Sure as his name is Boris Karloff… the legend endures: My Chat with Sara Karloff

Last October I had the incredible opportunity to reconnect with Sara Karloff at the Chiller Theater Convention here in New Jersey. It’s really hard to put into words the feeling you get when you’re actually talking to a gracious, elegant, kind, regal and lovely woman who happens to be the daughter of the man you’ve worshiped since a young child.

I met Sara the year before at the same nostalgic celebration of classic, cult film and retro television royalty (The Chiller Theatre Convention) and she invited me to sit with her and talk for a while. At the time, fans were buzzing around trying to get autographs and buying memorabilia with images of her father’s influential work in horror pictures, or should I say ‘terror’ pictures, as Boris would refer to those kinds of narratives in film.

Boris Karloff will forever be remembered for bringing Mary Shelley’s existential monster to life, embodied with pathos and empathy. Karloff is the infinite soul of the monster. His character was my introduction to horror films and to a whole new world where I experienced a sense of belonging. Meeting Sara was the closest I could ever get to my hero Boris Karloff. I truly never imagined I would have the honor of connecting in this way, with the great man who changed my perceptions by opening up my heart to love the mysteries of life and the thrill of being both scared and delighted.

So there I sat with this striking, dignified woman who shared and shares her life with my idol, Boris Karloff, who appear in over 200 films and television programs during his legendary career. He will always be the never-ending expression of a genre that refuses– like Frankenstein’s monster– to die. Part of Karloff’s great legacy is how he brought us all together and gave horror fans a hero.

During the reign of Universal’s claim to what would become the most famous monsters in cinematic history, Karloff elevated the studio’s output with his limitless beauty by interpreting the genre through great instinct and intellect, not just in James Whale’s tragic monster in Frankenstein 1931 but as Imhotep in The Mummy 1932.

A few of my favorite Boris Karloff films are three of Val Lewton’s psychological metaphors of fear where he showed the range of his acting skills. The masterpieces Bedlam, Isle of the Dead, and The Body Snatcher were sparked ‘alive’ by his gentle soul and his ability to dive into authentically sinister roles manifesting truly dark, menacing fiends and yet it was the exact opposite of who he was in real life, a fine English gentleman who possessed grace and kindness.

Boris as Cabman John Gray in Val Lewton’s The Body Snatcher (1945) directed by Robert Wise

Boris as General Nikolas Pherides in Val Lewton/Mark Robson’s Isle of the Dead (1945)

Some of my favorite performances are the set of three films, The Black Cat 1934, The Raven 1935 and The Invisible Ray 1936, all co-starring Bela Lugosi. These pictures too, showcased Karloff’s ability to elicit chills on a wholly deeper level possessing a true passion and understanding for creating thoughtful scary stories. He could be imposing as the crazed Morgan in The Old Dark House 1932, playing twin brothers good & evil in The Black Room 1935, the tragic pianist framed for murder in The Walking Dead 1936. And I adore his more sympathetic and benevolent characters as well — Before I hang 1940, The Devil Commands 1941, Corridors of Blood 1958, and The Haunted Strangler 1958.

Boris in James Whale’s The Old Dark House (1932)

Boris and Bela in Ulmer’s The Black Cat (1934)

Boris and Bela in The Raven (1935)

Boris Karloff as John Ellman in Michael Curtiz’s The Walking Dead (1936)

Boris as Dr. Janos Rukh in Lambert Hillyer’s The Invisible Ray (1946)

Boris as Dr. Julian Blair in The Devil Commands (1945) directed by Edward Dmytryk

Boris as Dr. Bolton in Corridors of Blood (1958)

I’ve enjoyed his films since I was a girl, and I continually watch everything in his long body of work, as I never tire of seeing his incredible talent, his serious portrayals and his wonderful light that shines through every performance. He has many layers to his persona, but his class, kindness, and thoughtful embrace of the work that are ever present. Boris has the unparalleled ability to Immortalize the sinister only to be counterbalanced by his divine power in other roles, to draw out our sympathy. He will always be the eternal paradoxical face of terror and gentility.

Sara and I had the most warm and welcoming conversation over the course of that day, and I had the chance to tell her about my deep and abiding affection for her dad. I was in a sparkling daze, because I felt like I was talking to her father as well, and I believe she enjoyed spending time with me too. Sara Karloff is so gracious and delightful about her devotion to her father’s fan’s.

One little part of our exchange at Chiller…

I told her, “He elevated each film to a higher level because of the quality of his acting, the dimension to his emotional output, his body language and that exquisite voice. A soft and dream like tone that is both calming and poetic.

His legacy is that he brought honor to the genre of horror. He contributed to the world an incredible body of work, and he will be remembered so dearly by so many of his. I wasn’t exaggerating when I said I wished he had been my grandfather.“ She replied, “He would have like that, he would have been my grandfather.” The words shot through me with warmth and the joy of awaking from a wonderful dream. Because she meant it.

I told her, “He exuded such a gentility, that even with his most brutal characterizations in film, you always knew it was the actor of the man. And quite the grand actor he was. I wanted to mention, how much his voice is so unique. He has a depth, and a pathos that no other actor possesses.”

She replied, “You are correct about his voice. It was remarkable. It not only was his British accent, but the way he could soothe you or scare you with his voice. He was indeed a fine actor and a wonderful human being.”

We had a longer conversation that day, laughing and talking about contributions he made to dramatic television performances aside from the collection of well-remembered films, from silents to drama, his films were not exclusive to the horror genre. Talking about Boris makes me dewy and teary eyed, explaining what I think about his great body of work and the legacy he left us as one of the most memorable cultural icons.

Even though he is the recognized face of ‘horror’, early on Boris Karloff acted in many different films with varying scenarios and narratives that weren’t connected to the classical horror genre. James Whale’s Frankenstein for Universal was Boris Karloff’s 81st picture. He had done theatre and dramatic films, like Howard Hawks’ The Criminal Code 1930 where his brilliant performance as Galloway had a particularly restrained hostility. As neither a monster or bad guy, he created a figure of dark and shadowy apprehension.

He also appeared in the ultra violent Scarface 1932  for Howard Hawks. Aside from being the host of CBS’s Thriller anthology series, where he opened up each episode with his own ominous epilogues for Thriller with his cheeky sense of humor, “Sure as my name is Boris Karloff — this is a thriller!”

Boris’ droll epilogue to Thriller episode Roses Last Summer starring Mary Astor

My most favorite performances were his collaborations with Val Lewton. They are psychological in tone and gave Karloff the highly layered characterizations that allowed him to reveal his dynamic versatility surpassing his monster image in the Universal cycle of horror films. Lewton gave Karloff a place to flex his subtlety of the human psyche and how we all struggle with light and darkness of the soul and he captured that nuance brilliantly. While Universal excelled by manifesting corporeal monsters, Val Lewton played on the monsters of the mind. Here Boris was able to convey these darker complex personalities with depth. Lewton used elements of dark and light within us all, and Boris Karloff was a master at dancing between the shadows of Val Lewton’s complex vision.

And that is what he managed to portray within Jack Pierce’s make up for Frankenstein’s monster. Beneath the fierce snarling innocent that rose from death and was born into a cruel world, judged by his ugliness and his otherness, Karloff imbued the monster with a sadness that evoked pity. He could transmit that to us, through his eyes and his thoughtful movements.

Since the last time we spoke, Sara and I have maintained a connection and I had the great privilege of continuing our conversation where I got to discuss her iconic father a bit more. If COVID-19 hadn’t thrown the world into chaos and changed how we now interact with each other, this month would have been another wonderful celebration- spending the day together regaling Boris Karloff’s career and the man himself.

Sara: Hello

Jo: Hello, Sara?

Sara: Uh-huh

Jo: Hi, it’s Jo Gabriel. How are you feeling?

Sara: I’m better, thank you. I’m still recovering but I’m better.

Jo: Yes, you sound a little bit better.

Sara: Yes, I am. I’m listening to your CD.

Jo: You are! And?

Sara: I am enjoying it immensely!

Jo: Oh, that’s good! I wanted you to like it.

Sara: Oh, it’s marvelous.

Jo: Oh, good!

Sara: It’s so relaxing and it’s so autumnal (I never can say that word). And it’s just like walking through the woods and it’s like listening to a brook babble. It’s just wonderful.

Jo: Are you feeling up to doing a little talking about your Dad?

Sara: Sure, I’d be glad to.

Jo: Ok, wonderful, because as I said, I’m going to start delving into his career and really doing a very extensive feature on him on my website. And in order to do that it’s going to take some time and some research and I really want to do a good job.

Sara: Oh, I’m sure you will.

Jo: Thank you. It’s a labor of love and I think it’s about time that I do it. And now that we have this connection I thought it would be good to include a little conversation with you about a few things I am curious about.

Sara: Ok, that’s fine.

Jo: So, you know, you and I when we were sitting and talking at Chiller, we talked a little bit about how your father loved working with Val Lewton.

Sara: Yes, indeed, he did.

Jo: Yes, Lewton’s work is very visual like poetry and I think a lot of the films showcase the depth of your dad’s versatility as an actor. His performances in those particular films were extraordinary. Do you want to tell me a little bit again about how he felt working with Lewton?

