind since I first saw it as a child. Certain scenes will never lose their power to terrify.

And in celebration of this event, I’ve actually written a song and made a film/music mash up to tribute Tippi Hedren in The Birds, with a montage from the film featuring my song Calling Palundra

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“The Birds expresses nature and what it can do, and the dangers of nature. Because there’s no doubt that if the birds did decide, you know, with the millions that they are, to go for everybody’s eyes, then we’d have H.G.Wells Kingdom of the Blind on our hands.”-Alfred Hitchcock

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“Why are they doing this? They said when you got here, the whole thing started. Who are you? What are You? Where did you come from? I think you’re the cause of all this… I think you’re evil EVIL!” Actress Doreen Lang playing the hysterical mother in the diner!

This tribute video features my special song written just for this blogathon…. Here’s Melanie Daniels & the birds– with my piano vocal accompaniment, ‘Calling Palundra’

The children’s song “Risseldy Rosseldy” heard at the school when the crows began to unite as a gang is the Americanization of an old Scottish folk song called “Wee Cooper O’Fife”

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Image courtesy of: Jürgen Müller’s colorful Movies of the ’60s

On it’s face The Birds can be taken literally as a cautionary tale about the natural world fighting back against the insensitivity & downright barbaric treatment of nature’s children and the environment at the hands of humankind. Is it a tale of simple unmitigated revenge against the town for the killing of a pigeon? Or is there something more nefarious & psycho-sexual at work? Once you peel back the top layer of the visual narrative there are multi metaphors at work.

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From Dark Romance: SEXUALITY IN THE HORROR FILM by David J. Hogan- “Hitchcock’s The Birds (1963) is probably the ultimate expression of this sort of nameless dread. It is a film that cheerfully defies description: it is horror, it is science fiction, it is black comedy, it is a scathing look at our mores and manners. It is a highly sexual film, but in a perversely negativistic way.”

Before the release of The Birds in 1963, Tippi Hedren made the cover of Look Magazine with the heading “Hitchcock’s new Grace Kelly”.

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Tippi Hedren in Marnie (1964) What Grace Kelly had in pristine beauty and sophistication, Hedren possesses an undertow of sensuality that pulls you into that gorgeous mystique.

As with Hitchcock’s other, worldly beautiful blonde subject — the strong willed socialite Lisa Carol Fremont (Grace Kelly) in Rear Window (1954) The Birds features the stunning Tippi Hedren as the coy, confident and a bit manipulative Melanie Daniels a San Fransisco socialite who descends upon Bodega Bay with a similar uncompromising will. Stiff, stolid and cocky Lawyer Mitch Brenner (Rod Taylor) meets Melanie in a pet shop where the two share shallow, faintly romantic barbs and repartee. Mitch is shopping for a pair of love birds for his sister Cathy’s eleventh birthday and Mitch pretends in a condescending manner to mistake her for the clerk.  Melanie goes along with the mistaken identity as a way to flirt until his slightly mean-spirited joke backfires when she accidentally let’s a canary loose and while it lands in an ashtray Mitch throws his hat on it and places it back in it’s cage smugly saying “Back in your gilded cage Melanie Daniels.” revealing that he not only knew who she was from the very beginning and has quite a snotty preconceived notion about this socialite whom he appears to judge as running with a ‘wild’ crowd and is amoral. He manages to make a bit of a fool out of Melanie. The contrast between the flirty glib and calculating Melanie Daniels and the less interesting, judgemental and arrogant Mitch Brenner kicks off a chemistry that really isn’t as vital to the story as what the two personalities represent. 

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As Melanie is about to enter Davidson’s Pet Shop, she hears and sees a tremendous gathering of Seagulls in the sky. It is a foreboding moment of things to come…
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From the opening of The Birds, devoid of any musical lead-in or further soundtrack, all natural noise of bird sounds are what underscore the films visual story. The Seagulls in San Fransisco are many and loud this afternoon as Melanie takes notice…
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Melanie enters the shop as Alfred Hitchcock exits, giving the customary cameo walking two dogs that happen to be his own white terriers Geoffrey and Stanley!
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Tippi Hedren, Hitchcock’s new beautiful blonde to supplant the other object of his affections/fixation… Grace Kelly.
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Melanie (Tippi Hedren) has come to pick up the Mynah bird that she has ordered, but the shipment is late. She remarks to pet shop owner Mrs. MacGruder (the lovable Ruth McDevitt) “Hello Mrs. MacGruder have you ever seen so many gulls? What do you suppose it is?” Mrs. MacGruder supposes, “Well There must be a storm at sea that drives them inland you know.”

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Mitch Brenner (Rod Taylor) enters the pet shop and approaches Melanie asking for help in purchasing lovebirds for his kid sister
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Melanie is attracted to this handsome yet smug and polished smart ass in a suit, so she plays along pretending to be the clerk and continues to help him, giving completely ridiculous answers to his snide questions as he grills her about ornithology. The louse!
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Mitch –“I wonder if you could help me?” Melanie –“what?” Mitch –“I said I wonder if you could help me” Melanie “Just what is it you’re looking for sir?” Mitch “Lovebirds…” Melanie “Lovebirds Sir?” Mitch “Well I understand there’s different varieties is that true?” Melanie “Oh Yes there are” Mitch “Well uh these are for my sister for her birthday, and see uh as she’s only gonna be eleven, I wouldn’t want a pair of birds that were… too demonstrative.” Melanie “I understand completely” Mitch “At the same time, I wouldn’t want them to be too aloof either.” Melanie “No of course not” Mitch “Do you happen to have a pair of birds that are… just friendly?…aren’t those love birds? Melanie “no those are red birds” Mitch “Aren’t they called strawberry finches?” Melanie “oh we call them that too…Oh now here we are love birds” Mitch “those are canaries…Doesn’t this make you feel awful?’ Melanie “Doesn’t what make me feel..?” Mitch “Having all these poor little innocent creatures caged up like that” Melanie “Well we can’t just let them fly around the shop you know” Mitch “No I guess not, is there an ornithological reason for keeping them in separate cages?” Melanie “Well certainly it’s to protect the species” Mitch “Yes I expect that’s important especially during the molting season” Melanie “Hhm that’s a particularly dangerous time” Mitch “are they molting now?” Melanie “some of them are.” Mitch “how can you tell?” Melanie “well they give a sort of tang dog expression” Mitch “yes I see well what about the love birds?” Melanie “Are you sure you wouldn’t like to see a canary? We have some very nice canaries this week” Mitch “Alright, alright may I see it please? (he holds out his hand)”
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An ornithology lesson. These are strawberry finches not ‘red birds’

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Melanie tries to hold a canary to show Mitch, but the little yellow bird flies out of her grip and starts fluttering all around the shop.

