British-born redhead Jane Asher started out as a child actress who worked extensively in television and film. Her contribution to the horror genre is that of her character, Francesca the unflinching heroine peasant girl who out of six is the only one to survive the plague and begs Prospero to spare her father and brother. She is thrust into the hedonistic Danse Macabre of the castle, as Prospero’s unwilling mistress, in Edgar Allan Poe’s story directed by Roger Corman THE MASQUE OF THE RED DEATH 1964.
From Roger Corman’s How I Made a Hundred Movies in Hollywood and Never Lost a Dime –
“Masque was the most lavish of the Poe films…(part of what made the film so visually stunning with it’s vibrant color scheme is the work of cinematographer by Nicholas Roeg)
Masque was a surreal, philosophical tale set in medieval Italy with Vincent Price playing Prince Prospero, a sadistic debauched Satan worshipper who retreats into his castle and hosts a lavishly decadent ball as his land is ravaged by the Red Death…{…} I had started going out with my Masque leading lady, Jane Asher, and we were having coffee on a Friday. But Jane showed up with a young companion. “Roger”, she said, “I’d like you to meet a friend of mine from Liverpool, Paul McCartney. Paul’s never been on a movie set and he’d like to see what’s happening.” … Jane had been dating Paul but because he was constantly away on tour, she was seeing me in London.” -Roger Corman
She was Paul McCartney’s muse for much of the 1960s; “Here, There And Everywhere” and many other songs were written with Jane in mind. They were engaged for seven months until finally separating in July 1968. -IMDb tidbit
She appeared in the television series – Journey to the Unknown 1968 episode Somewhere in the Crowd. And went on to star in the psychological thriller Deep End 1970, The Buttercup Chain 1970, and the television movie, The Stone Tape 1972. Most notable is her performance in the major motion picture Alfie 1966 co-starring with Michael Caine. IMDb tidbit-By the time she was fifteen, she had appeared in 8 films, made 9 television appearances, over 100 radio appearances, and was in five plays-
Personal quote – “Of all the things I do, acting is the thing that grabs most, but there’s another level on which it strikes me as being a little silly. In the end you’re dressing up and deciding to be somebody.”
British actress noted for her perfect diction and for her excellent acting range in classical plays on stage, on television, and on radio. Her contribution to the 60s horror genre is her marvelous performance as Mrs. Stephens in Michael Powell’s subversive Peeping Tom, who can see Mark Lewis’ psychopathic personality clearly though she is blind. She has the instinct to feel that she and her daughter are in terrible danger.
Peeping Tom 1960, The Brain 1962, Frankenstein Must Be Destroyed 1969.
This special The Last Drive in Halloween Feature will conclude with Part 4 and it’s primary focus exclusively on the great Barbara Steele!
‘through the complex changes in society surrounding traditional female roles using the ambivalence of the horror genre’ – Claudia Bunce
The 1960s were plagued by controversy and convulsed with violence. Horror cinema with the exception of Hammer Studio and European filmmakers’ colorful pageantry of Gothic tales, and the colorful dreamlike poetry of Mario Bava, mainly transitioned from classical themes. In the 1950s, B-horror movie narratives were concerned with outside hostile forces, alien invasions, and fear of nuclear war, but the new decade began to explore more interior horror that originated in the home and within ourselves. And many of these movies stand out as women-centric protagonists…
“Widely interpreted as a pivotal moment in the horror genre. Suggestive that monstrosity must be defined as inherent to the bourgeois family structure rather than an arcane social aberration: the crimes of Norman Bates can be read as the consequence of the sexually active mother, not unlike Marian Crane. The film is profoundly subversive.” – source unknown
Mario Bava unleashed on us his very dark-hearted black & white Black Sunday in 1960 with jolting scenes of death and a new horror goddess, the provocative, wide-eyed- Barbara Steele. During the decade of the 60s, Steele's ascendance within the genre was part of a broader trend in horror cinema that echoed the real world. Her strong presence and instinct to captivate our gaze, stood head to head with male horror stars Christopher Lee and Peter Cushing during that period of horror cinema. Barbara Steele inhabited the haunted screen with such a formidable primacy, there's no disputing she is the ultimate scream queen.
The Italian movie industry of the 1960s saw a wave of Italian gothic chillers. Bava's Blood and Black Lace 1964 is best remembered as the first "˜Giallo' a particularly savage trademark of murder mysteries.
Riccardo Freda directed The Horrible Dr. Hichcock 1962 and The Ghost 1963, Margheriti's beautifully orchestrated, eerily atmospheric ghost story Castle of Blood and Ciano's Nightmare Castle 1965. All starring Barbara Steele.
Roger Corman established himself as a successful director. Of course, maverick filmmaker Corman showered us with some of the best campy low budget sci-fi/horror films of the 1950s, and in the 60s we were reintroduced to the splendid Poe adaptations in a series of vivid films of glorious terror and dread, with Daniel Haller's gorgeous hallucinogenic art direction. These films are a series of Gothic masterpieces, – House of Usher 1960, Pit and the Pendulum 1961 and Masque of the Red Death 1964, featuring Hazel Court, another icon of 60s horror, who would command the screen with her fiery sensuality, flexing her bloodlust to offer herself up as Satan's bride in Red Death.
Corman established himself as a successful director with his landscapes as Rodrick Usher says are a "˜feverish and deranged mind' with his colorful more substantial yet still low-budget homages to Poe's series of horror tales. With screenplays by Richard Matheson and cinematography by Floyd Crosby. Reaching its artistic peak with the Masque of the Red Death. Many of the women in his Poe series feature a more incendiary female character. The horror genre especially from the 60s forward would prove to have more provocative roles for women since the femme fatale reigned during the time of film noir.
Instead of the restrained earlier decades, the 60s held up a mirror to the decade’s social turbulence and reflected back to us, with subversive storytelling, its edgy gore, and taboo-breaking narratives that fed a whole new audience who were hungry for more realistic and challenging scenarios. A new vanguard of filmmakers shattered traditional boundaries that restrained on-screen violence and sexuality.
Women's roles in classical horror films of the 1930s & 40s (to my memory for now), with the exception of Elsa Lanchester as the Bride, and Gloria Holden as Countess Marya Zaleska in Dracula's Daughter, initiated most of the leading ladies and supporting actresses, as easily fainting from fright, who screamed with hollow innocence, projecting reductive nuances of helplessness.
Still, there were established directors such as Alfred Hitchcock who caught wind of the changes, inspired by Clouzot's le Diabolique 1955 and impressed by William Castle's popular run of low-budget horror formula (albeit with its use of gimmickry).
Psycho 1960 would be set in safe and secure American suburbia instead of the imposing castles of Europe. The clean-cut serial killer would eclipse the caped swarthy vampire as the screen's new boogeyman. Yet Marion's ascendancy is as much a major element of the narrative as Norman Bates' psychopathy!
Hitchcock offered us the bold cautionary, The Birds, a film Fellini referred to as "an apocalyptic poem" featuring a beautiful woman perceived as a she-devil that ushered in the natural world's revolt.
FROM BARBARA CREED THE MONSTROUS FEMININE:
"Melanie Daniels in The Birds is a single woman in her thirties drifting – who must go through a trial by fire which she suffers, is humiliated and lectured to lower her defenses. She is an outsider who is being shown how social behavior becomes physically agonizing."
The stark black & white Psycho 1960 based on a real-life serial killer, Ed Gein, pushed the boundaries of the Production Code with its shocking scenes of murder and inflected frames of Janet Leigh's bra and slip. Leigh's 30-minute on-screen persona of the immoral Marion Crane was a diverging representation of the traditional leading lady.
The decade also signaled a multitude of black & white psychological thrillers. Hammer split off some of its focus on the gory period pieces- translations of Frankenstein, Dracula, and Mummy, and jumped on the Psycho bandwagon with films like Scream of Fear 1961, Maniac 1963, Nightmare 1964, Hysteria 1965, Die! Die! My Darling! 1965 starring Tallulah Bankhead as the menacing Mrs. Trafoil, not a Medieval crone but a modern-day unleashed psychopath. And, The Nanny 1965 with Bette Davis, coming off of her pair of shockers by director Robert Aldrich, plays a sinister governess terrorizing young William Dix.
After Baby Jane, the industry was rife with menacing Hollywood starlets. I'll be writing about the shattering of the myth of Hag Cinema, down the road. Robert Aldrich set in motion a trend of psychological horror films after he paired Bette Davis and Joan Crawford together in what is considered campy, outrageous at times, sickening – What Ever Happened to Baby Jane? 1962. It was a watershed moment for the genre.
Crawford and Davis in particular in Aldrich's films made the bold and courageous decision to act under harsh white lights, in grotesque makeup, and willing to immerse themselves into a character -eccentric, cringingly childish, and utterly sadistic.
After Baby Jane, Aldrich followed up with Davis, de Havilland, and Agnes Moorehead in Hush"¦ Hush, Sweet Charlotte 1964. Crawford worked with William Castle on Strait-Jacket 1964, and Geraldine Page played a greedy murderess in What Ever Happened to Aunt Alice? Co-starring Ruth Gordon. Shelley Winters appeared as the maniacal villainess in the fable-like Who Slew Auntie Roo? 1969 and Winters, Debbie Reynolds, and Moorehead in 1971 topped it off with Harrington's What's the Matter with Helen? A personal favorite of mine.
The second wave of the feminist movement and its emergence and impact began with Betty Friedan's The Feminine Mystique, giving 50s suburban housewives a different vision of domestic enslavement and began to disassemble the myth of that decade's family values. The quaint and complacent sentiment of post-WW2 comfortability became subverted by empowered women who broke free and found new independence reigniting the Monstrous Feminine giving permission to women as represented more freely in film, with more prominent parts, especially fostered in"¦ the horror genre.
“The housewife witches of Burn, Witch, Burn and Season of the Witch use witchcraft to escape the confines of the domestic sphere and subvert their husbands' patriarchal power. Then there is the cult leader witch of Eye of the Devil who uses her femininity to intimidate traditional societal gender roles” – Claudia Bunce
Significant films like Robert Wises' The Haunting 1963, which were suggestive of lesbianism and repressed sexuality, star two very significant central female characters, Julie Harris and Claire Bloom who give intensely complex and reflexive performances. Bloom as the stylish and extraordinarily self-composed Theo is a truly independent woman who lives life on her own terms. There isn’t anyone who wouldn’t shiver while at the mercy of the malevolent forces of Hill House. Director Georges Franju's Eyes Without a Face (The French title Les Yeux sans Visage) 1960 has perhaps one of the most graphic scenes of horror, a gruesome fairytale with its medical experimentation with facial transplantation and a lead actress, Edith Scob with her macabre blank mask who floats around the halls like a lost princess swallowed up inside a night terror. The film also stars a stoic Alida Valli, a strong ally to the twisted plastic surgeon in search of a new face for his daughter.
Jack Clayton's adaptation of Henry James' The Turn of the Screw, became a screenplay by William Archibald, The Innocents 1961' lead actress Deborah Kerr lies wide open with her distillation of a woman tortured by her sexual paranoia. Dressed in classical clothes, unlike Deneuve's role in Repulsion, where her character Carol's neurosis is flayed and hung out naked on display.
And most significantly, the female-centric role of Mia Farrow as the allegorical heroine Rosemary Woodhouse, hunted down by a coven of upper west side devil worshipers in Roman Polanski's Rosemary's Baby 1968. Farrow's performance is a striking denunciation of control over women's bodies, a slow burn of paranoia, and a strong instinct for survival.
"but when he (Guy Woodhouse) took control of her reproductive functions, he asserted his dominance over her in the darkest way possible.
Assertion of dominance reinforced his masculinity and the traditional role that men had in relationships. Guy's taking control assuages the fear of women gaining too much independence." –From Jenna Labbie damsels in Distress Analyzing gender in horror movies of the 1960s and 70s
Polanski's earlier released Repulsion 1965 strayed from Hitchcock's black humor drizzled about in Psycho. Repulsion rather has a sense of nightmarish realism and a protagonist, Catherine Deneuve who goes down a rabbit hole of repressive seizures.
Repulsion is an extremely disturbing contemplation on the destructive forces of loneliness, isolation, and paranoia seen through the lens of a sexually repressed young woman, Carol who suffers a homicidal breakdown while her sister and married lover leave her alone for a long weekend. An exit from the cheeky dark humor of Hitchcock's Psycho, Repulsion brushes the screen with strokes of Carol's existential misery.
Michael Powell's groundbreaking shocker Peeping Tom is a hauntingly twisted mood piece about serial killer Karl Bohm who films his victims in the last moments of their death to capture their fear. It features two very strong female leads, Anna Massey and Maxine Audley.
Mexican fright flicks abound with atmospheric gems like The Curse of the Crying Woman 1963, The Brainiac1961, and The Witch's Mirror 1962, featuring strong female-centric characters played by Rosita Arenas and Rita Macedo. And in Jack Hill's oddball black comedy Spider Baby 1967 benefitted from the quirky presence of both Beverly Washburn and Jill Banner as two bizarre, homicidal sisters.
