British Science Fiction/Thriller from writer/director Ken Hughes(Wicked as they Come 1956, The Trials of Oscar Wilde 1960, Cromwell 1970). From a story by Charles Eric Maine.
Stars actor/director Gene Nelson as Mike Delaney, Faith Domergue as Jill Rabowski, Peter Arne as Dr. Stephen Rayner/Jarvis, Joseph Tomelty as Detective Inspector Cleary, Donald Gray as Robert Maitland, Vic Perry as Emmanuel Vasquo, Paul Hardtmuth as Dr. Bressler, Martin Wyldek as Dr. Preston. The film is known as Timeslip in England, a mild British thriller using American stars to boost interest in the film, and was cut by almost seventeen minutes for it’s U.S. release!
A man (Peter Arne ) is fished out of the Thames, shot in the back, the x-rays show that he is radioactive and projects a glowing aura around his body. The man dies on the table and is clinically dead for over 7 seconds, when they perform surgery to remove the bullet. American reporter Mike Delaney (Gene Nelson) decides to interview the man who he bares a striking resemblance to Dr. Stephen Rayner is very cryptic about what happened to him. Dr. Rayner whose face is all bandaged up is however in his laboratory working on an artificial chemical element of atomic number 74, the hard steel-gray metal with a very high melting point. Delaney and photographer girlfriend Jill Rabowski (the intoxicatingley dark eyed Faith Domergue) are curious about what is going on and begin to investigate. While the strange man in the hospital continues to act mysterious Delaney’s investigation lead him to Emmanuel Vasquo (Vic Perry) who heads an organization in South America that produces Tungsten steel.
Delaney and Jilly learn that the man they found in the Thames is in fact the real Dr. Rayner, and since he was clinically dead for 7 1/2 seconds and is radioactive somehow he has fallen into a time shift where he is living that small percentage ahead of time. The reason his answers to questions are so quizzical is because he is responding 7 1/2 seconds before they are asked. Delaney with the help of the real Dr. Rayner try to stop the imposter in the lab who is a double hired by Vasquo to impersonate the scientist so they can blow up the lab and prevent any competition by Dr. Rayner to produce artificial steel and pose real competition from the South American suppliers.
Prepare for a close encounter of the terrifying kind! An unspeakable horror… Destroying… Terrifying!
After his debut with Monster From the Ocean Floor in 1954, The Beast with 1.000.000 Eyes was a great foray into the new market of teenage drive in movie goes that Roger Corman’sproduction team tapped into. First through the company called American Releasing Corp. which eventually became American International Pictures a year later.
James Nicholson, who was the maestro of promotion, changed the name of the film from The Unseen to The Beast with a Million Eyes, because it just had better shock value for selling more tickets. Nicholson was famous for coming up with the title first, telling the marketing department to design an eye popping nifty poster and then actually working a script around that vision. Though there was already a working script Nicholson had a poster made up with beast with a million… well about 7 eyes tormenting a scantily clad beauty.
Directed by David Kramarsky and Corman with a script by Tom Filer. This cult B classic stars Paul Birch as Allan Kelley, Lorna Thayer as Carol Kelley, Dona Cole as Sandra Kelley, Dick Sargent as Deputy Larry Brewster, Leonard Tarver as Him/Carl, Chester Conklin the silent film comedian plays Ben and Bruce Whitmore is The metaphorically million eyed Beast. The million eyes refers to all the animals in ‘nature’ that would run amok and destroy mankind!
The beastly slave of the alien is a hand puppet created by the cheesy greatness that was Paul Blaisdell. (link to my tribute The Tacky Magnetism of Paul Blaisdell)
Interesting side note: Corman needed someone to design the alien who originally was supposed to be an invisible force marauding through the galaxy hitching rides on various life forms and taking over their consciousness, like the animals in this film. In Bill Warren’s informative book Keep Watching the Skies, Corman contacted friend collector/historian Forrest Ackerman suggesting stop animation genius Ray Harryhausen (who obviously was way out of Corman’s league and price range) Warren-“Corman recoiled in economic in shock.” Then Forrest recommended Jacques Fresco a futuristic eco-conscious architect and designer who had created the space station and rockets for Project Moon Base (1953)
But Fresco wanted too much money for his work, so Ackerman came up with another idea. There was an illustrator who drew covers and did illustrations for his magazines, named Paul Blaisdell. It wasn’t like Blaisdell had the experience building movie models but the young guy did build model kits (the Aurora kind I used to spend the days gluing and painting) and did some sculpting. Blaisdell said he would try it for $200 for the job and another $200 for materials. Still more than Corman wanted to invest, it seemed the last resort if he wanted a creature in his film. Corman sent the poster to Blaisdell as a composite and informed him that it didn’t have to do much more than show itself on screen for a few moments, then collapse. Blaisdell could then make it on a small scale, using only the upper torso since the rest would be hidden by the ship’s hatch. And so he made a hand puppet which was a dragon like creature with wings he molded from clay and placed a simple latex mold over it. Paul’s wife Jackie modeled it’s hands. The Blaisdells nicknamed him “Little Hercules”
Blaisdell made him a leather jacket, a custom made eight-starred medallion and a toy gun, and finally added manacles and chains to its arms to point out his slave-status. According to Randy Palmer’s book, Paul Blaisdell: Monster Maker he was happy with his work, and so were the crew.