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Mitch utters this insult at Melanie… “Back in your gilded cage, Melanie Daniels!” The louse!!!
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Melanie feels a sting… realizing that she has been made a fool of by this cocky fella she doesn’t even know but she wants to know him…
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Melanie “What did you say?” Mitch “I was merely drawing a parallel Miss Daniels” Melanie “How did you know my name?” Mitch “A little birdy told me” Melanie “Hey wait a minute, I don’t know you” Mitch “Ah, but I know you” Melanie “how?” Mitch “We met in court” Melanie “We never met in court or any place else” Mitch “Oh that’s true let me rephrase, it I saw you in court” Melanie “When?” Mitch “Don’t you remember one of your practical jokes that resulted in the smashing of a plate glass window” Melanie  “I didn’t break that window” Mitch “Yes but your little prank did–Judge should have put you behind bars!” Melanie “What are you a policeman?” Mitch “I may know a little about the law and I’m not too keen on practical jokes” Melanie “Well what do you call your Lovebird story if not a practical joke?” Mitch “Oh I really wanted the Lovebirds” Melanie “Well you knew I didn’t work here, you deliberately…” Mitch interrupts “Right! I recognized you when I came in I just thought you’d like to know what it’s like to be on the other end of a gag, what do you think of that?” Melanie  “I think you’re a louse.” Mitch  “I am, good day Miss Daniels” Melanie “I’m glad you didn’t get your Lovebirds” Mitch “Oh I’ll find something else… see you in court”

Melanie runs after Mitch and catches sight of his license plate number, getting his information from her father’s contacts at the newspaper. She decides to follow him 60 miles up the coast with a pair of Lovebirds to see him at his mother’s home in Bodega Bay where he spends his weekends.

And one of the popular theories is that it’s her driving impulse to seduce Mitch that has sparked the inexplicable terror that takes siege upon the residents of the sleepy little seaside community.

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Once at Bodega Bay, she asks a storekeeper where to find Mitch’s little sister and is given Annie Hayworth’s address, where Melanie proceeds to drive to.

Now it’s time for two thirds of the triad of grasping women to meet each other. The confident socialite stylish and stunning in pursuit of Mitch, and the brooding beautiful woman he left behind who’s sullenness is as palpable as the surrounding sea. Though Annie winds up being a very good person, loves her students, and though she’s in pain and sees Mitch moving into a dynamic relationship with a outre sophisticated blonde, she winds up being a true friend, to the point of ultimately sacrificing her own life.

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Annie in an ironic tone “I guess that’s where everyone meets Mitch.”

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Annie meets Melanie at car
Annie “Did you drive up from San Fransisco by the coast road?” Melanie “Yes” Annie “Nice drive” Melanie “It’s very beautiful” Annie “Is that where you met Mitch?” Melanie “Yes” Annie “I guess that’s where everyone meets Mitch” Melanie “Now you sound a bit mysterious Miss Hayworth” Annie “Do I, actually I’m an open book I’m afraid , or actually a closed one” She looks down at the cage of Lovebirds Annie “pretty, what are they?” Melanie “Lovebirds” Annie with a pain that stretches deep across her face “I see… good luck Miss Daniels.”

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Melanie rents a boat from Doodles Weaver credited as the boat rental guy.

She starts up the motor and begins to head across the bay just to bring Mitch a ‘practical joke’ present in kind, what else but… a pair of Lovebirds. She has written him a letter which she winds up tearing up, instead placing a card for his sister Cathy presenting the Lovebirds as the originally intended birthday gift for her.

Melanie moves across the bay toward the object of her desire adorned in Edith Head’s glamorous boating attire, a luxurious mink, that stunning green suit and high heels, (yes! it’s a very understated chic outfit for the occasion of man hunting) Tippi’s gorgeous green suit she is seen wearing throughout the film was referred to by multi Academy Award winning fashion designer Edith Head, as “Eau de Nil” or Nile water!

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Melanie gets out of the motor boat, surrounded by beauty and serenity, the mood, peaceful, the quiet before the storm… she proceeds to sneak into the Brenner farmhouse to leave the Lovebirds for Mitch, or well eh Cathy, yeah Cathy.
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Melanie waits until Mitch is in the barn, sneaks into the house and leaves the cage of Lovebirds in the den, ripping up her original letter to Mitch and instead just placing a birthday card for his little sister Cathy. How cagey.. oops sorry for the pun guys!

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the tranquility and romantic game-play is about to shift, from this moment on…

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Melanie is attacked by a crazed sea gull who swoops down from the cloudy blue sky to put a nice gash in her beautiful head, messing up that very coiffed blonde hair with the faint trickle of blood dripping down her face and a spot on her glove.

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Mitch helps Melanie taking her into the diner to get her wound cleaned up, “That’s the damnedest thing I ever saw, it seemed to swoop down at you deliberately.”

Continue reading “Nature’s Fury Blogathon: 🐜 Alfred Hitchcock’s The Birds (1963) Melanie Daniels as Metaphor: Wanton With Wings-“What are you? I think you’re the cause of all this, I think you’re evil!””

Mad Monster Party? (1967) “You’re different”

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The Classic Movie Ice Cream Social Blogathon of Cheer hosted by Fritzi of the spectacular Movies Silently

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So the whole idea is to feel good right? Well I think  a lot of us would agree that any Rankin/Bass production is going to put a smile on your face… I couldn’t resist revisiting the children’s & adult animated feature that embraces Boris Karloff as an animagic puppet and a lot of campy inside cheeky humor, that’s not just for the kiddies, as the New York Times review from 1967 says it’s for ‘The monsters in all of us!”