Sara: Well, I think I can only say what I’ve read and heard but my father said that working with Val Lewton and his films saved his soul. You know, he had made so many – well he made 3 Frankenstein films and then by the time he made the Val Lewton films the quality of the films being offered had really diminished. And he said that working with Val Lewton was such a joy. It was such a pleasure and such a joy because he and Lewton got along so beautifully. They were both well-educated and well-read men. And they enjoyed one another’s company. And those scripts were well written and well directed and well shot and well lit. And they were in black and white and they were suspenseful. And he and Val became good friends and my father really enjoyed doing those high-quality films after some of the ones he’d been doing. And they were well-received by the public. They’ve stood the test of time. My father got to certainly prove his acting skills. He enjoyed working with the other actors, working with good scripts. It just was a joy for my father to make those 3 films.

Jo: Yes I was going to ask about that. I know director Mark Robson and director Robert Wise were both really accomplished directors, but is there one particular film out of the three? I mean, I love Bedlam and thought that was extraordinary. But is there one that he talked about more?

Sara: You know my father didn’t talk about his work and he didn’t bring it home. But I do know that he was really very very pleased to have that opportunity. But I never heard him state a preference amongst those 3 films.

Jo: Well that’s interesting and I’m not surprised that Val Lewton was one of his favorites, favorite body of work to put his stamp on. So the other thing I was wondering – I have something written here. It says “Boris Karloff’s gentility and grace show through the monster, the Frankenstein’s monster. Which is partly why he’s so transcendent in that role, because of his embodiment of the monster. And I really think he, the monster, was beloved by your father and beloved by the fans. And he knew when to leave that character with dignity. Can you tell me a bit about his feeling about that role?

Sara: Well, you know, that role made such a pivotal difference in his life both personally and professionally. And he was forever grateful for that difference. And he felt a certain debt of gratitude to that role. He often would in tongue-and-cheek refer to the monster as his best friend. He did say the monster was the best friend any actor could ever have because it made such a huge difference in his life. But, it was his decision to stop playing that role after those 3 films because he felt that the storyline had been developed as far as it could or should be before it fell apart and before the creature became the brunt of bad scripts and bad jokes, as it did. And he just didn’t want to be a part of that because he did feel a debt of gratitude. My father was a very gracious human being. A very gentlemanly human being. He was an English gentleman with a very self-effacing sense of humor. He understood and portrayed the creature with a sense of pathos and elicited empathetic reactions from those viewers at that time. And he said that children got it. They understood the creature was the victim and not the perpetrator, and any acts of violence were reactions more than proactive. So, that’s the way he played it and that’s the way the audience perceived it.

Jo: Yes, and that was my introduction into horror films was feeling that sympathy towards his characterization and feeling empathy and feeling like I was on his side. And he was provoked and he didn’t do anything wrong, he didn’t even ask to be here. And just feeling that kind of camaraderie with the “other.” He evoked that in children and I think we’re all grateful to him for that.

Sara: Well, I think that is the reaction that his roles elicited and that was how he intended to play it. And I think that there were times when James Whale wanted a bit harsher performance and my father stuck to his guns.

Jo: Good, good! And he was right. It was good instincts.

Sara: I think it is proven to be so in cinema history.

Jo: Absolutely. He’s one of the most iconic figures. I think that’s why it’s so eternal and it’s because he was definitely right. And I think that anybody else who might’ve played Frankenstein’s monster, it would have been a who different ballgame.

Sara: Well, it would’ve been a different portrayal. And who knows if it would’ve been better. It would have been different. That’s all one can say.

Jo: Ehhh, I don’t know if it would’ve been better but I’m partial [laughs].

Sara: Well, you know it would’ve been different. [laughs] That’s all we can bet on.

Jo: [laughs] Yes, that’s for sure. Another thing that we talked about was his involvement with the television anthology show Thriller that he hosted and starred in 6 episodes. And he seemed to love his work on that. And his little introductions like little soliloquies, were so wonderful. Can we talk a little about that?

Sara: Oh, sure! He loved doing that show and he was proud of it. And again they were some of the best writers and actors and directors of the time involved with that show. And it was a fine, fine production. I mean, people like Ida Lupino, I mean you can look at the jackets for each show and recognize the names today…

Jo: Yes, John Brahm. They had a host of good writers and actors, and the character actors were wonderful.

Sara: They were indeed. And then as you said, my father’s introduction to each was a bit, not really tongue-in-cheek, but he had a good time doing them.

Jo: And you could see that he really did. And you could see in the beginning they were trying to figure out where they wanted the show to go. Whether it was going to be more crime thriller like Alfred Hitchcock or if it should be more supernatural. And I think once your father took over and started doing the hosting I think it really went in the right direction.

Sara: Well it did indeed. And it captured a large piece of the audience, the viewing audience. And gave Hitch a run for his money.

Jo: Oh yes, I know. I had heard there was something where Hitchcock extended his show to an hour to try to compete with Thriller because it was doing these 50 minute episodes that were like little movies. So I heard there was some kind of, I guess, competition between the two. But I thought Thriller was very unique and very self contained and had it’s own thing going for it. You know I was reading that Boris worked on something like 80 pictures and stage performances before he landed the role of Frankenstein’s monster.

Sara: It was his 81st film.

Jo: Yes, it was his 81st film. That’s incredible. And I was reading in particular that he did a lot of work with director Howard Hawks where he worked on The Criminal Code and Scarface. I know he didn’t bring home his work or talk about it, but it is fascinating that there’s this whole other aspect of him before he played the monster.

Sara: He did a lot of silents, and a lot of serials. He referred to himself as having been an extra 3rd from the left in the 4th row. He was in the business 10 years and nobody knew it. And 20 years, 10 years in British Columbia in theatre and then 10 years in Hollywood. And as he said Frankenstein was his 81st film and nobody saw the first 80.

Jo: [laughs] Right, right. But now they do. Now they go and they revisit a lot of his work, I know I do.

Sara: And they’re trying to redo some of his silents and put them back together.

Jo: Oh, that’s wonderful.

Sara: Yes, that’ll be fun if they’re able to do that.

Jo: Yes, that would be wonderful. Last year, the year before this one, when we first met, we had a good laugh about the picture The Raven which your father costarred in with Vincent Price and Basil Rathbone and how they used to play practical jokes on one another. Do you remember the story you told? They were playing tricks on the set and I just don’t remember quite all of it…

Sara: Well one of the… I can’t remember which of the two films it was, Basil was put in a vat and they thrown all sorts of awful things into that vat of water like cigarette butts and I don’t remember what else. And then they sat one it when he was in there and wouldn’t let him out.

Jo: [laughs] Oh my goodness! So were they always doing things like that?

Sara: Well that’s one example, I don’t know all of them. A lot of them are lost to history. And I know that Peter Lorre had a tendency to not learn his lines and adlibbed which drove my father crazy.

Jo: Oh, really? Oh that’s interesting [laughs].

Sara: And Vincent was much better at handling that than my father. My father was a stickler for himself learning lines and speaking on cue. And Peter, I guess, drove everybody crazy, including Roger Corman, because he didn’t learn his lines and he adlibbed a lot.

Jo: Wow, right. You’d think that Roger Corman would encourage adlibbing because he would just go for broke. He’d do anything on the set. And I could see Vincent Price being… he was a bit of a jokester too, so…

Sara: Oh yes, all of them where. All of them had a wonderful sense of humor.
Jo: Yeah, they must’ve had a fantastic time together as an ensemble of actors with each bringing their own thing to the table.

Sara: Oh, indeed and they had such a good time working together because they’d know each other all for years and respected one another professionally, and liked each other personally. And having a chance to spoof their own boogeyman images in these films was a great treat.

Jo: Yes, definitely. Well I have just one more question for you. Beyond being one of the most beloved icons, he’s definitely the finest caliber of actor. And I think he transcends the ideology of the horror genre.

Sara: Oh yeah, he did some comedy and he guest stared on an enormous number of television shows of the day. He did some drama. He did a Joseph Conrad with Roddy McDowell and he did all sorts of things.

Jo: Oh yes, I’ve seen that performance and it was actually an extraordinary performance. Well, one of the things that strikes me about him is that he gives a very emotional and thoughtful contemplation on the human condition. He seems to tap into—in the most subtle ways—people’s personalities and the inner machinations of people in his performances. And that’s probably why the Val Lewton films were so important to him because they were very psychological and suggestive. But this is the question, and I don’t know if you can answer it. What do you think your father would want his greatest legacy to be?

Sara: Oh, I can’t really answer that. I think that he was a man of integrity and kindness.

Jo: And that’s it. That’s his legacy. Because that’s what seems to remain. I always hear how gentle he was and how gracious he was with the people he worked with. Well, then, putting it this way his legacy definitely lives on through that and through his timeless work. And you travel all over as a curator of his memory. Are there things you hear quite often or most commonly about your father’s legacy? Is there one common thing that comes up when you speak to his fans about him?

Sara: Ah, that he was so different than the roles he played. That he was a man of great kindness and gentleness. And how different that was from his roles. And that he had a sense of humor.

Jo: Well, that’s what strikes me about him. And I say this to you honestly that when I see him, whenever he comes on the screen, I cry because I feel his gentleness coming through. No matter what he’s playing. He could be playing the most nefarious sinister character and yet I know that he’s Boris Karloff and I know he’s acting and I get into the film. But it makes me cry because I feel like there is such a greatness there. And it comes through. And I mean it that I really wished he was my grandfather [laughs].

Sara: [laughs] Well, he was a lovely man, he really was. He was a lovely human being.