Corman and American Releasing Corp must have been satisfied enough with Blaisdell’s skill and his price, he went on to become the go to monster-maker for the studio during the 1950s. Including The busty She-Creature (1956), the cucumber alien in It Conquered the World (1956), The fanged umbrella bat in Not of This Earth (1957), The alcoholic google eyed brain invaders in Invasion of the Saucer Men (1957), my personal favorite Tobanga the walking tree spirit in From Hell it Came 1957 and the alien stow away in It! The Terror from Beyond Space 1957 which inspired Ridley Scott’s Alien in (1979).
He also acted inside the suits he designed, created special effects and did his own dangerous stunts in Corman’s movies. However, the 60s were not kind to Blaisdell and he decided to retire. He did co-publish a monster movie magazine with fellow collector and friend Bob Burns, but walked away from the industry entirely. Blaisdell passed away in 1983 suffering from stomach cancer at the age of 55.
Roger Corman has a singular touch all his own and it’s not just that he can create cult classics with a shoe string budget. Though filmed on the cheap, his work and so many of American International Pictures releases will always be beloved because they possess a dynamism that is pure muddled non-logical magic. Beast with a Million Eyes is no exception. It takes place in the Southwestern desert where Allan Kelley (Paul Birch), his wife Carol (Lorna Thayer) and their daughter Sandy (Dona Cole) live on a dude ranch struggling to keep the weary family together. Carol feels isolated from the world and takes out her disastistaction with her marriage on her teenage daughter Sandy and resents the presence of the mute farmhand ‘Him’ who lives in a shack reading porn magazines and stalking Sandy quietly as she takes her daily dips in the lake. Trying to live a normal wholesome life on a desolate farm isn’t easy for Carol, as she burns Sandy’s birthday cake and is unnerved by the jet flying overhead that has shattered her good china. Life in the desert certainly isn’t the good life in suburbia.
They believe it is a plane that flies over head but it turns out to be an alien ship landed in the hot sun seared desert landscape. First Sandy’s dog Duke discovers the blinking lights of the spaceship, and when he returns home, he becomes violent and attacks Carol so viciously she must shoot the poor animal.
Then black birds attack Allan, a docile old milking cow tramples their neighbor Ben (Chester Conklin) then wanders onto Allan’s ranch and must be shot before it stomps Allan to death. And yes even chickens become menacing when they assail Carol in fury of clucking madness! Some force is causing the animals to go berserk… Later birds fly into the electrical box and cut off the ranch’s source of power.
Oddly enough what ever is effecting God’s simple creatures has also taken control of Allan’s mute handyman Carl (Leonard Tarver) who was Allan’s commanding officer during WWII, wounded during the war because of a mistake he made, Allan feels responsible for what Carl/Him losing a portion of his brain. Him is what his nasty wife calls the poor mute. Carl is lured by what ever has piloted the spaceship, most likely because he is most impressionable due to his brain injury . Dick Sargent(yes! the second Darrin Stephens) who plays Sandy’s boyfriend is attacked by Carl who then lumbers off into the desert.
Larry-“That Loony of yours has gone mad!”
Later Carl kidnaps Sandy and delivers her to the craft in an effort to put her under it’s psychic control. Allan and Carol follow them to the ship and Allan tries to persuade him to let Carol go. Allan discovers that the evil alien is frightened by love, it is the creature’s weakness. The million eyed alien imparts to us earthlings in voice-over that it has no material form but inhabits the minds of other living creatures, feeding off of them and controlling them. “Hate and malice are the keys to power in my world.” When the family confronts the intruder in its spaceship for a brief moment it materializes and then dies, the spaceship takes off leaving the bodiless creature behind in the form of a rat. The cycle of normal life resumes as an eagle (the representation of American strength and democracy) swoops down and carries the rat off with it. Allan philosophizes in his lugubrious manner “Why do men have souls? If I could answer that I’d be more than human.”
Carol Kelley: out there… all that wasteland and mountains. We might as well be on another planet. Oh, Alan without Sandy I don’t know what would happen to me. It’d be just you and me and… Him
[she sees Him looking at them]
Carol Kelley: . Always watching. Why doesn’t he ever go away on his day off? Always watching us. Heaven knows thinking what thoughts.