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“When I was nine, I played the demon king in “Cinderella” and it launched me on a long and happy life of being a monster.”- Boris Karloff

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MAD MONSTER PARTY? (1967)

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Presented by Executive Producer Joseph E. Levine and Directed by Jules Bass (Return to Oz 1964, Rudolph, the Red -Nosed Reindeer 1964, The Daydreamer 1966, Frosty the Snowman 1969, produced The Last Unicorn 1982, The Sins of Dorian Gray 1983, The Wind in the Willows 1987)

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Mad Monster Party? (1967) is a wonderfully cheeky animagic feature filmed in Eastman color, was released on March 8th, 1967. This puppet comic horror gem stars the voices of Boris Karloff as Baron Boris von Frankenstein, Allen Swift  lends his voice to these hairy scary characters Felix Flankin (Swift does a very obvious take off on actor James Stewart) / Peter Lorre character ‘Yetch’ / Dracula / the Invisible Man / Dr. Jekyll / Mr. Hyde / Chef Machiavelli / the Captain / First Mate / Mr. Kronkite / Mail Man / The Monster and a skeleton band called the Little Tibias and the Phibbians who are wearing those groovy Beatle wigs.

Baron meets Dr. Jekyll

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Gale Garnett is the voice of the Baron’s lovely assistant, the fiery red-headed temptress Francesca, Phyllis Diller is not called the Bride, she is referred to as The Monster’s Mate!

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Music by Maury Laws, with cinematography by Tadahito Mochinaga and animation/puppet department by Jack Davis, an illustrator for EC comics in the 1950s, a fellow contributor to Mad Magazine and During the 1970s, he did concept art and storyboards for television commercials (‘Lectric Shave, Utica Club, Cask Mt. Wine, Unispin, Gillette, Sominex, Dodge Boys) animated by the Phil Kimmelman and Associates animation house. He was also the poster artist for the brilliant “It’s A Mad, Mad, Mad, Mad World” (1964)

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Plus uncredited Art Direction by mind blowing artist, music albums, poster art and graphic comic books Frank Frazetta.

Mad Monster Party? (1967) is an offbeat  stop-motion animation feature made by Rankin/Bass Productions.  It’s a parody of classic monster movies more aimed at adults than children though it was badly marketed to the wrong audience, the weekend matinee for kids. It blends the art of slapstick with the nostalgia of Universal & RKO monster greats. Harvey Kurtzman, who wrote the script, was a co-creator of Mad Magazine. The characters were designed by Jack Davis, one of the illustrators of Mad Magazine. It explains the element of racy, campy, quirky and delightfully droll humor, and why it has remained a cult classic, since the days of Saturday afternoon programs like Creature Features! Oh those were the days…

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“Certainly, I was typed. But what is typing? It is a trademark, a means by which the public recognizes you. Actors work all their lives to achieve that. I got mine with just one picture. It was a blessing.”-Boris Karloff

The film is a feature length ‘animagic’ gem but because they could not get the licensing to homage the actual classy trademarked monsters, they resorted to a parody of the characters using similar names instead. The Bride of Frankenstein is called “the Monster’s Mate” and is brought to life by the superb impersonation of the batty and biting Phyllis Diller rather than the surreal & sensual Elsa Lanchester. The Creature from the Black Lagoon is called “Creature.” And King Kong is referred to as “IT.”

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Boris Karloff himself did the voice for Baron Boris von Frankenstein. Karloff recorded his dialogue in England at the sound stage, which was a much more comfortable job for Boris Karloff made easier on his body, by that time he was suffering from debilitating arthritis and trouble with his lungs.

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I know what I’m getting for my birthday this year!

Composer Maury Laws said of the great Karloff, “Boris Karloff was the perfect gentleman.” Producer Arthur Rankin Jr. said “He was suffering from an illness at the time, but he gave us a great performance in Mad Monster Party? (1967) and The Daydreamer (1966) as well!”

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Boris Karloff plays the voice of The Rat in Rankin/Bass’ The Daydreamer (1966) stories by Hans Christian Anderson

And let us not forget that Boris Karloff played the voice of The Narrator & Grinch in director Chuck Jone’s adaptation of the Dr. Seuss story How The Grinch Stole Christmas tv movie (1966)

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Dr. Seuss (Theodor Geisel), Boris Karloff and Chuck Jones

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The party guests also include The Wolf Man, Quasimodo, various zombies that appear to pay homage to the dreaded flying monkeys from The Wizard of Oz, and a deranged chef named Mafia Machiavelli.

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Allen Swift does a great take on Peter Lorre who pines after Francesca… Yetch- “It’s me, Your Don Juan” Francesca, “I Don Juan to look at you!”, and if it’s not my imagination, I could swear that what remains to be seen of the Invisible Man looks and sounds like Sydney Greenstreet’s fez wearing character Signor Ferrari in Casablanca (1942) a coincidence… I think not! And I could swear that monocle wearing version of Dracula bears a striking resemblance to pioneering live show of the ’50s Your Show of Shows, brilliant comedian Sid Caesar.

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In the movie, Baron Frankenstein who is equip with a laboratory that would make Kenneth Strickfaden proud, invites his noodle headed, perpetual throat spraying annoyingly allergic nephew Felix Flanken who dreams of being a pharmacist, to take his place as the head of the Worldwide Organization of Monsters to be run at his tropic hide away The Isle of Evil.’

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There his uncle will be bestowing on Felix his last great creation, a secret formula capable of destroying all matter. When the Baron announces this to the organization of his new successor, the monstrous guests plot to get rid of the nerdy Felix so they can take over the organization and grab Dr. Frankenstein’s secret formula. The Baron’s assistant, Francesca, falls in love with Felix, and is kidnapped by the monsters. Boris gets Francesca away from those greedy ghouls, and Felix and Francesca are able to leave the island, rowing away in their tiny row boat, with perhaps a delicious twist ending in store for you!