Jo: I wish I could have met him. I mean I feel close to him in a way because we’re talking and I see his legacy lives through you. And you keep that alive…

Sara: Well, his fans keep it alive. His fans keep his legacy alive. For which I am extremely grateful.,

Jo: Yes, but you keep it alive too. You do a great job of reminding us that he gave us you and…

Sara: And he gave us his body of work.

Jo: Yes, he did that too. And I will always love him…

Sara: Well, that’s wonderful to hear certainly as his daughter.

Jo: I really want to thank you for spending this time talking with me about him. And I think that the fans are absolutely going to love it. And you have my music to keep you company.

Sara: I do indeed. Thank you so much. It’s just beautiful, I’m enjoying it immensely.

Jo: Thank you, I love playing piano. That’s one of my great passions.

Sara: Well, you can tell from your music.

Jo: Thank you.

Sara: How long have you been playing?

Jo: Since I was 8 years old. For many years I taught myself how to play.

Sara: Did you really?

Jo: Yes, I was going to be trained as a classical pianist and I did have recommendations to Juilliard. But I chose to play my own music and not go the classical route. And I’m happy for that because I play my own work. And I don’t think not training hurt me any…

Sara: Oh heavens, no. It’s beautiful.

Jo: Yes, I wanted to find my own way. And I’m very proud of it.

Sara: Well, I can see why, thank you for sharing it with me.

Jo: Thanks for letting me share it with you. Use it for your healing and I’ll be in touch with you. I’ll send you the finished piece but we’ll speak before that.

Sara: That’s great, thank you so very very much.

Jo: You’re welcome and thank you for spending time.

This is your EverLovin’ Joey saying Grandpa Boris’ Feature tribute is coming your way!

🚀 Keep Watching the Skies! Science Fiction Cinema of the 1950s: The Year is 1954

CapturFiles_4

Find previous editions of Keep Watching the Skies! Science Fiction Cinema of the 1950s here: 1950, 1951, 1952,1953

A GILL MAN , A DEVIL GIRL , ROCKET MEN , KILLERS FROM SPACE and JULES VERNE…!

20,000 Leagues Under the Sea

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20000-Leagues-Under-The-Sea-1954

20-000-leagues-under-the-sea-1954

A visual masterpiece directed by Richard Fleischer (Soylent Green 1971) and a screenplay by Earl Felton, who chose to weed out the extremely detailed and descriptive novel by Jules Verne and create a fast paced visual fantasy that became this fabulous adventure. The film is scored by Paul J. Smith (The Parent Trap 1961) whose splendid music creates a world of majesty surrounding the sets with wonderfully colorful and inventive art direction by John Meehan, (The Strange Love of Martha Ivers 1946, The Heiress 1949, Sunset Blvd 1950, Studio 57 1955-58, M Squad 1957 -58 Boris Karloff’s THRILLER-ep.A Wig for Miss Devore 1962), production design & un-credited art direction by Harper Goff (Fantastic Voyage 1966, Willy Wonker & The Chocolate Factory 1971 also un-credited set design on A Midsummer’s Night Dream 1935,The Life of Emile Zola 1937, Sergeant York 1941, Casablanca 1942) and set direction by Emile Kuri (It’s a Wonderful Life 1946, The Paradine Case 1947, Rope 1948, The Heiress 1949, Dark City 1950, A Place in the Sun 1951, Detective Story 1951, War of the Worlds 1953, The Actress 1953, Shane 1953) brought the enigmatic ship to life as almost creature-like, flaunting interiors that are lavish with gadgets that flirt with scientific-industrious designs of the future!

The film stars Kirk Douglas as Ned Land and James Mason as Captain Nemo. Co-stars Paul Lukas as Prof. Pierre Aronnax, Peter Lorre as Conseil, Robert J. Wilke as first Mate of the Nautilus, Ted de Corsia as Capt. Farragut, Carlton Young as John Howard, J.M Kerrigan as Old Billy, and Percy Helton as the coach driver. 20,000 Leagues helped Peter Lorre step out of his sinister-mystery roles and add great comedic versatility as a character actor to his full career.

20,000 Leagues under the sea

"20000 Leagues Under the Sea" Kirk Douglas 1954 Walt Disney Productions ** I.V.
“20000 Leagues Under the Sea”
Kirk Douglas
1954 Walt Disney Productions

Nautilus

Walt Disney began to depart from the expensive endeavor of producing animated features, and started to experiment with live action films. Disney became aware of George Pal’s desire to persuade Paramount to allow him to produce Verne’s beloved novel initially utilizing a screenplay by Kurt Neumann. Disney got George Pal to relinquish the rights and took over the project, hiring Richard Fleischer (Follow Me Quietly 1949, The Narrow Margin 1952, Compulsion 1959, Fantastic Voyage 1966, The Boston Strangler 1968, Tora! Tora! Tora! 1970, 10 Rillington Place 1971, See No Evil 1971, The New Centurions 1972, Soylent Green 1973), to direct, and Neumann’s script was out.  It’s no wonder Fleischer was tapped to do more fantasy science fiction films, though his psychological thrillers/documentary style crime films are outstanding contributions.

Adapted from Jules Verne’s fabulous adventure the action takes place in the 19th century – where sailors told tall tales of giant sea creatures that wrecked and devoured sailing ships and the oceans held deep unknowing secrets as unfathomable as the heavens above. The legend of a strange horned sea monster has been wreaking havoc with sailing vessels in the South Pacific. Professor Pierre Arronax (Paul Lukas) and his side kick Conseil (Peter Lorre) join an American expedition that includes crooning whale hunter Ned Land (Kirk Douglas) in search of this calamitous sea creature. The trio are confronted by the beast and are swept overboard then taken prisoner by the mysterious Captain Nemo (James Mason) whose drill ornamented submarine ‘the Nautilus’ turns out to be the sea monster of legend.

Nemo turns out to be a fanatic who’s dark mission is total destruction of all the warships responsible for the evils of mankind. There’s a memorable underwater hand to tentacle fight with a giant squid!

Capt. Nemo: Think of it. On the surface there is hunger and fear. Men still exercise unjust laws. They fight, tear one another to pieces. A mere few feet beneath the waves their reign ceases, their evil drowns. Here on the ocean floor is the only independence. Here I am free! Imagine what would happen if they controlled machines such as this submarine boat. Far better that they think there’s a monster and hunt me with harpoons.

Captain Nemo: “The natives over there are cannibals. They eat liars with the same enthusiasm as they eat honest men.”

Ned Land: There’s one thing you ought to know, Professor: Nemo’s cracked. I’ve yet to see the day you can make a deal with a mad dog. So while you’re feeding him sugar, I’ll be figuring a plan to muzzle him.

IMDb Trivia: Actors portraying the cannibals chasing Ned Land painted humorous messages on their foreheads (not legible on-screen). In particular, one actor wrote “Eat at Joe’s” while another actor behind him wrote “I ate Joe”.

The climactic squid battle on the Nautilus was originally shot with a serene sunset and a calm sea. Director Richard Fleischer was troubled by the look of it because the cams and gears that operated the squid could easily be seen, making it look obviously fake. Walt Disney visited the set one day and Fleischer told him about the problem. Disney came up with the idea of having the squid battle take place during a fierce storm (another story is that it was actually screenwriter Earl Felton who came up with the idea). The scene was reshot that way and is considered by many to be the highlight of the film.

One of the models of the Nautilus created by Harper Goff was a “squeezed” version which could be filmed with a standard lens and still look normal when projected in Cinemascope.

Creature from the Black Lagoon

Black Lagoon poster

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Clawing Monster From A Lost Age strikes from the Amazon’s forbidden depths!–Creature from a million years ago!… every man his mortal enemy… and a woman’s beauty his prey!–From the Amazon’s forbidden depths came the Creature from the Black Lagoon

Julia and the Gill Man

Creature From the Black Lagoon showcases Universal’s iconic Gill Man directed by science fiction & noir icon Jack Arnold. (The Glass Web 1953, It Came from Outer Space 1953, Tarantula 1955, The Incredible Shrinking Man 1957, Man in the Shadow 1957, The Tattered Dress 1957) Stars Richard Carlson as Dr. David Reed, Julie Adams as Kay Lawrence, Richard Denning as Mark Williams, Antonio Moreno as Carl Maia, Nestor Paiva as Lucas, Whit Bissell as Dr. Edwin Thompson.

The Creature or Gill Man is one of the most famous monsters that has endured, and perhaps one of the most emblematic figures of 1950s science fiction. His suit designed by Bud Westmore and team of uncredited designers. As Tom Weaver points out the creature suit “is so logical in design that designers of other underwater monsters have to be very careful not too obviously to imitate the monster they are imitating”  Visionary Master Guillermo del Toro’s team of designers and special effects artists did an outrageous job of paying homage to the Gil Man while still maintaining an original, and arresting modern edge to the Amphibian Man in The Shape of Water (2017) The Gill Man still remains the most iconic monster of the 1950s

Creature From The Black Lagoon was also adapted to be shown in 3D! It was after Universal had a hit with Jack Arnold’s It Came From Outer Space 1953 that they saw the potential for box office success with a science fiction film especially one they could easily adapt to 3D format.