Luana Anders features significantly in the genre, highlighted in Coppola's Dementia 13 as the independent yet ruthless Louise Halloran and as prostitute Sylvia in Robert Altman's psycho-sexual thriller That Cold Day in the Park 1969. The film stars one of my favorite underrated actors, Sandy Dennis who gives a stunning performance as the disturbed Francis Austen, who holds Michael Burns hostage.
George Romero broke ground with the brutal realism of Night of the Living Dead 1968 which has not so indirect social relevance. 60s horror films were breaking away from Hollywood and being forged by gutsy independent filmmakers with smaller budgets, and an imaginative longing to experiment with diversity, artistic style, and a divergent way to visualize and process gender roles outside traditional cultural norms.
Ryan Gilbey, in her obituary in The Guardian, praises Shelley’s acting in the Hammer films, considering that she had “a grounded, rational quality that instantly conferred gravitas on whatever lunatic occurrences were unfolding around her.”
The world lost Barbara Shelley in January 2021 at the age of 88. With hair like paprika, Barbara Shelley was born Barbara Kowin. A glamorous gothic leading lady was considered the "˜Queen of Hammer' during the studio's golden age of Gothic horror. A classical beauty, with an air of elegance and self-assuredness, she has co-starred with other Hammer royalty Christoper Lee and Peter Cushing. Shelley was an actress with such integrity and beauty that she transcended the horror genre.
The London-based production company was founded in 1934 by William Hinds and James Carrera who made a string of hit Gothic horror films from the mid-1950s until the 1970s. Inspired by classic horror characters like Baron Victor Frankenstein, Count Dracula, and the Mummy and appeared in 104 films and television series until 2000. She was a member of the Royal Shakespeare Company between 1975 and 1977.
From Wiki-
{Hammer reintroduced to audiences by filming them in vivid colour for the first time. Hammer also produced science fiction, thrillers, film noir and comedies, as well as, in later years, television series. During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success.}
"Hammer was like a family, a very talented family"¦ with a wonderful atmosphere on the set and a wonderful sense of humour"
"When I first started doing Hammer, all the so-called classic actors looked down on the horror film. All the other things I did, nobody remembers those. But for the horror films, I'm very grateful to them because they built me a fan base, and I'm very touched that people will come and ask for my autograph. If you went to see a [Hammer] film in the cinema, the gasps were interspersed with giggles because people were giggling at themselves for being frightened, they were frightening themselves, and this is what made Hammer very special."
With her success as a teenage model, she made her minor film debut in Hammer's motion picture Mantrap in 1952 directed by Terence Fisher and starring Paul Henreid and Lois Maxwell.
Shelley took her screen name from Italian actor Walter Chiari who saw something in the actress and suggested that she use the last name as a tribute to his favorite English romantic poet Percy Bysshe Shelley. She wound up living in Rome for four years and appeared in nine Italian-speaking films.
Her first starring vehicle was Cat Girl (1957), Alfred Shaughnessy's offbeat variation of Jacques Tourneur's influential Cat People (1942), and A.I.P.'s first co-production with the UK's Anglo-Amalgamated. The following year she made her first major appearance in a film for Hammer The Camp on Blood Island.
In 1958, she co-starred as a woman in peril at the hands of mad scientist Callistratus (Donald Wolfit). In Blood of the Vampire, Shelley is the picture of fainting beauty chained to the wall, a garish period piece in line with the days of Universal's classic horrors though scattered with gory scenes satiated by fake blood and understated cleavage.
In 1880 Transylvania Dr. Calistratus is brought back to life by his one-eyed hunchback assistant Carl after he'd been executed as a vampire. At the same time, Dr. John Pierre (Vincent Ball) is on trial for killing one of his patients whom he tried to save with a blood transfusion. He is found guilty and sentenced to life. Barbara Shelley plays fiancee, Madeleine, set on finding the truth behind the incriminating letter allegedly proving his guilt, forged by Calistratus.
He is brought to prison for the criminally insane by the mad doctor's hunchback Carl. John is put in a cell, a menacing place guarded by vicious dogs, where Calastratus experiments and tortures his human subjects. In order to prove John's innocence Madeleine poses as Calastratus' housekeeper who winds up chained to a wall and strapped to an operating table!
Shelley was against her body being exploited or appearing in any nude scenes while being menaced by Wolfit. She warded off this endeavor by producers Robert S. Baker and Monty Berman by writing the word "STOP" on her chest. She threatened to sue the studio if it even used a body double.
"I had one or two dissertations on horror sent to me by students, and all the discussion ever seems to be concerned with is exploitation and the licking of blood and a scene of people making love, and it's not right. It annoys me intensely because my career was not built on exploitation and sex. It was built on working very hard."
In 1960, she is marvelous in the heartbreaking role of the tragic mother Anthea Zellerby who has given birth to an unfeeling monstrous alien boy who has uncanny dangerous powers along with the rest of the children of Midwich. All the mothers in Midwich have conceived during a strange blackout where they wind up giving birth to a breed of malevolent telepathic sociopaths.
Shelley's character is earnest in the role of a woman torn between motherhood and sheer terror in director Wolf Rilla's incredibly unsettling moody classic blend of science fiction and horror-Village of the Damned (1960) based on John Wyndham's science fiction novel The Midwich Cuckoos. The film co-stars George Sanders as Shelley's altruistic husband Gordon, who seeks to understand the menacing children with their freaky white hair and piercing eyes and his creepy son David played by Martin Stephans. These dangerous little progeny can get inside people's minds and make them do anything they want, as in making Shelley's character stick her hand in a pot of boiling water. The screenplay written by Stirling Sillipant is quite a disturbing potboiler it total.
She went on to star in John Gilling's turn-of-the-century old dark house mystery Shadow of the Cat (1961)
Some of the outstanding pictures that put her upon the thrown as the reigning Queen of those splendid years of Gothic horror are Dracula: Prince of Darkness 1966, Rasputin the Mad Monk 1966 with Christopher Lee, and The Gorgon 1964 with Peter Cushing. The monstrous Gorgon is portrayed by Prudence Hyman.
"She really was Hammer's number one leading lady and the Technicolor queen of Hammer. "On-screen she could be quietly evil. She goes from statuesque beauty to just animalistic wildness"¦ She adored Christopher Lee and Peter Cushing and loved working with them, that was very dear to her."-Agent, Thomas Bowington
What truly established Barbara Shelley's esteemed reputation as the First Lady of British Horror in the mid-1960s is her collaboration with Terence Fisher. Leaving behind the more exploitative persona of the luscious heroine with inviting bosoms Shelley portrayed the sympathetic character of Carla Hoffman in Fisher's mood piece The Gorgon. Carla is the assistant to Dr. Namaroff (Peter Cushing) and a tortured soul possessed by an ancient evil spirit with serpents for hair and the ability to turn whoever gazes upon her to stone, and Shelley conveys the bleakness of a woman who is held captive by her monstrous alter ego.
Before Shelley turns into the blood-sucking bride of Dracula, she plays her first woman transformed into a monster in The Gorgon (1964). She told the studio "I wouldn't need any makeup"¦ just a green face and the headdress of real snakes." Shelley absolutely let down when she saw what the special effects department conjured up, “They came up with these terrible sorts of rubber snakes dancing around and it just looked awful. It wasn’t frightening at all.” She had said that it was “probably the biggest regret I’ve had in any film I ever made.”
She was absolutely dejected when they chose to substitute Prudence Hyman in the part of the Gorgon, "They came up with these terrible sorts of rubber snakes dancing around, and it just looked awful. It wasn't frightening at all." She called it "probably the biggest regret I've had in any film I ever made" though she admired the look of the picture, noting that "every shot "¦ resembles a Rembrandt painting."
In Dracula: Prince of Darkness 1966, Christopher Lee resurrects the count from Horrors of Dracula 1958. Shelley plays Helen the heroine whom we empathize with as she is trapped by her circumstances, when her stubborn husband Alan (who dismisses Helen's panic), and his brother Charles, both refuse to leave the creepy unwelcoming Castle Dracula after stumbling onto the unattended mausoleum.
They want to stay and partake in a meal laid out for them, but Helen is justifiably spooked by its strange undercurrent. "Everything about this place is evil".
Once Christopher Lee's resurrection, Helen goes through a diverging transformation from the archetypal repressed female to an unrestrained raptorial vampiress liberated from her proper English breeding, in high contrast to her tight up swung hair in a provincial hat, was now wide open with unwound flowing hair and unequivocal breastage. Shelley loved how distinct her character's trajectory was in Dracula: Prince of Darkness. From inhibited, startled gentlewoman to the monstrous feminine as one of Dracula's brides. When she appears at Karlsbad Castle, telling Suzan Farmer, “Nothing’s wrong” through hungry red lips and baring fangs. "Come sister, You don't need Charles"¦"she tempts, with inviting arms outstretched to the innocent Suzan Farmer as Diana. Shelley's virtuous woman who reveals to her Diana that she is now a vampire is lauded by Gilbey in The Guardian as having “traumatized and tantalized” viewers.
Shelley's scream in Dracula is actually dubbed by fellow actress Suzan Farmer (Die Monster Die! 1965 with Boris Karloff) who appeared with her in Dracula: Prince of Darkness and Rasputin The Mad Monk.
A terrifying scene perhaps inspiring Stephen King's Salem's Lot, has Helen tapping on the window in the middle of the night. "Please let me in," she pleads. "It's cold out here. So cold. Everything's all right now."
She was delighted by one of her most potent scenes -when she contends with her adversaries – monks who lie her on a table and hammer a stake through her undead heart.
Shelley told Mark Gatiss in his 2010 documentary series A History of Horror, “The scene that I’m most proud of is when she is staked that’s absolute evil when she’s struggling and then suddenly she’s staked and there is tremendous serenity. And I think that is one of my best moments in the film.”
"… and then suddenly she's staked, and there is tremendous serenity. And I think that is one of my best moments on film."
“Christopher Lee, who was an eloquent Gothic figure of pure evil in 1958’s first adaptation of Stoker’s vampire, had now evolved into a hissing fiend. But Shelley had this to say about the actor -“He brought dignity and veritas. It’s a difficult thing to bring to a fantasy like a vampire. And that is just Chris’ appearance and his personality. He did all that. He used to walk onto the sent and I’d say to him it’s an extraordinary performance, cause we know each other so well and you could hypnotize me. But it was brilliant because he completely dominated the film without a word. Talk about silent movies!”
Shot at the same time was another Hammer horror, Rasputin the Mad Monk with Christopher Lee has dialogue in a more colorful, lurid role, as the mad mesmerist in contrast to his silent, blood-eyed fiend. Shelley falls under the spell of Rasputin. While not willing to do a nude scene in Blood of the Vampire, she was however up to laying bare a seduction scene with Christoper Lee. “That scene was in the script when I read it. The scenes I refused to do was when they would suddenly say to me ‘Oh, you take your clothes off here’ The answer to that was always no”– From an interview with Fangoria Magazine 2010.
One of her beloved roles is her last Hammer feature in Roy Ward Baker's adaption of writer Nigel Kneale's (The Quatermass Experiment 1955, First Men in the Moon 1964, The Witches 1966, The Stone Tape 1972 TV movie) Quatermass and the Pit 1967.
In Quatermass and the Pit, Shelley portrays scientist Barbara Judd who along with paleontologist Doctor Roney (James Donald) and a team of scientists discover an ancient alien race whose spacecraft is found buried in the underground station at Hobbs End during an expansion of London's Underground transport system. Shelley develops a psychic link to the aliens and is taken over by the inhabitants of the alien spacecraft.
She is subjected to images of green gooey decomposing locust-like alien carcasses that in the process of being removed from the tunnels cause her brain to succumb to the electromagnetic influence of the spacecraft, causing her to writhe in pain. She is so totally reasonable as an actress that she brings credibility to her character. Shelly had claimed that director Roy Ward Baker was her favorite of all the filmmakers she worked with.
The way he felt about her goes like this. He told Bizarre Magazine in a 1974 interview that he was "˜mad about her. "Mad in the sense of love," he said. "We used to waltz about the set together, a great love affair. It puzzles me about her. She should be much bigger than she is, but I don't think she really cares whether she is a star or not. She can act, God, she can act!"
In The Avengers 1961 image: Studio Canal
Barbara Shelley would eventually do guest appearances on popular television shows including the British television series Doctor Who playing Sorasta in the episode "Planet Of Fire," starring Peter Davison as the fifth incarnation of Doctor Who. She would also appear on The Saint, The Avengers, The Man From U.N.C.L.E, and Route 66. Later she would play Hester Samuels in "EastEnders."
Shelley's final role in horror films was in the old dark house mystery Ghost Story 1974 directed by Stephen Weeks and co-starring Marianne Faithful.
Her final role on screen was in the Uncle Silas mini-series in 1989. A sinister character brought to life on screen by Derrick De Marney in 1947 with Jean Simmons in the role of Caroline.
Although Shelley ultimately felt framed within the horror genre by the late 1960s, retiring two decades later, she always embraced her devoted fanbase and left behind a substantial legacy. “I realized that my work had been appreciated and that I had – through those horror films – actually reached a far bigger audience than I would ever have done if I’d stuck to the theater.”