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Singer Garnett creates the voice of the curvy red head Francesca that adds a wonderful spark to the character who radiates Ann Margret & Ann Francis with Mamie Van Doren’s twists & boobs!

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Although the film came out in 1967, the distributor Embassy Pictures relegated it to kiddie matinees, instead of reaching older audiences that would’ve appreciated the human and references. The film got virtually no attention until 1969’s (read here )☞ New York Times review.

Howard Thompson writes, “In this peppery and contagiously droll little color package, a collection of animated puppets scamper across some clever miniature sets, exchanging sass and barbs and occasionally warbling some sprightly tunes.”

Rankin/Bass Productions (who brought us those memorable claymation Christmas feel-goods) in affiliation with Avco Embassy found the intended audience for the film in the 1970s and early 1980s by showing it on the small screen. They also made a 1972 prequel called Mad Mad Mad Monsters.

Mad Monster Party’s soundtrack includes 60s songstress Gale Garnett who sang the catchy hit pop song “We’ll Sing in the Sunshine.” 

The film also includes songs the opening song rendered by jazz great Ethel Ennis with- “Mad Monster Party”, “One Step Ahead” (sung by Boris Karloff) Our Time to Shine & Never Was a Love Like Ours (sung by Gale Garnett) music and lyrics by Maury Laws and Jules Bass, also lets not forget, “You’re Different” sung by Phyllis Diller

Mad Monster Party? (1967) The making of a classic

“My dear old monster. I owe everything to him. He’s my best friend.”- Boris Karloff

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Here’s the link to Boris Karloff’s Sherry infused Guacamole recipe

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It’s been a Mad Mad Mad Mad Party here at The Last Drive In… Hope you had a Groovin’ Ghoulish time! –Your EverLovin MonsterGirl!

 

The Great Villain Blogathon 2016: True Crime Folie à deux: In Cold Blood (1967) & The Honeymoon Killers (1969)

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It’s here again! THE GREAT VILLAIN BLOGATHON 2016!

One of the most dread inspiring Blogathons, featuring a slew of memorable cinematic villains, villainesses & anti-heroes… Thanks to the best writers of the blogosphere Kristina of Speakeasy, Ruth of Silver Screenings and Karen of Shadows and Satin!

Folie à deux (/fɒˈli ə ˈduː/; French pronunciation: [fɔli a dø]; French for “a madness shared by two”), or shared psychosis, is a psychiatric syndrome in which symptoms of a delusional belief and hallucinations are transmitted from one individual to another.

a·mour fou (ämo͝or ˈfo͞o)

1. uncontrollable or obsessive passion.

“The puzzle and threat of random violence is one of the defining tropes of true-crime”-Jean Murley

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Scott Wilson as Dick Hickock and Robert Blake as Perry Smith
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The real killers Perry Smith and Richard ‘Dick’ Hickock

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In Cold Blood (1967) is director Richard Brooks (The First Time I Saw Paris 1954, Cat on a Hot Tin Roof 1958, Elmer Gantry 1960) masterpiece of modern nightmarish nihilistic ‘horror of personality’.

The film went on to receive four Academy Award nominations: Best Director, Best Cinematography, Best Original Music Score, and Best Adapted Screenplay.

Columbia studios actually wanted Paul Newman and Steve McQueen to play the roles and wanted it shot in color. Newman went on to do Cool Hand Luke that year and McQueen starred in The Thomas Crown Affair and Bullitt in 1968. Thank god Brooks got his way and got to do his treatment in Black & White, on location and with lesser known actors, who both went on to earn Oscar nominations for their chilling performances of the murderous pair.

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Robert Blake, Scott Wilson and director Richard Brooks on location for In Cold Blood (1967)
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Author Truman Capote and director/screenwriter Richard Brooks

Life Magazine NIghtmare Revisted

A post-war true crime thriller, what author Elliot Leyton terms Compulsive Killers: The Story of Modern Multiple Murder, the film is steeped in expressive realism about two thugs Robert Blake as Perry Smith a dark and damaged swarthy angel of death & Scott Wilson  (In the Heat of the Night 1967, The Gypsy Moths 1969, The New Centurions 1972, The Great Gatsby 1974, The Right Stuff 1983) as Dick Hickock, who inspire in each other a sense of anti-establishment negativity.

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These two drifters, having heard about a wealthy wheat farmer from a fellow inmate, think there is a safe in the house filled with $10,000. The two dark souls take siege upon the rural Holcolmb Kansas Clutter family in the middle of the night, hog tie them, look for the money, only to find this clean cut humble family has nothing to steal but $43, a bible and pasteurized milk in the icebox. The two proceed to shot gun murder and cut the throats of the entire household so there are… “No witnesses.” Dick Hickock. There are two surviving daughters, Beverly and Eveanna that were spared this horror.

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Robert Blake as Perry Smith, John Forsythe plays Alvin Dewey head of the Kansas Bureau of Investigation and Scott Wilson as Dick Hickock… being brought in…

John Forsythe plays Alvin Dewey head of the Kansas Bureau of Investigation who goes on the hunt collecting clues and tracking down the killers involved in this sensational crime.

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Alvin Dewey (John Forsythe) Reporter Bill Jensen (Paul Stewart) who writes for the weekly magazine. Reporter Jensen tells Dewey that it’s a strange co incidence that Herb Clutter writes his first insurance check and that the policy paid $40,000 which pays a double indemnity of $80,000. Dewey-“You’re not here to write something new, what is your interest?” Jensen “Fairly basic” Dewey-“What’s basic about a stupid senseless crime… A violent unknown force destroys a decent ordinary family.” Jensen-“No clues, no logic. Makes us all feel frightened, vulnerable” Dewey- “Murders’ no mystery. Only the motive…{…} Someday, somebody will explain to me the motive of a newspaper. First, you scream, “Find the bastards.” Till we find them, you want to get us fired. When we find them, you accuse us of brutality. Before we go into court, you give them a trial by newspaper. When we finally get a conviction, you want to save them by proving they were crazy in the first place.”
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In this semi-documentary police procedural post noir crime thriller Alvin Dewey studies the bloody boot print left at the Clutter murder scene.