Producer William Alland –(according to writer/historian Tom Weaver)– had heard of a legendary half -man half-fish creature who lived in the upper regions of the Amazon. The Creature suit was extremely form fitting, too tight to be worn over aquatic breathing equipment. The swimmer would have to hold his breath for extended periods of time. Ben Chapman played the part out of the water wearing ‘the land suit’ modeled with paint (a dark silvery green and red highlights) by Millicent Patrick– Chapman not being a good enough swimmer.Ricou Browning wore the underwater suit which was lighter is color in order to make it stand out in the darker underwater scenes. Because he was able to hold his breath for five minutes, Browning was responsible for the stunning underwater scenes.

“Jack Arnold, started adding fins and gills to a sketch of the Motion Picture Academy’s Oscar statuette, and arrived at the basic look of the new monster. Arnold and Alland did play their originating the design , but actress and artist Millicent Patrick was chiefly responsible for the look of the Gill-Man. At the make up shop, Chris Mueller developed a bust of the Creature using one of Ann Sheridan as the basis. Also contributing to the design were Jack Kevan and Westmore himself, head of the make up division.”

Both Browning and Chapman had full body molds made, so that suit would fit their bodies perfectly. “The result is a remarkably convincing monster, which looks like a suit almost solely because it has to be a suit (…) a tendency fir the suits to look a little rubbery around the joints, The Gill Man is life-like, enough so as to engender a happy suspension of disbelief by most viewers, as the film proved enormously popular.”

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Lucas:-There are many strange legends in the Amazon. Even I, Lucas, have heard the legend of a man-fish.”

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We can sympathize with monsters, like Dr. Victor Frankenstein’s undead creation, & The Gill Man from Creature From the Black Lagoon. We can find our involvement (at least I can), as one viewed with empathy toward the monster’s predicament. Embedded in the narrative is a simultaneous pathos, that permits these monsters to express human desires, and then make sure that those desires are thwarted, frustrated and ultimately destroyed.

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Richard Carlson Julie Adams Richard Denning and Whit Bissell as Dr. Edward Thompson study the fossil of an amphibian man found near the Amazon.
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The crew catches something in their net… and whatever it was… has ripped a giant Gill Man size hole in it leaving behind a claw!

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Mr. ‘It’s mine all mine” and Kay and Mr. “But think of the contribution to science!” looking at the poor trapped Gill Man-a lonely prisoner of scientific hubris and egocentric men.
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The creature trapped in a bamboo cage… floats, quietly thinking deep thoughts–while the three look on pondering what to do with him..

‘The Outsider Narrative” of 1950s science fiction can be seen so clearly in Jack Arnold’s horror/sci-fi hybrid Creature From The Black Lagoon. Film monsters like The Gill Man form vivid memories for us, as they become icons laying the groundwork for the classic experience of good horror, sci-fi and fantasy with memorable story telling and anti-heroes that we ‘outliers’ grew to identify with and feel a fondness for.

As David Skal points out in The Monster Show, he poses that films like Creature From the Black Lagoon …are the “most vivid formative memories of a large section of the {American} population…{…} and that for so many of these narratives they seem to function as “mass cultural rituals.”

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Continue reading “🚀 Keep Watching the Skies! Science Fiction Cinema of the 1950s: The Year is 1954”

🚀 Keep Watching the Skies! Science Fiction Cinema of the 1950s: The Year is 1953

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BUD & LOU, CAT-WOMEN, JEKYLL & HYDE, HOSTILE BRAINS and HOSTILE MARTIANS… IT CAME FROM… AND MUCH MUCH MORE!

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They’re too wild for one world!

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Source-courtesy of Getty Images

Directed by Charles Lamont. Starring those 2 brilliant comedians Budd Abbott and Lou Costello, as Lester and Orville. With Mari Blanchard as Allura, Robert Paige as Dr. Wilson, Horace McMahon as Mugsy, Martha Hyer as Janie Howe, Jack Kruschen as Harry, Jean Willes as Capt. Olivia and Anita Ekberg as a Venusian guard.

From Keep Watching the Skies by Bill Warren –“To children in the 1940s and on until the mid-50s, a new Abbott and Costello movie was better than a trip to the circus.”

We all noticed that Bud Abbott was the straight man and Lou Costello was the mechanism to draw out the comic gags. At times Bud even came across as Warren says, “cruel” to Lou and I know for me it made me a bit uncomfortable even back then. Lou was lovable and wasn’t considered an idiot, but rather like a little boy trapped in a man’s body. Again I cite Bill Warren who sums it up beautifully-“His curiosity and haplessness got him into trouble and assured that he would stay there, but the film’s essential unreality always made us feel that Lou and Bud would be out of problems by the end…[…] There was always a sadness to Lou Costello, as there is with almost every clown.”

Go to Mars

Directed by Charles Lamont who did all of Bud and Lou’s films here, Abbott and Costello Go to Mars (1953) Bud plays Lester, a handyman who works for a rocket research institute, and Lou plays Orville, a handyman who works at an orphanage. Of course the story’s title indicates that they take a trip to Mars, when the pair accidentally launch one of the rockets with them on board! They take a short trip, a very short trip as unbeknownst to Lester and Orville they haven’t landed on Mars, but in New Orleans during Mardi Gras. So when the outlandish and bizarre costumes parade around the duo, they have no reason not to think they’ve landed on another planet…

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The film co-stars two wonderful character actors Horace McMahon who plays Mugsy  (Naked City tv series 1960s) and Jack Kruschen who plays Harry– both are bank robbers on the lam, who have used spacesuits they stole from the ship as a disguise when pulling the heist. The two criminals hide away on the spaceship equip with paralyzer guns and lots of science fiction gadgets. And it gets launched yet again with our two characters Lester and Orville. This time they are heading for Venus. To go with this silly gendered plot line you’ll have to take it that Venus is run by a Matriarch name Queen Allura (Mari Blanchard)

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Allura has banished all the men from the planet 400 years earlier because the King had been unfaithful to her. She also falls in love with Orville. Lou has eyes for Anita Ekberg (who wouldn’t…) she plays a Venusian guard. Queen Allura finds out that Lou is also unfaithful ‘like all men’ and goes crazy with anger. The passengers of the renegade ship manage to get away and crash land back on Earth.  There’s a funny scene as they zip around Manhattan in the ship they make the Statue of Liberty duck then they zoom thought the Holland Tunnel giving New York a piece of science fiction slapstick. The film also co-stars Robert Paige as Dr. Wilson, Martha Hyer as Janie Howe, and Jean Willes as Captain Olivia.

In Jim Mulholland’s The Abbott and Costello Book he talks about the film, “The futuristic sets on Venus look expensive , but the film is so silly and is so obviously geared to kiddie matinee audiences that it is almost impossible to endure.”

Well if the adult child in you still adores seeing the antics of Bud & Lou then it should be included in their list of films you want to see.

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Mary Blanchard as Queen Allura

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Anita Ekberg as a Venusian Guard

Venusian #1: “What is it?”

Allura: “I could be wrong, but I think it’s a man.”

Venusian #2: “That’s a man?”

Abbott and Costello Meet Dr. Jekyll and Mr. Hyde

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The Laughs Are Twice as MONSTER-OUS as Ever Before!

Again directed by Charles Lamont. Lee Loeb and John Grant wrote the screenplay working from a story by Sid Fields, based off the character from Robert Louis Stevenson’s immortal science-fiction fantasy novel. With camera work by cinematographer George Robinson (Son of Frankenstein 1939, Frankenstein Meets the Wolfman 1943, Tarantula 1955)

With make up both Mr. Hyde and the mouse mask by Bud Westmore!

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Our two heroes Slim and Tubby meet Boris Karloff as Dr. Jekyll/Mr. Hyde.

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Bud and Lou had already met Frankenstein, Dracula, the Invisible Man and The Wolf Man, it was just a matter of time until they met the conflicted dual personality of Dr. Jekyll and his darker alter ego Mr. Hyde. It was the first time the boys came up against a monster since 1951.

Bud and Lou are American detectives who tag along Scotland Yard, and come to find out that that the menacing Mr. Hyde has been terrorizing London for years. Meanwhile the mild mannered Dr. Jekyll is one and the same man… Boris Karloff. Of course, Lou tries so hard to get Bud to believe that the kindly Dr. Jekyll is actually Hyde. The other players in the film include Craig Stevens as Bruce Adams a newspaper reporter who is in love with Vicky Edwards (Helen Wescott) which poses a problem as Dr. Jekyll himself is in love with Vicky as well.

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Bill Warren writes- “This romantic triangle is extremely artificial-Karloff at all time seems avuncular, not predatory-and was apparently added for the obligatory romantic elements, to enlarge the plot beyond Bud & Lou fleeing from Hyde.”

The film shows as Warren points out a “series of set pieces” as they chase Hyde around a wax museum, filled with homages to other films like wax likenesses of the Frankenstein’s monster and Dracula.

Sadly, the film was not well received, people had started to tire of the ‘meet’ films of Bud and Lou and the popularity was waning. Universal had actually been planning a Abbott and Costello Meet the Creature from the Black Lagoon but it never got off the ground.

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Craig Stevens co-stars as Bruce Adams, Helen Wescott as Vicky Edwards and Reginald Denny as the Inspector with John Dierkes as Batley.

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Abbott and Costello Meet Dr Jekyll and Hyde

Slim: Now look! You can’t make two persons out of one. If there’s a monster, there’s a monster. If there’s a Dr. Jekyll, there’s a Dr. Jekyll. But one can’t be the other.

Tubby: Now listen Slim. All I know is that I locked up the monster and when I came back, Dr. Jekyll was there. You know I’m no magician.

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The Beast from 20,000 Fathoms

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FANTASTIC SEA-GIANT CRUSHES CITY!

