“Wind was there and space and sun and storm… everything’s beyond the door.”
Fritz Lang’s psychological film noir, Secret Beyond the Door (1947) is suggestive of a dream state, from which the characters never quite emerge. The film draws blurry lines between what is latent and obvious desire. The doors are symbolic of the compartmental anxieties within the dark recesses of the mind. Secret Beyond the Door is steeped in metaphor, sunless and surreal, and an evocative score by Miklós Rózsa. Cinematography is by Stanley Cortez, who is responsible for another dream like milieu in Night of the Hunter (1955). It was Joan Bennett, who insisted on using Cortez as cinematographer.
The film co-stars marvelous character actor Anne Revere as Mark’s sister Caroline, Barbara O’Neil, Natalie Schafer, and Paul Cavanagh.
Bosley Crowther, “… Lang is still a director who knows how to turn the obvious, such as locked doors and silent chambers and roving spotlights, into strangely tingling stuff… For all its psycho-nonsense, this film is mildly creepy.”
The screenplay by Sylvia Richardson is based on Rufus King’s novel Museum Piece No. Thirteen, and also appeared in the December 1945 issue of Red Book.
Long ago I read a book that told the meaning of dreams. It said that if a girl dreams of a boat or a ship she will reach a safe harbor, but if she dreams of daffodils she is in great danger. But this is no time for me to think of danger. This is my wedding day.–Celia Lamphere
The film opens with a voice-over by Joan Bennett. Celia Lamphere, (Bennett) journeys through her surreal and sleepy addiction to her new husband, architect Mark Lamphere (Michael Redgrave). Celia’s obsessed with the suspicion that Mark is hiding hideous secrets, she plans to succumb to his murderous compulsions. But Mark is not the only one with creeping psychosis. Celia herself is driven by a troubled, neurotic psyche that initially drew her to his enigmatic nature.
Celia wanders through a corridor literally and metaphorically, first in a reverie and then a shadowy nightmare. She first meets Mark on a trip to Mexico when she is mesmerized by the power of passion which can drive two men to fight each other to the death for a woman (Donna Martell). “How proud that woman must be to cause death in the streets.” She realizes that Mark is watching her excitement in this, his eyes like fingers. At that moment, Celia has a taste for danger. Like Mark, the thrill of death represents a strong aphrodisiac for her.
Celia: Suddenly I felt that someone was watching me. There was a tingling at the nape of my neck as though the air had turned cool. I felt eyes touching me like fingers. There was a current flowing between us… warm and sweet… and frightening, too, because he saw behind my make-up what no-one had ever seen. Something I didn’t know was there.
Throughout the film Celia strays from reality and finds herself adrift within a conscious flowing daydream. Her voice-over shows she is controlled by the intense beating of her heart. She relates the feeling to drowning “When you are drowning, your whole life flashes before your eyes.”
British actor Michael Redgrave made his U.S. film debut as Mark. Initially Lang wanted James Mason in the lead role. Mark turns dark and brooding soon after he marries his new bride. He has been married before and his first wife has died under curious circumstances. Also part of the plot is his serious young son David — who blames him for his mother’s death.
There is also, his strangely loyal secretary Miss Robey (Barbara O’Neil) who wears a scarf over one side of her face having been disfigured In a fire. One thinks of Rebecca later on. The film co-stars character actor Anne Revere as Mark’s sister Caroline.
Celia: I heard his voice and then I didn’t hear it anymore, because the beating of my blood was louder. This was what I’d hunted those foolish years in New York. I knew before I knew his name or touched his hand and for an endless moment, I seemed to float like a feather blown to a place where time had stopped.
Mark: You were living that fight. You soaked it all in – love, hate, the passion. You’ve been starved for feelings – any real feelings. I thought: 20th Century Sleeping Beauty. Wealthy American girl who has lived her life wrapped in cotton wool but she wants to wake up. Maybe she can. Celia: Is it as hard as all that? Mark: Most people are asleep.
Mark shows all the telltales signs that he is delusional, having a preoccupation with several murder rooms and one locked door #7 in his estate. He’s filled with macabre declarations, “I have a hobby collecting ‘felicitous’ rooms”, (Celia mistaking the word for happy, not ‘apt’ for murder) “the way a place is built determines what happens in it”, “certain rooms cause violence even murders.”
Mark Lamphere takes his guests on a tour of his murder rooms.
“As an architect Mark Lamphere gives particular credence to the influence of space and human lives. He repeatedly uses the word “felicitous” to describe his theory that elements of particular space make certain human actions possible. And therefor ‘apt’ for that locale.” —The Dark Mirror Psychiatry and Film Noir by Marlisa Santos
Redgrave understands how to walk that fine line between innate intensity and male hysteria — one just needs to see his performance as Maxwell Frere in Dead of Night’s(1945) segment The Ventriloquist’s Dummy, where he wrestles with his ‘dummy partner’ Hugo.
Mark is fascinated by the connection between the action of murder and the significance of his locked rooms as psychological theatre. The film utilizes production design by Max Parker (Chandu, the Magician 1932, Arsenic and Old Lace 1944) who creates a dreamworld of disruptive psychosis. It’s within this fairytale steeped in misogyny that Redgrave wants to act out his fantasist murderous impulses. Secret Beyond the Door is a retelling of Bluebeard, the archetype of the serial killer who desires to annihilate women who dominate him. We see a hint of Mark’s roiling demons when he takes a group of party guests on a tour of his rooms as curios — original replicas of historic murders. One of his guests, a psychology major, associates the murder of a wife or lover to “unconscious hatred for the mother.”