Allan Kelley: We’ve been over this before. You must know by now, he’s harmless.
According to American International Pictures head Samuel Z. Arkoff, Roger Corman‘s contract called for four films at a budget of $100,000 each. By the time it came to “The Beast with a Million Eyes,” the fourth film in the series, there was only $29,000 to $30,000 left, so Arkoff signed off on shooting the picture non-union in Palm Springs.
Producer Roger Corman was unsatisfied with the way the film was progressing and took over from director David Kramarsky, without credit.
When Samuel Z. Arkoff of ARC received The Beast with a Million Eyes he was unhappy that it did not even feature “the beast” that was implicit in the title. Paul Blaisdell, responsible for the film’s special effects, was hired to create a three-foot-tall spaceship (with “beast” alien) for a meager $200. Notably, the Art Director was Albert S. Ruddy, who would later win two “Best Picture” Academy Awards for The Godfather (1972) and Million Dollar Baby (2004).
The tiny budget meant music, credited to “John Bickford”, is actually a collection of public-domain record library cues by classical composers Richard Wagner, Dimitri Shostakovich, Giuseppe Verdi, Sergei Prokofiev, and others, used to defray the cost of an original score or copyrighted cues.
This Halloween season I’m covering those fierce women who graced the 1950s Science Fiction & Fantasy/Horror screen with their beauty, brawn and bravado! Like years past–I pay tribute to the Scream Queens of the 1930s & 1940s
We’ve arrived at the 1950s decade’s deliriously dynamic dames… Who had to deal with mad scientists, gigantism, alien invasions and much more menace & mayhem!
Of course I plan on doing the 1960s and 1970s in the next year–and you’ll notice that I am listing some of our Queen B’s future films & television appearances of a supernatural or science fiction nature, and even a few scattered exploitation films that fit the bill. Added are a few photos to fill out the framework of their contribution to the genre. I’ve included honorable mentions to those who starred in at least one film and perhaps a few science fiction & horror anthology shows on television.
And I guess I should be super clear about this, so no one gets their hackles standing on end, not one actress who wound up only getting an honorable mention, (be it one of your favorites and believe me their are a few of mine on that smaller list), by any means does it imply that I think they have a less substantial participation in the decade’s genre.
All these actresses have performed in other types of films-other genres and dramatic roles and enjoyed a full career that transcends the science fiction & horror films they appeared in.
Allied together they created the fabric of the 1950s decade, colored by their unique and valuable presence to ensure that science fiction & horror/fantasy will live on to entertain and enamor a whole new generation of fans and aficionados.
Collectively and Individually these women are fantastic , and I feel very passionate about having put this wonderful collection together as a tribute!
I can’t begin to describe the admiration I’ve developed over the past several years, by delving into Beverly Garland’s long impressive career as a popular cult actress. All I can think of saying– seems crude– but it’s what truly comes to mind… Beverly Garland kicks some serious ass!!!
From historian/writer Tom Weaver-“For most fans of 50s horror there are just no two ways about it. Beverly Garland is the exploitation film heroine of the period. A principal member of Roger Corman’s early stock company, she was the attractive, feisty leading lady in such Corman quickies as It Conquered the World, Gunslinger, Naked Paradise, and Not of this Earth. In between Corman assignments she braved the perils of the Amazon River on writer-director Curt Siodmak’s Curucu, Beast of the Amazon, and a less harrowing Hollywood backlot swamp in Fox’s the Alligator People. Her 1960s film work included Pretty Poison, The Mad Room and the multi-storied Twice Told Tales with Vincent Price. Overall, this list of titles is unmatched by any other ’50s genre actress.”
The diverse, dynamic and uniquely sexy Beverly Garland was born in Santa Cruz, California. She studied with dramatics teacher Anita Arliss, sister to Hollywood actor George Arliss. Garland also worked in radio actually appeared semi-clothed in various racy shorts, until she made her first feature debut supporting role in the taut noir thriller D.O.A (1949) starring Edmund O’Brien. Beverly started out doing small parts in science fiction/horror films such as The Neanderthal Man 1955and The Rocket Man 1954. But her cult/exploitation status was forged when she signed onto to work with legendary filmmaker Roger Corman, the first film takes place in Louisiana called Swamp Women. In 1983 Beverly Garland received a star on the Hollywood Walk of Fame. She worked right up until 2004 and sadly passed away in 2008.
There are so many credits Beverly Garland has under her belt, I can only list the few that are memorable for me, but here she is linked to her massive IMDb list of credits for you to peruse. One of the roles that stands out for me is her groundbreaking role in the late 1950s as Casey Jones a policewoman for NYC in the series called Decoy (1957) Garland finds herself in diverging & dangerous situations where she not only uses her sexy good looks but her smarts and her instincts to trap criminals from all walks of life. It’s a fabulous show and it shows not only how diverse Beverly Garland is but the show was a historical first for a woman starring in a dramatic television series.