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Eugène Lourié who was an art director working with Jean Renoir. Directed The Colossus of new York 1958, The Giant Behemoth 1959, and Gorgo 1961. He started out designing ballets in Paris, was the art director for Strange Confession 1944, The Strange Affair of Uncle Harry 1945, Limelight 1952, Shock Corridor 1963, The Naked Kiss 1964, The Strangler 1964. Eugène Lourié  designed one of Renoir’s most influential films, Rules of the Game (1939), he also designed work on The Southerner (1945) Diary of a Chambermaid (1946) and The River (1951) To say the least he has had a wide range of eclectic films.

Eugène Lourié  worked with the master Ray Harryhausen on the special effects and the creature which are spectacular!

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Screenplay by Bronx born Fred Freiberger ( Garden of Evil 1954, Beginning of the End 1957)

The film stars Paul Hubschmid as Professor Tom Nesbitt, Paula Raymond as Lee Hunter, Cecil Kellaway as Prof. Thurgood Elson foremost paleontologist , veteran science fiction hero Kenneth Tobey (The Thing 1951, It Came from Beneath the Sea 1955) as Col. Jack Evans, Lee Van Cleef as Corporal Stone, Steve Brodie as Sgt. Loomis, Ross Elliot as George Ritchie, Frank Ferguson as Dr. Morton and King Donovan as Dr. Ingersoll.

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A ferocious dinosaur awakened by an Arctic atomic test terrorizes the North Atlantic and, ultimately, New York City. The film begins when they are testing a nuclear device inside the Arctic Circle, which winds up freeing a prehistoric ‘Rhedosaurus’ which is a carnivorous giant beast that walks on four legs and lives under water and can walk on land too! Tom Nesbitt played by Paul ‘Hubsschmid’ Christian is the only survivor to tell about the prehistoric creature, but no one believes his story.

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Eventually the Beast emerges again and sinks a small ship with that survivor telling the same story, identifying the ‘Rhedosaurus’. Cecil Kellaway plays a well known paleontologist that Nesbitt seeks out for help. Now the Beast starts moving toward New York City believed to be the ancestral origin and breeding ground for the Rhedosaurus. It comes ashore on Manhattan, right near the Fulton Fish Market. Elson is lowered in a type of diving bell called a bathysphere so the paleontologist can study the creature up close. Unfortunately he becomes a tasty morsel, a hard candy with a soft center… Yikes!

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It then proceeds to smash and stomp everything in it’s path, until it returns to the river. What complicates things is that while it becomes wounded, they discover that it’s blood is highly infectious and deadly, so they need to find a way to destroy it even more than ever.

The wounded Rhedosaurus takes refuge in an old fair ground on Coney Island near a roller coaster which it takes out it’s aggression on by snapping it like twigs in it’s massive jaws and claws.

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Prof. Thurgood Elson: [in the diving bell, to view the monster] “This is such a strange feeling, I feel as though I’m leaving a world of untold tomorrows for a world of countless yesterdays….[…] It’s unbelievable he’s tremendous!”

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Professor Tom Nesbitt: “The world’s been here for millions of years. Man’s been walking upright for a comparatively short time. Mentally we’re still crawling.”

George Ritchie: [referring to the A-bomb test] “You know every time one of those things goes off, I feel as if I was helping to write the first chapter of a new Genesis.”

Professor Tom Nesbitt: “Let’s hope we don’t find ourselves writing the last chapter of the old one.”

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Cat-Women of the Moon

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SEE: THE DEADLY CAVE OF MOON-GOLD!

SEE: THE BLOOD-THIRSTY BATTLE OF MOON MONSTERS!

SEE: THE LOST CITY OF LOVE-STARVED CAT WOMEN!

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Directed by editor Arthur Hilton, who worked on noir classics  The Killers 1946, and Scarlett Street 1945. The film stars Sonny Tufts as Laird Granger, Victor Jory as Kip Reissner, Marie Windsor as Helen Salinger, William Phipps as Doug Smith, Douglas Fowley as Walt Walters, Carol Brewster as Alpha, Susan Morrow as Lambda, Suzanne Alexander as Beta, Cat-Woman are Bette Arlen, Roxann Delman, Ellye Marshall and Judy Walsh. originally in 3D– it’s Schlock at it’s very best!

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An American space crew is led by the uptight straitlaced Laird Granger (Sonny Tufts) who does everything by the book, but as Kip (Victor Jory) says “some things aren’t in the book” And that’s for sure, when you wind up on a planet with Cover Girls in black leotards. From the moment they leave the base on route to the moon, the crew find themselves in trouble when a meteor creates trouble for the ship, a fire in the bottom of the craft started by acid forces them to land, suggested by Lt. Helen Salinger who is the ship’s navigator and Laird’s girlfriend. She picks the area in between the dark and light sides of the moon. This makes Kip very suspicious though he’s pretty skeptical about most things that’s why he carries a gun with him at all times.

Don’t be too impressed with Windsor’s character playing a Lt, after they crash land she still has to grab for her compact and fix her face, and powder her nose. Marie Windsor (whom I adore) is sultry and perfectly suited for film noir (Force of Evil 1948, The Sniper 1952, City that Never Sleeps 1953, The Killing 1956, The Narrow Margin 1952 ), and is a joy to see in this film even if it’s a true stinker! She’s much better suited for the science fiction obscure gem that has it’s shocking moments, The Day Mars Invaded Earth (1963).

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Helen leads the crew when they go out to investigate their surroundings and find a nearby cave, they realize that the atmosphere is exactly the same as it is on earth. There’s water and oxygen and so it is safe to take their space suits off. The gang is attacked suddenly by some cheesy hairy horned spiders which they manage to kill. In the meantime someone has stolen their spacesuits and helmets. They go deeper into the cave until they stumble onto an ancient Greekesque city inside the moon where they are greeted by women who look like a dance troupe for Martha Graham and Twyla Tharp in their black leotards. Helen slips away to meet Alpha (Brewster) the leader of the Cat-Women who are telepathic.

They are called Cat-Women for no reason I can glean, or that emerges from the entirely silly narrative. Alpha tells Helen- “Our generation predates yours by centuries.”

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The Cat-Women led by Alpha (Carol Brewster) has been in telepathic communication with and controlling Lt.Helen Salinger for years, unbeknownst to the men in the crew. There are no men on the moon but Zeta (Alexander) explains, “We have no use for men.”

Alpha tells Helen-“You are one of us now.”

Alpha has been controlling Helen by imprinting an image of the moon, a white spot on her hand. Once this spot is covered it breaks the control over her.

It’s not that the Cat-Women haven’t been enjoying their lives cavorting around with each other dancing and creeping around in their oh so Mod-erne leotards, it’s that their planet’s atmosphere is breaking up and in order to survive they must seek out a new planet. So the plan is to steal the crew’s rocket and go to Earth, c0ntrol the mind of the Earth women  and eventually take over the planet! First they must truly gain Helen’s male compatriot’s confidence in order to find out how to run the ship.

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Of course the cynical Kip doesn’t want any part of these gorgeous moon gals…

Kip secretly in love with Helen gets her alone, puts his arms around her, which breaks Alpha’s spell, and Helen tells him what’s going on.

Once Kip (Jory) figures this out he covers Helen’s hand and quickly asks her three questions, two that inquire whether she’s truly in love with Laird or him, the other is to find out how to get away.

But Alpha has already gotten information out of Laird and Walt has taken Zeta back to the ship to show her how it operates.

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It was Alpha who helped Helen get her assignment to the space crew. Of course, the men become enamored of Cat-Women in leotards, except for Kip (Victor Jory) who is suspicious of these beguiling tribe of moon temptresses. Walt Willis (Douglas Fowley) wanders off with one of the women to explore the cave that is filled with gold, she stabs him but not before he teaches her how to fly their spaceship. Another of the Cat-Women has fallen for one of the crew members, Lambda (Susan Morrow), falls hard for Doug Smith (Bill Phipps) the radio operator. All she wants is to go back to earth with Doug, romp around on a sandy beach drinking a Coca Cola.

In this soap space opera, the staid and steady Laird has fallen for Helen, and under a sort of mind control has given all the information the Cat-Women need to take over. They make plans to return to earth with Alpha and Beta (Suzanne Alexander). Lambda tries to intervene but gets brutally conked on the head with a large rock and killed. Kip shoots the evil Zeta and Alpha off screen, the remaining earth crew kill the rest of the Cat-Women, escaping with Helen and head back to earth.

Cat-Women of the Moon is one of those so bad it’s good movies that’s just fun to watch! It’s more space soap opera than science fiction but those girls are so outré Mod-erne in their black leotards BUT no physical attributes that make one think of any similarity to cats, their features nor feats of skill… The best part of the film is the dance scene by the Hollywood Cover Girls in their unlike cat costumes. The film was remade in 1959 called Missile to the Moon.

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As Bill Warren illustrates how badly filmed this is and in particular how ‘excruciatingly stupid’ the script and visuals are… (i.e.) the chairs the crew sit in are standard swivel desk chairs that roll around the floor on castors.– “Take the spaceship cabin. Ignoring the fact that it looks like someone’s front room and that down is always in the direction of the floor, even when the ship spins end-for-end in an effort to make the meteor fall off (which it does), there is still enough in the room to make a good technical director faint.”