The actress was modest about her achievements but happy with her legacy, as she conveyed with typical aplomb to Marcus Hearn: "There's a lovely saying "“ we're given memories so we can have roses in winter. When I look back over my various rose gardens, I'm only sorry I didn't enjoy them more".
"No one told me I was beautiful. They said I was photogenic but no one said I was beautiful. If they had I would have had a lot more fun!"
In an interview with the Express newspaper in 2009, she said she was told at a convention by female fans that they loved her for her strong roles. "Which I thought was a brilliant thing to have said about one. I never thought of it in that way. The fact that I'm still getting mail from my horror fan base really touches me."
TRIVIA
While making the 1961 TV film, A Story of David, she met Hollywood star Jeff Chandler and they began a relationship. Chandler died suddenly the following year. Shelley is later reported to have said that he had been the love of her life
So convincing was Shelley's violently realistic struggle against the stake, she swallowed one of her stuck-on fangs.
With no spares at the ready and a tight shooting schedule, it is reported that she kept drinking salt water until she puked it up.
After the scene in Dracula: Prince of Darkness where she struggles with the monks at the end with her demise, it was so physically demanding on Shelley, that she suffered from chronic back pain.
Barbara Shelley would recall how she and Lee, prided themselves on being "un-corpseable", and would compete to make one another laugh during takes.
Cat Girl 1957, Blood of the Vampire 1958, VILLAGE OF THE DAMNED 1960 THE GORGON 1964, DRACULA PRINCE OF DARKNESS 1966, RASPUTIN THE MAD MONK 1966, QUATERMASS AND THE PIT 1967
"I wish to join the Legion of Decency, which condemns vile and unwholesome moving pictures. I unite with all who protest against them as a grave menace to youth, to home life, to country and to religion. I condemn absolutely those salacious motion pictures which, with other degrading agencies, are corrupting public morals and promoting a sex mania in our land… Considering these evils, I hereby promise to remain away from all motion pictures except those which do not offend decency and Christian morality."
"”Catholic Legion of Decency pledge
And now here at The Last Drive In, the subject of “The Third Sex in the Shadows of Cinema.”
Clifton Webb as Hardy Cathcart in The Dark Corner 1946 directed by Henry Hathaway. Waldo Lydecker: “I’m not kind, I’m vicious. It’s the secret of my charm.”
“Oh, it’s sad, believe me, Missy, when you’re born to be a sissy without the vim and voive…” -Bert Lahr as the Cowardly Lion in The Wizard of Oz (1939)
Growing up as a gay woman, though gender and sexuality are fluid, there was not a well spring of characters in film or television that I could grab onto as a buoy for my burgeoning self-awareness – I was ‘different than the others.’ Though there are the obvious icons who became heroes and heroines to many of us because of their peerless image. And while films could not overtly represent ‘queerness’ directly, they could posit mixed messages and a whole generation of us could understand the subtext, unsheltered from an array of homophobic language.
We still had Barbara Stanwyck, Bette Davis, Joan Crawford, Marlene Dietrich, and Greta Garbo, who gave us immortal androgyny– there was no one who could shatter the silence, and ceremoniously ring the bells out in the open. There were no ‘obvious’ gay role models. We had to create that worship ourselves through iconography and a variety of sublime, convention-smashing signals. For those of us who knew how to look in the dark corners, right under your nose, corners, or should I say coded corners.
There’s one thing I want to be very clear about. I am not asserting that the actors themselves were gay in their personal lives, but that what was coded was merely the particular characters they played in the film. Or that the narrative might seemingly be ‘queer’. Which I will go on to explain. Particular actors or directors’ private lives are not up for conversation unless they were clearly open about themselves and their influences on their artistic work.
For instance, I am not saying that I suspect Doris Day is a lesbian, just that the character of Calamity Jane is throwing out messages for those of us ‘in the life,’ to feel a special affinity. Using comforting symbology gives us a place in the universe, especially when the story is presented by the stars we most admire. Not all coded gay characters are portrayed by gay actors, and not all coded comedy, jokes, or situations denotes that the character themselves are gay, just that the humor is cannily made to be queer at the moment. It can be an off-the-center remark that speeds by almost unnoticed except for the sake of the hurried laugh or two. Sometimes it’s all subjective and at times it’s pretty obvious which way the deliberate wind blows.
(Stacey) categorizes her range of material into several kinds of identification broadly dividing them into two categories. "Cinematic identifcatory fantasies" "”devotion, worship transcendence, inspiration are proper to the act of spectatorship and appear to be based primarily on difference from the star ideal and "extra-cinematic identifactory practices" "”imitation and consumption "”attempt to close the gap between subject and star even as they take place outside cinema.
The worship of Doris Day is not surprising, she was one of the top box office draws of the 1950s. Day performs a cross-dressing role in the biopic of a legendary lesbian. Indeed, Day and Calamity Jane in particular in which the star sings both "Secret Love" and a duet with another, feminine character called " a woman's touch" are regularly cited by lesbians as crucial cinematic texts. (Jackie Stacey’s Star Gazing)
There was a period when Peter Lorre, George Sanders (and his equally effete brother Tom Conway), Anne Revere, Judith Anderson, and Agnes Moorehead played movie villains, fanatics, or oddballs. Each of these actors suggested queerness in their androgynous personas. Each became an iconic character actor of classic cinema.
Characters like Ernest Thesiger as Dr. Pretorius, Clifton Webb’s Waldo Lydecker in Laura(1944), Judith Anderson in Rebecca (1940), or Gloria Holden as Countess Zaleska in Dracula’s Daughter (1936), stood out to us, though they were despicable and unwelcoming characters. Although I see Gloria Holden’s character as strangely sympathetic. Usually, queerness that was veiled behind a coded role, exhibited a disturbed or desperate personality. They might be a person who is ambiguous in their maleness or femininity. And at times, they were full-on, deadly.
However, there was so little for those of us who are part of the ‘hidden audience’, we needed to catch sight of something familiar. That meant grabbing onto whatever little crumbs were thrown to us. So whether those characters were inherently insensate evil had nothing to do with our empathy or revulsion. The real power lay in the ability to identify with the essence of ‘otherness’ and more to do with familiarity and belonging. I longed to find that ‘something‘ that signified a relative identification of their sexuality. To see that subtle finger motioning, come closer, you’re in the right place kiddo, you’re one of us. Andrea Weiss writes: “[In the 1930s] for a people who were striving toward self-knowledge, Hollywood stars became important models in the foundation of gay identity.”
The films I have uncovered throughout my endeavor to write this immense blog post, either commonly fall within the queer canon or can be liberally dissected and/or challenged. We can read into any film if we so choose. I am merely putting it out to you that these films do seem to meet the criteria for coded queer paradigms. I also began this piece thinking that in order to understand the evolution of coded characters, you first have to look at the origin of the queer presence in silent and Pre-Code films, and how the Code influenced and constructed the way being queer had to be hidden in plain sight.
I echo Susie Bright, in her feelings that we (the queer community) would hang on to anything close to a hint of gayness, and it would change the whole world of the motionpicture, just to see that famously analyzed moment when Marlene Dietrich plants that sensuous kiss on a woman’s lips in Josef von Sternberg’s Morocco 1930. Or the first cinematic lesbian romance when vamp Louise Brooks slinks on the dance floor with her androgynous female admirer Alice Roberts as Countess Anna Geschwitz in director GW Pabst’s Pandora’s Box (1929).
The boldly androgynous Marlene showcased another masculine appearance when she ascends the throne at the end of The Scarlet Empress (1934).
Greta Garbo portrays the Swedish monarch who declares herself not an “old maid” but “a bachelor” in Queen Christina (1933)
Because of the social relationship between non-normative gender and sexuality and the symbology of fashion and the role of work, women only had to dress like their male counterparts and be employed in a man’s job to seem queer. In the movie directed by George Cukor, What Price Hollywood? (1932), the very drunk filmmaker notices a woman having lunch at a fashionable Hollywood restaurant. The drunks inquiry goes like this, “I beg your pardon, old man… who’s your tailor?
In Victor Fleming’s Red Dust (1932), Jean Harlow is adorable as Vantine as she handles the heat and hands out the jibes.
Other members of the lesbian parade inhabit spaces that, as with the men, connote queerness. Consider the lesbian couples in the Greenwich Village dive in Call Her Savage (1932), seated alongside male same-sex couples while pansy entertainers, dressed as maids, perform for their amusement. Mannishly garbed women barflies, sometimes wielding cigars, often pal around with men, or sometimes confuse and emasculate them, in Lawyer Man (1932), Grand Slam (1933), and Blood Money (1933). (Lugowski)
Blood Money (1933) Rowland Brown’s atmospheric jaunt that embraces the gritty underworld, includes racy subjects like sadomasochism, empowered women, and fluid sexuality. Kathlyn Williams credited as the “Nightclub Woman Wearing Monocle”, is a beautiful androgynous off-cut in the film. In one notable scene George Bancroft as Bill Bailey enters Ruby Darling’s (Judith Anderson) nightclub and comes across a young woman at the bar, dressed in a man's tuxedo and sporting a monocle. Baily offers her a cigar. She smells it and nonchalantly mocks the husky guy, “Why, you big sissy!” and hands it back to him. The nature of this adventurous passage into a subversive world generated a lot of sexual tension. With Blood Money, the subject of homosexuality is a non-issue, belonging to a subculture that invites those who are outsiders.
In Blood Money and Call Her Savage, "¨homosexuality is just another pocket of an underworld that exists outside the law. When George Bancroft warns a timid taxi driver not to betray his destination to the police, he threatens, “Lissen fag”-and is rebuked by Judith Anderson for “scaring the little fellow half to death.”
Keeping along the lines of the connection between women working at men’s jobs, within a wide range of social status, you can see this example in Heat Lightning (1934) starring interestingly handsome actress Aline MacMahon when she, covered in grease, working on cars in her desert garage/gas station wearing a filthy jumpsuit and hair wrapped in a bandana. She sheds her desire to be desired by men, and exudes a solitary quality, as if she has given up on, performing femininity for men. She seems independent and strong and in her ‘male’ attire, you can see her projecting a queer attitude, though the film deposits a past love interest with bad boy Preston Foster as a distraction. The attraction is doomed from the start.
Olga (MacMahon) balances the duality of loving Preston Foster, donning her "˜womanly' dress when she decides to submit to a heterosexual liaison which goes wrong. Then she shuns the idea of her femininity, re-asserting her hyper-masculine posture in greasy mechanics overalls and once again hiding her ravenous hair under her bandana, to protect herself from performing as a straight woman again.
To be clear it is not my belief that she’s not “all woman,” even using these props to represent masculinity. She is not truly changing her gender but for the purposes of the narrative, in the movie’s time period, it suggests a superficial interpretation of gender for our spectatorship.
In Jame’s Whales’ The Kiss Before the Mirror (1933) there is a sophisticated female lawyer Hilda Frey (Jean Dixon) who is stern and stiff-backed, and is dressed in severe clothing, a “new kind of woman” which allows for an undercurrent of lesbianism.
In The Kiss Before the Mirror (1933), Nancy Carroll as Maria Held is a career-oriented lawyer, who wears men’s suits and considers herself a “new woman.” There are tinges of heterosexuality, which serve to shield her character from scrutiny. But, she does appraise heterosexuality in vaguely cynical terms. She talks to another woman about a case where the husband has murdered his wife, “At least no one will ever murder me.”She also responds to, “What are you? A lawyer, or a new kind of woman?” by saying, “By day, I’m a lawyer. At night, well, you might be surprised.” Either it went undetected by the SRC (Studio Relations Committee) or they felt that the connotations of her lesbianism were ambiguous enough to slip by an unsophisticated audience.
We learn to watch out for signs that there are ‘others’ out there on the screen – those we can relate to. A young person exposed to old films, as I grew older and dove head first into classic film with a critical eye, I could read those sign posts and cues that led me to become consciously aware of the invisible affinity laid out in plain site for me, and those of us who knew the secret whispers behind the storyline.
Women wearing men’s apparel, like Dietrich’s wonderful drag performance, kissing a woman in Morocco in 1930. Or Clifton Webb’s often effete superiority as with his character, Waldo Lydecker in Otto Preminger’s Laura 1944, or his role as Hardy Cathcart’s with a pathological objectification of his wife Mari’s aesthetic beauty in Henry Hathaway’s The Dark Corner. Greta Garbo in Queen Christina 1933– “I shall die a bachelor!”Gloria Holden’s vampiric desire to embrace the necks of beautiful young female models in Dracula’s Daughter 1936.
Nan Gray and Gloria Holden in Lambert Hillyer’s Dracula’s Daughter (1936)
The Production Code Administration (PCA) saw the obvious connection between vampirism and lesbian sexual desire in Dracula’s Daughter (1936) They only gave two warnings concerning the ‘queerness’ of Countess Zaleska and her thirst for young female victims. Universal, even hyped the idea that women were not safe from unnatural desire using this publicity catchphrase, “Save the women of London from Dracula’s Daughter!”