Celia confronts Mark, “It was the way you immersed yourself in those stories you were almost happy about their deaths.”
“Probably the most overt Freudian depiction of noir psychosis is found in Secret Beyond the Door, a film that features various re-castings of fairy tale patterns bound up with the psychoanalytic interpretations of childhood trauma and sexual relationships. From the start, the film makes no artistic attempt to submerge its psychoanalysis frame […] all of Celia’s fears and desires are open for scrutiny from the time that she first encounters Mark.” — The Dark Mirror Psychiatry and Film Noir by Marlisa Santos
She takes a subconscious journey both surreal and substantive as she navigates her new relationship with Mark and her awakened death wish.
During their honeymoon Celia unleashes Mark’s sinister urges when she locks the door to their room. This catalyst brings his childhood trauma to the surface. As a young boy he perceived a painful transgression by his mother. His recollection of this seemingly insignificant incident turned into hatred of all women, that has carried throughout his life. These machinations bring him to homicidal delusion. His memories are locked away just as his morbid rooms are show pieces.
Celia embraces her husband’s impulses, setting herself up within the replica frozen in time of the death room #7 meant for her. But she desires to unlock Mark’s subconscious as well as his locked room.
Celia- “This is my room, waiting for me”
She waits with lilacs, waiting to trespass on the madness that has led him to this dark place. The link between love and death becomes interwoven as Celia prepares to sacrifice herself to Mark if she cannot save him from his tortured sickness. Kelly Oliver and Benigno Trigo cover Freud’s fascination with Eros/Thanatos in in their analysis of Secret Beyond the Door, drawing this connection between love and death. Which “according to the film’s logic, death is love’s uncanny double.”
“Inasmuch as closed space can be interpreted as ‘cave’, ‘the grave’, a house, woman… entry into it is interpreted on various levels as ‘death’, ‘conception’ ‘return home’ and so on: moreover all these acts are thought of as mutually identical”.-Teresa de Lauretis
Mark’s voice-overs wrestle with the urge to strangle Celia if left alone with her. He imagines what he will say when asked if the murder was premeditated. Redgrave is framed within the scene by the prominent energy of his twisting a scarf as if he is preparing to strangle Celia. Holding the scarf, the murder weapon from Don Ignacio’s room, his voice-over gives us the sense of the film’s prowling subconsciousness.The darker counterpart to Celia’s dream-like twists and turns.
Mark: There’s something in your face that I saw once before in South Dakota. Wheat country. Cyclone weather. Just before the cyclone, the air has a stillness. A flat, gold, shimmering stillness. You have it in your face – the same hush before the storm and when you smile it’s like the first breath of wind bending down the wheat. I know that behind that smile is a turbulence that…
Mark’s Freudian Oedipal struggle with hatred for his mother and all women with latent murderous desire is never quite explored as deeply as it could be in the film. In flashback we understand that he has been shut out of his mother’s affection in one scene. Though here, murder seems to be an expression of male exasperation, one wonders if this was consequential in creating such a conflicted and disturbed monster?
“The symbolism of shutting Freud’s psychological door is present yet after all the Freudian iconography, the basic motivation lies still in the darkness, with one door closed, leaving us outside the ‘Interior turmoil.’” (Marlisa Santos)
*From Women in Film Noir Edited by E. Ann Kaplan
“In the threatening family mansions of the gothic, or in The Haunting’s evil old Hill House, a door, a staircase, a mirror, a portrait are never simply what they appear to be, as an image from Fritz Lang’s paranoid woman’s film’ Secret Beyond the Door. The title sums up the enigma of many of these films in which the question about the husband’s motives becomes an investigation of the house (and of the secret of a woman who previously inhabited it.)
Freud believed dreams were masks that disguised wish fulfillment. They are metaphorical inroads that point to our subconscious desires. And dreams— like folklore and images in art— are used as symbolism manifesting these unconscious emotional conflicts. Director Fritz Lang very often infused his films with an appetite for expressionist symbolism. With recurring iconography of doors and corridors, Secret Beyond the Door is perhaps one of his most pronounced visions of Freud’s The Interpretation of Dreams cloaked in the cinematic vogue of film noir.
Some Men Destroy What They Love Most!
This is your EverLovin’ Joey saying, there are no secrets between us, here at The Last Drive In! See ya soon!
“Lang’s almost musical control of violence deferred both apprehension and catharsis” –Carlos Clarens
“The “heat” in this instance is the appalling cruelty; but the “big heat” is criminal slang for a large-scale investigation and an allusion to the hellish state of the city.” —David Thomson
The Big Heat (1953) is perhaps one of Fritz Lang’s most violent noirs. It is an explosive noir masterpiece filled with striking images of the urban milieu that is often the site of Lang’s allegorical urban war. But here there are also themes of revenge, obsession, sexual hostility, and corruption. The nightmare exposed as realism in the everyday spaces of the city.