Beverly Garland has performed in drama’s including a musical with Frank Sinatra directed by Charles Vidor The Joker is Wild (1957) Film Noir (The Miami Story 1954, New Orleans Uncensored 1955, Sudden Danger 1955, The Steel Jungle 1956, Chicago Confidential 1957, Science Fiction/Fantasy, Adventure, Exploitation, Westerns and Crime dramas & Thrillers like Pretty Poison 1968. For the purposes of The Last Drive In tribute to this magnetic actress, here are those performances in the genre I’m featuring both film & television series!
“The Memories of working with Roger Corman are pleasant because I got along with him very well. He was fun to be around and work with. We always did these films on a cheap budget, and people were always mad at Roger because he’d hardly feed us! And no matter what happened to you, your worked regardless… You could be dead and Roger would prop you up in a chair!”-Beverly Garland
From Beverly Garland’s Interview in “Interviews with B Science Fiction and Horror Movie Makers: Writers, Producers, Directors, Actors, Moguls and Makeup” by Tom Weaver (McFarland 1988).
In The Mad Room (1969) her character was pregnant–so was she at the time, with her son James.
[referring to her 1950s Roger Corman cult films] “It’s funny today because it’s so ridiculous. But at the time, it was very serious! We were just actors doing our best, I think. None of us overacted. I’m not saying we weren’t good. We didn’t do it tongue-in-cheek. We really meant it. We gave our all. We were serious, good actors and we played it seriously.”-Beverly Garland
“Maybe I do come on strong, and people sense in me a strength and a positiveness . . . It’s really the way I look and act, not the way I am . . . Once you cut through the protective coating, I’m strictly molasses.”-Beverly Garland
Audrey Dalton– “I noticed you wrote a bit about Beverly Garland. She was such a dear friend of mine. She was in Pretty Poison with Noel Black who just passed away last year. Bev died years ago and even though she remained active in the Scarecrow and Mrs King for so long, she loved acting in “B” films the most.”
Waitress Nola Mason in The Neanderthal man 1954, Ludine in The Rocket Man 1954, Vera in Swamp Women 1956, Claire Anderson in It Conquered the World 1956, Dr. Andrea Romar in Curucu the Beast of the Amazon, Nadine Storey in Not of this Earth 1957, Joyce Webster in The Alligator People 1959, Ellen Winslow in Stark Fear 1962, as Alice Pyncheon in Twice-Told Tales (1963) Mrs. Stepanek in Pretty Poison 1968, Mrs. Racine in The Mad Room 1969, Science Fiction Theatre (TV Series) Katherine Kerston / Sally Torens– The Other Side of the Moon (1956) … Katherine Kerston– The Negative Man (1955) … Sally Torens, The Twilight Zone (TV Series) Maggie- The Four of Us Are Dying (1960) , Thriller (TV Series) Ruth Kenton– Knock Three-One-Two (1960)
Tom Weaver – “In your Corman movies you yourself generally played plucky, strong willed, sometimes two-fisted types.”
Beverly Garland- “I think that was really what the scripts called for. In most all the movies I did for Roger my character was kind of a tough person. Allison Hayes always played the beautiful, sophisticated “heavy” and I played the gutsy girl who wanted to manage it all, take things into her own hands. I never considered myself much of a passive kind of actress-I never was very comfortable in love scenes, never comfortable playing a sweet, lovable lady. Maybe if the script wasn’t written that way, then probably a lot of it I brought to the role myself. I felt I did that better than playing a passive part.”
Swamp Women (1956) An undercover policewoman helps three female convicts escape from prison so that they can lead her to a stash of stolen diamonds hidden in a swamp. Co-stars Marie Windsor, Carole Mathews, Mike Connors, Susan Cummings and Ed Nelson!
Also in Swamp Women 1956, Garland was expected to do her own stunts, even dropping out of a 20 foot tree. Roger Corman told her “When you’re killed you have to drop” Roger planted three guys underneath the tree to catch Beverly when she let’s go. “And when they killed me I just fell-dead weight on these three poor guys!” Roger told her “You’re really one of the best stuntwomen I have ever worked with.”
Even after breaking her ankle in Gunslinger 1956, Beverly was a trooper, she did all her fight scenes and worked to finish the film for Roger Corman, even though she couldn’t walk for weeks after that!
As Ellen Winslow, Garland takes a courageous role as a non-victim of abuse and assault, she pushes back head on against the grain instead of wilting from the trauma she prevails. The film showcases the gutsy quality Garland herself tried to portray in all her performances. in the darkly psychological Stark Fear (1962)A sadistic husband mentally tortures his wife, while eventually planning to murder her. Although no one believes her, she gets help from an unexpected source.
