Happy Birthday to Bradford Dillman April 14

Bradford Dillman in a scene from the film ‘Circle Of Deception’, 1960. (Photo by 20th Century-Fox/Getty Images)

Untroubled good looks, faraway poise & self-control, with a sartyrial smile and brushed-aside sophistication  – that’s Bradford Dillman

Bradford Dillman is one of those ubiquitous & versatile actors who you find popping up just about everywhere, and whenever I either see him in the credits or think about some of his performances, I am immediately happified by his presence in my mind and on screen.  It’s this familiarity that signposts for me whatever upcoming diversion I’m in store for, will be something memorable indeed.

He’s been cast as a saint, a psychopath, elite ivy league intellectuals with an edge, unconventional scientists, military figures, droll and prickly individualists, clueless bureaucrats, or drunken malcontents and he’s got a sort of cool that is wholly appealing.

Bradford Dillman was omni-present starting out on the stage, and major motion pictures at the end of the 50s and by the 1960s he began his foray into popular episodic television series and appeared in a slew of unique made for television movies throughout the 1970s and 80s, with the addition of major motion picture releases through to the 90s. His work, intersecting many different genres from melodramas,historical dramas, thrillers, science fiction and horror.

There are a few actors of the 1960s & 70s decades that cause that same sense of blissed out flutters in my heart — that is of course if you’re as nostalgic about those days of classic cinema and television as I am. I get that feeling when I see actors like Stuart Whitman, Dean Stockwell, Roy Thinnes, Warren Oates, James Coburn, David Janssen, Michael Parks, Barbara Parkins, Joanna Pettet ,Joan Hackett , Sheree North,  Diana Sands, Piper Laurie, Susan Oliver and Diane Baker.  I have a fanciful worship for the actors who were busy working in those decades, who weren’t Hollywood starlets or male heart throbs yet they possessed a realness, likability, a certain individual knack and raw sex-appeal.

Bradford Dillman was born in San Francisco in 1930 to a prominent local family. During the war he was sent to The Hotchkiss School in Lakeville, Connecticut. At Hotchkiss, senior year he played Hamlet. At Yale he studied English Literature and performed in amateur theatrical productions and worked at the Playhouse in Connecticut. Dillman served in the US Marines in Korea (1951-1953) and made a pact that he’d give himself five years to succeed as an actor before he called it quits. Lucky for us, he didn’t wind up in finance the way he father wanted him to.

Actor Bradford Dillman (Photo by  John Springer Collection/CORBIS/Corbis via Getty Images)

Dillman enrolled and studied at the Actors Studio, he spent several seasons apprenticing with the Sharon Connecticut Playhouse before making his professional acting debut in an adaptation of Nathaniel Hawthorne’s “The Scarecrow” in 1953 with fellow Studio students Eli Wallach and James Dean. Dillman referred to Dean as ‘a wacky kid’ but ‘very gifted’.

He only appeared in two shows in October 1962 of The Fun Couple in 1957 with Dyan Cannon and Jane Fonda before the play closed in New York only after two days.

We lost Bradford Dillman last year in January 2018. I was so saddened to hear the news. And I missed the chance to tribute his work then, but now that his birthday is here, I feel like celebrating his life rather than mourning his death, so it’s just as well.

Bradford Dillman wrote an autobiography called Are You Anybody? An Actor’s Life, published in 1997 with a (foreword by Suzy Parker) in which he downplays the prolific contribution he made to film and television and acting in general. Though Dillman didn’t always hold a high opinion of some of the work he was involved in, appearing in such a vast assortment of projects, he always came across as upbeat and invested in the role.

“Bradford Dillman sounded like a distinguished, phony, theatrical name, so I kept it.”

[about his career] “I’m not bitter, though. I’ve had a wonderful life. I married the most beautiful woman in the world. Together we raised six children, each remarkable in his or her own way and every one a responsible citizen. I was fortunate to work in a profession where I looked forward to going to work every day. I was rewarded with modest success. The work sent me to places all over the world I’d never been able to afford visiting otherwise. I keep busy and I’m happy. And there are a few good films out there that I might be remembered for.”

Continue reading “Happy Birthday to Bradford Dillman April 14”

A Conversation with Television Icon 📺 Jerry Mathers

Jerry Mathers is an American Icon whose presence undoubtedly continues to contribute to our collective consciousness. Born on June 2, 1948 in Sioux City, Iowa, he started as a child model from the age of two, and that led to his television and show business career in live television in the early 1950s. Jerry first worked on the popular Spike Jones live show. Jones was an American musician and bandleader Spike Jones and his City Slickers whose signature concept The Musical Depreciation Revue was satirical arrangements of popular songs, loud and not-quite-jazz-music of the 50s featuring musical riffs punctuated with unconventional noises like gunshots, whistles, and outrageous farcical vocals. His drummer would use trash can lids as cymbals and the trumpet players would use toilet plungers as mutes. The slapstick gimmick was certain whimsical instrumentals would cue Spike to drop his pants revealing his very loud boxer shorts.

When Jerry Mathers was about 3 years old he would walk out on stage with a big sign and start pulling on Spike’s coat tails. The sign read ‘commercial’ to let him know that he had to take a break. Spike would chide him and shoo him away and then eventually go to the commercial. Working on the Spike Jones Show brought Jerry more work, because people saw that he could go out on stage with the irascible Jones and not get rattled.

Jerry’s Mathers’ first foray into television was his debut in 1950 for a Pet Milk commercial with Ed Wynn on the Colgate Comedy Hour. The set up: A huge bar room scene with cowboys fighting one and other and actor Ed Wynn tending bar. Jerry comes in through the swinging doors — amidst all the stuntmen brawling and breaking bottles over each other’s heads — in diapers, a ten gallon hat, six guns, and his big cowboy boots. One of the cowboys picks little Jerry up and sets him down on the bar where he pounds his little fist and utters his very first lines, “I’m the toughest hombre in these parts and you better have my brand” as Ed Wynn puts a can of Pet Condensed Milk on the bar! ( I wish there was an existing copy of this commercial )

Jerry as David Myer in This is My Love (1954) starring Linda Darnell

Jerry Mathers began to get cast in many early 1950s television programs, variety hours and early live dramatic shows. And in 1954, he made his film debut in This is My Love starring Linda Darnell and Dan Duryea.

Soon after appearing in a major motion picture his impish, precocious ways caught the eye of master director/storyteller Alfred Hitchcock who cast Jerry as Arnie Rogers for his mystery/comedy The Trouble with Harry (1955) starring John Forsythe, Shirley MacLaine in her first role, and some of the best character actors– Mildred Natwick, Mildred Dunnock and Edmund Gwenn. Next up at age 5 Jerry appeared with Bob Hope in two major motion pictures as Bryan Lincoln Foy, the black licorice lovin’ little rascal in The Seven Little Foys (1955) co-starring James Cagney and George Tobias. And he played the wonderful Norman Taylor in That Certain Feeling (1956) co-starring Eva Marie Saint, George Sanders and Pearl Bailey.

The Trouble with Harry official trailer:

Bob Hope was wonderful with Jerry Mathers in the hilarious scene with the cute little guy eating his black licorice both actors’ body comedy was spot on — Hope choreographed the scene brilliantly with Jerry. It was pure genius. Jerry’s tugging at Bob’s coat, kicking and screaming the whole way.