“Violence is the most consistent motif in the film noir; virtually no noir is without it. Its importance is complicated and often explained in sociological terms to justify its aesthetic power. As a statement in itself, violence in noir cinema a distinctive use. Whereas its purpose in the pure gangster film has often been to explain the sociopathic breeding and greed of thuggish personalities who reach power and control, violence in the noir is less explicable and more arbitrary less a matter of historical cause and effect than an unexpected and intense exercise of rage. […] The Big Heat—each has moments of violence that jar us by their cold-bloodedness, occasionally terrify us in their perverseness. suggest a darker cruel impulse.”
—From Violence In The Noir Street With No Name: A History of the Classic American Film Noir by Andrew Dickos
The film’s cold dimensions come from Sidney Boehm’s script (based on the novel by William P. McGivern) which conveys perhaps the most ferocious rage in the noir canon. It opens with a gunshot. A corrupt police records sergeant, Tom Duncan, blows his brains out, leaving a suicide note which reveals how gangster Mike Lagana (Alexander Scourby) —a first-generation immigrant— has risen to power, holding the city in the clutches of highly organized criminals. Just as Homicide Detective Dave Bannion (Glenn Ford) who is a working class family man, Lagana is an upper-class family man, worshiping the memory of his mother and doting on his daughter. In contrast, Lagana made his money through shady dealings. Duncan’s suicide sets forth a chain of events in where the narrative of the film pivots on it’s violence.
JEANETTE NOLAN & GLENN FORD Film ‘THE BIG HEAT'(1953)Directed By FRITZ LANG 1Oct. 1953 CTJ27877Allstar/Cinetex COLUMBIA
Duncan’s widow Bertha (Jeanette Nolan) shows no emotion over her dead husband’s lifeless body and stashes the letter. She telephones Lagana, cleverly signaling the implications of her husband’s suicide. Now that she possesses evidence that can expose the syndicate boss who runs the city from his palatial mansion, Bertha proceeds to blackmail Lagana. She is thinking of providing for herself a better lifestyle than a cop’s salary.
When Bannion comes to the door she must pretend to be the grieving widow. Bertha gazes at herself in the mirror, the camera holding mirrors in the background as symbols of deceit. And it’s a premonition of Bannion’s fractured morality as he is about to go on a mission of retaliation. The noir iconography of mirrors depicts duplicity and fragmentation. Charles Lang’s cinematography transforms the ordinary environment, texturing it with anxiety.
Lagana lives against skyscrapers and a starry city night scene, but in his home, there are antiques and expensive artwork, a hive of servants, and classical music: this riles Bannion. “Cops have homes, too. Only sometimes there isn’t enough money to pay the rent, because an honest cop gets hounded off the force by your thievin’ cockroaches for tryin’ to do an honest job.”
Bannion refuses to drop the investigation into Duncan’s suicide. His domestic bliss is shattered when his wife Katie (Jocelyn Brando) first gets an obscene call. This leads him right to the door of Lagana’s opulent home to threaten him. When Bannion insults Lagana’s pride, he plants a bomb in Bannion’s car that accidentally kills his wife. The violent act itself happens offscreen, but the brutal aftermath of such evil becomes the center of the film, a cautionary tale of human behavior and corruption.
The film juxtaposes scenes of the domestic innocence of Bannion’s family yet with the explosive violence he is capable of when he is driven to bring people down. He’s transformed into an avenging angel. He goes on a personal crusade against Lagana, resigning from the force after he’s warned by corrupt Commissioner Higgins (Howard Wendell) to lay off. He tosses his badge, but not his .38, simmering “That (gun) doesn’t belong to the department, I bought it.”
Bannion’s life is now bleak with his private war to expose Lagana’s grip on the city and the corruption within the police. He leaves the wholesome suburban home he shared with his wife, now empty except for his daughter’s baby carriage in a barren room. With no future before him, he leaves his former home without a trace of his once blissful life.
It is this desolation that springs the violence to come. Bannion rampages through the screen, threatening and intimidating poker-playing bullies as he invades with vigilante fantasy Lagana’s corrupt landscape. Bannion, once an average man, turned into the bitter vision of a noir hero who is being pushed to his capacity for violence. Bannion becomes obsessed with vengeance against the Syndicate boss and his chief thug, the sadistic Vince Stone (Lee Marvin). He roughs up hired gunman (Adam Williams), just short of killing him.
Bannion hunts down Duncan’s mistress, a B-girl Lucy Chapman (Dorothy Green) who knows where the bodies are buried and she tries to salvage Duncan’s reputation. But Bannion accuses her of “a shakedown,” walking out of the bar feeling morally superior to Lucy.
She is found the next day outside of town, tortured and murdered by sadistic criminals. The brutal murder takes place off-camera but we still hear the horrifying account in the coroner’s report. The morgue attendant asks “You saw those cigarette burns on her body?”, “Yeah, I saw them. Every single one of them.” As he crushes his cigarette into the ashtray, a nod to his culpability in her death.