Throughout these films coded lesbian characters, scattered their rose petals of longing for their dead lost loves or the nymphs just out of their reach. There was tragedy within the tragedy of the horror story! As long as these queer women monsters also became victims, the PCA could negotiate its release, being comfortable with the narrative in that form.
The most overt representation of lesbians was her stylized look, a severely tailored suit, monocle, slicked back or bobbed short hair, or staunch, with a strait backed, severely repressive temperament. The coded dyke is typically less seen on screen than the pansy who enjoyed more of a character actor’s trademark in popular films. However, it could be said that covert lesbians are more subtle in their presence than their queer male counterparts – the sissy.
Major female stars could be seen as having indirect lesbian undertones, though their ambiguous sexuality might be camouflaged by their independent streak, their strong spirit or shaded by their exotic, mysterious nature. Thus we find some of our lesbian icons like Marlene Dietrich, Joan Crawford, Katharine Hepburn, Clara Bow, Greta Garbo, and Barbara Stanwyck. Lesbian vibes can often be signaled by a playful tomboyishness. And what we have is a diametrically opposed result, the pansy is perceived as failed manhood, but conversely the lesbian performing manhood is perceived as a threat.
And if they weren’t tomboys they could be man-less shrews, castrating viragos, or in need of a man, who can make her come to her senses, and give up her career and her disruptive way of life. The threat of strong women is still equal to the threat. The gay man elicits a laugh.
Thus, discourses about queer sexuality in this period are never purely homophobic against men. To a sizable extent, they have their basis in sexism against women, for it is the power of femininity, the “feminization” of 1930s culture mentioned, and the threat of working women “wearing the pants” that are being policed.
The metaphorical nature of the pants-wearing, money-earning woman attaining independence from men connoted lesbianism as a complete break from the interwoven financial and sexual economies of patriarchy. Thus, if “clothes make the man,” the wearing of pants in and of itself suggested a link to lesbianism that films of the time simultaneously offered as spectacle and punishment. (Lugowski)
In particular classical horror and science fiction films spoke to the sense of "otherness" installed in my psyche. That does not mean that I viewed things through a dark lens, but classical horror and science fiction are effusive metaphors and inherently philosophical. When some of us, like Frankenstein’s monster were figuratively chased with flaming torches, horror, and sci-fi movies afforded us shelter from the angry mob. Their use of mythic undertones and symbolic context provided for so many of us, psychic release and catharsis.
It’s also why I love and identify with the monster in classical horror films. The iconic or tragically fated monster has always been portrayed as the ‘other’. Gay people understand what it means to be an outsider. And filmmakers encoded that sui generis into our beloved classical horror genre. It worked like waving that meaningful finger at the audience, saying, you found us, we’re here.
WHAT IS A CODED GAY CHARACTER?
CODED–verb [with object] 1 convert (the words of a message) into a particular code in order to convey a secret meaning: "¢ express the meaning of (a statement or communication) in an indirect or euphemistic way: (as adjective coded)
films allude to homosexual meanings in more of less coded ways. From today’s perspective, one can view these films as excellent examples of the very discourse of the closet-they employ connotative and symbolic meanings to signify homosexuality for those ‘in the know’ while ostensibly being about something else. Such connotative meanings were the way homosexuality could be signified under the dictates of the Hollywood Production Code.
Although it was continually challenged throughout the 1950s (by films such as The Moon is Blue 1953 and Baby Doll 1956) The Production Code still exerted a profound effect on the content on Hollywood film, especially in relations to homosexual themes. The Production Code Administration (PCA) edited queer backstories and subtexts of the film adaptations of Tennessee William’s plays A Street Car Named Desire (1951) , Cat on a Hot Tin Roof (1958) and Vincente Minnelli’s film of the Broadway hit Tea and Sympathy… (Jeffrey Sconce)
“Five Characters in Search of an Exit” Season 3 Episode 14-Stars William Windom, Susan Harrison, Murray Matheson, Kelton Garwood aired December 22, 1961 Teleplay by Rod Serling.“The Sixteen Millimeter Shrine” Season 1 episode 4 aired October 23rd 1959-stars Ida Lupino and Martin Balsam, Jerome Cowan, Ted de Corsia and Alice Frost as Sally. Written by Rod Serling“Black Leather Jackets” Season 5 Episode 18 aired January 31st 1964-stars Lee Kinsolving, Shelley Fabares, Michael Forest, Denver Pyle, Tom Gilleran, Michael Conrad and Irene Hervey.“Elegy” Season 1 Episode 20 aired on February 19th, 1960 directed by Douglas Heyes and written by Charles Beaumont. Stars Cecil Kellaway, Jeff Morrow, Don Dubbins and Kevin Hagen“Eye of the Beholder” Season 2 Episode 6 aired on November 11th, 1960 directed by Douglas Heyes and written by Rod Serling. Stars Maxine Stuart, William D. Gordon, Jennifer Howard, George Keymas, Joanna Heyes, and Donna Douglas -revealedNOVEMBER 11: Twilight Zone episode ‘Eye of the Beholder’, written by Rod Serling. makeup by William Tuttle. Originally broadcast on November 11, 1960. Season 2, episode 6. (Photo by CBS via Getty Images)“Nothing in the Darkness” Season 3, Episode 16 aired January 5th, 1962. Stars Gladys Cooper Robert Redford and R.G. Armstrong“Nightmare at 20,000 Feet” Season 5 Episode 3 aired October 11th, 1963 directed by Richard Donner written by Richard Matheson, Starring William Shatner, and Christine White
“The Howling Man” Season 2 Episode 5 aired November 4, 1960 directed by Douglas Heyes written by Charles Beaumont and Rod Serling. Stars John Carradine, H.M. Wynant, and Robin Hughes
“It’s a Good Life” Season 3 Episode 8 aired aired November 3rd, 1961. teleplay by Rod Serling based on a short story by Jerome Bixby. Stars John Larch, Cloris Leachman, Don Keefer, Bill Mumy as Anthony, Alice Frost as Aunt Amy, Max Showalter, Jeanne Bates, Lenore Kingston and Tom Hatcher.
“A Most Unusual Camera” Season 2 Episode 10 aired December 16, 1960. Starring Jean Carson, Fred Clark and Adam Williams written by Rod Serling“Little Girl Lost” Season 3 Episode 26 aired March 16, 1962 directed by Paul Stewart and written by Richard Matheson. Stars Sarah Marshall, Robert Sampson and Charles Aidman“Living Doll’ Season 5 Episode 6 aired November 1, 1963 written by Charles Beaumont and Rod Serling. Stars Telly Savalas, Mary LaRoche and Tracy Stratford
“The Midnight Sun” Season 3 Episode 10 aired November 17, 1961 Written by Rod Serling. Stars Lois Nettleton, and Betty Garde“Mirror Image” Season 1 Episode 21 directed by John Brahm written by Rod Serling. Stars Vera Miles, Martin Milner, Joseph Hamilton and Naomi Stevens “Mr. Garrity and the Graves” Season 5 Episode 32. Aired May 8th, 1964 directed by Ted Post, with a teleplay by Rod Serling. Stars John Dehner, Stanley Adams, J. Pat O’Malley, Norman Leavitt, Percy Helton and John Mitchum“Mr. Denton on Doomsday” Season 1 Episode 3 aired October 16th 1959 written by Rod Serling Stars Dan Duryea, Martin Landau, Jeanne Cooper, Malcolm Atterbury, Ken Lynch, Arthur Batanides, Robert Burton and Doug McClure“A Stop at Willoughby” Season 1 Episode 30 aired May 6, 1960 directed by Robert Parrish written by Rod Serling. Stars James Daly, Howard Smith and Patricia Donahue, Jason Wingreen, and Mavis Neal Palmer. “Nick of Time” Season 2 Episode 3 aired November 18, 1960 Written by Richard Matheson and Rod Serling Stars William Shatner and Patricia Breslin“Night Call’ Season 5 Episode 19 aired February 7, 1964 Directed by Jacques Tourneur written by Richard Matheson and Rod Serling. Stars the great Gladys Cooper, Nora Marlowe and Martine Bartlett.“Nightmare as a Child” Season 1 Episode 29 aired April 29, 1960 written by Rod Serling. Stars Janice Rule, Sheppard Strudwick and Terry Burnham as Markie “Twenty Two” Season 2 Episode 17 aired February 10, 1961 Directed by Jack Smight written by Rod Serling from Famous Ghost Stories- Stars Barbara Nichols, Jonathon Harris, and Fredd Wayne“One for the Angels” Season 1 Episode 2 aired October 9, 1959 Written by Rod Serling. Stars Ed Wynn, Murray Hamilton as death, Dana Dillaway as Maggie“A Penny for your Thoughts” Season 2 Episode 16 aired February 3, 1961 Written by George Clayton Johnson and Rod Serling. Stars Dick York, June Dayton, Dan Tobin, Cyril Delevanti, and Hayden Rorke“People are Alike All Over” Season 1 Episode 25 aired March 25, 1960 Stars Roddy McDowall, Susan Oliver and Paul Comi“Long Live Walter Jameson” Season 1 Episode 24 aired March 18, 1960 Written by Charles Beaumont. Stars Kevin McCarthy, Edgar Stehli, Estelle Winwood and Dodie Heath“Queen of the Nile” Season 5 Episode 23 aired March 6, 1964 directed by John Brahm written by Charles Beaumont and Rod Serling. Starring Ann Blyth, Lee Phillips, and Celia Lovsky
“Spur of the Moment” Season 5 Episode 21 aired February 21, 1964 directed by Eliot Silverstein written by Richard Matheson. Stars Diana Hyland, Marsha Hunt, Philip Ober and Roger Davis. “The After Hours” Season 1 Episode 34 aired June 10, 1960 directed by Douglas Heyes written by Rod Serling. Stars Anne Francis and Elizabeth Allen“The Dummy” Season 3 Episode 33 aired May 4, 1962 directed by Abner Biberman teleplay by Rod Serling. Stars Cliff Robertson, Frank Sutton, George Murdock, John Harmon and Sandra Warner.“The Fear” Season 5 Episode 35 aired May 29, 1964 directed by Ted Post written by Rod Serling. Stars Hazel Court and Peter Mark Richman“The Grave” Season 3 Episode 7 aired October 27, 1961 Written and Directed by Montgomery Pittman Stars Lee Marvin, James Best, and Strother Martin, Elen Willard and Lee Van Cleef“The Hitch-Hiker” Season 1 Episode 16 aired January 22, 1960 Teleplay by Rod Serling based on a radio play by Lucille Fletcher. Stars Inger Stevens, Adam Williams, Lew Gallo and Leonard Strong as The Hitch-Hiker“The Invaders” Season 2 Episode 15 aired January 27, 1961 Directed by Douglas Heyes written by Richard Matheson. Stars Agnes Moorehead in a completely dialogue-less performance.“The Lonely” Season 1 Episode 7 aired November 13, 1959 Directed by Jack Smight written by Rod Serling. Stars Jack Warden, John Dehner, Jean Marsh and Ted Knight“The Man in the Bottle” Season 2 Episode 2 aired October 7, 1960 directed by Don Medford written by Rod Serling. Stars Luther Adler, Vivi Janiss, and Joseph Ruskin“The Masks” Season 5 Episode 25 aired March 20, 1964 Directed by Ida Lupino written by Rod Serling. Stars Robert Keith, Milton Seltzer, Virginia Gregg, Brooke Hayward and Willis Bouchey“The Monsters are Due on Maple Street” Season 1 Episode 22 aired March 4, 1960. Written by Rod Serling. Stars Claude Akins, Barry Atwater, Jack Weston, Jan Handzlik, Amzie Strickland, Burt Metcalfe, Mary Gregory, Anne Barton“The New Exhibit” Season 4 Episode 14 aired April 4 1963 Directed by John Brahm written by Charles Beaumont and Rod Serling. Stars Martin Balsam, Will Kuluva, Margaret Field William Mims“The Shelter” Season 3 Episode 3 aired September 29, 1961 directed by Lamont Johnson written by Rod Serling. Stars Larry Gates, Joseph Bernard, Jack Albertson, Peggy Stewart, Sandy Kenyon, Michael Burns, Jo Helton, Moria Turner, and Mary Gregory“Time Enough At Last” Season 1 Episode 8 aired November 20, 1959 Directed by John Brahm and teleplay by Rod Serling based on a short story by Lynn Venable. Stars Burgess Meredith as Henry Bemis“To Serve Man” Season 3 Episode 24 aired March 2, 1962 Teleplay by Rod Serling based on a short story by Damon Knight. Stars Lloyd Bochner, Susan Cummings and Richard Kiel“A Passage for Trumpet” Season 1 Episode 32 aired May 20, 1960 Directed by Don Medford written by Rod Serling. Stars Jack Klugman and John Anderson“Walking Distance” Season 1 Episode 5 aired October 30th, 1959 directed by Robert Stevens and written by Rod Serling. Stars Gig Young, Frank Overton and Irene Tedrow and a young Ronny Howard“Two” Season 3 Episode 1 aired September 15, 1961 directed by Montgomery Pittman written by Montgomery Pittman and Rod Serling. Stars Elizabeth Montgomery and Charles Bronson“Third from the Sun” Season 1 Episode 14 aired January 8, 1960 Teleplay by Rod Serling based on a story by Richard Matheson. Stars Fritz Weaver, Edward Andrews, Joe Maross, Denise Alexander and Lori March “What You Need” Season 1 Episode 12 aired Deccember 25, 1959 Stars Steve Cochran, Ernest Truex, Read Morgan and Alrene MartelSeason 1 Episode 1 aired October 2nd 1959. Written by Rod Serling. Stars Earl Holliman, James Gregory, and Paul Langton,“Will the Real Martian Please Stand Up?” Season 2 Episode 28 aired May 26, 1961. Directed by Montgomery Pittman written by Rod Serling. Stars John Hoyt, Jean Willes, Jack Elam, Barney Phillips, John Archer, William Kendis, Morgan Jones, Gertrude Flynn, Bill Irwin, Jill Ellis and Ron Kipling
Your EverLovin’ Joey saying The Last Drive In is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man’s fears and the summit of his knowledge!