Beverly Garland recalls making Swamp Women co-starring Marie Windsor with Tom Weaver-“Swamp Women! Ooh that was a terrible thing! Roger put us up in this old abandoned hotel while we were on location in Louisiana- I mean it was really abandoned! Roger certainly had a way of doing things back in those days-I’m surprised the hotel had running water! I remember that we each had a room with an iron bed. Our first night there, I went to bed and I heard this tremendous crash! I went screaming into Marie Windsor’s room, and there she was with the bed on top of her-the whole bed had collapsed! Well, we started laughing because everything was so awful in this hotel. just incredibly terrible, and we became good friends.”
Carole Mathews, Marie Windsor and Beverly Garland in Swamp Women
Beverly Garland not only exuded a gutsy streak in every role she took, she shared the notable distinction of starring in one of Boris Karloff’s THRILLER episodes called Knock-Three-One-Two co-starring with the wonderful character actor Joe Maross who has a gambling problem and will be beaten to a pulp if he doesn’t pay his bookie. So he enlists the help of a psychopathic lady killer to murder his wife Beverly for her tightly held purse and large savings account!
Tom Weaver asks Beverly Garland if she enjoyed working on Twice-Told Tales (1963) — “Oh, I love it because I loved Vincent Price. He is the most wonderful sweet, adorable man! I don’t remember much about the movie, I just remember working with Vinnie and how wonderful he was.”
Tom Drake, Bill Elliott, and Beverly Garland in Sudden Danger (1955)
On working with Roger Corman on Gunslinger (1956) after Allison Hayes another seasoned actress and a bloomin’ trooper who broke her arm during filming. The working conditions were dismal but Beverly Garland isn’t a woman you can keep down. “I always wondered if Allison broke her arm just to get off the picture and out of the rain. It poured constantly. But what I adored about Roger was he never said, ‘This can’t be done.’ Pouring rain, trudging through the mud and heat, getting ptomaine poisoning, sick as a dog–didn’t matter. Never say die. Never say can’t Never say quit. I learned to be a trooper with Roger. I could kid him sarcastically about these conditions and laugh. That’s why we got along so well. On Gunslinger, I was supposed to run down the saloon stairs, jump on my horse and ride out of town. Now we never had stunt people in low-budget films. Riding, stunts, fights–we all did it ourselves and we all expected it, and we all just said it was marvelously grand. I told myself just to think tall. So my first take I thought tall and sailed right over the saddle and landed on the other side of the horse. The second take I twisted my ankle running down the stairs– a bad twist.”
About working with Roy del Ruth on The Alligator People–“He was sweetheart of a guy and a good director. The Alligator People was a fast picture, but he really tried to do something good with it. And I think that shows in the film. It’s not something that was just slapped together. It as such a ridiculous. story…).. I felt when I read the script and when I saw the film, which was a long time ago, that it ended very abruptly. It all happened too fast; it was kind of a cop out. But there really was no way to end it. What were they going to do-were they going to have us live happily ever after and raise baby alligators?”
On first seeing the cucumber creature that Paul Blaisdell designed for It Conquered the World–“I remember the first time I saw the It Conquered the World Monster. I went out to the caves where we’d be shooting and got my first look at the thing. I said to Roger, ‘That isn’t the monster…! That little thing over there is not the monster, is it?’ He smiled back at me , “Yeah, Looks pretty good, doesn’t it?’ I said, ‘Roger! I could bop that monster over the head with my handbag!’ This thing is no monster, it was a terrible ornament!’ He said, ‘Well don’t worry about it because we’re gonna show you, and then we’ll show the monster, back and forth.’ ‘Well, don’t ever show us together, because if you do everybody’ll know that I could step on this little creature! Eventually I think they did do some extra work on the monster: I think they resprayed it so it would look a little scarier, and made it a good bit taller. When we actually filmed, they shot it in shadow and never showed the two of us together.”
Beverly Garland as Clair talking on the radio to IT– “I hate your living guts for what you‘ve done to my husband and my world, and I’m going to kill you! Do you hear that? I’m going to kill you!”…) “So that’s what you look like, you’re ugly…) You think you’re gonna make a slave of the world… I’ll see you in hell first!“
Tom Weaver asks —“Do you ever look back on your B movies and feel that maybe you were too closely associated with them? That they might have kept you from bigger and better things?
Beverly Garland —“No, I really don’t think so. I think that it was my getting into television; Decoy represented a big turn in my life. Everybody did B movies, but at least they were movies, so it was okay. In the early days, we who did TV weren’t considered actors; we were just horrible people that were doing this ‘television’ which was so sickening, so awful, and which was certainly going to disappear off the face of the earth. Now, without TV, nobody would be working. No-bod-y. But I think that was where my black eye came from; I don’t think it came from the B movies at all.”