Hirsch claims that few film noirs can or even try to sustain the pitch of these intensely violent moments. “These privileged moments are isolated from the rest of the films in which they occur by their special intensity but not by their content: the best film noir thrillers ‘earn’ and can absorb these moments of visual and theatrical virtuosity; the violence and mania that are highlighted in these passages of kinky vaudevillian cinema flow directly from the noir milieu.” – From Film Noir The Dark Side of the Screen by Foster Hirsch
Vicious Vince Stone, a vicious deranged hoodlum who gets off on torturing women, using one of them as an ashtray, burning a cigarette into a barfly Doris’ (Carolyn Jones) hand — a disquieting show of cruelty. Gloria Grahame is sexy, incendiary, and delightful as Stone’s girl, Debbie Marsh. Debbie is a smart-mouthed girl drifting amid the macho posturing of the gang. She becomes an ally of Bannion’s after she realizes her life palling around with criminals is aimless and dangerous. Bannion gives her a gun for protection, “the big heat falls for Lagana, for Stone, and all the rest of the lice.” The big heat purifies Debbie and Bannion in the climax.
As Debbie, Gloria Grahame possesses a sharp wit, moral ambiguity (half of her face is covered with bandages, two distinct profiles she presents), and enigmatic sensuality. “I’ll have to go through life sideways…”“I’ve been rich and I’ve been poor. Believe me, rich is better.” Looking around Ford’s hotel room, “I like this. Early nothing.” Debbie’s a positive counterpoint to the materialistic middle-class Mrs. Duncan, who pushed for her husband to lie down with Lagana, and eventually, kill himself.
Debbie becomes Bannion’s agent of death, blasting open the whole corrupt system. She shoots Bertha Duncan at the same desk her husband committed suicide. In this pivotal moment, she exposes the depth of evil in the narrative by handing over the suicide letter.
Just before Debbie shoots Bertha, “You know Bertha, we’re sisters under the mink.” Hailing from the gutter, Debbie’s only complicity with Bertha and her corruption is that they share the same symbol of greed and luxury. And they are both marked for a fall and a noir fate.
The Big Heathas some of the most virulently aggressive attitudes and scenes, not least of which is the iconic moment when Lee Marvin splashes a scalding hot pot of coffee in Gloria Grahame’s face, scarring her for what’s left of her life on screen. After she is savagely injured when in a jealous rage, Debbie retaliates at her ex-boyfriend by scalding his face the same way. In the escalating crescendo of Debbie’s dramatic demise, Vince shoots her in the stomach. Debby dies looking for love and approval from Bannion, her gruesome scars are obscured by her beloved mink coat. As she dies, she is redeemed and her morality is restored.
Toward the end, Bannion can’t look at Debbie’s face until their one intimate moment before she dies. He confesses wanting to kill Bertha Duncan, acknowledging his rage and finally seeing her in himself. The shadow patterns projected onto them by the window suggest a symmetry in their relationship. Bannion maintains his moral superiority and doesn’t submit to his murderous temptations.
All of the women in Bannion’s life meet with a tragic end. Bannion is unselfconscious of the victims he leaves in the wake of his mission. Most are women, with four dying violent deaths during the film, suggestive of Lang’s streak of misogyny.
“Lang’s almost musical control of violence deferred both apprehension and catharsis. Quiet, intimate moments were invested with characteristic threat through the intrusion in the frame of a lampshade or even a potted plant, empty rooms seemed to lie in wait for people. The tension was so expertly set up that when the picture finally let go with the violence, the viewer was ready—indeed rooting—for it.” — From Crime Movies by Carlos Clarens
This is you EverLovin’ Joey sayin’ stay out of trouble, will ya!
“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!–
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.
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 weeks 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, and Fright Nighton Channel 9. That’s how I fell in love, and got my fill of the treasures of films & television anthology series that were 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 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 whiff 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 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 giving 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 and 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 its own, storytellers who grasped the concepts of science fiction who questioned the endless possibilities, and the far-reaching machinations of brilliant minds, this project is 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, revealing that we all just might be harboring in our subconscious 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! In 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 its 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 a decade upon decade, in particular, revived in the 1950s!
The first influential science fiction film by Fritz Lang created a dystopian society in Metropolis in 1927. Its influence has maintained its 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)
Then there was the 1936 adaptation of H.G. Wells’Things To Come (1936)directed by William Cameron Menziesand starring Raymond Massey as Oswald Cabal, Ralph Richardson as The Boss, Margaretta Scott as Roxanna/Rowena and Cedric Hardwicke as Theotocopulos.
“What is this progress? Progress is not living. It should only be the preparation for living.”
Flash Gordonand similar serials provided superheroes for generations of young people in the 30s & 40s, planting the seeds for the future that would give us the Star Wars legacy.
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 centuries.
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 its profound 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 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?”
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.
In 1947, in Roswell New Mexico the military reported 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 for 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 its time, it attempts to portray a realistic 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.
Then we shot past the moon in the cinema and went straight to the red planet with Flight to Mars 1951!
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 judgment) 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 ambiance with its 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.
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.
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 citizenship 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 its 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 believe you me 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 1936and in the hands of crazed Albert Dekker in Dr. Cyclops 1940.
There is the quintessential existential crisis, the beautifully thought-provoking film by director Jack Arnold starring the eternally transcending man Grant Williams in, The Incredible Shrinking Man 1957.
And of course, there is the matter of GIGANTISM!
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 of 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 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 like Hollywood starlets than space aliens, anyway, they were eager to please. They danced 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 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 remind 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, and 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.