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Laird Grainger: “The eternal wonders of space and time. The far away dreams and mysteries of other worlds. Other life. The stars. The planets. Man has been face to face with them for centuries, yet is barely able to penetrate their unknown secrets. Sometime, someday, the barrier will be pierced. Why must we wait? Why not now?”

Alpha: “Four of us will be enough. We will get their women under our power, and soon we will rule the whole world!”

 

Donovan’s Brain

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Directed by Felix E. Feist (The Devil Thumbs a Ride 1947, The Man Who Cheated Himself 1950)

Based on a story written by Curt Siodmak who wrote the script for The Wolf Man 1941, with the script co-written with director Feist. This above average Science Fiction suspense stars Lew Ayres as Dr. Patrick J. Cory, Gene Evans as Dr. Frank Schratt, Nancy Reagan as Janice Cory, Steve Brodie as Herbie Yokum, Tom Powers as Donovan’s Washington Advisor, Lisa Howard as Chloe Donovan.

Donovan’s Brain is perhaps the caviar of Brain in a Tank films to all the other Velveeta films of that sort. Although it is a remake of the quite engaging Lady and The Monster (1944) and Vengeance (1962) both based on the novel Donovan’s Brain by Curt Siodmak.

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Siodmak’s story has been retold several times, first with director George Sherman’s  The Lady and The Monster (1944) starring Erich von Stroheim, Richard Arlen and Vera Ralston. Then in 1962 it was re-visioned as a British Sci-fi chiller directed by Freddie Francis called The Brain starring Anne Heyward. Because of Siodmak’s talent at storytelling the film is an intelligent and compelling film

And there was at least one radio adaptation I believe through the Suspense series, which is a wonderful version, I own cast with Hans Conried, Jerry Hausner, John McIntire, and Jeannette Nolan.

And Boris Leven’s set design lays out the eerie ‘science gone awry’ landscape, with tanks filled with brains, it doesn’t hearken back to Strickfaden’s elaborate mad scientist milieu but it works for this particular science fiction/horror narrative.

Bill Warren-“One of the few sets apparently actually constructed for Donovan’s Brain is the laboratory, which looks satisfactorily jury-rigged and inexpensive. Unlike most ‘mad scientists’, Pat Cory hasn’t bothered to build elaborate consoles with labeled switches. The tank for the brain is literally a large tropical fish tank, again adding to the air of improvised science.”

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Essentially Dr. Patrick Cory (Lew Ayres) and his associate Dr. Frank Schratt (Gene Evans) are doing brain research, they’ve been trying to remove a monkey’s brain and keep it alive outside of the body, though the foundation for doing these experiments aren’t truly spelled out. We just hear that it’s “for the good of humanity.” In these fascinating Science Fiction tales where science hubris and it’s idolization by often well meaning doctors –often see their experiments go awry.

Assisting them is Pat’s wife, Jan played by Nancy Davis, who had just become Mrs. Ronald Reagan. Now, the experiment with the monkey was encouraging –“A brain without a body, alive!” I suppose in 1953, these three hadn’t met Jan in the Pan (The Brain that Wouldn’t Die 1962), or they wouldn’t have been that excited over the prospect of live brains in tanks looking like a benefit to humanity.

As fate would have it, the same day they have success with the monkey brain, a small plane crashes very close to the lab, being doctors Cory and Schratt are called upon to help the victims. There is but one survivor, a multi-millionaire named Warren H. Donovan. Donovan is close to death so the two operate on him, but it’s no use and the millionaire dies. But, it is Dr. Pat Cory who has the idea –“Science can use Donovan’s brain,” though his wife Jan and partner Frank fervently object at first. “What an idea, stealing a man’s brain”-they go along with Pat’s operating to remove the dead man’s brain and keep it alive in the tank…

In many ways, looking past the sci-fi elements of the story, it is a stark crime thriller about the evils of power. This is also one of those science fiction morality plays that informs us that is it ‘science’ itself that is the villain and is ‘evil and dangerous’, especially in the hands of a scientist, even if he is altruistic at heart. Dr. Pat Cory is a good man, who happened to trigger a very bad series of events. It is a story about “tampering with things man (and women) was not meant to know.” In the end he tells us, “I did many foolish things.”

The 1953 film is the closest to the novel. Dr. Patrick Cory, the scientist, attempts to save the life of millionaire Donovan “Donovan carried to an extreme the independence of the self-made man”, Dr. Pat Cory, who is working with the research of the powers of the brain, seduced by the potential of unlocking the secrets of the brain, seizes the opportunity to explore his theories. The danger ensues once he removes Donovan’s brain from the severely damaged body and under very clandestine experimentation not unlike our old Dr. Frankenstein, Dr. Pat Cory manages to keep the brain alive in a tank in his laboratory.

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W.H.Donovan had been a very famous yet shady character in his business dealings, so his death draws a lot of media attention. So Pat and Frank have to keep their experiment a dark secret. The two scientists also run into a free-lance journalist Herbie Yocum played by Steve Brodie, who wants to take some sensational photos like the operating table where Donovan died. This, Pat Cory agrees to because he doesn’t want to create any suspicion around his death, especially near his laboratory. But Yokum takes a photo of the brain in the tank.

The experiment is a success and Donovan’s brain is taking in all the nourishment it needs to become stronger, it actually begins to increase in size. The equipment in the lab also indicates that there are thought waves occurring in the brain. Donovan’s brain is actually sending out thoughts telepathically. “Donovan’s brain is giving out thoughts. All I have to do is use my brain to receive them.” Pat Cory tells Frank. So he sits in front of the tank and concentrates leaving his mind open, and it works, he goes into a trance and starts to write notes in W.H. Donovan’s handwriting. This terrifies Jan and Frank, who worry about Pat’s state of mind. The next day, Donovan’s brain takes hold of Pat once again, this time actually causing him to limp the same way Donovan used to when he was alive. At this point Donovan is in complete control of Dr. Pat Cory.

But Donovan alive was a very powerful and ruthless business man , one of the wealthiest men in the world who is still asserting his influence from his remote tank. He forces his will over the poor scientist and actually possesses Dr. Pat Cory like an evil demon.  Lew Ayres is a wonderful actor who does a great job of playing Dr. Pat Cory. So good at playing sensitive civilized men, here he is at the mercy of a very strong willed cutthroat, who wants to see his missions carried out as planned right before his plane crashed. Pat charters a plane where he takes Donovan’s favorite suite in a hotel he was famous for hanging out in, and he closes out his bank account for $27,000 that Donovan kept under a false name. He purchases new equipment so the poor doctor can now boost his brain power even more. He even orders suits like the ones Donovan used to wear and takes up his dirty business dealings.

Pat runs into Yocum, who has figured out the truth behind all the secretive veil surrounding Donovan’s death/life. He knows that Donovan is still alive and starts to blackmail Pat Cory.

Steve Brodie who plays the smarmy reporter Yocum pays the price of finding out about Dr. Cory’s stealing Donovan’s brain and his plan to blackmail the doctor backfires. It isn’t long before, the ruthless mind of W.H. Donovan takes over Cory’s body again hypnotizing Yocum and sending him off into the desert so he can drive his car off a cliff into a fiery mess…

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Gene Evans is very subtle as the inebriated colleague Dr. Frank Schratt. Donovan forces Dr. Pat Cory to continue his tax evasion scheme. He also cuts Donovan’s children out of his will, and plans to have his brain placed in permanent residency at a special installation to house and protect his criminal brain..

Frank tries to shoot the brain in it’s tank-“It’s unnatural, unholy”-but it forces him to shoot himself instead.

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From Bill Warren- “When the brain takes over, Ayre’s transformation from Good Dr. Cory to Bad W.H. Donovan are subtle and powerful.”

During a moment when Donovan is not in control, Pat Cory takes the opportunity to send a message to his wife, with instructions on how to destroy the monstrous brain, but we do not hear what he instructs her to do. Later Donovan thinks that Frank (Gene Evans) and Janice (Nancy Reagan) are in the way and plans on having them taken care of the same way he did with Yokum. That’s when Frank tries to shoot the brain as it forces him to turn the gun on himself. Once Donovan has taken over Pat Cory’s body fully, the doctor no longer exists. He tries to strangle Janice Cory, during a thunderstorm, when a bolt of lightning strikes the lab’s lightning rod, which we now learn was part of Dr. Pat Cory’s instructions. He has hook up a special conduit so when the bolt of lightning hits, the juice charges the tank and Donovan’s brain becomes fried dumplings.

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Of course Dr. Pat Cory must pay for his profane crime of tampering with science and using an unauthorized brain in his experiments,but his faithful wife Janice promises to wait for him.

Gene Evans (The Giant Behemoth 1959, Shock Corridor 1963) plays the good friend who drinks too much, but he’s dependable and likeable. And have no fear, though he shoots himself he does not die by the film’s end.

Dr. Patrick J. Cory: [after Cory wakes Dr. Schratt up from a drunken stupor] “My dear Dr. Schratt, you sober up with more—[pauses and shrugs] grace than anyone I ever saw. You’re terrific. C’mon, let’s go.”

Dr. Frank Schratt: “Are you kidding?—[He hold out his shaking hand]—Look! Nope.”

Dr. Patrick J. Cory: “Frank, don’t let me down.”

Dr. Frank Schratt: “What’s more useless than a surgeon with a hangover? I’m a drunken zero.! I pass!”

Dr. Patrick J. Cory: “No, you don’t. I’d rather have you do a corneal transplant for me drunk than anyone else sober—[Pulls him by the arm] Let’s go boy.”