Bob Hope actually played a part in saving Jerry Mather’s life on the set of the vaudevillian biopic The Seven Little Foys. Back then they used candles to light the stage. Jerry was sitting up in the catwalk and the stuntman was supposed to put gasoline on the curtain so it would ignite and all the extras were supposed to panic and run out of the theater, with the stuntman dressed as Bob Hope climbing up and saving little Bryan Foy (Jerry Mathers) from the flames. Well, Jerry was sitting up on the catwalk when they accidentally put too much gasoline on the curtains, that caught fire. The extras who were supposed to be fleeing the theater saw all these  flames and actually did panic, and the stuntman dressed as Bob Hope got pushed out the door and no one realized that Jerry was still up on the catwalk but Bob Hope.

Bob courageously threw a blanket over himself and ran through the flames, grabbed a ladder, and got Jerry out safely. In another interview Jerry said that he remembers the flames but it was also dripping like raining fire fragments because the cloth as it burned was dropping off. It must have been terrifying! So thanks to Bob Hope for saving Jerry’s life. They couldn’t even use the footage from the first fire. They had to re-shoot the entire scene all over again, because there was too much smoke and flames and they couldn’t see Bob Hope climb up and rescue Jerry so the very next day they had to do it all over again with A LOT less gasoline on the curtains. They didn’t even use a stuntman, they shot it with Bob Hope who went up and got Jerry but the scene was a lot more toned down.

I found a small clip from the film which includes the re-shot recreation of the fire at the Iroquois Theater — with a little less gasoline this time!– and Bob Hope climbing the ladder and not a stunt man as planned. Hope is not only a comic genius, but courageous!

Jerry talks about Bob Hope –

“He was really a fun person to work with. I did That Certain Feeling with him too and actually I did The Seven Little Foys first and I had a very small part in that and he liked me so much that in the next one in his next movie I had a very very big part and it was with Norman Panama and Melvin Frank who were some great writers if you go back and look at some of the things they’ve done and they both directed, I think they were writer/producers but because there were two directors we would do some scenes twenty and thirty times and the one would come over and say you do it this way and then they’d come back and say okay now do it this way and you just kept doing it so as a child it was I imagine now as an adult actor I would even think its tedious. It’s a great movie. And he always made it fun. You know we’d sit there and do this same scene and he just made it so much fun as I say most people know him by seeing him on stage and he was just fun loving and just a great person to work with.

…Bob Hope was always seen as this very lovable person but George Sanders in a lot of his movies played, not villains but he had kind of an edge to him so when I first met him it was actually kind of scary and the other person.”

Among the other cast members he was very taken with Pearl Bailey who sung to him in the film, he liked her very much and thought the world of her.

 “She made the movie so much fun and her and Bob Hope used to clown around it was just so much fun to watch.”

Jerry Mathers in That Certain Feeling (1956)

Jerry Mathers in The Seven Little Foys (1955)

Other major motion pictures of the 1950s Jerry Mathers appeared in:

Men of the Fighting Lady (1954) and director Nicolas Ray’s Bigger Than Life (1956) starring James Mason and Barbara Rush. The gritty and obscure film noir The Shadow on the Window (1957) starring Philip Carey, Betty Garrett and John Drew Barrymore. And The Deep Six (1958) starring Alan Ladd.

“Our generation is the first to have grown up with TV. I’m one of the first kids that they watched grow up on television.” –Jerry Mathers

It was the advent of television. TV was something new, and it was all live studio work. Jerry Mathers explains that while there were child stars in motion pictures, there weren’t really any television child actors, so they thought they could pool from child models who were used to being out on stage and could follow direction.

Heinz 57 was sponsoring and premiering a lot of television variety shows and pilots and after a year or more of languishing it was actually General Douglas MacArthur who was on the board of Remington-Rand (Typewriters) who decided to option the series. The pilot for the show was initially called It’s a Small World.

There was a cattle call for the pilot show where over 5000 young boys of varying ages turned up to audition for the part of both brothers and their friends. His mom wasn’t sure she wanted Jerry to do a series. After many weeks of showing up for the grueling audition schedule, Jerry started to get a bit tired of the process of sticking around, saying his lines, and being told to come back the next day as they weeded out the potential actors for the series. It came down to the last 10 kids and the day he was supposed to show up at the casting call, he had his first cub scout meeting, so he didn’t want to go. Writers Joe Connolly and Bob Mosher both had big families and were used to the machinations of children. They noticed that Jerry was acting pretty fidgety on the rehearsal stage. He agreed to go to the audition only after his mother fixed it so they could go to the audition and his cub scout meeting right afterwards, Jerry even wore his cub scout uniform to the audition.

LEAVE IT TO BEAVER, 1957-63, Hugh Beaumont (kneeling), Bob Mosher (co-creator), Jerry Mathers, Tony Dow, Joe Connelly (co-creator) (sitting), Norman Tokar (director) (kneeling), 1958, on-set

It seemed like it took forever watching each kid to go in and run their lines. Finally he was called in. Young Jerry went inside, said his lines and came right out in a short period of time. His mom asked why he was done so quickly, he told her that they asked him if he wanted to be there and he said “no,” he’d rather go to his cub scout meeting. That night they called and said he’d gotten the job! They’d rather have a boy that wanted to go to a cub scout meeting rather than be an actor. The producers chose him because they wanted a boy who possessed the genuine spirit of a real little boy.

LEAVE IT TO BEAVER, Jerry Mathers, Hugh Beaumont, ‘The Black Eye’, (Season 1), 1957-63

And of course Connolly and Mosher just loved young Jerry every time he showed up for each exhaustive part of the audition process. Jerry Mathers is the consummate professional. He began his career at age 2, he took direction well, learned his lines perfectly, and gained immeasurable experience in the early infancy of television with variety shows and dramatic live performances. He is such an extraordinary actor and a natural talent that he makes you believe he wasn’t following direction at all, and somehow he had manifested Theodore ‘Beaver’ Cleaver as a very real character — a universally lovable little guy. And after listening to interviews and talking to the actor himself, he makes it clear that there was a little bit of himself in Beaver, and a bit of Beaver in Jerry Mathers. The skill involved makes you think that what you’re seeing is real, and that is an art. A lot goes into the process of creating, not only a believable and beloved iconic character, but a television series that will go on to last decade after decade. And as you will learn from my conversation with Jerry Mathers, that lovable little boy was very serious and focused on the craft of acting all while having the time of his life!

“You know, working isn’t as much fun as I thought it would be. I wonder why older people do it so much?” —Beaver Cleaver

On Friday October 4th 1956, months after the pilot aired, Leave it to Beaver debuted on CBS and began a legacy of the magic and innocence of childhood. The iconic television sitcom Leave it to Beaver is about an inquisitive and often unsuspicious little lad whose misadventures within the world of his suburban middle-class life symbolized the idealization of the American family during post WWII.

The first sublimely marvelous episode ‘Beaver Gets Spelled’ introduces Beaver and Wally navigating the tricky mechanism of kid vs school and authority. It includes a scene where they feign taking their baths by running the tub, dampening towels and throwing in some turtle dirt so it leaves a ring. The next episode ‘Captain Jack’ which made television history by featuring the first toilet shown on TV. Beaver and Wally send away for a pet alligator from the back of a comic book. In the 1960s, I ordered all sorts of things as a kid, including a giant rubber fly, sea monkeys, and x-ray glasses! It’s a quirky entertaining episode with wonderful moments — for instance when Ward accuses Minerva the cleaning woman of getting drunk on the job when she says there’s an alligator in the basement sink. In 1997 ‘Captain Jack’ was ranked number 42 in TV Guide’s 100 Greatest Episodes of All Time.