Tom Weaver-“Which of your many horror and science fiction roles did you consider your most challenging?”
Beverly Garland–“Pretty Poison. It was a small part, but it had so much to say that you understood why Tuesday Weld killed her mother. I worked hard to make that understood not a surface one, but tried to give you the lady above and beyond what you would see in a short time.”
The bewitchingly beautiful Audrey Dalton was born in Dublin, Ireland who maintains the most delicately embroidered lilt of Gaelic tones became an American actress of film in the heyday of Hollywood and the Golden Age of television. Knowing from early on that she wanted to be an actress while studying at the Royal Academy of Dramatic Arts was discovered by a Paramount Studio executive in London, thus beginning her notable career starring in classic drama, comedy, film noir, science fiction, campy cult classic horror and dramatic television hits!
Since then I’ve had the incredible honor of chatting with this very special lady whom I consider not only one of THE most ethereal beauties of the silver screen, Audrey Dalton is a versatile actress, and an extremely gracious and kind person.
Audrey Dalton’s made a monumental contribution to one of the biggest beloved 1950s ‘B’ Sci-Fi treasures and she deserves to be honored for her legacy as the heroine in distress, pursued by a giant bunny killing Mollusk “That monster was enormous!” –Audrey commented in her interview with USA Today.
Gail MacKenzie in The Monster that Challenged the World 1957, Baroness Maude Sardonicus in William Castle’s Mr. Sardonicus 1961 Boris Karloff’s Thriller (1960-1962)- Norine Burton in The Prediction, Meg O’Danagh Wheeler in The Hollow Watcher and Nesta Roberts in Hay-Fork and Bill-Hook.
Barbara Rush appeared in director Martin Ritt’s turbulent suburban drama No Down Payment 1957 with ex-husband Jeffrey Hunter though they weren’t married to each other in the film.
Barbara Rush, Possesses a transcendent gracefulness. She moves with a poise like a dancer, a beautiful gazelle stirring in the gentle quiet spaces like silent woods. When I see Barbara Rush, I see beauty personified by elegance and decency. Barbara Rush will always remain in my eyes, one of the most gentle of souls on the screen, no matter what role she is inhabiting. She brings a certain kind of class that is not learned, it’s inherent.
She was born in Denver, Colorado in 1927 and began at University of California. Then she joined the University Players, taking acting classes at the Pasadena Playhouse. Paramount scooped Barbara up and signed her to a contract in 1950. She debuted with The Goldbergs (1950) as Debby Sherman acting with Gertrude Berg as Molly Goldberg -a popular television program that follows the warm, human story of famous Jewish Bronx radio & TV family the Goldbergs, and their everyday problems. Co-starring David Opatoshu and Eduard Franz.
Before joining the Goldbergs she met the strikingly handsome actor Jeffrey Hunter who eventually became a hot commodity over at 20th Century Fox. Barbara Rush and Jeffrey Hunter fell in love and were married in December of 1950. They became Hollywood’s most gorgeous couple, and the camera seemed to adore them. Their son Christopher was born in 1952.
During her time at Paramount, Barbara Rush appeared in the science fiction catastrophic end of the world thriller directed by Rudolph Maté —When World’s Collide 1951 co-starring Richard Derr, Peter Hansen and John Hoyt.
As time went on Barbara Rush co-starred with some of the most desirable actors in Hollywood, James Mason, Monty Clift, Marlon Brando, Paul Newman , Richard Burton and Kirk Douglas. Her roles ran the gamut from disenchanted wives, scheming other women or pretty socialites
Though Barbara Rush is capable of a range of acting, the one great role of a lifetime never seemed to surface for her, though what ever she appeared in was elevated to a higher level because of her presence.
Television became a wonderful avenue for Barbara Rush’s talent, she appeared in guest parts in many popular tv series of the 1960s and 1970s. She also co-starred in tv movies. One enjoyable character she played was a guest villain on the 1966 television series Batman as femme fatale ‘Nora Clavicle” Barbara Rush also played Marsha Russell on the popular television drama Peyton Place 1968-69
Barbara Rush also turned to work on the stage. She garnered the Sarah Siddons Award for her starring role in Forty Carats. Making her Broadway debut in the one woman showcase, “A Woman of Independent Means” which also subsequently earned her the Los Angeles Drama Critics Award during its tour. Other showcases included “Private Lives”, “Same Time, Next Year”, “The Night of the Iguana” and “Steel Magnolias”.
Barbara Rush still possesses that transcendent beauty, poise and grace. She will always be someone special someone memorable.
Joey Q: Did you ever imagine Jack Arnold’s “It Came from Outer Space” (1953) with you (in that black dress by Rosemary Odell) aiming that laser beam would become so iconic, and leave such a lasting impression on fans and film historians after all these years?