Indie filmmakers introduce teenagers as both heroes & monsters. Many films were horror/sci-fi hybridizations. And by the end of the decade, we have 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!
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 shoestring budget and 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, and 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 that 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 therefore be seen as a profoundly ambiguous figure 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 percussion 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!
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.
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, and 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 masterpieces such as William Cameron Menzies’s 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 equipped 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 at the end of the decade. Stories that were infused with 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, and 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, and 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’s protagonist Scott Carey becomes engulfed in a glittery mist of atomic dust particles in The Incredible Shrinking Man 1957 the film exudes anxiety about his diminishing masculinity by not only losing his literal size and his physical height but he loses his maleness as a husband and as a regular man. This estrangement becomes a journey of his eternal soul and its 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
Invasion Anxiety!
FEAR OF THE ATOMIC BOMB! The Atomic City 1952 trailer.
I see you with my million eyes!
Hey, big fella got a light!
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 and 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, and 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.
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 was 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!
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?
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
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 Sorelas 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 its unsophisticated unbelievability.”
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 are 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 skiesindeed! Still, prehistoric films, though considered mostly adventure stories seem to be included in books on the Sci-Fi genre. Though it could also easily be branded as a very cheap sexist exploitation romp!
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!
The Commentator: “Strangely enough, the swan dive was invented before the swan.“
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, and 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 a 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 its 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 its own technology much like the revelation in Ridley Scott’s Alien 1979.
The film though with its 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 its earnestness and visual style. And to be honest a lot more interesting and its characters more full of life than with its 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.
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 and 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.
These crazy-looking bald Martians sort of remind me of Pluto in The Hills Have Eyes 1977.
The crew is eventually besieged 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 troglodyte 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.
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 viewfinder 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!
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.
“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.”
― Sigmund Freud
“Ladies and gentlemen- welcome to violence; the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains sex.” — Narrator from Faster, Pussycat! Kill! Kill! (1965).
Tura Satana,Haji, and Lori Williams in Russ Meyer’s Faster, Pussycat! Kill! Kill! 1965Françoise Dorléac and Donald Pleasence in Roman Polanski’s Cul-de-sac 1966.Constance Towers kicks the crap out of her pimp for shaving off her hair in Sam Fuller’s provocative The Naked Kiss 1964.Peter Breck plays a journalist hungry for a story and gets more than a jolt of reality when he goes undercover in a Mental Institution in Sam Fuller’s Shock Corridor 1963.Bobby Darin is a psychotic racist in Hubert Cornfield and Stanley Kramer’s explosive Pressure Point 1962 starring Sidney Poitier and Peter Falk.
THE DARK PAGES NEWSLETTER a condensed article was featured in The Dark Pages: You can click on the link for all back issues or to sign up for upcoming issues to this wonderful newsletter for all your noir needs!
Patricia Morán as Rita Ugalde: The Exterminating Angel 1962:“I believe the common people, the lower class people, are less sensitive to pain. Haven’t you ever seen a wounded bull? Not a trace of pain.”
Ann Baxter as Teresina Vidaverri Walk on the Wild Side 1962—“When People are Kind to each other why do they have to find a dirty word for it.”
The Naked Venus 1959–“I repeat she is a gold digger! Europe’s full of them, they’re tramps… they’ll do anything to get a man. They even pose in the NUDE!!!!”
Baby Boy Franky Buono-Blast of Silence (1961)“The targets names is Troiano, you know the type, second string syndicate boss with too much ambition and a mustache to hide the facts he’s got lips like a woman… the kind of face you hate!”
Lorna (1964)-“Thy form is fair to look upon, but thy heart is filled with carcasses and dead man’s bones.”
Glen or Glenda (1953)– “Give this man satin undies, a dress, a sweater and a skirt, or even a lounging outfit and he’s the happiest individual in the world.”
Ed Wood’s Glen or Glenda 1953
Johnny Cash as Johnny Cabot in Five Minutes to Live (1961):“I like a messy bed.”
Dr. Moreau (Charles Laughton) Island of Lost Souls:“Do you know what it means to feel like God?”
The Snake Pit (1948): Jacqueline deWit as Celia Sommerville “And we’re so crowded already. I just don’t know where it’s all gonna end!” Olivia de Havilland as Virginia Stuart Cunningham“I’ll tell you where it’s gonna end, Miss Somerville… When there are more sick ones than well ones, the sick ones will lock the well ones up.”
Delphine Seyrig as Countess Bathoryin Daughters of Darkness (1971)– “Aren’t those crimes horrifying. And yet -so fascinating!”
Julien Gulomar as Bishop Daisy to the Barber (Michel Serrault) King of Hearts (1966)–“I was so young. I already knew that to love the world you have to get away from it.”
Susannah York (right) with Beryl Reid in The Killing of Sister George Susannah York and Beryl Reid in Robert Aldrich’s The Killing of Sister George 1960.
The Lickerish Quartet (1970)–“You can’t get blood out of an illusion.”
THE SWEET SOUND OF DEATH (1965)– Dominique-“I’m attracted” Pablo-” To Bullfights?” Dominique-” No, I meant to death. I’ve always thought it… The state of perfection for all men.”