In 1957, radio, film and television writers/producers Joe Connelly and Bob Mosher conceptualized a television show that would feature the family life of an average suburban couple and their young children. Connelly and Mosher met in New York City while working on the radio show Amos ‘n’ Andy, which they continued to be involved with after it moved to television in 1950. What set the show apart from other family sitcoms and domestic comedies of that time period like Ozzie & Harriet or Father Knows Best is that their show would be conveyed through the eyes of the children and not their parents, which introduced a new direction for a mainstream family genre, a series being told from the kid’s point of view. Leave It to Beaver is a thoughtfully lyrical insight of middle-class American boyhood.

Both Connolly and Mosher had kids of their own and actually got their inspiration for the characters, plot lines and dialogue from their own personal lives and conversations from their children. Most or all 234 episodes, 39 per year for 6 years, were taken from real life situations.

Joe Connolly collected stories in a notebook over the years with anecdotes based on things that really happened to family and friends, embellishing a bit along the way. “If we hire a writer we tell him not to make up situations, but to look into his own background. It’s not a ‘situation’ comedy where you have to create a situation for a particular effect. Our emphasis is on a natural story line.” -Joe Connolly

“The Haircut” episode, for example, is based on something that happened with Bob Mosher’s son who had to wear a stocking cap in a school play because he gave himself a terrible hair cut like the one Beaver gave himself with the help of brother Wally of course!

Even the name Beaver was inspired by a merchant marine friend of Joe Connolly’s during WWII. Both Connolly and Mosher became executive producers on the show having initially written all the earlier episodes. Later on they began accepting scripts from other writers.

The series cinematographers were Mack Stengler, who shot 122 episodes between 1958 and 1962, and William A. Sickner who worked on 37 episodes between 1957 and 1959, and later included Fred Mandl, and Ray Rennahan. The cinematographers often keenly lensed the series using angles that emphasized the world from Beaver, Wally and their mischievous friends’ perspective.

Director Norman Tokar, who had experience working with children, directed most of the episodes for the first three years and developed the characters of Eddie Haskell and Larry Mondello. Other directors involved in the series include Earl Bellamy, David Butler (who had worked with Shirley Temple), Bretaigne Windust, Gene Reynolds, and also Hugh Beaumont directed various episodes. Norman Abbott directed most of the episodes during the run of the last three years.

Leave it to Beaver is so memorable for us because it’s an allegorical journey of innocence and the magical world of childhood. Beaver is the ‘innocent’ while Wally is the ‘transitional’ character. Wally tries to explain to his brother what the world is really like, because he’s been out in the world longer. Beaver often looks to Wally for guidance as he tries to navigates the awkward and often perplexing situations he gets himself into.

Beaver grew up on the television screen, and we watched his trajectory of his adventures and life lessons through his perspective. The show shared the valuable and straightforward morals he learns about life, love, and friendship. And amidst all the shenanigans and mischief, Theodore ‘Beaver’ Cleaver is a very loyal, caring and kind little fella. Leave it to Beaver has touched fans’ lives immeasurably at the core of our collective hearts.

LEAVE IT TO BEAVER, Jerry Mathers on-set, (1959), 1957-63

Not only is Leave it to Beaver known as the first television show to reveal a toilet on air but quite a few scenes occurred in the boys bathroom. There’s even an episode where Beaver allows a bum to come in and take a bath getting all sudsed up in Ward and June’s bathroom. Then he takes one of Wards best suits! It’s a crazy bit of trivia but tubs and toilets were what the censors took notice of!

Jerry has mentioned in other interviews as well as in our conversation that the environment on the set was geared toward everyone involved feeling like a family, and making sure that the crew’s families felt welcomed and included. Writers Joe Connolly & Bob Mosher visualized the series with a very conscious aim at representing the idealization of the American family and the American Dream of the 1950s but somehow they managed to narrate finely drawn messages within the framework of the story lines. They even contributed to The Munsters which was a way to invert the average All-American ideal using an unconventional family of monsters to introduce not so subtly, the idea of ‘difference.’

Leave It to Beaver was filmed at Republic Studios in Studio City, Los Angeles during its earliest run of Season 1 and 2. Then the production moved to Universal Studios for the last four seasons of the show. All the exteriors, including the façades of the two Cleaver houses, were filmed on the both studio’s back lots.

One of the intros for Alfred Hitchcock Presents was done on the set of the Cleaver home. The studio went around looking for places and they decided on the Cleaver living room. If you know the design of the house, and all the furniture – notice the foyer and as Jerry Mathers says- “It’s probably a murder mystery – but they actually filmed on their set (Leaver it to Beaver) one day…”

One of the significant elements of the series was the musical theme song at the opening of Leave it to Beaver and it’s incidental music throughout. Each episode was accompanied by whimsical, evocative and poignant melodies that help elevate the story lines in moments that invoked either the adventurous spirit, the curious imagination, or tap into the bonds of affection and kindness. The opening spirited theme song “The Toy Parade” was written by David Kahn, Melvyn Leonard and Mort Greene. For the rest of the wall to wall incidental music CBS utilized stock music from their Television Orchestra library, suggestive of shows from that decade and early 1960s. There are expressive melodies used in Leave it to Beaver that can be heard in the studio’s other shows, such as Alfred Hitchcock Presents. The final season showcased one of my favorite composers Pete Rugolo who scored many television series of the 1960s.

Essentially the typical set up for each episode of Leave it to Beaver places Beaver or Wally or both boys in situations where they get into some sort of mishap or predicament. First they try to noodle their way out of it somehow by covering up or avoiding the issue, eventually coming before his wise but not infallible mother and father June and Ward for his/their admonishment. Often June and Ward would discuss their own shortsightedness in handling the boys, ultimately admitting that they have a lot to learn as parents. This is part of what makes the show so earnest and endearing. And the affectionate and often humorous chemistry Barbara Billingsley and Hugh Beaumont share comes across as real as can be.

Frequently Ward tries to impart some kernel of wisdom referring to classical myths and literary characters as models for teaching the boys moral lessons about making good choices, and solving problems. Ward often idealizes his own childhood, forgetting the various ways boys can get in trouble. He gives the boys Tom Sawyer to read, forgetting that the book is full of Tom’s bad habits and delinquency. Applying the logic to their own lives, for example when Beaver fights with Larry, and Ward tells him the story of Damon and Pythias, and the boys make a friendship pact that at first backfires on Beaver when Larry takes advantage expecting him to ‘die even’ for him by giving him his math homework. Ultimately, Wards story gets through to Larry, and the boys learn a valuable lesson about integrity, loyalty and friendship.

LEAVE IT TO BEAVER, Barbara Billingsley, Jerry Mathers, Hugh Beaumont, 1957-63

One of the tenets of the show is emphasis on cleanliness and the importance of good grooming habits, manners, your appearance and caring for your personal belongings. Like not throwing your grubby socks under the bed or in contrast to June’s wishes that the boys take a bath, the two run the tub, dampen towels, and then throw some of Beaver’s turtle dirt in to create a ring.