Dr. Frank Schratt: “You’re brilliant but not normal.”

Dr. Patrick J. Cory: [Laughs] “So are you, but are you and who is?”

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Dr. Patrick J. Cory: [after Cory wakes Dr. Schratt up from a drunken stupor] “My dear Dr. Schratt, you sober up with more.” [pauses and shrugs]
… Grace than anyone I ever saw. You’re terrific… C’mon, let’s go.”

Dr. Frank Schratt: “Are you kidding?” [He holds out his shaking hand]
… Look! Nope.”

Dr. Patrick J. Cory: “Frank, don’t let me down.”

Dr. Frank Schratt: “What’s more useless than a surgeon with a hangover? I’m a drunken zero.! I pass!”

Dr. Patrick J. Cory: “No, you don’t. I’d rather have you do a corneal transplant for me drunk than anyone else sober.” [Pulls him by the arm]
… Let’s go boy.”

Dr. Frank Schratt: “You’re brilliant but not normal.”

Dr. Patrick J. Cory: [Laughs] “So are you, but are you and who is?”

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Dr. Patrick J. Cory: -“Perhaps I’ll cure Frank and every other alcoholic if I can solve the mystery of Donovan’s Brain. I think it’s a matter of chemistry how the brain thinks. The problem is to find out what chemical combinations are responsible for success… failure… happiness… misery.”

Janice Cory: “Sounds impossible.”

Dr. Patrick J. Cory: “But it is not. It can’t be. There has to be a way.”

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Four Sided Triangle

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Directed by Terence Fisher this is a rare and obscure little film! Stars Barbara Payton as Lena/Helen, James Hayter as Dr. Harvey, Stephen Murray as Bill, John van Eyssen as Robin, Percy Marmont as Sir Walter.

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Photo courtesy of: Alamy

1950s had some memorable science fiction films within the genre that entertained us in the decade that saw the heyday of the illusory American dream—where the books and films forged out of fantasy were a great release from the anxiety of WWII and the advent of McCarthy Era paranoia. It was rarity to find American science fiction films of the early 50s that were based on novels of the same name. This was even more of an oddity for British films. Then there was the very provocative Four-Side Triangle, adapted from the novel by William F. Temple and scripted by the prolific Terence Fisher who also directed, co-scripted by Hungarian born Paul Tabori who went on to write several science fiction novels himself, the most well known being The Green Rain. The novel was published in 1939. A first fantasy feature by Hammer with director Fisher’s that predates his stint with the Hammer brand horror/sci-fi The Curse of Frankenstein (1957) and Horror of Dracula (1958)

Four-Sided Triangle wasn’t received very well, and it’s still considered quite dreary and so it remains pretty obscure today.

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And I find it sort of possesses an air of deviance and a serious curiosity piece concerning a love triangle that becomes a twisted kind of quadrangle. The films stars Barbara Peyton who plays a dual role —the object of both men’s desire.

Lena who returns to her English home town to see her old child hood friends, Robin (John Van EYSSEN) and Bill (Stephen Murray) have invented a machine that can duplicate objects by reconstructing matter into energy. Not unlike the transportation device in The Fly (1958) that messed with atomic particulars that re-assembled matter then sends it to another location re-assembling it, sans any contamination in the field like let’s say a house fly… “Eeeeeee….Help me, Help me!”

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They try out their experimental machine first using a totally innocuous  object — a watch, which they manage to duplicate. Meanwhile Lena and Robin get engaged and leave to get hitched, leaving Bill to mess around with their new discovery. He uses a living subject instead of just an inanimate object. He’s also madly, tragically in love with his brother’s girl, Lena. This is where the story becomes if not risqué it bares the element a of twisted Sci-Fi melodrama. His brother Robin returns from the honeymoon and heads out to London on business. Poor lovesick Bill asks Lena to please submit to his very profane request… to allow him to duplicate her, using the machine, so that he may fulfill his desire for her in some way.

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Lena actually agrees to this, and her doppelgänger Helen is born. But as they say careful what you wish for, and while the machine is effective in duplicating the subject, it does exactly that! And what happens… Helen falls in love with brother Robin as well. Oh what a tangled web we weave. It’s a theme about life’s song of irony and the lesson that we shouldn’t meddle with nature. The constant trope that runs through most to all Science Fiction stories. Not to play god, not to tamper with the nature of things, nor to be as bold to force our will upon other people or the natural world, at least not without paying the consequences for these sacrilegious actions.

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Of course Bill is devastated by the outcome, and instead of learning his lesson, he delves deeper in the dark recesses of his lower self and tries to wipe out Helen’s memory, in hopes of being able to seduce a blank slate. Bill does wash her mind clean, by electronically eradicating Helen’s memory but there is a fire in the laboratory and one of the women is killed.

I’m sorry, but you get what you deserve when you’re willing to create a woman in a machine that mimics the object of your desire. It is pathetic and outré creepy, and it says that that any woman will do as long as she’s from the same atomic particle ‘mold’ rather than accepting fate. It doesn’t create much sympathy, even if it is born out of a broken heart. Get over it, or get a puppy!

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Lena: An empty mind… and a new beginning!

Invaders from Mars

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Murderous Martian creatures from out of space! From out of space… came hordes of green monsters! Mankind’s oldest fear…The Alien’s last conquest!

Directed by innovative designer William Cameron Menzies who directed (Things to Come 1936) a surreal & beautiful science fiction dreamscape with a screenplay by Richard Blake. Starring Helena Carter as Dr. Pat Blake, Arthur Franz as narrator/Dr. Stuart Kelston, Jimmy Hunt as David MacLean, Leif Erickson as George MacLean, Hillary Brooke as Mrs. Mary MacLean, Morris Ankrum as Col. Fielding, Max Wagner as Sgt. Rinaldi William Phipps as Sgt. Baker, Milburn Stone as Capt. Stone.

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Cinematography by John F. Seitz (The Lost Weekend 1945, Double Indemnity 1944, Sunset Boulevard 1950) and music composed by Raoul Kraushaar (Cabaret 1972)

Invaders From Mars is perhaps one of the most recognizable science fiction gems of the 1950s partially due to William Cameron Menzies eye and experience for artistic design, he creates a dreamlike colorful yet terrifying landscape, with the feel of a comic book horror/sci-fi/fantasy. It’s a vision of alienation, alien occupation and paranoia that we can all relate to at some point in our lives. I know it effected me as a kid, while not growing up in the 1950s I certainly was fed a substantial dose of the product of horror/sci-fi/fantasy that came from the contribution of literature and film that preceded my childhood growing up in the following decade of the turbulent 60s.

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The story uses as it’s protagonist a little boy who experiences a nightmare journey that recycles itself in the end, creating the dreaded sense of entrapment. The young protagonist finds his “Own reality is being twisted into the kind of horror…[…] the story is literally a nightmare.”

The story is told from the point of view of David MacLean played by Jimmy Hunt. Bill Warren in his terrific overview Keep Watching the Skies published by McFarland. “Children operate with a different kind of logic than adults: events proceed from cause to effect, but the causes adults and children see don’t produce the same effects, and vice versa. Adults and children are not frightened of all of the same things, nor do they find the same things interesting. It takes a special imagination to achieve this kind of viewpoint.”

David is a young star gazer who is awakened one night by a flash of bright light when he looks out his bedroom window and sees a flying saucer land out over the hill. He wakes his parents, George and Mary (Leif Erikson and Hillary Brooke) to inform them of what he’s seen. The artistic direction and color palette reminds me of Finnish painter Hugo Simberg. The set pieces have a surreal, simplistic yet fantastical color scheme and composition.

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Menzies art directions were “like a daisy chain” of dream sequences.

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In the morning, father George goes out to investigate near the place David saw the craft go down, the fence seems to disappear into the sand dune. A mysterious hole in the sand swallows up George, who doesn’t return home, his wife phones the police, until George suddenly comes back but with a completely different temperament. He seems like a changed man. He has no emotions at all, yet he bares a strange ill-tempered streak, verging on violent when unprovoked he strikes David hard with the back of his hand, when David questions him about a strange mark on the back of his neck.

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“Say dad when you were out there did you see anything?”
“lets not start that flying saucer nonsense again.’

he notices the implant in the back of his father’s neck “Hey dad” “Yeah what do you want!” “what happened to your neck, it looks like there’s a ….?”

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Imagine the nightmare of a twist of fate where the people who love you now hate you and the ones who are supposed to keep you safe, become the most dangerous!

The next to disappear in the sand pit are the two policemen Douglas Kennedy and Charles Kane -called out to find David’s father. Once they return they appear to have the same eerie ill mood as George, zapped of any human emotion. Now, when a little girl also disappears, seemingly swallowed up by the sand and disappears in front of David, he tells his mother, but she too returns just as a fire starts in the basement of the little girl’s house. David panics and goes to the police station. Seeking out the symbol of authority and protection right… wrong…!

The little guy talks to the chief. “You wouldn’t believe me.”

“What makes you think the chief will?”

One of the cops who has been taken over by the invaders asks, “What’s the trouble Mac?”
it’s a very creepy tone, that seems menacing in it’s coldness…

David sees that the guy has the same wound on the back of his neck. Pulling his collar over it to conceal it.

When the little guy runs into the police station asking to see the chief, it goes to that place where we feel most vulnerable and the panic sets in when we realize there is no one you can trust, no one to believe you. There is no safe place. And those you love are gone. The threat goes to the issue of trust and sense of safety and not just about creepy aliens lurking around. A film of paranoia and insecurity.