Peter O’Toole asSir Charles Ferguson Brotherly Love (1970): “Remember the nice things. Reared in exile by a card-cheating, scandal ruined daddy. A mummy who gave us gin for milk. Ours was such a beautifully disgusting childhood.”
Euripides 425 B.C.–“Whom God wishes to destroy… he first makes mad.”
Bette Davis and Joan Crawford bring to life two of the most outrageously memorable characters in Robert Aldrich’s What Ever Happened to Baby Jane? 1962.
WHAT DOES PSYCHOTRONIC MEAN?
psychotronic|ˌsīkəˈtränik| adjective denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget or poorly received by critics. [the 1980s: coined in this sense by Michael Weldon, who edited a weekly New York guide to the best and worst films on local television.] Source: Wikipedia
In the scope of these transitioning often radical films, where once, men and women aspired for the moon and the stars and the whole ball of wax. in the newer scheme of things they aspired for you know… “kicks” Yes that word comes up in every film from the 50s and 60s… I’d like to have a buck for every time a character opines that collective craving… from juvenile delinquent to smarmy jet setter!
FILM NOIR HAD AN INEVITABLE TRAJECTORY…
THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NOWHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!
I just got myself this collection of goodies from Something Weird!
There’s even this dvd that points to the connection between the two genres – Here it’s labeled WEIRD. I like transgressive… They all sort of have a whiff of noir.Grayson Hall -Satan in High Heels 1962.Gerd Oswald adapts Fredrick Brown’s titillating novel — bringing to the screen the gorgeous Anita Ekberg, Phillip Carey, Gypsy Rose Lee, and Harry Townes in the sensational, obscure, and psycho-sexual thriller Screaming Mimi 1958.Victor Buono is a deranged mama’s boy in Burt Topper’s fabulous The Strangler 1964.Catherine Deneuve is extraordinary as the unhinged nymph in Roman Polanski’s psycho-sexual tale of growing madness in Repulsion 1965.
Just like Alice falling down the rabbit hole, Noir took a journey through an even darker lens… Out of the shadows of 40s Noir cinema, European New Wave, fringe directors, and Hollywood auteurs brought more violent, sexual, transgressive, and socially transformative narratives into the cold light of day with a creeping sense of verité. WhileFilm Noir pushed the boundaries of taboo subject matter and familiar Hollywood archetypes it wasn’t until later that we are able to visualize the advancement of transgressive topics.
Vivien Leigh as Blanch Dubois in Tennessee William’s A Streetcar Named Desire 1951Isobela Corona is Sara the witch-The Witches Mirror 1962Catherine Deneuve as the demented Carol in Roman Polanski’s Repulsion 1965Bette Davis as Christine Radcliffe in Irving Rapper’s Deception 1946Robert Cummings is Chuck Scott in Arthur Ripley’s The Chase 1946Citizen Kane-1941-Orson WellesTerence Young’s Corridor of Mirrors 1948 Edana Romney as Mifanwy ConwayPaul Henreid’s Dead Ringer 1964 starring Bette Davis & Bette Davis as twin sisters Margaret DeLorca / Edith PhillipsJack Bernhard’s film noir classic Decoy 1946Herbert Rudley as Dr. CraigFritz Lang’s M (1931) starring Peter LorreIda Lupino is blind Mary Malden in Nicholas Ray’s On Dangerous Ground 1951Jane Wyman is Eve Gill in Alfred Hitchcock’s thriller Stage Fright 1950Jean Simmons is Charlotte Bronn and Dan O’Herlihy as Arnold Bronn in Mervyn LeRoy’s psychological melodrama Home Before Dark 1958Jean Cocteau’s Orpheus (Orphée)1950 starring Jean MaraisThe Kiss Before the Mirror 1933 directed by James WhaleGloria Stuart and Paul LukasRobert Montgomery is Phillip Marlowe in Lady in the Lake 1947Marilyn Monroe is the disturbed babysitter Nell Forbes in Roy Ward Baker’s Don’t Bother to Knock 1952Janet Leigh plays the ill fated Marion Crane in Hitchcock’s classic horror Psycho 1960Jean Renoir’s The Rules of the Game 1939June Lockhart is Phyllis Allenby in Jean Yarbrough’s She-Wolf of London 1946Joe Sarno’s Sin in the Suburbs 1946 Joseph L. Mankiewicz’s Somewhere in the Night 1946 starring John Hodiak as George Taylor and Nancy Guild (rhymes with Wild) as Christy SmithGloria Swanson is the sensational Norma Desmond and William Holden is Joe Gillis in Billy Wilder’s Sunset Blvd. 1950Robert Mitchum is Lt. Duke Halliday and William Bendix as Capt. Vincent Blake in Don Siegel’s The Big Steal 1949Olivia de Havilland & Olivia de Havilland star as Terry and Ruth Collins in Robert Siodmak’s The Dark Mirror 1946Rita Hayworth is Elsa Bannister in Orson Welles’ The Lady from Shanghai 1947 Yvonne Mitchell is Lizaveta Ivanova in Thorold Dickinson’s The Queen of Spades 1949Thomas Mitchell is Lt Stevenson in Robert Siodmak’s The Dark Mirror 1946Bette Davis is the outrageous Baby Jane Hudson in Robert Aldrich’s What Ever Happened to Baby Jane? 1962
Here’s looking back at ya!-Your ever lovin’ monstergirl
In honor of the 40th anniversary of Robert Ryan’s death July 11, 1973 with a special nod to Karen & The Dark Pages for their spectacular tribute to this incredibly real man!