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Dewey tracks down these two bad boys, who have fled to Mexico where Perry (Robert Blake) loses himself in fantasies and painful flashbacks of his childhood with a violent father, whoring mother, of buried treasure, and prospecting for gold. Dick (Scott Wilson) gets tired out languishing around listening to Perry’s dreams and convinces him to head back to the States, passing bad checks along the way and winding up in Las Vegas. The police finally catch up with the murderous anti-social duo, where the men are finally broken of their alibi, and they are sentenced to die by ‘the big swing’ hanging.

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Alvin Dewey takes Perry back to the night of the terrible crime…

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Mrs Clutter calmly asks –“Please don’t hurt the children”

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Dick-“Make one move, holler once and we’ll cut their throats.”

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Herbert Clutter: “Why do you boys want to do this? Dick: “Shut up!”
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Perry-“Floyd Wells lied to you. There isn’t any safe.”
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Perry morbidly superstitious and brooding, while Dick entertains a working girl in the bed across the room, has flashbacks to the night his father (Charles McGraw) finds his drunken whoring mother playing around. Perry’s father proceeds to beat her in front of him and his siblings. Painting a picture of Perry Smith’s traumatic beginnings.

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Perry's machinations

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Flashback to Perry as a little boy.

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Some scenes after Mexico…

dick and perry on the road

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In Cold Blood… not quite the kitschy romance and allure of John Schlesinger’s wandering pair in the outré slick Midnight Cowboy (1969) starring Dustin Hoffman and Jon Voight.

on the streets passing bad checks

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In the clothing store, Dick who often refers to Perry as hon or some such affectionate diminutive–wipes the sweat off Perry’s brow and says “Easy baby… look casual.”
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the charming and fast talking Dick passing bad checks around
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Perry tells Dick- “You’re good you’re really good. Smooth. No sweat no strain You’re an artist boy.”
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buying supplies for the robbery/murder
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Dick: “Did you see those guys? They coulda robbed us!” Perry: “What of?” Perry: “That was stupid – stealin’ a lousy pack of razor blades! To prove what?” Dick: “It’s the national pastime, baby, stealin’ and cheatin’. If they ever count every cheatin’ wife and tax chiseler, the whole country would be behind prison walls.”

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Perry is superstitious he watches the nuns with a sense of foreboding… it’s a lurking bad omen for sure.
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stealing cars and changing plates

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Holcomb, Kan., Nov. 15 [1959] (UPI) — A wealthy wheat farmer, his wife and their two young children were found shot to death today in their home. They had been killed by shotgun blasts at close range after being bound and gagged… There were no signs of a struggle, and nothing had been stolen. The telephone lines had been cut.
The New York Times

Perry Smith led by police into the Garden City Kansas courthouse on Jan. 6 1960 charged with first degree murder
the real Perry Smith led by police into the Garden City Kansas courthouse on Jan. 6, 1960 charged with first degree murder.

The film is based on Truman Capote’s non fiction novel that started the True Crime trend. Capote was looking to write a non-fiction novel and had been inspired by the shot gun murders of the Clutter family when the sensational crime hit the news in 1959.

defense lawyer Duane West in court with killer Richard Hickock
Defense lawyer Duane West in court with real killer Richard “Dick’ Hickock.
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Capote, Wilson and Blake on the set of In Cold Blood in Kansas…
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The Herbert Clutter family portrait

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The two were arrested on January 2, 1960 in Las Vegas and then executed by hanging on April 14, 1965. For the five years the two remained on death row they exchanged letters with Capote twice a week. Capote actually lived near the prison in Garden City and became very close in particular with Perry Smith and Richard ‘Dick’ Hickock. According to Ralph F. Voss in his book Truman Capote and the Legacy of ‘In Cold Blood’ he writes that Smith had the idea that talking with Capote would spare him from the noose. But when he learns of the working title of the manuscript he winds up confronting Capote, who manages to manipulate him into confessing about the night of the Clutter murders.

Clutter NEWSPAPER CLIP

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Real life killers Perry Smith and Richard ‘Dick’ Hickock… the mug shots…

Capote tells Smith that “The world will see him as a monster if he doesn’t open up and tell Capote what Capote wants to know.” Eventually Perry Smith does open up and relates that brutal night in a vivid confession to Capote that winds up being “memorable lines that appear in the book”. As Voss tells us, “It is during this confession that this film, like the book and like both Richard Brook’s and Jonathan Kaplan’s film’s before it portray the brutal murders of the Clutters. Capote marks the fourth time Herb, Kenyon, Nancy and Bonnie die in artistic representations of their tragedy–once in Capote’s pages, and three times on screen.”

Robert Blake Scott Wilson and Truman Capote

The film doesn’t necessarily convey the emotional conflict that Capote felt for his subjects which is more obvious in his novel, he also created a connection with the killers that would be shared by the reader. According to writer Jean Murley from The Rise of True Crime: The 20th Century Murder and Popular Culture, “The simultaneous evocation of compassion for the murderer and horror at his deeds makes In Cold Blood a new form of murder narration… Capote’s narrative treatment of his subject would draw the reader into an uneasy and unprecedented relationship with killers, creating a sense of simultaneous identification and distance between reader and killer.” Murley asserts that there is a comfortable distance the reader experiences, “a vicarious thrill, a jolt of fear, and a comforting reassurance that the killer is contained.”

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Dick about to hang

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The spectre of the rope behind Perry

Dick faces the gallows

Just one more point about Capote’s novel that Jean Murley makes which I think is pretty revelatory about the killer (Perry) referred to as ‘sweet, suave and fascinatingly fatal’… ‘ who was at once a devious and dangerous loner and a sensitive wounded man’ within that is the notion that Murley distills the ‘ambiguity and intensity of the reader/killer relationship that allows the writer to interrogate notions of good and evil, self and other.” The film while starkly angled from the killers point of view for a good deal of the film, doesn’t quite evoke that same sympathetic enigma, though Robert Blake does an incredible job of portraying a wounded soul.