While girls were still ‘creepy’, It’s a mischievous ruse that would eventually be left behind as Wally grew up and pampered and preened himself once he started to notice girls. Beaver’s awakening came a bit later, though he did have sweet crushes on Miss Canfield (Diane Brewster) and Miss Landers (Sue Randall), he wasn’t above coming up with great verbal scourges like telling Violet Rutherford “You do too drink gutter water” after she gives him a black eye and calling Linda Denison ‘a smelly old ape’ when the other kids accuse him of being her boyfriend.

And Leave it to Beaver dealt with issues that were pretty enlightened for it’s era. There was an episode that dealt sensitively with alcoholism as Beaver becomes aware of the issue within a very tender friendship with the house painter. There is a story line where one of June’s college friend’s son Dudley comes to spend time with the Cleavers. Wally is asked to befriend him and introduce him to his friends. Dudley is gentile and cultured, playing piano, and wearing an overcoat and fedora. He carries a briefcase to school which serves as fodder for Eddie Haskell to ridicule the young man for being an oddball. Dudley was an outsider, the idea of his difference was blaring and the show handled it to subtle perfection. It was a very interesting character as he represented a very ‘different’ sort of teenage boy.

There was also the episode that showed a Latino immigrant family whose little boy Chuey communicates with ease, without Beaver speaking Spanish embracing their new found friendship without prejudice, until Eddie Haskell injects his cruel joke laced with racism when Beaver asks Eddie to teach him a Spanish phrase to surprise Chuey with, Beaver innocently tells Chuey he has ‘a face like a pig’. Even the episode with Lillian Bronson as the local ‘witch’ who was really just an older woman living by herself in a spooky run down house was a lesson in not judging people by their appearance.

Then there was the episode that dealt with classism involving the Junkman’s kids. While June worries a bit that the boys will be playing in a dirty environment surrounded by garbage and rats and boys who might be rough around the edges — boys from the other side of town–  she learns that there is understanding and alternate wisdom to be shared from unexpected places and it teaches her not to judge people by their station in life, as they share endearing observations about June and Ward that impress not only Beaver and Wally who have a new perspective on their parents seeing them “through the eyes of the Junkman’s kids.”

Leave it to Beaver in it’s own innocuous way even Introduced esoteric themes of the supernatural in a humorous fashion with the episode Voodoo Magic where Beaver believes he’s inflicted a curse on Eddie Haskell by sticking pins and nails in his Raggedy Andy doll. It’s one of my favorites of the series. Ward in his calm and sagely manner even teaches Beaver than you can beat a bully like Lumpy Rutherford by not becoming like him. But Ward learns his own lesson when he realizes that he sabotages Beaver’s self-confidence when he is disappointed that he’s only playing a yellow canary in the school revue and not a bald eagle. His underlying dismay at his son representation of masculinity by playing a whimpy bird sends Beaver into a panic on the night of the show.

And Beaver catches the capitalist fever in Water, Anyone? when the water main is shut off, and he gets inside information from the water department guys digging up the road. Beaver proceeds to try and sell his jugs of water from his wagon to the neighborhood, inciting one of the local housewives to call Ward up and invoke the word ‘communism’ in her rant. It’s another of my favorites. And there’s more than one episode that shows Beaver’s sensitivity and caring for all creatures great and small.

After hearing Miss Landers recite a poem about trees, he is so moved that he goes to rescue the tree given to him on his birthday a few years back, that is still rooted at his old house. Beaver digs it up with the help of Larry Mondello and sneaks it back to replant it at his new house. What might seem like simple childhood exploits, there is always a small shining gem of wisdom within the narrative.

Some people may assess the show as syrupy or fluffy but the show is way more nuanced about unconditional love, acceptance, tolerance, difference and embracing the vast untapped qualities revealed by a child’s flourishing imagination.

“Give the shrimp a paddle!”

Therefore the show shouldn’t be constrained by 1950s standard. Uncle Billy and Aunt Martha who is an elitist, were single adults with no experience raising children, Billy is painted as sort of the ‘black sheep’ on Ward’s side of the family, a braggart and exaggerator who travels and doesn’t have a stable lifestyle and June’s Aunt Martha doesn’t seem to be in touch with how to raise boys in a contemporary manner, dressing Beaver in short pants that lead to him getting into a brawl at school. Even Mrs. Mondello has to raise the problematic Larry as her husband is always out of town and rarely taking charge at home, leaving her to scramble for advice, often looking to Ward to help straighten out Larry when he gets into mischief.

Of course Eddie Haskell is an archetypal anti social troublemaker who is the counterbalance to Wally’s clean cut, always follow the rules kind of idealized All-American boy.

The series offers us drunks, bums, effete males, bullies, fat shaming, and the emotional subject of divorce. A friend of Beaver’s from camp Konig spends the weekend. He is bought off by gifts and cash to keep him placated while he’s left alone amidst a hostile divorce, where the parents remarry every other year. This episode features another fine child actor, Barry Gordon who was nominated for a Tony Award for his portrayal of Nick in A Thousand Clowns on Broadway revising the role in the film in 1965.

Jerry Mathers is both fortunate and burdened — he will be forever associated with an eternal boy in the mind of the collective American audience. He will be typecast forever in our imaginations as a part of the cultural iconography of nostalgia for believed better by gone days.

Beaver is an ‘every kid’ and each episode is filmed almost like a fable. There is a sweet alchemy that creates a world that feels comfortable and comforting amidst an early suburban enchantment that is gratifying. Beyond the nostalgia there is an incredibly nuanced sentiment within the series and the performances — clever morality plays which are veiled in the everyday adventures that wind up mattering a whole lot.

There’s just wonderful ‘time period’ aspects to the show that are steeped in nostalgia. And you’ll hear expressions like ‘creepy”rat’ ‘gosh’ ‘grubby’ ‘wise-guy’ and ‘A hunk of milk’ or a hunk of anything really. The worries were whether you washed your feet, not throwing your dirty socks under the bed, not losing your library book and not playing hooky from school!

Or you could be like Beaver, climbing into a giant steamy cup of billboard soup, ditching dancing class, spitting off a bridge, building a club house, camping out in the yard during a torrential downpour, selling perfume that smells like an old catchers mitt, getting a black eye from a girl, and sneaking an alligator into the house…

I’ll just mention a few predicaments Beaver gets himself into, especially with the help of his best friend Larry. Beaver lets Larry talk him into drilling a few holes in the garage wall, and after Ward tells him if he doesn’t pay attention to the rules, they’re going to have nothing but trouble between them. So Beaver tells him he’s running away so Ward never has to be troubled with him hanging around there — no more. Of course he gets as far as Larry Mondello’s dinner table with three desserts while June is frantic and Ward won’t bend… at first!

The boys are so late to school for the third time in one week when a truck crushes their lunch boxes that they play hooky and wind up on a television commercial at the local grocery store. One day the boys smoke from the Austrian Meerschaum pipe Mr. Rutherford sends the family – first they try just some coffee grinds then used cigarette butts Larry collects from last nights’ company–they both get sick, and Wally is the one who gets blamed for smoking. Beaver believes Larry who tells him that Mrs. Rayburn has a spanking machine in her office closet then gets himself locked inside the school that night and needs the fire department to get him out — making himself a ‘most conspicuous’ character. Then the very next day he gets his head stuck in the iron fence in the park, making himself yet again that’s right — ‘conspicuous’.  I got my own head stuck in the wrought iron railing in our house when I was about his age. Let me assure you… It’s not fun!