“Ryan was unfailingly powerful, investing his tormented characters with a brooding intensity that suggests coiled depth. Cut off from the world by the strength of their ‘feelings’ his characters seem to be in the grip of torrential inner forces. They are true loners. Ryan’s work has none of the masked, stylized aura of much noir acting. He performs with emotional fullness that creates substantial, complex characters rather than icons.” –Foster Hirsch-FILM NOIR: The Darker Side of the Screen
ClearlyRobert Ryan’sinfinite presence in film and his numerous complex characters manifest an embracing universal ‘internal conflict’ of masculinity. I tribute certain roles the actor inhabited during his striking career. Though he was cast more often in the part as the imposing heavy, the depth and breadth of Ryan’s skill with his rough-hewn good looks should have landed him more roles as a lead male capable of such penetrating levels of emotion. He had a depth that suggests a scarcely hidden intensity smoldering at the surface.
Robert Ryan as Montgomery in Edward Dmytryk’s Crossfire 1947.Robert Ryan in Act of Violence ’48
A critic for the New York Times reviewing Act of Violence (1948) wrote about Robert Ryan’s persona as the madly driven veteran bent on revenge, Joe Parkson calling him “infernally taut.”
Frank Krutnik discusses ‘Masculinity and its discontents’ in his book In A Lonely Street,“In order to make the representation of masculinity in the noir thriller, there follows a schematic run-through of Freudian work on the determination of masculine identity.” Claiming Freud’s work can be co-opted into film with an emphasis of its relevance to analysis of the cultural machinery of patriarchy.” He discusses patriarchal culture which relies heavily on the maintenance of a gender-structured ‘disequilibrium’ with its roots in the myth of the Oedipal Complex. Involving not only the power-based hierarchy of male service to masculine power but the established normative gender values which inform both the male and female figure.
Act of Violence Robert Ryan as Joe Parkson co-starring Janet Leigh
Many of the characters in Ryan’s noir world are informed by a cultural ‘determinacy of the phallus’ that authorizes toughness and strips the limits of desire as an obligation to masculine identity. The patriarchal power structure predetermines a fixed and limited role that creates a destiny of submission and impotence in Ryan’s characters. But within the framework of these extreme male figures lies an intricate conflict of varying degrees of vulnerability and fragility.
Ryan manifests this duality within hyper-masculine characters. Outwardly physical, confrontational, and hostile, Ryan is a master at playing with men who suffer from alienation and inferiority surrounding their own ‘maleness’ and self-worth. He was never just a dark noir brute or anti-hero but a complex man actualized through layers of powerful dramatic interpretation. His performances suggest a friction of subjugated masculinity bubbling within.
Ryan as Earl Pfeiffer and Barbara Stanwyck in Fritz Lang’s Clash By Night.
The trajectory of the male through the Oedipus Complex encompasses male subjectivity which is a principal issue in the noir ‘tough-thriller.’ The ‘existential thematic’ link to the Oedipus myth concerns questions of male desire and identity as they relate to the overarching law of existing patriarchal culture substituted for the original fearsome ‘divinity.’ This element is one of the driving psychological themes underlying any good classic film noir.
In this post, I put my focus primarily on Ryan’s characters within the framework of each film and while I discuss the relationship between him and the central players I do not go as in-depth as I usually do discussing his co-stars or plot design.
I apply this thematic representation to many of the roles engendered in the films of Robert Ryans‘ that I’ve chosen to discuss here. A patriarchal power structure establishes the tragedy of man’s destiny, a fixed and limited role in the character’s own destiny as there is a predominant power that threatens them into submission and sheds light on their own impotence. So many of the noir characters in a Robert Ryan noir world are shaped by a cultural authority structured through ‘determinacy of the phallus’ that authorizes toughness in the male identity that strips away the limits of desire, as an obligation to ‘masculine identity.’
Ryan’s stoic boxer Stoker in Robert Wise’s The Set Up.
I’m focusing on particular Ryan’s roles within a noir context that depict archetypal hyper-masculine tropes and the problematic strife within those characters. Whether Ryan is playing the deeply flawed hero or the tormented noir misfit, his characters are afflicted with an inherent duality of virility and vulnerability, inner turmoil, alienation, persecution, and masochism. It’s a territorial burden that Robert Ryan so effortlessly explores.
These films show Ryan’s trajectory through forces of menacing restraint and poignant self-expression. Within a noir landscape, the schism of stark virility and tenuous masculinity exposes the complexity of alienation, masochism, and frailty. Robert Ryan’s performances are a uniquely fierce and formidable power.
Within the framework of these ‘extreme’ male figures lies an intricate conflict with varying degrees of vulnerability & fragility within the male psyche. The narratives don’t necessarily flesh out this conflict plainly, but Ryan’s performances certainly suggest and inform us about the friction of this subjugated theme bubbling to the surface as he manifests the duality within his hyper-masculine characters. Robert Ryan was a master at playing men who suffer from alienation and inferiority surrounding their own ‘maleness’ and self-worth.