It was just an innocent game… until a young girl vanished for thirty years
Once upon a time in the 70s, Disney took guardianship of some pretty dark films. The Watcher in the Woods is one such film. Directed by John Hough (Dirty Mary, Crazy Larry 1974, Escape to Witch Mountain 1975, Return from Witch Mountain 1978, The Incubus 1982).
The film works as a teenage adventure/fantasy meets Modern Gothic story based on the novel by Florence Engell Randall with contributions to the screenplay by Brian Clemens.
An American couple Helen and Paul Curtis, played by two distinctly charismatic actors David McCallum and Carroll Baker, and their two daughters Lynn Holly Johnson and Kyle Richards as Jan and Ellie Curtis, travel to an isolated house in rural England. Bette Davis commands the screen with less blaze and more secretive self-control as Mrs. Aylwood, a strange widow who befriends the girls and whose daughter went missing 30 years ago. The two young women investigate the mysterious happenings at the manor house and stumble onto the truth behind Karen Aylwood’s disappearance. I will not spoil the reveal of this film, in fact, the DVD has alternative endings due to extensive cuts as well as additions of scenes added under the un-credited supervision of Vincent McEveety. — I can say that prefer John Kenneth Muir’s interpretation of one considered outcome as Karen leaving and returning as a “kind of Orphean Underworld story.” For those of you who might not like just one explanation, I’ll leave it as an enticement to watch Watcher through to the end/ends!
While some critics found Watcher in the Woods abysmal there are enough fans who remain devoted to the film as a cult classic. Setting some whiny moments, and a few meandering plot potholes, Watcher in the Woods maintains a certain atmospheric bubble that surrounds the story, and adds nice touches of Gothic motifs, like the abandoned church, as John Kenneth Muir says in Horror Films of the 1980s the crumbling church “representing decay.”Â
I see it also as how the old waits quietly for youth to return.
After he fulfills your deepest, lifelong dream…he’ll tell you the price you have to pay… Never whisper your dreams, for someone might be listening…
Both the novel and screenplay for Something Wicked This Way Comes were penned by the prolific fantasist/dreamer Ray Bradbury.
Directed by one of the most interesting directors Jack Clayton, a man who summons uncomfortable images and mind frames around dysfunction in the so-called conventional family structure, and even more diffuse in his work he personifies the children, those innocent little souls with a will that can not only be menacing but truly threatening and evil. Clayton has painted landscapes of chilling psychological horror and Something Wicked This Way Comes embraces his haunting perceptions in perfect sync with Bradbury’s malevolent story equal parts fantasy equal parts horror. Bradbury retained the nightmarish poeticism that his novel possessed in the screenplay and then adapted it to the screen.
Bradbury’s fantastic tale began as a short story entitles “Black Ferris” which was originally published in Weird Tales Magazine in 1948. Then he adapted it to his screenplay for use by Gene Kellywho unfortunately was not able to get the funding for the project. The success found Bradbury’s story when he released it as a novel in 1962 which found its way yet back once again into a screenplay in the 1970s when an interesting collection of directors were approached– from Sam Peckinpah, Mark Rydell, and even Steven Spielberg. By the time 1982 came around it was Jack Clayton (The Queen of Spades 1949, The Story of Esther Costello 1957, Room at the Top 1959, The Innocents 1961, The Pumpkin Eater 1964, Our Mother’s House 1967), who was tapped to direct the film, perhaps Spielberg might have added a great commercial veneer to the picture, but the dark dreams that Jack Clayton is capable of envisioning, I think, is the right kind of poison (And I mean that in a good way). The atmosphere of the sleepy little Green Town, Illinois, circa 1920 needed to wash off that mainstream Rockwell Painting style veneer and lay bare the secretive and dreadful things that suppurate in a small old-fashioned and quite often repressed Americana town.
For into this quaint and picturesque Midwestern town comes a dark & arcane carnival led by the mysterious Mr. Dark played exquisitely by Jonathan Pryce. And unlike the lyrical circus of The 7 Faces of Dr. Lao starring the wonderful Tony Randall, this carnival is pure evil.
The 7 Faces of Dr. Lao starring Tony Randall.
As enigmatic as Pryce is in this role, equally mesmerizing is Pam Grier who inhabits the sensuous yet deadly Dust Witch! The otherworldly train that is veiled in fog and spirit lights brings “the Autumn People” who march through the town slowly like a funeral dirge preparing their secret ceremonies that will summon the darkness to coax and bedevil the unsuspecting yet desperate people of Green Town who are hungry for magic to change their lives.
The carnival seems to tap into the desires of many of the townspeople providing them with wish-fulfillment, to make their every dream come true. Many of the town folk like Mr. Crosetti played by Richard Davalos out of their loneliness seek companionship or Ed the Bartender played by James Stacy who lost a leg and an arm in the war would love to be that football hero again.
What ultimately happens after these unsuspecting but naive town folk should have realized that they have sold their souls and are damned for an eternity to suffer the irony of their wishes. And in the end, it is a lesson in what we desire weighed against what we regret.
As one of the vehicles for Mr. Dark’s malevolent magical conduits, he employs a menacing merry-go-round which can make the rider can grow either younger or older depending on which direction it turns.
Will Halloway and Jim Nightshade are boyhood buddies–Will sees his father struggle with feeling like an old man, while Jim waits hopelessly in vain for his father to return.
Jim buys a lighting rod from Tom Fury (Royal Dano) who warns of the storm that is coming. That night the boys sneak out into the woods and watch as the train pulls in with no one aboard. They do however learn that it is bringing Mr. Dark’s Pandemonium Carnival to their boring little town.
At the centerpiece of the story comes Jason Robards an aging father and local librarian Charles Halloway who feels he’s failed his son Vidal Peterson as Will Halloway. In the end, it is up to the two to fight off Mr. Dark who would like nothing better than take most of the town along board the malefic train to the next destination, collecting souls along the way.
With music by James Horner, and co-starring Royal Dano who sells much-needed lightning rods, Diane Ladd plays Jim Nightshades’ mother, Mary Grace Canfield plays Miss Foley who has lost her youth and beauty and is narrated by Arthur Hill as an older Will. The special effects of the 80s create a moody, fantastical little carnival nightmare that moves like a beautiful & maudlin ballet.
YOUR EVER LOVIN’ MONSTERGIRL SAYIN’ ANYTHING IS POSSIBLE IF YOU BELIEVE IT SO!
I might not have discovered the beautifully imagined magical world of Lotte Reiniger if it wasn’t for Fritzi’s Voracious appetite for the innovative spirit of women in the film industry particularly silent films. My particular favorite is her Thumbelina or Däumelinchen -An ethereal journey that is engaging and lovely.
Charlotte "Lotte" Reiniger(1899-1981) was a visionary German filmmaker who pioneered silhouette or “profile art animation”. Reiniger was fascinated with cutouts and puppetry from childhood.
Her work developing a back-lit glass animation table with a multiplane camera to create effects that predates animators like Walt Disney and Ub Iwerks by at least a decade. she adapted old European stories and fables like "Cinderella," "Thumbelina," and "Hansel and Gretel" into a striking visual style and groundbreaking for the 1920s "” working well into the 1950s with fabulous fables like The Frog Prince 1954, The Grasshopper and the Ant 1954, Jack and the Bean Stalk 1955.
Aladdin, the Magic Lamp and the demons of Wak-Wak!
The Adventures of Prince Achmed made in Black & White with tinted tones is based on stories from “The Arabian Nights” is considered her masterwork, which she worked on for over three years. The film predates Disney’s SNOW WHITE by eleven years.
The original score was composed by German composer Wolfgang Zelle. The score was developed in concert with animation, as Reiniger created photograms for the orchestra which were performed live in the theaters.
After attending a lecture by Wegener, she joined the acting troupe he belonged to, and started making costumes and props backstage at the Theatre of Max Reinhardt.
At 19 years old, Lotte created the animation for the intertitles in Wegener's Der Rattenfänger von Hameln (The Pied Piper of Hamelin), creating wooden rats for animation. This work led to her admittance into the experimental animation and short film studio in the Institut für Kulturforschung (Institute for Cultural Research). Here, she met her future husband and animation partner Carl Koch, and rubbed elbows with artists like Hans Cürlis, Bertolt Brecht, and Berthold Bartosch. She made six short films during this period, with her husband producing and photographing and became the center of a group of brilliant German animators during the Weimar Republic (the group included Bartosch, Hans Richter, Walter Ruttmann and Oskar Fischinger).
Lotte Reiniger with fellow artist husband Carl Koch
In 1923, she was asked to make a full length animated feature for Lois Hagen. Full length animated features were unheard of at the time. Typically animated films were short (less than 10 minutes) and meant to make the audience laugh. Nevertheless, Reiniger animated The Adventures of Prince Achmed in 1926. While the film had a difficult time finding a distributor, it premiered in Paris (with the support of Jean Renoir) and became a success. It is not only the oldest full-length animated feature, but the first avant-garde full length film.
When the Weimar Republic fell to the Nazis, Reiniger and Koch, both anti-Nazi activists, tried to emigrate to other countries, but no other country would take them permanently. They spent from 1933-1944 moving from one country to another, staying as long as their visas would allow. They made 12 films during this period, finally settling in London in 1949.
In addition to developing pioneering film animation techniques, Lotte's mark remains in world of film animation, particularly fairy tales. Her techniques influenced future stop-motion animation movements. Her distinct style was unique for the time period, relying on gestures instead of facial expressions to show emotions. Her work focuses on character's transformations, showing a fluidity very much in the style of expressionism.
Her original materials are part of a permanent exhibition of her work "The World in Light and Shadow: Silhouette, shadow theatre, silhouette film" in Filmmuseum Düsseldorf in Tübingen.
Lotte Reiniger in London 1970
In 2010, her style of animation was used in Harry Potter The Deathly Hallows short animation film "The Tale of the Three Brothers."
Lotte Reiniger obviously loved her craft in unique silhouette films became groundbreaking, Reiniger would look for a fairytale character that she loved and then she would settle in knowing that the work will take a long time of tedious and arduous work, as she has herself said the lead character must be made to fit into the story so various figures and sets are designed to create the storyboard, showing sequences that will be broken down into particular movements by the main figures, but the importance of the story must not be underestimated. She was fascinated by great fairytales and folktales, the magic and lyrical quality they possess. Lotte Reiniger brought to them her own unique interpretation and it shows as they all bear her unmistakable quality.
She was passionate about her characters bringing them to life. There is an intricate nature to her style of film making. Lotte worked with her husband Carl Koch who was a film maker in his own right having worked with Jean Renoir, he died in 1963. Both Lotte and Carl developed a silhouette technique that included color. This was used in the wonderful feature The Frog Prince.
She created the first full length animated film in the history of cinema. Though her technique uses simple variations on her basic technique, which is simple in form, Lotte Reiniger imbues her characters with a magical sense of being real, within all the subtleties, these figures come to life.
Reiniger cuts out intricate figures from black cardboard, then creates movable parts, that are hinged by wires and then weighted with flat pieces of lead. This keeps the figure from bending from the heat of the camera lights. Once the figure is placed on the animation table, with a light from underneath the panel, the figure is placed in the precise position as the camera takes ONE shot at a time. Stop motion animation. Lotte Reiniger lovingly showed concentration as the figure slowly moves one shot at a time. Their movements seem so life like and not robotic , that it is an extraordinary achievement of precision and patience to achieve this end result. To achieve close ups, it is then necessary to make a new figure, larger, so the expression of the figure can be altered up close.
When introducing new magical figures that seem to appear from nowhere, the main figure must be created in various different sizes, each one numbered. This effect is used to show all kinds of transformations and appearances on the scene. The action is composed so that the effects of distance and depth are avoided to maintain a purity of style.
THE RAKES PROGRESS
Hansel and Gretel
ALADDIN and his MAGIC LAMP from THE ADVENTURES OF PRINCE ACHMED (1926)
Continuing with my series on Science Fiction Films of the 1950s, though 1952 seems sparse in comparison to lets say 1956 & 1958, there was definitely a prevailing theme… fear of communist invasion! My favorite picture for this year would have to be watching Hildegarde Knef torment Erich von Stroheim in director Arthur Maria Rabenalt’s ALRAUNE, though Brigitte Helm’s 1928 portrayal of the soulless beauty born of sin is quinteseentially sublime.