Barbara Rush: A: I’d never think that anybody who saw it needed to see it again, but if it left an impression, that’s fine. I loved the chiffon dress. It was too weird that these people that came from other space were too frightening to look at, so they took the form of regular humans. What I thought was interesting that these creatures didn’t actually want to be there and weren’t vicious at all. They were just trying to fix their ship and get it together. I remember thinking that with a lot of science fiction films; we were so afraid these creatures, but they were just trying to get away and weren’t threatening at all.
Joey Q: Is there a role you would have liked to play — let’s say in a Gothic thriller? Or was there ever a script for one that you turned down that you regret now? Were there any other high quality A-picture science fiction film scripts sent to you after “When Worlds Collide” (1951) and “It Came from Outer Space” (1953)?
Barbara Rush A: I don’t remember anything that was given to me to do other than those two pictures. That was all just orders from the studio. The science fiction film I admired the most was the picture E. T. – I just love that film and it is my favourite, but I never thought it was something I wanted to be in myself.
Joey Q: “The Outer Limits” is one of the most extraordinary anthology television shows of the 1960s. It was clearly ahead of its time, beautifully crafted and though-provoking. You star as the tortured Leonora in the episode “The Forms of Things Unknown” which is perhaps one of THE finest of the series written by Joseph Stefano, all due to the cinematography, lighting, and particularly the ensemble acting. Do you have any lasting impressions or thoughts about that role and/or working with Vera Miles, Cedric Hardwicke, David McCallum, and Scott Marlowe?
Barbara Rush A: I loved doing that show and loved Vera Miles. She was just the most wonderful person to work with. She was so funny. There was a scene where she had to run after me in the forest in the rain. After that miserable experience she told me:”Barbara, I promise you I’ll never chase after you in the rain, in the forest, ever again.” I thought the episode was very interesting, though.
Joey Q: In that same high calibre of dramatic television series, were you ever approached by William Frye, Doug Benton, or Maxwell Shane from Boris Karloff’s “Thriller” series or by Alfred Hitchcock for his anthology series? You would have been extraordinary in either television program! These shows were remarkably well-written and directed and I’m certain there would have been a perfect role for your wonderful acting style. Did you ever receive a script or were you ever interested in appearing on either of those shows?
Barbara Rush A: Unfortunately they didn’t really seem to want me. They never got in touch with me about anything. I would have loved to work for Hitchcock – I liked his films.
Joey Q: It seems that the early 70’s found you a niche in the macabre. Perhaps this is because you are such a consummate actress and the contrast of your gentility works well with the darker subject matter. In 1971 you co-starred with Henry Darrow in a short piece on Rod Serling’s “Night Gallery” – “Cool Air.” It was a Gothic romantic tale based on H.P. Lovecraft’s story about a woman who falls in love with a man who must remain in a refrigerated apartment dare something dreadful occur. Then, in 1972 you appeared in “The Eyes of Charles Sands” as Katherine Winslow co-starring Peter Haskell and Joan Bennett, a film about ESP and solving a murder. Then came “Moon of the Wolf” where you co-starred with David Janssen and Bradford Dillman, two very handsome leading men. Did you enjoy venturing into these uncanny story lines?
Barbara Rush A: I particularly enjoyed working with Bradford Dillman, who was a dear friend of mine. We more or less grew up together, in Santa Barbara. In one of these he played a werewolf and he’d have these hairy mittens as part of his costume and he’d come trampling in all the time – as a werewolf! I have a tendency to get very hysterical about how funny people can be, and he’d just make me crack up. We were shooting – I think in New Orleans or Mississippi, somewhere in the south – on location, so it was very hot. Poor Brad who had to walk around in those mittens.
Attended and graduated from the University of California, Santa Barbara (1948). She graduated from the Pasadena Playhouse School for Performing Arts in Pasadena, California.
Is mentioned in the movie Shampoo (1975), when hairdresser Warren Beatty says “I do Barbara Rush’s hair”.
Was separated from second husband Warren Cowan in 1969 at the time she learned of first husband Jeffrey Hunter’s sudden death following brain surgery after falling down a flight of stairs.
Appears in No Down Payment (1957) with ex-husband Jeffrey Hunter, they both portraying married characters, but not married to each other.
She is one of five actors to have played “Special Guest Villains” on Batman (1966) who are still alive, the others being Julie Newmar, John Astin, Joan Collins and Glynis Johns.