Continue reading “A Conversation with Television Icon 📺 Jerry Mathers”

What a Character! 2018 – Sassy Sisterhood: Eileen Heckart & Louise Latham

It’s that marvelous time again, when one of the most enjoyable Blogathons has come around, it’s the 7th Annual What A Character Blogathon. And the reason I adore it so much –it’s purpose is essential in paying tribute to the memorable character actors who have often added the sparkle to the cinematic sky of movie stars– they touch our lives so profoundly because of their unique contribution as the characters they bring to life!

I want to thank Aurora of Once Upon a Screen, Paula Guthat of Paula’s Cinema Club, and Kellee Pratt of Outspoken & Freckled. for giving me the opportunity to once again show my sincerest love for the actors & actresses who are so discernible within the art of film, television and theatre. It is their unforgettable performances that make it a much richer, a more compelling experience — as they are as much the stars who inhabit the dream of art because of their singular personalities.

I’ve been participating now for 7 years, and it’s always a great expedition to delve deeper into the career’s of the people who I’ve found the most enigmatic, extraordinary and uniquely engaging. This year I’ve been excited to pay special attention to two remarkable women, Eileen Heckart and Louise Latham.

For years I have always thought of these two women together, as one of those odd associations–yet unexplicable– that makes you put certain faces or impressions together in your head. Another example of two actors that often seem to merge in that vast noggin of mine — I’m always thinking of E.G.Marshall and Eli Wallach together. Heck, maybe, next year I’ll do the same double feature for them. As I adore them both!

It struck me that I should pair Eileen and Louise as a kind of sisterhood, for both of their uniquely extraordinary styles stand out and somehow stand together for me. And an interesting confluence happened as I went on my more intensive journey of discovering of these two fine actresses. I found out that Eileen Heckart and Louise Latham appeared together in a rare episode of The Doctors and The Nurses an hour long television medical drama that ran from 1962-1965. In a macabre tale reminiscent of a Robert Bloch story — the episode is called Night of the Witch, about a woman (Eileen Heckart) who is tortured by the loss of her 6 year old daughter, and seeks her own brand of retribution from the medical staff she believes is responsible. The hospital receptionist who is cold and unfeeling is portrayed by none other than Louise Latham. The fascination I’ve had to see this performance led me to hunt down a rare copy and now I own it and have put together a sample of it here for you. It’s a rather long clip of the episode in honor of them appearing together. It showcases both their talents. I hope you enjoy the excerpt And I am praying that the television series itself will someday find a full release as it is worthy of being re-visited for it’s groundbreaking content, incredible cast and performances.

 

 

As in past What A Character Blogathons Burgess Meredith, Ruth Gordon, Agnes Moorehead, Martin Balsam, and Jeanette Nolan–each of these actors– had a way of elevating every single project they were involved in, making it just that much more fascinating, delightful, heart wrenching and unquestionably memorable because of their performance–no matter how small their presence, they changed the landscape and impacted the narrative.

It is my absolute honor this year to feature two of the most remarkable women whose legacy still lives on.

Continue reading “What a Character! 2018 – Sassy Sisterhood: Eileen Heckart & Louise Latham”

What a Character! Blogathon 2017- Martin Balsam: The Average Guy!

It’s finally here! The sixth annual What a Character Blogathon! 2017

It’s great to once again be contributing to this wonderful blogathon. It’s become my favorite event each year. And I’m grateful to all three marvelous bloggers who put this bash together! It’s a fantastic line up so stick around for the next few days and enjoy the tribute being paid to those wonderful character actors and supportive players who made the movies full of… well CHARACTER!!!!!

Hosted by that fabulously fanatic film friend Aurora from Once Upon A Screen…

Paula from Paula’s Cinema Club & Kellee from Outspoken and Freckled

This year I’m focusing on one of my all time favorites, one of those great familiar faces–Martin Balsam!

“I think the average guy has always identified with me.“-Martin Balsam

“The supporting role is always potentially the most interesting in a film.”

ALL THE PRESIDENT’S MEN, Dustin Hoffman, Robert Redford, Jason Robards, Jack Warden, Martin Balsam, 1976

“I’ll tell you, I still don’t feel whatever change you’re supposed to feel when your name goes up above the title. I think that’s because this star thing has never been the first consideration with me. Never. The work has always come first.”

George Peppard and Martin Balsam offer to light Audrey Hepburn’s cigarette in a scene from the film ‘Breakfast At Tiffany’s’, 1961. (Photo by Paramount/Getty Images)

Martin Henry Balsam nicknamed “The Bronx Barrymore” by columnist Earl Wilson, was born November 4, 1919 in the Bronx to Lillian and Albert Balsam. His mother was born in New York City to Russian Jewish parents, and his father was a Russian Jewish immigrant. Martin Balsam is like a comfortable friend, he could even be my father.

Martin participated in the Drama Club at DeWitt Clinton High School in New York. After high school, he attended the New School for acting. But when WWII started, he enlisted in the U.S. Army Air Force. After WWII, Martin worked as an usher at Radio City Music Hall, and was selected by Elia Kazan and Lee Strasburg to join the Actors Studio. A struggling actor living in Greenwich Villege, Balsam started acting on Broadway in the late 1940s,“I ate a lot of mashed potatoes in those days. It was 1950 and I was 30 years old… I thought I had better learn to do something with my hands before it was too late.” He finally established himself as an actor in 1951 in Tennessee Williams’ “The Rose Tattoo.” He won a Tony for “You Know I Can’t Hear You When the Water’s Running” and an Obie for “In Cold Storage.”

After his success on Broadway, Balsam began working in television, becoming known for regular parts on shows like the United States Steel Hour, The Philco-Goodyear Television Playhouse, Studio One in Hollywood, and the Goodyear Playhouse. In 1955 he starred in  episodes of Alfred Hitchcock Presents and The Twilight Zone , and as a result was offered the supporting role of Detective Milton Arbogast in Psycho (1960). After Psycho, he played strong parts in films like Breakfast at Tiffany’s (1961), Cape Fear (1962) and The Carpetbaggers (1964). In 1965, he won an Academy Award for Best Supporting Actor for “A Thousand Clowns.” His later television appearances included a regular role as Archie Bunker’s Jewish business partner Murray in “Archie Bunker’s Place.”

During his 50 year film career he worked with top film directors like Alfred Hitchcock, Elia Kazan, Martin Scorsese, John Frankenheimer, and Sidney Lumet. After his success in the U.S., he accepted roles in European films, spending much of his later years in Italy.

Balsam was married 3 times. Actress Talia Balsam is his daughter, with his second wife, actress Joyce Van Patten. He died while in Rome from a heart attack on Feb. 13th, 1996 at age 76. He was survived by his third wife Irene Miller and three children, Adam, Zoe and Talia.

Balsam could play anything: a vengeful mob boss, a blustering pompous politico, a Mexican stagecoach driver, an Italian train line director, a flaming antiques dealer/caper crew member, a disgruntled subway motorman turned lukewarm hijacker with a tale-tell head cold.

Balsam could either play at being the old school seasoned good cop, or the jaded bad cop, a humble talent agent scraping by to make a living but comfortable with who he is, an average Joe, he was perfect as a non confrontational jury foreman, an over-eager opportunistic Colonel, or a quirky snake oil salesman in the wild west who keeps losing parts of his body. Several times he played the old Hollywood studio mogul, and a private investigator who gets more than he bargains for when he meets a psychotic old lady wielding a very large knife at the Bates Motel. And many more supportive parts that helped the sum total of whatever he was performing in to become even better because of his presence.