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Dick Hickock
The real life angry mug of Richard ‘Dick’ Hickock

Conversely Dick Hickock is described and masterfully pulled off by Scott Wilson as “vulgar, ugly, brutal and shallow; he looks like a murderer (the real Hickock looks like a vicious punk) and he wants to rape Nancy Clutter before before killing her. Perry Smith is sensitive, handsome, artistic, a dreamer; sickened by Hickock’s lust (there is a scene in the film while the two are in Mexico where Hickock is drinking & carousing with a local working girl in the room with Perry) in the film Perry prevents the rape. And in keeping with the book, Perry almost loses his nerve to even go through with the robbery, getting sick in the gas station right up to the time they drive up to the Clutters property. There is some emphasis on Dick’s relationship to his cancer ridden father (Jeff Corey) which showcases the only genuine connection he has to humanity.

night of the clutters death traces of noir

nancy clutter

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While Dick visits with his sick dad, he takes the opportunity to steal a rifle from the barn.
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(Dicks dad watching the news about the murders ) Mr. Hickock “Terrible thing that happened” Dick replies like this… “I’ve never been so hungry in my life.”

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Dewey comes to interview Dick’s father (Jeff Corey) who is dying of cancer and he tells them the last thing Dick ever said before he left was “Pa, I ain’t never gonna do anything to hurt ya. And he meant it too.”

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Dewey (Forsythe) shows Perry’s dad (McGraw) a photo to confirm his son’s identity.
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Perry’s father was worked in the rodeo back in the day

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Mr. Smith “Well then I guess I haven’t seen him for 5 or 6 years, that’s no surprising though he’s a lone wolf. You guys can rest easy on one thing for sure you won’t be having any more trouble with Perry. He’s learned his lesson for sure. He wrote me from prison I wrote him right back pronto. I taught the boy is you take your punishment with a smile. And I didn’t raise you to steal. So don’t expect me to cry.just because you got it tough behind the bars. Perry’s no fool. He knows when he’s beat you fella’s got him whipped forever. The law is the boss. He knows the difference between right and wrong. You can bet on that because I taught my kids the golden rule. Always tell the truth, always wash in the morning, always be sober and independent. And I showed him how. How to prospect how to trap fur how to carpenter how to bake bread how to be his own boss. Yes he’s a chip off the old block….”

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In particular Capote became very attached to Perry Smith, and struggled with demons about his execution, believed that both men’s natures were impacted by their early roots in poverty. Capote was tormented because he sold his soul to the devil, in order to write this ‘real’ book fueled by a tragic story that ultimately results not only in the murders of the Clutters but in the deaths of his subject of interest Perry Smith who went to the gallows. As Voss calls it, “the cost of literary non-fiction”. He also came to the conclusion that neither man was by himself a mass-murderer, but linked together they fed each-others egos and compensated for their inadequacies, as John McCarty says, “by constantly arousing and bolstering certain expectations of one another, they evolved into a potentially violent third party that was more than capable of murder.”  

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Eventually Capote would publish his true crime tome in The New Yorker in four installments between September and October of 1965, published as the book in 1966, and becoming a huge success adapted to film in 1967.

As Jean Murley points out in Rise of True Crime, The 20th-Century Murder and American Popular Culture “Capote brought together and perfected the nascent conventions of what would become true crime, and his basic formula has been copied ever since.”

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jail photo

The film is elevated to a level of intense and searing reality due to brilliant cinematographer Conrad L. Hall’s  (Edge of Fury 1958, The Outer Limits television series 1963-64, Harper 1966, Cool Hand Luke 1967, Butch Cassidy and The Sundance Kid 1969, The Day of the Locust 1975, Marathon Man 1976, American Beauty 1999) incredible eye for scoping out a palpable environment filled with dread, tension and instability in the normally ordinary settings. Either mastering the closed in spaces between figures who shape the narrative, he also captures the alienation in the scenes when the duo are driving through the dirty dusty openness of the Great Plains. The additional moody atmosphere is lent a heightened sense of anxiety by Quincy Jones’ cool score. The film cast includes; John Forsythe as Alwin Dewey, Paul Stewart as Reporter Jenson, Gerald S. O’ Loughlin as Harold Nye, Jeff Corey as Mr. Hickock, Charles McGraw as Mr. Smith, Sammy Thurman as Mrs. Smith, Will Geer as The Prosecutor.

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The incredible opening scene when Perry is sitting in the dark of the bus, strumming his guitar and the little girl watches for a brief moment…

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Rev James on phone with Perry at Bus station
In the beginning scene Perry calls his friend Reverend James Post who tells Perry that he’s already broken parole because he quit his job, and not to dare enter into Kansas. It is a warning that Perry still has time to redeem himself before there is no turning back.
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Perry gets off the bus and calls from the terminal waiting for his friend who is getting paroled that day and meeting Perry there. Reverend Jim Post tells Perry “What ever you do don’t cross that river into Kansas”  This scene acts as a premonition while Perry shivers, tears up and just assigns himself to his fate. He was supposed to meet Willy J there. “Can you tell me where he went?… please Jim.” his voice quavers sweaty crying as if he knows that his life is about to turn for the worse. “Its very important, maybe the most important thing in my life” Rev. Jim Post tells him ‘Go back why not see your father.” Perry hangs up. It is his first fateful decision of the film…

The film opens with a starkly gloomy night scene, Quincy Jone’s slick score leading us into the scene, as a Greyhound bus heads toward the camera. Inside, Robert Blake dark and brooding is sitting with his guitar. Conrad L Hall lights Perry’s intense face with the strike of a match he uses to light his cigarette. In a powerful moment it accesses our full attentions. Perry blows the little flame out and all at once the scene is wiped out in one puff! The film begins to peak our senses of danger in much the way Robert Siodmak’s masterpiece of film noir The Killers (1964) opening had led us into the plot.

As Jürgen Müller eloquently says it in his overview of 1960s cinema –“In Cold Blood opes with a flash and stealthily proceeds to trap its prey in a fog of eerie cinematic expression, born of its black and white photography and Quincy Jones’ dark jazz score.”