“I can safely say that every movie role I was ever offered that had any real quality went to someone else.”-Barbara Rush
As Joyce Hendron in When Worlds Collide 1951, as Ellen Fields in It Came from Outer Space 1953 Night Gallery episode as Agatha Howard in ‘Cool Air’ released on December 8, 1971 based on a story by H.P. Lovecraft and The Outer Limits as Leonora Edmond in episode The Form of Things Unknown written by Joseph Stefano released on May 4, 1964, as Karen Lownes in Kraft Suspense Theatre tv series ‘In Darkness, Waiting (1965), as Nora Clavicle and The Ladies’ Crime Club Batman Series 1966, Moon of the Wolf (TV Movie) 1972 as Louise Rodanthe, as Katherine Winslow in The Eyes of Charles Sand (1972), The Bionic Woman (TV Series) – Jaime’s Mother (1976) … Ann Sommers / Chris Stuart, 1979 Death Car on the Freeway (TV Movie) as Rosemary
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!
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!
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 Featureson Channel 5, or Fright Nighton 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!
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.
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.
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!
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 (1957)
Paul Birch is the alien vampire Paul Johnson in Roger Corman’s Not of This Earth 1957
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 likeJohn 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…
This 1955 hair dryer is just begging to be a space-age helmet!
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 —
“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’sStrange Case of Dr. Jekyll and Mr. Hyde, re-envisioned time and time again.
John Barrymorelifts 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)
There were a few early visions of fantasy, magic & Science Fiction films from all around the world- At 3:25 akaThe 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!
Metropolis 1927 the dystopian masterpiece by director Fritz Lang was the beginning of the fascination with exploring the fantastic and our unbounded imaginations on film, it’s remarkable set design, imagery and narrative sparked the Science Fiction genre in a big way— spanning decade upon decade, in particular revived in the 1950s!
The first influential science fiction film by Fritz Lang created a dystopian societ in Metropolis 1927. It’s influence has maintained it’s powerful thrust for decades. An inspiration for Ridley Scott’s neo-noir sci-fi masterpiece Blade Runner (1982)
“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
Charles Laughtonis 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)
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 …
What’s on that slab?, “It’s Alive, It’s Alive!…”those monumental words that remain ingrained in our consciousness. Colin Clivebecomes 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.
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.”
“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 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.”
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?”
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!
DESTINATION MOON 1950 was featured in COLOR BY TECHNICOLOR. Being hailed the 2001, Space Odysseyof it’s time, it attempts to portray a realism trip to the moon. Phil Hardy calls Destination Moon 1950 ‘a sober celebration of man’s imminent conquest of space that dominated the decade.’
Destination Moon did attempt to accurately portray a trip to the moon given the technology and knowledge that was stuck in 1950.
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.
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.
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.
H.G. Well’s view of Martianinvaders 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 Domergueyou pants wearing Mutant!
“Is that a fireball or something?”
Hollywood saw a trend later on in the 50s with Destination Moon 1950 when they came upon a story written by Harry Bates called The Return of the Master this became Robert Wise’s The Day the Earth Stood Still 1951which 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.
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 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?
Giant insects, sea creatures and people who ran around half crazed and scantily dressed were a by-product of the atomic age!
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.”
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!
A tagline reads “SEE-Astounding she-beasts of Venus!”
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.
“May we serve you earth men?”
“You’re the first man I’ve ever seen!” Carol Brewster as Alpha is mesmerized
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 Donna Martell as Colonel Briteis (bright eyes?)
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.”
There is always time for romance in outer space!
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.
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!
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.
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.”
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.
20 Million Miles to Earth (1957) Ray Harryhausen’s Ymir from Venus
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!
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!
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.
Roger Corman’s It Conquered the World (1956) The Venusian cucumber
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 1957and 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.
The Angry Red Planet (1959) The Rat Bat Spider puppet monster!
Grant Williams sails into the radioactive mist in The Incredible Shrinking Man 1957
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!
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.
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’sFrankenstein 1931is 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?
“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’sFantasy/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.
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.”
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’sagonizing 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.
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 Williams is feeling ‘literally’ like such a small man.
There would be films that embrace the dystopia narratives, and curiosity with technical advancements like robots!
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
FEAR OF THE ATOMIC BOMB! The Atomic City 1952 trailer
I see you with my million eyes!
Hey big fella got a light!
The theremin ‘the dulcet tones’ that wavered throughout sci-fi and beyond!
‘The modern world’
It’s intermission time! Head out to the snack bar for some 50s refreshments!
Directed by Irving Picheland 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 Archeras 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.
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.
The film features the first lunar landing that was envisioned as realistic and not melodramatic or surreal. The crew led by actor John Archer manage to land on the Moon but they run out of fuel, that they seem doomed to be stranded. They lose all the excess weight in order to get the ship space worthy again, but till they are over the weight limit. In a noble act of courage and sacrifice Dick Wesson (Tom Powers) figures that he can remove his cumbersome pressure suit and re-enter the ship a lighter and better man in order to save the rest of the crew…
Dr. Charles Cargraves:You can’t buck public opinion; I’ve tried. Have you seen this? [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.