For over 55 years Balsam entertained us on the theatrical stage, in feature films,  in television plays and tv series as well as serious made for tv movies. His roles run a wide range since his first appearance in 1949’s tv show Suspense, to later on appearing in several Italian crime thrillers in the 70s.

He deservedly got the nomination for the Golden Globe Awards – (1974) Best Supporting Actor – Summer Wishes, Winter Dreams (Nominated) and won the Oscar for Best Supporting Actor as Jason Robards brother Arnold in A Thousand Clowns 1965.

Martin Balsam is an everyman. His familiar comfortable face and voice is easy for us to make a connection with because he appears to be one of us. My father was raised in the Bronx and also worked in the garment district like Martin’s father -til the mid 70s- I myself am a Russian Jew. Whenever I see him in something I think to myself, now we have the whole mishpocha, he’s like kin!

Every performance of Martin Balsam seems to be seasoned with a dash of significant flavor -his presence always makes whatever he’s appearing in more potent, salient and that much more comprehensible.

He more often in his roles exudes an authentic and, likable personality. Balsam is a ubiquitous guy, his performances always manage to deliver an extra special bit of realism or something familiar that makes it feel special. He exudes true accessibility as an ordinary 5’7 guy. But he also has the ability to transcend that average guy persona we can relate to and adopt a quirky either lovable or despicable character. Yet- he is not only the everyman. He’s also one of the most versatile actors, never playing the same character or role twice. Sometimes mild-mannered, sometimes bombastic, at times a face of still waters, at times a volatile geyser of emotions!

While he does epitomize the ordinary guy, Balsam stretched his range that included Italian crime films, serious teleplays, made for tv movies, feature classic films as well as a few quirky offbeat films

It may seem easy to be an ‘everyman’, to portray an ordinary fella whose personality is based on conformity and quiet acquiescence. But to be a regular guy who possesses many layers and dimensions, who isn’t just a flat cut out figure to fill out the plot… that takes talent, that is acting magic!

Martin Balsam draws you in and makes the experience memorable. That’s what makes him one of the most versatile and recognizable actors. I wish I had been able to see him on stage in the theater, but I regret that I was too young to experience that great time in our culture when the New York City theatre was thriving with Strasberg trained actors.

Martin Balsam has been imprinted on our collective consciousness with his legendary death scene in Hitchcock’s Psycho 1960 as Detective Arbogast who gets up close and personal with Norman’s knife wielding rage filled mother only to stumble backwards (wonderful bit of camerawork by John L. Russell) down the staircase at the Bates Motel—the quintessential cinematic scene still remains a shocker today!

While Jason Robards delivers a superb portrayal of an iconoclast living outside of society, railing against conformity, trying to raise his wonderfully compassionate nephew in search of a name, played by Barry Gordon (who also did the character on stage) in the film version adapted from the stage play of 1962, A Thousand Clowns 1965, Balsam’s performance as his brother Arnold is the quintessential downtrodden man who has risen above the grind to find inner peace and satisfaction with who he is: Balsam plays Arnold without a hint of artifice.

It was this impassioned performance in A Thousand Clowns that won Balsam’s Best Supporting Actor Academy Award.

Mr. Blue:{Robert Shaw} “What did they catch you doing?” Mr. Green:{Martin Balsam} “Nothing. They framed me. The beakies needed a fall guy.” Mr. Blue: “The beakies?” Mr. Green: “Transit cops. Undercover guys. They got wind of a gang passing dope, you know, transporting from downtown uptown and giving it to a motorman, somebody picking it up in Harlem. They tried to pin the evidence on me but they didn’t find anything.” Mr. Blue: “You were innocent?” Mr. Green: “Course I was innocent. Do you think I’d do a thing like that? What’s the matter with you?”

A few of my favorite performances are his flamboyant decorator/ in on the caper Tommy Haskins in director Sidney Lumet’s The Anderson Tapes 1971. And of course I particularly love his Harold Longman aka ”Mr. Green”, the reluctant subway train hijacker with a that pesky head cold, which ultimately gets him pinched because of an ironic ill-fated “atchoo” just as the dauntless Walter Matthau’s police Lt. Zachary Garberin is leaving his NYC apartment checking up on Longman as a suspect in the original 1974 classic version of director Joseph Sargent’s The Taking of Pelham One Two Three (1974). I loved his portrayal of the wise Mendez in director Martin Ritt’s Hombre 1967, And then there’s Bianchi who is quick to pin the murder on everyone Poirot interrogates in director Sidney Lumet’s wonderful Murder on the Orient Express 1974. One of his most heartbreaking roles is that of Dr. Harry Walden, eye doctor who is beaten down and haunted by the ghosts of war, married to Joanne Woodward an ice queen in Summer Wishes, Winter Dreams (1973). As Professor Ruzinsky the dotty academic who translates the portion of Paradise Lost Balsam’s characterization of an eccentric adds humor to Michael Winner’s frightening 70s horror masterpiece The Sentinel (1977). And in Contract on Cherry Street (tv movie) 1977 Balsam plays the hardened and world weary Capt. Ernie Weinberg who is beaten down and beleaguered and just can’t deal with the reality of fighting against the system that allows criminals to reign over his beloved New York City.

Balsam started out as part of the Method actors led by Lee Strasberg along with actor and friend Shelley Winters who shared the stage with him in the 1950s.

Shelley wanted to return to the theater after feeling strangled by her 7 year contract with Universal Studios. At that time, she was friends with Method actors like Elaine Stritch, Ben Gazzara Kim Stanley Virginia Vincent Tony Franciosa (her then husband) Paul Newman and Joanne Woodward and our wonderful Martin Balsam. Shelley wanted to do a Summerstock tour of her play Wedding Breakfast. Shelley and Marty met with a hot new director Sidney Lumet hoping at the end of the play they could shoot it as a film script. Unfortunately Shelley didn’t have faith in her erratic husband Tony Franciosa and so she cancelled the project, which made Lumet angry.

The two would come together again on television in 1964 for Bob Hope Presents the Chrysler Theatre “Two is the Number” Later once again they both co-starred in The Delta Force 1986.

At the Actor’s Studio Balsam was in the great company with friends and co-stars the likes of Geraldine Page, Rip Torn, Ben Gazzara, Julie Harris, Barbara Harris, Anne Bancroft, Maureen Stapleton, Jane Fonda, Anne Jackson, Eli Wallach, Burgess Meredith, Walter Matthau, Paul Newman, Joanne Woodward, Estelle Parsons, Marilyn Monroe and Franchot Tone. Working with writers, Arthur Penn, Arthur Miller, William Inge and Clifford Odets.