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In November of 1959 Kansas, two ex-cons and social outliers, the quiet , yet brooding Perry Smith (Robert Blake) and hyper-kinetic egotist Dick Hickock (Scott Wilson) conspire to go out on an adventure to travel 400 miles in a beat up old Chevy, in order to rob the Clutter family farmhouse. The film is part genre of the dark road trip film as the two maneuver, scheme and machinate on their dark road trip toward their fate. True crime flash back, neo-noir, police procedural, the shades of gray between good vs evil and a moral commentary on the death penalty, allowing the narrative to elicit sympathy and a vision from both murderers point of view, the ‘outlaws perspective’. It is still a very sobering view into the minds of the human offal of society.

Perry Smith’s most infamous statement about the crime, “I thought he was a very nice gentleman. Soft-spoken. I thought so right up to the moment I cut his throat.” 

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Perry talks about his cellmate Willy Jay refer to him (Perry) as being ‘unstable, explosive’ and him laughing about it being true. Dick comments that Willy Jay was a flaming faggot, Perry says he was the best friend he ever had…

Dick had been fed some gossip by an inmate friend, that Herbert Clutter (John McLiam) a wealthy farmer keeps a fortune, $10,000 stashed in his safe at the house. The two decide that it would be an easy job to grab the loot and head for Mexico, leaving their hard lives behind them. What becomes a spiraling coil of nerves, is fed from both Perry’s apprehension about the plot working and Dick’s cock sure attitude. In the twist of fate, it is Perry’s growing inner aggression that becomes the catalyst for the final annihilation of the family. Though Dick acts the part of punk, saying ‘No Witnesses he is not only priming Perry to be the one to have blood on his hands but by this time it is Perry who at first seems hesitant and adverse to violence, explodes in cold nuclear fission of seemingly senseless bloodshed.

The way In Cold Blood is constructed, it begins to release the tightly wound coil as the two draw nearer to the Clutter home, we are introduced to this clean cut American family in their daily life, in the light of the day, showing the family as an ordinary close and loving bunch right before they are about to be slaughtered. By the time the two men arrive, it is the dark and ominous shadow of night cloaking the ranch. Perry and Dick begin to wrangle the family bringing the men down to the basement tied up. But it is the day after the murders once the police arrive and told later on in flashback that we get hints of the savagery, that we could only imagine was about to happen the night before.

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Officer standing-“There’s two more in the basement”

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Officer Harold Nye (Gerald O McGlaughlin) asks Alvin Dewey (Forsythe) in the basement of the Clutter Home crime scene “The old Kansas myth. Every farmer with a good spread is supposed to have a hidden black box somewhere filled with money” He also asks if he thinks it’s the work of just one man. Dewey “It could be one man… a mad man…”

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The Kansas police begin their search in vain, as Perry and Dick make it to Mexico to hide out. Dick who is interested in partying with the senóritas Perry living half in surreal flashbacks to his bleak beginnings as a child with several siblings and his mother a beautiful Native American woman who liked her alcohol and other young men and committed suicide. His brutal father who drew a shot gun on him and chased him out of the house. Perry had a grim, sad and claustrophobic life, and thus he fantasizes. Perry makes a reference to digging for gold just like Humphrey Bogart in The Treasure of the Sierra Madra 1947. The irony of him finding empty bottles in the dessert that only yield a few cents, which he shares with a young homeless boy and his grandfather is a particularly humanizing scene in the midst of the fatalistic outcome that is inevitable. Perry never meant to amount to anything but a lost dreamer with no home.

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Perry tells Dick -“I think… you’re a bastard…”

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Not only is Perry a dreamer, but Dick is an egomaniac and also has delusions of grandeur. Once the two figure on having to come back to Nevada in order to get some cash, they are quickly picked up by the authorities and charged with the murders. Soon after, they realized they will be facing the death penalty.

Perry revisits that night at the Clutters, flashing moments of the night on the screen. We see them fumbling for the non existent safe. The mass murder that only yielded them a mere $43.  We see Perry and Dick rummaging through the house looking for anything valuable. Hall’s camera finally settles on the family coldly bound, gagged and positioned in a certain way that sends chills up the spine. Ultimately it is here that it is revealed that its the reluctant and quietly brewing fury inside Perry that goes on a single rampage and executes each family member calmly and cold-bloodily.

I guess the only thing I'm gonna miss in this world is that poor old man

Perry starts to break
“I guess the only thing I’m gonna miss in this world is that poor old man.” referring to his father.

Once again, Jürgen Müller-“The contradictions of the characters give the audience an inkling of what might have led to this senseless act of ultra violence.”

There is an element of homo-erotic attraction between Perry and Dick. It is unspoken yet it’s palpable to me, amidst the warm beer, faded treasure maps, dark brooding antagonism, prison scars, tattoos, sweating, greasy hair, aspirin popping, peacockery, wise-cracking resentment toward society and the morally driven nuclear family of the mid to late 50s.

Perry great shot bed tattoo

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From Movie Psychos and Madmen-Film Psychopaths from Jekyll and Hyde to Hannibal Lecter by John McCarty- McCarty’s chapter on Killer Couples points out how Capote’s film was the most “famous example of this type of lethal psychological interrelationship.” And though Smith had boasted to Hickock that he wasn’t a stranger to killing before that fateful night where his pent up aggression turned violent and he cold-bloodily killed four innocent people. Hickock was the one who “earmarked the Clutters for robbery, and it was he who engineered the heist by passing bad checks to buy the materials needed for the job. More important, it was Hickock, who was the dominant half of the pair.” Hickock appears the alpha male who uses the term ‘faggot’ too easy and Smith the submissive lover within the dynamic of their odd relationship. McCarty goes on to write, “Smith looked up to him and slaughtered the defenseless Clutters, toward whom Smith admitted later he never felt any anger, as a way of proving himself to his more glib, brash, and manipulative buddy.”