Born outside the laws of God and man!-the fruit of evil!
Directed by Arthur Maria Rabenalt, based on the novel by Hanns Heinz Ewers published in 1913. Starring Hildegard Knef as Alraune, Erich von Stroheim as Dr. Jacob ten Brinken, Karlheinz Böhm ( Of director Michael Powell’sPeeping Tom (1960)) as Frank Braun, Harry Meyen as Count Geroldingen, Rolf Henniger as Wolf Goutram, Harry Halm as Doctor Mohn.
Viennese director Rabenalt is better known for his Nazi propaganda films and for countless operettas, lederhosen and heimatschmalz. Considered a tech-noir film import from outside the U.S.A., included among Spaceways(England 1953) The H-Man (Japan 1958) and Atom Age Vampire (Italy 1961)
The story was first filmed in 1918 and then in 1928 & 1930 with Brigitte Helm which was a beautifully films version. Brigitte Helm among dolls — Alraune 1928 silent- possesses an eroticism
Stroheim broods and over-acts in his inimitable way and Hildegarde Knef is exquisite. ten Brinken (von Stroheim) collects a the semen of a hanged murderer at the gallows, and takes this seed and inseminates a prostitute. What he creates is a ‘daughter’ Alraune–who is incapable of feeling ‘love’ or having emotional human connections with voracious sexual appetites, portrayed as almost demonic or like a succubus.
the Cinematography of Friedl Behn-Grund (Murderers Among Us 1946, Confessions of Felix Krull 1957 and Titantic 1943) paints an expressionist foray into a moralistic fairytale of good & evil love & hate sin and redemption.
The film is dark and uncanny as Alraune mesmerizes every male she meets, while ten Brinken becomes more and more perversely sexually obsessed with his beautiful but unfeeling archetypal dark-eve.
The film has an awkward atmosphere about it as if it’s trying to be a the threshold of new medical research blended with the profane and taboo science of artificial insemination, Gothic romance fantasy and man’s desire to conquer reproduction. The fetish of creating life, controlling it as if becoming god-like, the question of individuality, morality and the seed of moral instinct and sin–misfire in shocking and dreadful ways.
Erich von Stroheim"”as ten Brinken shows Karlheinz Böhm or Karl Boehm the diary and where Alraune's mother came from "I made a long search for her in the convent of Hamburg."
When ten Brinken (von Stroheim) is in the lab and sees Frank out in the garden with Alraune he asks Doctor Moh (Harry Halm) his associate "Did he kiss her"
Alraune-" They were all in love with me and they all died and I killed them"¦ You mustn't stay I bring destruction. “
Frank-“You can't believe that there's something strange and different about you. You're a human being like anyone else.”
Alraune- "You could never forget that I'm trained from birth. My life began as a horrible crime that I was part of a foolish experiment."
Frank –"Alraune how can you say that"¦Â no one is all good or all evil. If only the bad were inherited then the world would be a HELL..”
Alraune-"In me there is no good-look where I came from. I was brought into being by the evil thoughts of a depraved man."
Frank-"The crime was to bring you into the world and then to raise you without love. The plaything of insanity. Who ever is brought up without love is sick. You were never evil, you were sick. I won't let you stay here. You must go away.”
At that moment von Stroheim shoots Alraune being carried by Boehm and Alraune begins to die.
ten Brinken (vonStorheim) says-"No one else should have have!"
ALRAUNE'S last words before he dies– "Now the toy is broken-the crime against nature that God didn't want."
BELA LUGOSI FINDS THE PERFECT GOOF TO TURN A GORILLA INTO A HUMAN AND VERSA VISA!
Directed by William Beaudinewho started out doing shorts in pre 1920s and directed several superior police procedural/noir/ dramatic Naked Citytelevision episodes in 1958, (The Living Ghost 1942, The Ape Man 1943, Ghosts on the Loose 1943, Mystery of the 13th Guest 1943, The Face of Marble 1946, Forgotten Women 1949, Billy the Kid vs Dracula 1966)
This is the only film that actually featured Bela Lugosi’s name in the title. It co-stars the comedy team Duke Mitchell and Sammy Petrillo who is trying to take off on actor/comedian Jerry Lewis with several more doses of whiny asininery and though he might actually look like him, is not at all funny.
Duke Mitchell: You know, someday I’m gonna let you fry in your own grease!
Sammy Petrillo: Could you make it chicken fat, maybe?
Unfortunately the team does not nearly come close to touching the brilliant pairing of Dean Martin and Jerry Lewis. Petrillo only did a handful of bit part appearances, Shangri-La (1961), The Brain that Wouldn’t Die (1962) Keyholes are for Peeping (1972) and Out to Lunch (1977)
As Phil Hardy states about the state of Bela Lugosi’s career at the time, “already bedevilled by management, money, marital and drug problems, is the star of this awful piece.”
Technically a screwball comedy starring, it still seems to want to fall into the mold of science fiction as it involves a mad scientist and a formula.
Mitchell and Petrillo play night club performers who are entertaining the troops in Guam who fall out of an airplane and land on an a South Sea island. Nona (Charlita) finds them and takes them back to her father, chief Rakos (Al Kukime). Nona convinces her father to spare their lives. The unfunny pair also meet Dr. Zabor played by our lovable yet tired actor by this time without some of the nuanced dialogue he had been given in the 30s & 40s… Bela Lugosi. Zabor is a scientist who is performing clandestine experiments on gorillas trying to transform them into people. He is obsessed with Nona, and when Duke catches her eye, Zabor injects him with the serum and turns him into what else but a gorilla!
Sammy at some point figures out that it’s his friend Duke when the gorilla begins singing “Deed I Do” by Walter Hirsch and Fred Rose.
Sammy Petrillo: This looks like Death not only took a holiday, but he got a hangover from taking it.
Directed by Stuart Gilmore (44 editor credits including- Sullivan’s Travels 1941, The Palm Beach Story 1942, The Miracle of Morgan’s Creek 1944, Two for the Seesaw 1962, Toys in the Attic 1963, and The Andromeda Strain 1971), stars Robert Clarke as Robert, Margaret Field as Ruth, Gloria Saunders as Catherine, Ron Randall as Ridden, Stuart Randall as Gordon, Robert Bice as Bram Paula Dorety as first Captive, Chili Williams as second Captive, William Schallert as Carver. Once again some of the images are courtesy of matte painter Irving Block (Rocketship X-M 1950, Forbidden Planet 1956, Kronos 1957)
Not to be mistaken with Captive Wild Women (1943) starring John Carradine!
In a post-apocalyptic New York City, three tribes of mutants (the Norms, the Mutates and the Upriver people) battle each other to survive.
When Aubrey Wisberg and Jack Pollexfen saw they success they had with The Man from Planet X (1951)(incidentally re-using the cast once again, Margaret Field, Robert Clarke and William Schallert) they decided to try another science fiction story which had a British title originally called 3000 A.D. & 1000 Years from Now which reflect a much more science fiction sensibility that Captive Women which evokes that trend of jungle/adventure pictures. Howard Hughes who was running RKO at the time, decided to use the more sensationalist film title.
After the world is destroyed by an atomic bomb, the survivors in our story concern three tribes who hunt each other down throughout the desolate ruins of New York City. First there are the Norms who by virtue of their name tell us that they haven’t been effected by the nuclear fall out. The Mutates led by Riddon (Ron Randall) , are ancestors who have been deformed by the passing down of their mutated genes, and go on raids of the subterranean tribe of Norms to conquer their women who are portrayed as beautiful and perfect for procreation which the Mutates would like to cleanse their lineage of the mutation they have suffered and begin to have healthy offspring. Then there is the last tribe, the Upriver People who are an evil bunch who are violent and worship the devil- ruthlessly led by Gordon (Stuart Randall)
When the Upriver People attack, the Norm leaders Riddon and Rob (Robert Clarke) take off, finding the Mutates are willing to help them hide out. One of the Norm women Ruth (Margaret Field) falls in love with Riddon.
William Schallert plays Carver who has been banished by the Mutate tribe, winds up betraying them and showing Gordon the secret passage under the Hudson River, a tunnel that leads to the Mutate’s camp in New Jersey. In an ironic twist, during a battle between the tribes, the Upriver People are drowned. Though the story is very dark and brooding, there is a tinge of hope that with the budding romance between Riddon and Ruth they may begin a new civilization where all tribes work together.
Early on in the 1950s Rocketship X-M (1951) and Arch Oboler’s Five (1951) both dealt with the consequences of a nuclear holocaust, Captive Women plays out less about the effects of the atomic fallout weaving the story around the different factions of tribes that are trying to forge their own society in a post-apocalyptic world. People have regressed back to a time of primal necessity (well they aren’t much different today are they), to survive, to procreate to prevail over other threatening tribes… the nuclear warfare has changed the look and function of the world and it’s survivors. Humanity is all about biological need and the misogynistic tribal-warfare narrative drives the story. Man vs man, man needs woman, woman gets dragged off like a piece of property. Some tribes are worse than others…
The Hollywood Reporter said, “Captive Women was a ‘pretentious, long winded dissertation on the bleak future lying ahead… While the intent is certainly laudable, the pompous, hackneyed dialogue and the stilted performances make this… a long 64 minutes.” In Daily Variety “Is strictly for the exploitation houses.”Â
In The Monthly Film Bulletin called it an ‘unattractive farrago’ they also said- “preposterous story contrives to be both childish and absurd.”
THEY PUSH A BUTTON AND VAST CITIES VANISH BEFORE YOUR VERY EYES! (1956 re-release)
Producer Albert Zugsmith worked with director Douglas Sirk on a few classics-was at a time the house producer for Universal -International, including Touch of Evil 1955, Written on the Wind 1956, The Incredible Shrinking Man 1957, The Tarnished Angels 1958,
Invasion U.S.A. is directed by Alfred E. Green (Baby Face 1933, The Jolson Story 1946)
Albuert Zugsmith’s cheap exploitation film is a bleak journey laced with doom, scaremongering and feasting off of the vitals of paranoia of the McCarthy era Communist invasion scare, and plays off the worst of our fears back in the 1950s –the film did more as a propaganda piece than a truly insightful science fiction thriller. Using stock footage from World War II army training films.
From Bill Warren’s book Keep Watching the Skies–he cites In a letter to the New York Times, Larry Evans said the film seemed to be claiming “that peace is merely a space between wars”
A largely forgotten film that plays on the fears about communism featuring Dan O’Herlihy as a mysterious stranger who hypnotizes a group of people in a New York City bar and makes them believe that the Cold War is over and Russians have launched an all out atomic attack.
The film opens in a New York City bar littered with a variety of characters, you know the counter-intuitive groups of people who’s sensibilities will no doubt span the spectrum of American taste. They are involved in a heated discussion about the universal draft. Gerald Mohr plays Vince a television reporter interested in controversy and high octane filled conversations that stoke ideas,while Peggy Castle plays Ruth who isn’t too keen on the idea herself. Then there’s the cross section of America, the tractor manufacturer George Sylvester played by Robert Bice who is too pleased with his own success refusing to convert his plant over so the military in order to make weapons. Then there’s the rancher Ed Mulfory played by Erik Blythe who is on the attack against the system. Illinois Congressman Arthur V. Harroway is portrayed by Wade Crosby who goes off on his own rant about tax increases because of all the defense appropriations.
Dan O’Herlihy plays Mr. Ohman who expresses himself very carefully presenting himself as a ‘forecaster’ and tells the group that the future all depends on how we as a people will act presently.
Suddenly the television set in the bar becomes the focus as there is an emergency announcement that enemy troops have invaded Alaska and are now heading toward Washington to attack! The group in the bar scramble to get to where they need to be, the pall of doom hanging over everyone’s certain fate.
Before the various characters involved wake up from their trance they all die horrible deaths, plunging form the top of a skyscraper, drowning etc.
Vince goes back to his television studio to try and report that the enemy troops are invading Oregon, taking over air bases, bombing cities and devastating important landmarks all over the West.
The rancher returns home and he and his family are drowned when Hoover Dam is A-bombed. The manufacturer is shot dead in his office by his window washer who was actually a spy. The enemy is never clearly specified but the idea that they start their invasion with Alaska which is not far from Russia let’s us know who we are truly afraid of in this film.
Finally enemy troops not only descend upon Washington D.C. where the Congressman is shot to death while giving a speech, they reach Manhattan and set off another A-bomb- a scene which the film boasts as it’s only special effects sequence. Carla who worked for the Red Cross dies, and so does Vince, unfortunately there was no time for their budding romance to bud…
With many fantasy/horror/science fiction type stories that allow second chances or glimpses into the dangerous tomorrows, the scene at the bar shows all slowly awakening as if from a trance. Mr. Ohman has placed them into some sort of illuminatory stasis now giving them back precious time to go into the world and perform good deeds in the name of “Eternal Vigilance”
From Bill Warren’s Keep Watching the Skies“Russian MiGs are shown and some of the stock footage used is printed reversed left to right so that the letters are backward This was to make them look Cryillic and therefore, Russian According to Larry Evans’ letter quoted earlier , The American Mercury, then the self -appointed mouth piece of anti-communism , Anti-Unamerican fanatics is shown in the film. The message in Invasion U.S.A isn’t just that we should consider the possibility that another war and one with the communist nations in particular will take place, but that we should actively prepare for one to the point of providing arms & trained propaganda newscasters actually here fomenting the inevitable conflict.?