You can see a full list of his work at IMDb but here is a list of some of my favorite Martin Balsam’s filmography stopping at the mid 1980s:

Television shows such as: Suspense 1949, Inner Sanctum 1954,  Goodyear Playhouse (TV Series) 1954-1956, Kraft Theatre tv series 1958, Studio One in Hollywood (TV Series) 1957-1958, Decoy tv series 1958, Playhouse 90 (TV Series) 1958-1959, Have Gun – Will Travel (TV Series) 1958-1960, Roald Dahl’s Way Out (TV Series) 1961, Alfred Hitchcock Presents (TV Series) 1958-1961, The New Breed (TV Series) 1961, Naked City (TV Series) 1959-1962, The Untouchables (TV Series) 1961-1962, Route 66 (TV Series), The Twilight Zone (TV Series) 1959-1963, The Defenders tv series 1961-1964, The Man from U.N.C.L.E. tv series 1965, Dr. Kildare tv series 1926-1966, The Fugitive tv series 1967, The Name of the Game 1968-1970, The Six Million Dollar Man 1973, Police Story tv series 1973, Kojak 1974 tv series, Maude 1976 tv series, Quincy M.E. 1982 (Tv Series), Archie Bunker’s Place (tv series 45 episodes) as Murray Klein–Previously they had performed together in the The Sacco-Vanzetti Story on Sunday Showcase (1959)

Television Movies : The Old Man Who Cried Wolf (1970), Night of Terror (1972), Trapped Beneath the Sea (1974), Death Among Friends (1975), The Lindbergh Kidnapping Case (1976), Raid on Entebbe (1976), Contract on Cherry Street (1977), The House on Garibaldi Street (1979), The People vs. Jean Harris (1981), I Want to Live (1983) remake 

Feature Films: On the Waterfront 1954 uncredited as Gillette, 12 Angry Men 1957 as the Foreman Juror 1, Time Limit 1957 as Sgt. Baker, Marjorie Morningstar 1958 as Dr. David Harris, Middle of the Night 1959 as Jack, Psycho 1960 as Detective Milton Arbogast, Ada 1961 as Steve Jackson, Breakfast at Tiffany’s 1961 as O.J. Berman, Cape Fear 1962 as Police Chief Mark Dutton, Seven Days in May 1964 as Paul Girard, The Carpetbaggers 1964, Come Back Little Sheba 1965 as Doc Delaney, Harlow 1965 as Everett Redman, The Bedford Incident 1965 as Lt. Cmdr.

Martin Balsam as Lt. Cmdr. Chester Potter, M.D., U.S.N. in The Bedford Incident (1965) also shown James MacArthur as Ensign Ralston-

Chester Potter, M.D., U.S.N., A Thousand Clowns 1965 as Arnold, Hombre 1967 as Henry Mendez, The Good Guys and the Bad Guys 1969 as Mayor Wilker, Catch-22 1970 as Colonel Cathcart, Tora! Tora! Tora! 1970 as Admiral Husband E. Kimmel, Little Big Man 1970 as Mr. Merriweather, The Anderson Tapes 1971 as Tommy Haskins, The Stone Killer 1973 as mob boss Al Vescari, Summer Wishes, Winter Dreams 1973 as Harry Walden, The Taking of Pelham One Two Three 1974 as Harold Longman aka Mr. Green, Murder on the Orient Express 1974 as Bianchi, Mitchell 1975 as James Arthur Cummings, All the President’s Men 1976 as Howard Simons, Two-Minute Warning 1976 as Sam McKeever, The Sentinel 1977 as Professor Ruzinsky, Silver Bears 1977 as Joe Flore, The Delta Force 1986 as Ben Kaplan, St. Elmo’s Fire 1985 as Mr. Beamish along side real ex-wife Joyce Van Patten.

director Damiano Damiani’s Confessions of a Police Captain 1971 Martin Balsam as Commissario Bonavia

Special note of Balsam’s Italian Crime films: Confessions of a Police Captain 1971 as Commissario Bonavia, Chronicle of a Homicide 1972 as Giudice Aldo Sola, Counselor at Crime 1973 as Don Antonio Macaluso, Smiling Maniacs 1975 as Carlo Goja, Season for Assassins 1975 as Commissioner Katroni, Meet Him and Die 1976 as Giulianelli, The Warning 1980 as Quester Martorana 

HERE ARE SOME MEMORABLE SCENES FROM BALSAM’S IMPRESSIVE CAREER

A Thousand Clowns 1965″I have a talent for surrender”
Directed by Fred Coe Famous broadway play comes to the screen with memorable performances by all the principles in standout jobs by Jason Robards as a talented non conformist and Barry Gordon as his precocious ward. They struggle against welfare bureaucracy in order to stay together. Funny and poignant throughout. Martin Balsam’s performance as brother Arnold lends the axel of normalcy to the entire shenanigans with his fresh fruit and common sense filled equilibrium.

12 Angry Men 1957

Directed by Sidney Lumet. Martin Balsam plays the unassuming jury foreman who tries to keep the proceedings run by the rules but soon finds out that many of the jurors are racist, filled with rage, apathetic and just in a rush to get the ballgame even when a young man’s accused of murder’s life hangs in the balance.

Little Big Man 1970

Directed by Arthur Penn, Dustin Hoffman plays Jack Crabbe who recalls 121 of his adventurous years ending with General Custer’s Last Stand. Told in flashback it tells of numerous encounters in the Old West. One of the most touching relationships is with his chosen Grandfather Old Lodge Skins played by Chief Dan George. Martin Balsam is perfect as the irascible Mr. Merriweather a snake oil salesman who with each town he get’s chased out of, winds up losing an eye, an ear, then a hand then a leg. And after all that getting tarred and feathered to boot! But he still has a mouth to crack wise with and ponder life’s deep questions

The Carpetbaggers 1964

Directed by Edward Dymtryk. Howard Hughe’s like millionaire George Peppard Jonas Cord is a rude and unfeeling rich young tycoon makes movies love and enemies in the Hollywood of the 1920 & 30s. Alan Ladd as a Tom Mix clone helps in this his last picture. Carroll Baker is steamy very tame compared to the porno edged Harold Robbins novel. Martin Balsam plays studio Mogal Bernard B. Norman.

Murder on the Orient Express 1974

Directed by Sidney Lumet. Albert Finny is astonishing as Agatha Christies Belgian detective
Hercule Poirot who is stranded on the train by snow, and a murder where nothing is as it seems. With an extraordinary cast of characters Lauren Bacall, Ingrid Bergman, Jacqueline Bisset. Jean-Pierre Cassel, Sean Connery, John Gielgud, Anthony Perkins, Wendy Hiller, Vanessa Redgrave, Rachel Roberts, Richard Widmark, Michael York, Colin Blakely and of course Martin Balsam is animated and hilariously radiant as the Italian Bianchi -head of the train line, who suspects everyone!

Contract on Cherry Street 1977

Directed by William A. Graham
When Frank Sinatra’s partner is killed, NYC detective Frank Hovannes and his organized-crime squad go against the mob run by Martin Gabel, despite strong objections from his superiors and the legal-departmental restrictions that hinder him. Martin Balsam plays Capt. Ernie Weinberg a career cop who is just worn down by all the bureaucracy. The chemistry between Sinatra and Balsam is terrific. Very well done for a made for tv film. Good supporting performances by Harry Guardino and Henry Silva.

Catch-22 (1970)

Directed by Mike Nichols. This black comedy about the absurdity of war stars Alan Arkin as a soldier during World War II. The dilemma of trying to avoid the insanity or to embrace it in order to get out of duty. Orson Welles plays a rabid general who keeps scheduling more and more bombing missions, and Martin Balsam as the blustering opportunistic Colonel Cathcart adds an extra edge of preposterous folly and audacity

Hombre 1967

Directed by Martin Ritt
Henry Mendez (Martin Balsam) plays a sage Mexican who himself has been treated less than by the white man because of his heritage. Mendez tells John Russell (Paul Newman -Hombre) the stagecoach line is shutting down because of the railroad and urges John Russell to return to his White Man’s roots and take over a boarding house left to John by his deceased stepfather.