Deadly Duo

“You’re good. You’re really good! Smith tells Hickock who moves with ease as he proceeds to con a bunch of store owners passing bad checks. And on the flip side, Hickock is also impressed once Smith kills the helpless Clutters whose only provocation to violence is that they are ordinary. McCarty’s insight points out that like Leopold and Loeb, the same function worked for that killer pair, the less dominant wound up being the one who perpetrated the murder, while the more controlling “partner lent immoral support.”

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Will Gear as the prosecutor
Will Gear as the Prosecutor: “Mercy for them. The killers. How fortunate that their amicable attorneys were not present at the Clutter house on that fateful evening. How very fortunate for them that they were not present that evening to plead mercy for the doomed family, because otherwise, they would have found their corpses too. If you allow them life imprisonment, they will be eligible for parole in 7 years. That is the law. Gentlemen, 4 of your neighbors were slaughtered like hogs in a pen by them. They did not strike suddenly in the heat of passion, but for money. They did not kill in vengeance, they planned it for money. And how cheaply those lives were bought. $40. $10 a life. They drove 400 miles to come here. They brought their weapons with them. [picks up a shotgun]… This shotgun. [picks up a knife] This dagger [picks up a rope] “This is the rope they hogtied their victims with. [picks up a vial of blood] “This is the blood they spilled. Herb Clutter’s. They who had no pity, now ask for yours. They who had no mercy, now ask for yours. They who shed no tears, now ask for yours. If you have tears to shed, weep not for them, weep for their victims.” [picks up a copy of the Holy Bible] “From the way the Holy Bible was quoted here today, You might think the word of God was written only to protect the killers, but they didn’t read you this: Exodus 20:13: ‘Thou shalt not kill.’ Or this: Genesis 9:12: ‘Who so sheddeth man’s blood, by man shall his blood be shed.’
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Perry and the spectre of the rope

Here is a recently released article in the Smithsonian about Capote’s long time friend and writer Harper Lee (To Kill a Mockingbird).

Read Harper Lee’s Profile of “In Cold Blood” Detective Al Dewey That Hasn’t Been Seen in More Than 50 Years

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From the Smithsonian.Com Reprinted here for the first time, the article was published five years before Truman Capote’s best-selling book

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Dick: [to Perry, just after arrest] “Hey, Buddy, put in a call for that big, ol’ Yellow Bird!”
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Dick begins to flip on Perry

The Big Yellow Bird he is referring to is a symbol, a warrior angel that comes to him in his dreams It is his savior, a protector he had during his dark days. He describes the bird as being “taller than Jesus, yellow like a sunflower.” 

The irony of the film plays itself out in little subtle commentaries like the insurance salesman who wishes Herb Clutter the night before he is murdered “A very long and healthy life” or the moment in Las Vegas, Dick at the wheel of the car wanting to gamble because he’s feeling lucky, at that split second the police car pulls up next to them and the scene cuts away to the Perry and Dick being brought in to the station.

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Dick: “I don’t know gold dust from diarrhea!”… Dick: [to Perry] “I’m SICK of it, maps, buried treasure, ALL OF IT! So ship it, burn it, get RID of that ton and a half of garbage! There AIN’T no buried treasure, and even if there WAS, boy, hell, you can’t even swim!”
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Perry says to Dick-“You know, there’s got to be something wrong with us to do what we did.”
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Dick: “Next move… Mexico. Once we beat it out of the country.” Perry: “On what? $43 and a smile and bullshit.” [First use of the word ‘bullshit’ in a Hollywood film] Perry: “It’s true! Really true! We’re on our way and never coming back. Never! And no regrets.”
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Dick: “For you. You’re leaving nothing. What about my old man… and my mother? They’ll still be there when my checks start bouncing.” Perry: “It’s nice the way you think about your folks. Dick: “Yeah! I’m a real thoughtful bastard.”
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part of the opening sequence once Perry gets off the bus and heads to the men’s room to wash up

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While at the bathroom mirror Perry fantasizes about being a huge celebrity playing the circuit in Las Vegas.

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Dick: “You guessed it, chief. It’s the smile that does it. Like it says in the commercials, the family that sticks together lives forever.” Perry: [to himself, looking in a bathroom mirror] “Stick ’em up!” Perry: “Hey, buddy!” Perry: [realizing he’s being watched] “How long you been standin’ there?” Dick: “Long enough to catch your late late show.”
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Perry Smith sympathetic
Perry: [quoting his father] “Look at me boy! Take a good look! Cause I’m the last living thing you’re ever gonna see!”
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Dick-“Hey Andy, does it tell anywhere in those big books what happens when you take the big drop?”
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Andy-“Well your neck breaks… and you crap your pants.”

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Dick-“Hey Andy say hello to Mr. Jenson he’s writing the story of my life.” Andy asks “Why?” and Dick giggles and tells Jenson how Andy killed his entire family.  “Andy’s a nut but I like him!” Jensen asks “What about Perry don’t you get along?” Dick says,“Heck there ain’t nobody get along with him. There’s 5 guys waiting in here for the big swing. Little Perry’s the only one yapping against Capital Punishment” Jensen surprised asks,”Don’t tell me you’re for it” Dick answers, ”Hanging will only get ya revenge. What’s wrong with revenge. I’ve been revenging myself all my life…”
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Perry to the guard “I’ve got to go to the toilet.” Guard-“We can’t remove the harness there may not be time.” Perry-“Please” Guard-“Try to control yourself.”
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Perry-“But that’s it when you hit the end of the rope… your muscles lose control. I’m afraid I’ll mess myself.” Guard-“It’s nothing to be ashamed of. They all do it”… Perry-“I despise people who can’t control themselves.”
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And the most senseless gist of the whole story… Perry explains: “It doesn’t make sense. I mean what happened. It had nothing to do with the Clutters. They never hurt me. They just happened to be there. I thought Mr. Clutter was a very nice gentleman… I thought so right up to the time I cut his throat.”

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execution day dark rain

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Jensen: “I see, the hangman’s ready. What’s his name?”
I think maybe I'd like to apologize
Perry: [his last words] ‘I’d like to apologize, but… who to?’

Continue reading “The Great Villain Blogathon 2016: True Crime Folie à deux: In Cold Blood (1967) & The Honeymoon Killers (1969)”