Hedda Hopper allowed her name to be used with the advertising of the film and it’s posters saying-“It will scare the pants off you” Edwin Schallert in the Los Angeles Times quotes the cheap exploitation picture by saying, ‘there is still a modicum of high suspense running through the production, and perhaps even something to cause audiences to think.”
Newscaster: The big mystery now is why have no cities been attacked? Why did the enemy throw away surprise yet fail to drop a single atom bomb?Â
Mr. Ohman: I think America wants new leadership.
Vince Potter: What kind of leadership do you suggest?
Mr. Ohman: I suggest a wizard.
Vince Potter: A what?
Mr. Ohman: A wizard, like Merlin, who could kill his enemies by wishing them dead. That’s the way we like to beat Communism now, by wishing it dead.
Directed by Howard Hawks and notably considered a screwball–madcap-zany comedy starring Cary Grant, there is an element of science fiction that cannot be ignored and that’s why Monkey Business is viewed by some belonging to the Sci-Fi genre even with all it’s zany antics. Hawks having accomplished the more terrifying yet camp filled The Thing from Another World the year before certainly wears a versatile director’s cap. With a screenplay by writers Ben Hecht, Charles Lederer and I. A. L Diamond.
Referring back once again to Bill Warren’s terrific book Keep Watching the Skies, I could never write as concise and witty as Warren he puts it like this… “After Here Comes Mr. Jordan 1941, light fantasy, comedies became popular and a steady Hollywood product. Generally they took the form of fantasies, such as Heaven Only Knows 1947, and You Never Can Tell 1951, but frequently the fantastic elements was actually science fiction…{…} Cary Grant was one of Hawk’s favorite actors- Bringing Up Baby 1938, Only Angels Have Wings 1939, etc–and Grant was often at his best under Hawk’s direction. Hawks seemed to be amused by Grant’s ability to appear stiffly repressed while suggesting banked fires of frivolity. That is the specific subject of Monkey Business.”
Cary Grant plays Dr. Barnaby Fulton (even his name is delicious!)
Grant plays absent minded professor Barnaby Fulton financed by Oliver Oxly played by Charles Coburn who wants his research to find a way to slow down the aging process. Fulton discovers a youth serum-elixir B-4, but when a chimpanzee sneaks out of his cage and mixes chemicals together, and spikes the water cooler,Fulton accidentally ingests the serum himself. Now listen, implausible you say, I've heard said that leave a chimpanzee in a room over the course of years he'd paint the Mona Lisa"¦ true story!
Fulton begins acting like a high spirited college rowdy, buys a hot rod and drives Oxly's secretary the adorable Marilyn Monroe all over town, and I mean drives her wild!
Problem is Fulton is married to sophisticated Edwina who is shocked by his new behavior, but eventually the serum wears off, but everyone from Edwina, old Oxly and his colleagues start drinking a lot of water! As in the end they revert to childish behavior swinging around the laboratory like chimpanzee’s themselves, they are in contrast with the civilized world, the elixir has caused emotional and moral anarchy and flies in the face of being a responsible adult, the message is quite dire. You not only can’t go home again, you can’t be young at heart again… Gee wiz!
There are no special effects, there are no substitute actors representative of the younger characters, the only signifier of youth is the actors behavior. So science fiction"”not so much in terms of technology, but it's always fun to include a comedy in the mix besides, Abbott & Costello and the bad movies that are unintentionally funny.
With the screwball dialogue and shenanigans the film the story resolves itself at the end with a bittersweet message that youth is for the young and we must accept getting older.
"Youth as presented in Monkey Business seems as much nightmarish as it does anything else"
Barnaby: Hello, Griffith Park Zoo, Snake Department. Sssshhh!
Oliver Oxley: Hello? Hello? What is this?
Barnaby: What do you want?
Oliver Oxley: This is Mr Oxley.
Barnaby: I’ll see if he’s here.
Oliver Oxley: No, I said *this* is Oxley!
Barnaby: Who is?
Oliver Oxley: I am, speaking!
Barnaby: Oh, you’re Mr. Speaking…
Oliver Oxley: This is Mr. Oxley speaking!
Barnaby: Oxley Speaking? Any relation to Oxley?
Oliver Oxley: Barnaby Fulton is that you?
Barnaby: Who’s calling?
Oliver Oxley: I am, Barnaby!
Barnaby: Oh, no, you’re not Barnaby. I’m Barnaby! I ought to know who I am.
Oliver Oxley: This is Oxley speaking, Barnaby!
Barnaby: No, that’s ridiculous! You can’t be all three. Figure out which one you are and call me back!
Lois Laurel: {Marilyn Monroe -at her secretrial desk, responding to Barnaby’s remark that she is at work early} Mr. Oxley’s been complaining about my punctuation, so I’m careful to get here before nine.
Barnaby: Umph! I’m beginning to wonder if being young is all it’s cracked up to be. We dream of youth. We remember it as a time of nightingales and valentines. But what are the facts? Maladjustment, near idiocy, and a series of low comedy disasters. That’s what youth is.
Starring George Wallace (224 credits to this omnipresent supporting actor) is Commander Cody, Aline Towneas Joan Gilbert, Roy Barcroftas Retik, William Bakewell as Ted Richards, Clayton Moore as Graber, Peter Brocco as Krog, Tom Steele as Zerg.
George Wallace wearing the special rocket suit from Republic’s earlier King of the Rocket Men (1949), is Captain Cody, Sky Marshal of the Universe. It’s cheap, really really cheap serial production– Cody must stop the Moon’s dictator the evil Retik from invading the Earth. Most of the action takes place on the Moon. Wallace doesn’t even need a spacesuit, and the lack of gravity doesn’t seem to effect Cody even after Destination Moon two years earlier showed up the problems with weightlessness. In 1966, the serial was condensed into a feature, Retik the Moon Menace.
George Wallace is Commando Cody, Sky Marshal of the Universe "” that fantabulous flying super-hero scientist is fighting evil forces from the Moon who are destroying Earth's national defenses using a strange and destructive weapon. Scientists Joan Gilbert (Aline Towne) and Ted Richards (William Bakewell) design both a special rocket powered suit and helmet that enables Commando Cody to fly, and a rocket that can reach the Moon. With the aide of security head Henderson (Don Walters) our hero uncovers a race of Moon Men who are using an atomic ray gun to target the Earth in order to invade the planet. When Cody, Joan and Ted travel to the cratered Moon to try and thwart the menacing Moon Men –in their rocket-ship they are captured by the Moon minions led by Retik (Roy Bancroft). The serial also stars Bob Stevenson as Daly, Clayton Moore as Graber, Peter Brocco as Krog, Tom Steele as Zerg, Dale Van Sickel as Alon, Noel Cravat as Robal, Baynes Barron as Nesor and Paul McGuire as Bream.
“Commando Cody, the Sky Marshal of the Universe,” aka, George Wallace, appears to defy the laws of gravity, for a moment at least, as he lands in the arms of a prop man during production of the film ” Radar Men from the Moon,” at Red Rock Canyon in the Mojave Desert, 80 miles northeast of Hollywood, Calif., Dec. 12, 1951. Gravity may be defied in some the new movie serials based on the fantasies science fiction, but what goes up still comes down, even if the film wont let you see it. (AP Photo)
Graber: How ’bout a ride to town, mister?
Motorist: Sure. Hop in.
Graber: There’s a man in a flying suit chasing us. Step on it.
Motorist: Huh?
[Commando Cody, Ted, and Joan are about to board ship for the moon]
Commando Cody: I still think this is no trip for a woman.
Joan Gilbert: Now don’t start that again. You’ll be very glad to have someone along who can cook your meals.
Directed by Harry Horner (Beware, My Lovely 1952, Vicki 1953, The Wild Party 1956, production designer on The Hustler 1961)
Written for the screen by John L. Balderston, Anthony Veiller based on the play by John L. Balderston and John Hoare. John L. Balderston had also written the screenplays for Dracula 1931, Frankenstein 1931, Mad Love 1935, Bride of Frankenstein 1935 and Gaslight 1944. Veiller having written the screenplays for The Killers 1946, and The Stranger 1946.
Stars Peter Graves stars as astronomer Chris Cronyn, Andrea King as his wife Lynda Cronyn, Herbert Berghof as Franz Calder, Walter Sande as Admiral Bill Carey, Marvin Miller as Arjenian, Willis Bouchey as the President, and Morris Ankrum as Secretary of State Sparks.
Based on screenwriter Balderston’s play Red Planet, the film is overtly focused on the fear of invasion and the insidious spread of Communism in the American consciousness in the 1950s.
Martyrs,Miracles,and Martians
Religion and Cold War Cinematic Propaganda in
the 1950s by Tony Shaw
Introduction
Consider this script: Chris, a Californian scientist (played by Peter Graves), has established radio contact with Mars, thanks to the invention of a former Nazi scientist, Calder (Herbert Berghof), now serving Lucifer with Soviet money in the Andes. Consequently, the United States learns that Mars has attained a high level of "civilization," has developed nuclear power, and has dispensed with coal and oil. The news causes pandemonium on Earth, stock markets crash, depression reigns, and Moscow gloats over the threatened collapse of Western society. On the brink of chaos, the world learns that Mars is also a Christian society, ruled by a "Supreme Authority" whose teachings parallel those of the Sermon on the Mount. This prompts a religious revival on Earth and a revolution in Russia, where a group of pious peasants inspired by Voice of America broadcasts throw out the Communists and crown an elderly patriarch as their new ruler. The story ends on a bittersweet note: Chris, his wife, and Calder are all killed in a laboratory explosion, leaving the U.S. president (Willis Bouchey) to announce that the faith of the world has been saved and that peace now reigns. Few films capture the personal and political paranoia so often associated with "McCarthyite" Hollywood better than Harry Horner's Red Planet Mars, described by one critic at the time of its opening in 1952 as "a grotesque, almost insane fantasy, told in deadly earnest.–Even fewer films threw all their Cold War eggs"”anti-Communism, an ambivalence toward science.”
Graves plays a California scientist trying to establish contact with Mars, soon into the film he and scientists at the observatory discover that the Martians have melted the ice caps in order to irrigate their planet. Graves as Dr. Chris Cronyn surmises that Martians are a superior race. His wife Andrea King who plays Lynda feels worried about the findings believing that her husbands research is like "sitting on a volcano."
Peter Graves whose specialty is radio waves and King play a husband and wife team of research scientists/astronomers who pick up a television transmission from Mars. The message describes the planet as being a utopian society with a god-like higher power in charge. Here on Earth, this news spreads panic among both Western governments and the Russian Communist government. In Russia, the peasants revolt and place a priest like monarchy in rule.
Narrator opens "This is a story not yet told"¦."
Observatory is high on a mountain in Southern California the giant telescope"¦ "Searches the heavens for the secrets there contained"¦"
Dr. Cronyn (Peter Graves) is the radio man"” Dr. Boulting – Mitchell’s Assistant (House Peters Jr.)Â is the guy with the spy glass"¦
"Do you seriously think that you've established contact with Mars"¦?""”Dr. Boulting (Peters) "Well you take pictures of it, why shouldn't I talk to it?""”Dr. Cronyn (Graves)
Photos of the canals of Mars that traverse the entire planet–Lynda asks if Dr Mitchell has had his telescope for years –why is he getting these pictures just now. Mitchell explains that Mars’ journey around the sun is an elliptical curve.
After the next batch of photos are taken… it shows the mountains are gone and the poles are level.
Dr. Cronyn- “You can’t wipe out mountains taller than the Rockies in the space of a week!”
Dr. Mitchell the astronomer asks Boulting to look at the canals with his magnifying glass. Lynda says “They’re different now they reflect light like mirrors.” Dr Mitchell (Lewis Martin) ‘Water reflects light”
Cronyn asks “Are you saying you think those pole formations are ice… and in a week these Martians have melted ice caps thousands of feet high and use the water to irrigate the planet?”“Isn’t that what the picture says?”-asks Dr Mitchell
Cronyn would love to ask the Martians who they figured out that amazing way to irrigate the planet… “It’s Mars I’m getting my signal from, but how do I give that signal meaning… how do I find a means of communication.”
Boulting says, “One man who takes pictures, one man who believes he can talk over 35 million miles… it’s like having a grand stand seat to the creation of the world…”
There is also an ex-Nazi scientist Franz Calder (Herbert Berghof) who has invented a ‘hydrogen tube’ that he brings with him after the fall of Nazi Berlin. Cronyn (Peter Graves) uses this ‘hydrogen tube’ to contact Mars. The Soviets have planted the former Nazi spy in order to make contact with Mars. “At this point the Christianization of the film begins.” – Bernard F. Dick
Franz Calder who has believed to been dead since the war, has actually been living in a cabin in the Andes, living in the ironic and ghostly eclipse of the famous statue of Christ the Redeemer. He taunts his Soviet compatriots —"You can find me only through finding Christ."