Henry Mendez is the stagecoach driver paid by Alexander Favor to transport him and his family. Mendez decides to take the back road to Bisbee Arizona because of a suspicious group of men (led by outlaw Richard Boone), in the area. Alexander Favor (Fredric March) makes Henry do his dirty work and tell John Russell that he has to ride on top with Mendez when Alexander finds out that John Russell is a White Man raised as an Apache. Mendez doesn’t see the point in fighting this because he has seen how it isn’t worth making trouble. Co-stars Barbara Rush as Alexander Favor’s wife Audra.

Cape Fear 1962

Directed by J. Lee Thompson Cape Fear is a taut thriller about a lawyer (Gregory Peck) and his family being menaced by a vengeful psychopathic ex-con Max Cady played with authentic relish causing real chills by Robert Mitchum. CADY blames Sam Bowden (Peck) for sending him up the river and now that he is out. he’s got disturbing plans for his family. Martin Balsam plays Sam’s friend Police Chief Mark Dutton who tries to help him protect himself though it seems Cady has ways of getting around the law.

The Sentinel 1977

Directed by Michael Winner. This is a simple nightmarish adult fairy tale about a young model Alison Parker (Christina Raines) who has been picked by a secret cult of catholic priests to become the next sentinel to watch over the gates of hell, which happens to be a brownstone in Brooklyn Heights. (the building is still there) While renting this lovely furnished apartment she meets a host of weird characters that may or may not exist. When odd occurrences begin to drive Alison mad, her boyfriend lawyer Michael (Chris Sarandon) looks for help from various criminal elements lock pickers, private eyes and our man Martin Balsam as Professor Ruzinsky to help translate a passage in Latin. Balsam is hilarious as the forgetful & nutty old professor. Co-stars Ava Gardner, Burgess Meredith

Alfred Hitchcock Presents episode “The Equalizer” aired February 9, 1958

 

Marty plays a mild mannered accountant Eldon Marsh who is called “little man” too often after the new company hot shot who is much bigger and stronger Wayne Phillips (Leif Erickson) humiliates him and steals his wife (Norma Crane). Eldon gets punched a lot but still defends his honor by challenging Phillips (Erickson) to a fight to the death

Naked City episode “Beyond Truth” aired July 7 1959

 

Directed by John Brahm

Martin Balsam plays Arnold Fleischmann who is haunted by a reoccurring nightmare. Arnold has served time in jail for manslaughter when driving drunk he hits and kills a little girl. Now his wife seeks out the help of Det. James ‘Jimmy’ Halloran (James Fransiscus) of the 65th Precinct to re-investigate the case, as she has never believed that Arnold was driving that night. But Arnold refuses to co-operate with the police and just want to leave it in the past. But the evidence does look like Arnold’s been framed for the killing and that the wrong man has been convicted. Balsam plays a sobering and sad guy who has come to accept the hand he’s been dealt.

The Twilight Zone episode “The Sixteen Millimeter Shrine” aired October 23, 1959

 

Written by Rod Serling. Ida Lupino plays Barbara Jean Trenton a faded film star who lives in the past, constantly re-watching her old movies and shunning the outside world. Martin Balsam plays her agent Danny Weiss who tries to get her to come out of isolation, even getting her a part in a new film, though it’s not a lead nor glamorous role. Danny tries so hard to get Barbara to see that it’s no good living int he past, and though she refuses to embrace what’s new, Danny stands by her loyally ultimately with frightening and uncanny results.

Summer Wishes, Winter Dreams 1973 “I have to stand someplace, someplace that I’ve stood before!”

Directed by Gilbert Cates the story follows the journey of depression experienced by housewife Rita Walden. At the opening of the film, Rita loses her overbearing mother played by Sylvia Sidney. Martin Balsam does an incredible job of stoically navigating around Rita’s ice water emotions, though he has ghosts of his own that he quietly battles. Somehow through all the harsh words and bitter detachments, the couple seem to find each other again at the end. Balsam was nominated for the 1974 Golden Globe Award for Best Supporting Actor as Dr. Henry Walden unloved by his unemotional wife, finally articulates his feelings and confronts his pain head on while on a trip to France revisiting Bastogne where he was stationed during the war. It’s an outstanding performance which shows Balsam’s acting range, as he shakes off the average guy persona and reaches deep inside and bares his soul.

Summer Wishes, Winter Dreams 1973

Psycho (1960)

Directed by Alfred Hitchcock After Marion Crane steals money from her employer and runs off into the night staying at the Bates Motel run by the gentle young man Norman -which leads to her terrifying demise, her sister and lover Lila Crane (Vera Miles) and Sam Loomis ( John Gavin) hires a private detective Det. Milton Arbogast to find Marion. Balsam plays the edgy Arbogast who isn’t buying sweet and humble Norman’s story that he’s never seen Marion Crane. Arbogast is not one to be put off, he suspects Norman’s mother knows something and secretly goes up tot he house on the hill to investigate. to his ‘down fall’ Sorry for that cheap pun!

The Anderson Tapes 1971

Director Sidney Lumet’s taut action thriller about an ex-con (Sean Connery) under surveillance who wants to pull off The Big Heist, consisting of loot and treasures from the affluent tenants of a high rise apartment where his lover/call girl (Diane Cannon) lives. Martin Balsam plays the wonderfully exuberant interior designer Tommy who helps out with the caper.

The Taking of Pelham One Two Three 1974

Directed by Joseph Sargent -Walter Matthau plays the belly-aching gum chewing Police Lt. Zachary Garber chief of security on the New York City subway. A band of clever thugs led by Robert Shaw as Bernard Ryder aka Mr. Blue has hijacked a commuter train with,demanding a ransom of $1 million dollars or they will start killing the passengers one by one. Martin Balsam plays Harold Longman aka Mr. Green plagued by a really bad head cold, and sneezes throughout the film so much so that Lt. Garber recognizes it, even replying “Gesundheit” . Green is also a bit reluctant throughout the caper, but he’s disgruntled for having lost his job as a transit worker.

Well this is Joey giving you all the Bronx Cheer for me and Marty!!! But I mean it in the nicest way!

🚀 “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

lost-continent-1951-film

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

Acquanetta born Mildred Davenport of Ozone, Wyoming.

Acquanetta_005_(Tarzan and the Leopard Woman)

Here she is in Tarzan and the Leopard Woman 1946

Lost Coninent -Acquanetta

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

Lost Continent crew

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

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

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

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

The Man from Planet X

the-man-from-planet-x

manfromplanetx poster

🚀

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

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

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

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

Man from Planet X jpg

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

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

The_Man_from_Planet_X_ enid sees the ship

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

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

The Man from Planet X a fine british love story

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

Man from Planet X looks at Enid

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

X-shows his face

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

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

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

the-man-from-planet-x-lobby-1951

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

the-man-from-planet-x_1951

 

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

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

Rocketship XM Osa and Lloyd and deep thoughts

Rocketship XM the crew inside their ship

rocketship-x-m on Mars

Rocketship XM the crew investigates the landcape

Rocketship X-M sepia exploring

Rocketship X-M

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.

Rocketship XM the surving race

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

Olivia
“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

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

Olivia

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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.

snake-pit-1948

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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They Died With their Boots On
Olivia is romanced again by the dashing Errol in They Died with their Boots On (1941)
The Adventures of Robin Hood 1938
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

20562 - Not as A Stranger

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)

HamiltonDeHavillandBrazziMimieux

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.