Ryan is never just a dark noir ‘brute’ or anti-hero but moreover, a complex male who is actualized through layers of powerful dramatic interpretation. A complexity of stark virility and ‘tenuous maleness’ as the narrative witnesses Ryan’s trajectory transforming him through various dynamic forces of menacing restraint and poignant self-expression. Outwardly physical, confrontational, hostile, and ultimately masculine, and the schism that is inwardly emotional, alienated, self-deprecating, masochistic, and fragile within the film noir landscape. Robert Ryan’s performances still maintain a uniquely fierce and formidable aesthetic of the ‘suffering-marginalized man.’
The Testament of Dr. Mabuse 1933 Fritz LangAce in The Hole – Billy WilderAroused 1966 Anton HoldenPoor White Trash aka Bayou 1957-Harold DanielsBlues in the Night 1941-Anatole LitvakDirected by Mervyn LeRoy-Edward G Robinson is Little-Caesar (1931) with Douglas Fairbanks jr. and Glenda FarrellExperiment in Terror – Blake Edwards directs -Ross Martin as Red LynchGene Tierney Tobacco Road 1941 directed by John FordGeorge Pujouly Brigitte Fossey Forbidden Games (Jeux interdits) 1952 directed by René ClémentGranny-The Southerner-Jean RenoirJeux InterditsKnock On Any Door 1949 Nicholas RayLena Horne-Cabin in The Sky 1943- Vincente MinnelliLon Chaney in He Who Gets Slapped 1924 Victor SjöströmModern Times Charlie Chaplin 1936Never Take Sweets From A Stranger 1960 Cyril FrankelCurse of The Demon- 1957 Jacques TourneurPeter Lorre in Alfred Hitchcock’s The Man Who Knew Too Much 1956Rashomon 1950 -Akira KurosawaRoman Polanski’s Repulsion 1965 Catherine DeneuveThe Cobweb-1955- Vincente MinnelliThe Last Laugh 1924-with emil-jannings directed by F.W MurnauThe Sweet Smell of Success 1957-directed by Alexander Mackendrick written by Clifford OdetsViva Zapata 1952 with Marlon-Brando and Jean Peters-Elia Kazan directs
Billy Wilder’s Ace in The Hole (1951) Starring Kirk Douglas and Jan SterlingJules Dassin’s prison noir masterpiece-Brute Force 1947 starring Burt Lancaster, Hume Cronyn, and Charles BickfordOrson Welles- Citizen Kane (1941) also starring Joseph CottenWilliam Dieterle’s The Devil and Daniel Webster 1941Directed by John Brahm-Hangover Square 1945 starring Laird Cregar , Linda Darnell and George SandersFritz Lang’s House By The River 1950 starring Louis Hayward, Lee Bowman and Jane Wyatt.I Cover the Waterfront 1933- Claudette Colbert, Ben Lyon and Ernest TorrenceRobert Aldrich’s Hush Hush Sweet Charlotte 1964 starring Bette Davis, Olivia de Havilland, Joseph Cotton, Mary Astor, Agnes Moorehead and Cecil KellawayJohn Huston’s Key Largo 1948 Starring Edward G Robinson, Humphrey Bogart and Lauren BacallStanley Kubrick’s Killers Kiss 1955 Starring Frank Silvera and Irene Kane.Orson Welles penned the screenplay and stars in iconic film noir The Lady from Shanghai 1947 featuring the sensual Rita Hayworth, also starring Everett SloaneLady in a Cage 1964 directed by Walter Grauman and starring Olivia de Havilland, James Caan, and Jennifer Billingsley.The Long Dark Hall 1951 Starring Rex Harrison and Lilli PalmerFritz Lang’s chilling M (1931) Starring Peter LorreMark Robson directs, Val Lewton’s occult shadow piece The Seventh Victim 1943 Starring Kim Hunter, Tim Conway and Jean BrooksKirk Douglas in Ace In The Hole 1951 written and directed by Billy WilderAkira Kurosawa’s film noir crime thriller Drunken Angel (1948) starring Takashi Shimura and Toshiro MifuneElia Kazan’s socio-noir Panic in The Streets 1950 starring Jack Palance, Richard Widmark, Paul Douglas, Barbara Bel Geddes and Zero MostelIngmar Bergman’s Persona 1966 starring Liv Ullmann and Bibi AnderssonThe Queen of Spades 1949 directed by Thorold Dickinson and starring Anton Walbrook, Edith Evans and Yvonne MitchellDirector Jerzy Kawalerowicz’s beautifully filmed Mother Joan of The Angels 1961 starring Lucyna Winnicka.Josef von Sternberg’s Shanghai Express 1932 Starring Marlene Dietrich, Clive Brook and Anna May WongThe Devil and Daniel Webster 1941Robert Wise’s The Haunting 1963. Screenplay by Nelson Gidding based on the novel by Shirley Jackson. Starring Julie Harris, Claire Bloom, Richard Johnson, and Russ TamblynMichael Curtiz’s The Unsuspected 1947 starring Claude Rains, Joan Caulfield and Audrey TotterLuis Bunuel’s Viridiana 1961 Starring Silvia Pinal, Fernando Rey and Fransisco RabalRobert Aldrich’s cult grande dame classic starring Bette Davis and Joan Crawford-What Ever Happened To Baby Jane? 1962