Calder claims that the messages from Mars are actually fakes, telling everyone that he is the one who has been sending them –his plan– to bring about the downfall of capitalism. Calder is being supported by the Russians led by Arjenian (Marvin Miller) urging him to contact Mars before Cronyn in order to help wipe out democracy and bring about the fall of the Western civilization entirely.
Mars is the promised land, powered by cosmic energy. Its inhabitants have a three-hundred year lifespan and enjoy such an abundance of food that rationing is unnecessary. The realization that Mars is the new Eden and Earth is a garden gone to seed results in global chaos as coalminers and steel mills close and banks default, believing that humankind had suffered enough, delivers an ultimatum: LOVE GOODNESS AND HATE EVIL… {…} Forget the galaxy and the follow the star of Bethlehem. The voice emanating from Mars is none of than God's, the man of Nazareth and the man of Mars being the same. Suddenly, church attendance rises, and miracles are seen. The Soviet Union which "˜denied God's word and worshipped false gods" abjures communism, and the patriarch of the Orthodox Church becomes head of the provisional government. – Bernard F. Dick
Eventually Cronyn does receive messages from Mars saying that there has been incredible scientific advancements, this he deciphers from what looks like bar codes on the television screen. Cronyn has photos showing the ice caps on Mars described as mountainous peaks of ice thousands of feet thick, that are now melting at a faster rate, virtually overnight.
When Cronyn releases his findings he is persecuted and blamed for the economic collapse in the West. Secretary of Defense Sparks (Morris Ankrum) tries to stop the flow of information in order to avert the disaster saying, “Our civilization is collapsing around our ears like a deck of cards… I can hear the laughter in Moscow now!”
In Moscow they are celebrating–“We will build our world on the ruins.”
This is pretty harsh straight forward propaganda that utilizes the elements of science fiction to push the fear and anxiety Americans felt during 1952. The President begs Cronyn not to release the information about the messages from Mars, pleading “You’ve shattered the economy of the free world” in which the scientist who is only interested in revealing the truth about his research and the secrets of the universe tells hims “I’m not interested in economics” as he continues to receive messages from the Martians. Another example of science vs –us against them etc.
Admiral Bill Carey (Walter Sande) responds‘Science has made the volcano we’re sitting on… you’ll be the next to advance science–and maybe us–right into oblivion.”
Admiral Carey Walter Sande trying to convince Dr. Cronyn not to contact Mars nor refer to it as the more advanced civilization Cronyn tells him, “Me talking to Mars won’t affect Vesuvius.”
Cronyn learns through their coded messages that the Martians have created their utopian society by following a supreme power much like our Christ figure. “Seven lifetimes ago we were told… to love goodness and hate evil.”
Calder shows up at the observatory claiming that he has been the one all along to be fabricating these transmissions from Mars in order to goad the naive into following them, he has sent them himself in order to sabotage the world. Calder assumes that Dr. Cronyn was responsible for the religious themed messages and that those pious missives never would have occurred to him at all since he only recognizes Milton’s version of a Satan who would rather reign as a king in Hell than follow God in a Heaven. He threatens to divulge his lie saying it’s all been a hoax at a press conference but Dr. Cronyn cannot risk that disaster from happening and so sacrifices himself and his wife to save the world.
“That’s my god-Satan!”he shouts. “I’ll have beaten God!” when he reveals all to the world. Then he quotes Milton’s Satan.
“As when of old some Orator renound In Athens or free Rome, where Eloquence Flourishd, since mute, to some great cause addrest, Stood in himself collected, while each part, Motion, each act won audience ere the tongue Sometimes in highth began, as no delay Of Preface brooking through his Zeal of Right. So standing, moving, or to highth upgrown The Tempter all impassiond thus began”-Milton’s Paradise Lost
In the end, Cronyn and Calder fight as proof –a final ‘real’message from the Martians comes through the television screen saying that the supreme being on Mars is God himself.
Red Planet Mars – Lobby Card
Dr. Cronyn and his wife have secretly released hydrogen into the observatory room in order to blow the place up, preserving the message from the Martians and keeping Calder’s lies from getting out and wrecking the progress of the new world order. Lynda asks for a cigarette and begins to light it –Calder is standing there while another message from Mars comes in just to show that these communications are not fabricated by the evil Calder and the Cronyn’s are now vindicated. Calder pulls his gun out and fires at the monitor, the cigarette already ignites the hydrogen and blows the the three and the laboratory to bits.
The final word from Mars being "Matthew 25:23 "Ye hath done well, good and faithful servant"¦ Enter into the joy of your master."Â
It is an act of Martyrdom and self-immolation The wife boasts to Calder that she possesses free will and she proves it by reducing three of them to charred bones. The article states cite again"”"Of course one could argue that the lighting of a match is morally neutral but the laboratory setting makes the act at least morally questionable. Was she merely trying to frighten Calder, who panicked when he saw the match? Did the tactic backfire, literally? The biblical text approves her action elevating it to a sacrificial act. Since Calder identified with the Satan of Milton's Paradise Lost, preferring to reign in hell than serve in heaven, his wish was granted." – Bernard F. Dick
ANCIENT ASTRONAUTS: JESUS WAS AN ALIEN?
Painting “Vintage Contact” by Lawrence Jones
The film bring out an interesting argument that became a cultural fad in the 60s & 70s that pertaining to Erich von Däniken was a leading proponent of this hypothesis in the late …. In Chapter 4 of Chariots of the Gods?, entitled “Was God an Astronaut? … claiming that Jesus was an extraterrestrial, citing John 8:23
The young sons of the scientist Stewart or Roger (Orley Lingren -Bayard Veiller) are later told that their parents were snatched up in a chariot of fire.
After this final message, the people of Moscow dig up old vestments and place their new religious leader in charge toppling the Communist government, a new religious revival arises in Russia taking back their country from the Communists and they place one of the peasants who had been a priest as the new spiritual leader as head of state.
Cronyn now vindicated and becomes a hero with followers who gather around the observatory to applaud and worship him. Then he is reviled as a traitor. By the end he is somewhat of a Christ figure himself being sacrificed, while Calder’s house is destroyed by an avalanche.
During the fight where Calder fires his weapon at the transmitter causing the hydrogen explosion killing Cronyn his wife Lynda and Nazi Franz Calder, Cronyn becomes Christ-like.
The film has an epilogue where the American President (Willis Bouchey) gives credit to Cronyn for delivering the word about the new world order.
The President is making a speech. He says that that final message coming from Mars was “Ye have done well my good and faithful servants.” The rest was silence. We are told the whole Earth is their sepulchre.
During the early 1950s while these anti-communist science fiction narratives were being rolled out, there were religious crusades and sub-texts that bear a trace of what Phil Hardy referred to as ‘religiosity’ lead by high profile preachers like Billy Graham–and politicians like Senator McCarthy who exploited the fear of the spread of communism. This sentiment could be seen in films like Robert Wise’s The Day the Earth Stood Still (1951)
From The Screen is Red: Hollywood Communism, and the Cold War by Bernard F. Dick, he writes that Red Planet Mars 1952 is one of the few science fiction films of the fifties featuring Soviets as characters sharing America's determination to communicate with Mars.
The final title rolls “The Beginning” Instead of ray guns, monsters from Mars and rocket ships as Bill Warrens says–“it was sermons and a trip to church…”
From Bill Warren’s Keep Watching the Skies-“The writers concur with this the technological advances on Mars, though Bogus almost demolish Earth’s society through simple shame. When Cronyn’s wife expresses doubts and goes back to the house (probably to make coffee) Cronyn sucks on his pipe and sighs indulgently “Poor Lynda, with all her silly fears” The lab scenery is pretty good for the early 1950s. Calder’s hut is covered with ritual masks, which he occasionally talks to. The director tries to make the astronomer’s family important to him, little homey touches.”Warren calls all the Russians esp. Marvin Miller’s character Franz Calder ‘a swinish boor…. he addsThe religious messages those woven into the film are monumentally patronizing… (LOVE and HATE )… bored those who didn’t care about the message, embarrassed those who believed in the message and turned off the rest.”
Admiral Bill Carey: I wonder what kind of world we’re opening the door on!
Linda Cronyn: [to Chris] We’ve lived on the edge of a volcano all our lives. One day it’ll boil over.
Franz Calder: He who follows the tyrant’s banner shall wear the tyrant’s chains. He who carries God’s banner shall know everlasting life!
Arjenian: You expect me to to tell them that?
Franz Calder: What you tell them is no concern of mine.
They Feared No Monster – Yet Fell Before the Touch of Man!
Directed by W. Merle Connell, starts Mikel Conrad as Steve Holloway, Doris Merrick as Sondra. Richard Monahan, Robert Lowell, Morgan Jones, Midge Ware as Myra, Judy Brubaker as Valdra, Carol Brewster as Tennus, Autumn Russell as Cleo and Lyle Talbot as Col.Loring.
Untamed Women -director W. Merle Connell used clips from One Million B.C (1940)–Untamed Women was shot in under a week.
The story- a World War II bomber pilot Steve Holloway Mikel Conrad (The Flying Saucer) crashes and is rescued from a raft, given truth serum better known as sodium pentothal tells doctor Lyle Talbot the strange story of where he's been. He and three members of his crew had washed up on an Island inhabited by beautiful women, dinosaurs and a nasty man eating plant. Did I mention the beautiful women?
The dinosaurs courtesy of One Million B.C "”The half naked gals, costumes designed by E. Anderson responsible for the scantily clad UNTAM-ERY with their make up by Harry Gillette, not sure who tackled the 50s hair styles"¦ very not- untamed. The women are supposedly descendants of Druids, how they wound up on this Island who knows, it's just simply"”by ancient druid magic one would suppose.
Morgan Jones and Carol Brewster. Jones is NOT a hairy man from the sea!
They fear being savaged again by the "˜hairy men' from the sea. Doris Merrick who plays Sondra believes in the beginning that Steve and his men are also the hairy men because they haven't shaven for days. She and her untamed women banish them to the valley of the stock footage dinosaurs in order to put them through a trial by fire, then they pair off with these nice American fellas until the hairy men do actually return. These wooly savages kill some of the untamed women, one of the good guys and then of course a volcano erupts and everyone dies but Steve who has been given a token of Sondra's love, a medallion that he is found clutching.
Doris Merrick as Sondra who wears the ancient amulet around her neck.
Bill Warren adds wonderful vintage reviews at the end of each film he covers. Here’s another particularly hilarious summary from The Monthly Film Bulletin called it "remarkable rigmarole"
Invasion From A Mystery Planet!–the Rocket Man Battle the “Robot from Outer Space”!
BEFORE YOUR VERY EYES YOU’LL SEE…ROCKET SHIPS IN STRATO-FLIGHT!…STRANGE CREATURES FROM ANOTHER WORLD! ROCKET MEN FIGHTING ROBOTS! DEADLY MACHINES AND WEAPONS IN ACTION!
A REPUBLIC SERIAL IN 12 CHAPTERS!
Directed by Fred C. Bannon, starring Judd Holdren as Larry Martin, Aline Towne as Sue Davis, Wilson Wood as Bob Wilson, Lane Bradford as Marex, Stanley Waxman as Dr. Harding, John Crawford as Roth, and Leonard Nimoy as Narab.
NOW!! that’s a jet pack… Guy Williams as Professor John Robinson — Lost in Space (1965-1968)
This time out it’s Holdren who wears the mask and flying suit. He plays a sort of star ranger. who uncovers and foils the plot of the Martians to blow up the Earth with an H-bomb and then shift Mars into Earth’s orbit. Bradford is the villain Nimoy is a zombie-like henchman and Waxman the treacherous scientist who helps them. The script by Davidson who single-handed wrote the last 13 Republic serials is crude as is Brannon’s direction. A year later Holdren took over the role of Commando Cody first layed out by George Wallace in Radar Men. but the serial was a false culled from episodes of Republic’s Commando Cody teleseries. In 1958 an edited down version of this serial was re-issued as Satan’s Satellites.
Judd Holdren plays Larry Martin a secret agent who can fly wearing his campy rocket suit with a kitschy control panel on his chest with buttons marked up & down (teehee), and not quite as fantastical ala Commando Cody. Martin is on the trail of a Martian spaceship that has been making secret trips to Earth. Seems the invaders working with a villainous atomic scientist with a grudge and they are looking to take over our galaxy by blasting Earth out of it’s orbit!
Yes that Leonard Nimoy!
STAY TUNED FOR
Coming up… Abbott and Costello Go to Mars Abbott and Costello Meet Dr. Jekyll and Mr. Hyde The Beast from 20,000 Fathoms Cat-Women of the Moon Donovan’s Brain Four Sided Triangle Invaders from Mars It Came from Outer Space The Lost Planet The Magnetic Monster Mesa of Lost Women The Neanderthal Man Phantom from Space Port Sinister Project Moonbase Robot Monster The Twonky The War of the Worlds