Spielberg says that Menzies gave himself the license to work on the film doing homages using BERTOLD BRECHTIAN sets, because it was a dream. Also the fear that it kept recurring is the notion that there isn’t any escape you can wake up from the nightmare, but it only begins all over again. “It’s a trap. It’s absurd. it’s deadly frightening.”

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There the chief of police Bert Freed has also been taken over by the Martians who have submerged themselves in the land behind his house. David is locked up until a psychologist Dr. Pat Blake played by Helen Carter who comes to see him and realizes how genuinely frightened he is. He is petrified when his parents come to pick him up, his mother now showing the same frozen demeanor as his father. So Dr. Blake keeps David in her care and takes him to see a colleague Dr. Stuart Kelston played by Arthur Franz. Dr. Kelston is also an amateur astronomer who not only believes that David saw a space craft land in the back field, but that the earth could very well be under siege by Martians, an immanent invasion could be near. That they might be trying to interfere with local rocket experiments being launched in the area. And of course, that’s where David’s father works.

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Invaders from Mars

Kelston has a telescope and he, David and Dr. Pat Blake see David’s father lure General Mayberry (William Forrest) to the sand dune that swallows him up. Soldiers are sent to surround the sand pit, overseen by veteran science fiction supportive actor Morris Ankrum who plays Colonel Fielding along side Sergeant Rinaldi (Max Wagner). Meanwhile the Martians are systematically sending out their possessed humans to sabotage the works. The Martians act like puppet masters who can also control their subjects by exploding the devices implanted in their brains –the marks on their necks are where they’ve been drilled. Lovely thought…

David is told that his parents are getting their control devices taken out through surgery, just as the sand trap opens up right under his and Pat’s feet, they fall beneath the sand into the underground lair that the Martians have been operating from. We get to see two green Martians who walk like they shuffle (excuse me for saying, back in the day my older brother used to say that they walked like they had shit in their pants) actually these Martians do sort of qualify as ‘pants monsters’.

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Anyway, the two Martians bring David and Pat unto the grand Martian leader, a very kitschy Martian –a goldish green head including shoulders with nasty tentacles encased in something like a glass orb. The main Martian telepathically uses it’s eyes to communicate it’s creepy menacing power not with squinting veracity but more with a comical sort of soulessness.
The nefarious Martian Intelligence is portrayed by Luce Potter.

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Thank God the military saves the day as Fielding, (poor General Mayberry gets killed), enter the Martian’s underground chambers and rescue David and Pat, she was just about to get her brain drilled into, they blow up the spacecraft. After this climatic seen as David is on the surface running away, he awakens from this nightmare, (the rolling flashback in his head is a terrific touch) as it was truly a nightmare… runs into his parents bedroom, thank god the nightmare is over, he goes back to his room falls asleep until he is again awakened by a space craft landing out in the field behind his house, the entire cycle of events to repeat all over again. It’s quite a stunning conclusion… that doesn’t give us any release.

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In honoring Menzies incredible eye for design, and how the film was envisioned as if we are experiencing the nightmare through a child’s eyes, I defer to the way Bill Warren sums up some of the visual highlights of the film- “The jail set is especially impressive. The only things on the set are those that would impress themselves on a boy; (I’ll ignore that presumptive gender bias) there is a police chief, one sergeant at a towering desk, and on the wall behind him a clock with hands that don’t move, one cell and one key to the cell. The walls are white and almost not there at all; the hall from the front door to the desk is long and tall, it is a set out of a dream, as if it is only partially real…[…] The interior of the Martian flying saucer is equally imaginative and equally minimal. It’s composed almost entirely of greenish plexiglass. There are no instruments visible at all, there are a couple of tubes which reach up out of sight and a large inexplicable hole in the floor. The sphere with the Martian Intelligence inside rests on a pillar, and is brought to it brought to its perch by the giant green mutants.”

Not to mention the surreal space behind David’s house, the sand pit and the fence that disappears out of site, the winding trees that melt into space. It’s all very much a dreamscape. A reduction of images in which the minimalist elements actually add to the eerie atmosphere the opposite of Grand Guignol and Gothic old dark house set pieces. How can something so simplistic be so menacing. I guess that’s why Menzie’s film is still so gorgeous to experience today.

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Actor Mark Hamill-“The Invaders From Mars were no angels. They were here to bend our minds. They were the thieves of love and trust. The film was directed by the great art director William Cameron Menzies who gave it a memorably surreal design on a tiny budget.”

Director Steven Spielberg talks about how Invaders From Mars turned his world around “it got to a primal place which basically says the first people not to trust is your father and mother.”

Director James Cameron “What is the deep seated psychological fear that’s happening here. Maybe it’s a simple and elemental as you’re in a relationship with somebody whether it’s child/parent  husband/wife but you never really know what that other person’s thinking. And they might be evil.”

Steven Spielberg “It certainly touched a nerve among all the young kids like myself who saw that movie at a very young age. That you would come home and that you would not recognize your mom and dad they would have changed into people who hate you.”

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When the father hits his son so violently that it knocks him down, as Spielberg says “it’s a shattering primal attack on us.”

I had the same reaction, I came home one night and felt like my parents had been exchanged somehow. they were not cruel like David’s parents in Invaders from Mars, yet I felt that they were somehow duplicates. I walked around the block for an hour afraid to go inside the house. These movies certainly made impressions in that deep rooted primal way. The subtleties of films like Invaders from Mars will still leave their mark on your psyche.

The giant green Martian Mutants must have zippers up the back of their velour costumes…

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The idea of not being believed works as a trope and it possesses a powerful persuasive tone that seeps inside and effects you as a kid watching Invaders From Mars.

All of a sudden, parents turn into aliens, monsters and cruel. It could be a metaphor for any number of difficult issues children might confront, like alcoholism, abuse etc. It is the changes that the child experiences in private where they cannot convey to people outside the home, that tells the story of alienation and estrangement. It is a terrifying journey they must navigate on their own, while they try to negotiate what is happening to them.

The ship has crashed into the land, over the hill. The sand sinks down like quicksand that drags down anyone who walks over it. The mutants who walk like my brother used to say to me, like they’ve got shit in their pants, worship and serve this giant tentacled head in a glass orb. The whole vision of the ground ‘literally’ collapsing where you stand. it gives the idea that you can’t even feel safe where you stand. It will suck you down into the bowels of the earth where evil creatures will turn you into a mindless image of yourself.

Spielberg says “What really unseats you as a child seeing that movie. it’s all a dream. He wakes up and his mom’s normal and his dad is normal and they don’t believe him, but what happens in the last scene.”

“It starts all over again…  It’s the groundhog day of science fiction —lol I thought the same thing Spielberg. that’s pretty much what it is…. he’ll just go through the whole loop and then wake up over and over again. There’s a twilight zone episode like that where Dennis Weaver keeps getting sentenced to death by a jury and goes thought the execution only to wake up and do it all over again… Spielberg puts it like this “it’ll be a never ending mirror tunnel of nightmares.”

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Narrator: The heavens. Once an object of superstition, awe, and fear. Now a vast region for growing knowledge. The distance of Venus, the atmosphere of Mars, the size of Jupiter, and the speed of Mercury. All this and more we know. But their greatest mystery the heavens have kept a secret. What sort of life, if any, inhabits these other planets? Human life, like ours? Or life extremely lower in the scale? Or dangerously higher? Seeking the answer to this timeless question, forever seeking, is the constant preoccupation of scientists everywhere. Scientists famous and unknown. Scientists in great universities and in modest homes. Scientists of all ages.

It Came from Outer Space

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XENOMORPHS INVADE OUR WORLD! They can look like humans or change to objects of awesome terror!–From Ray Bradbury’s great science fiction story!–Amazing Sights Leap at You in 3-DIMENSION

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From a story by the master of fantasy and science fiction Ray Bradbury

The science fiction film that brought us the amorphous bubbly one eyed Xenomorph.

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Jack Arnold’s amazing foray into an alien crash landing that involves stolen identity, invasion fear and the possibility that life on other planets might be benevolent but still really really creepy.

The film stars Richard Carlson as displaced reporter John Putnam, the wonderful Barbara Rush as Ellen Fields, Charles Drake as jealous Sheriff Matt Warren, Joey Sawyer as Frank Daylon, Russell Johnson as George, and Kathleen Hughes as June.

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Art direction by Robert F. Boyle (North by Northwest 1959, In Cold Blood 1967, Cape Fear 1962, The Thomas Crown Affair 1968) and Cinematography by Clifford Stine (This Island Earth 1955, The Incredible Shrinking Man 1957,Touch of Evil 1958, Imitation of Life 1959, Operation Petticoat 1959, Spartacus 1960, Patton 1970) Read Stine’s credits on IMBd they are far too many to list! The mesmerizing musical score is by an un-credited Henry Mancini, Irving Gertz and Herman Stein. The memorable visual effects are by David S. Horsley-(The Killers 1947, Abbott & Costello Meet Frankenstein 1948, This Island Earth 1955) It Came From Outer Space was also filmed in the sensationally hyped 3D!

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The music is wonderfully inspiring to the mood, especially with the desert’s sense of estrangement and when the presence of the Xenomorphs are near. I think they use it as some of the stock music for Night of the Living Dead… I need to check that out… From what I see about their contributors I cannot link to any of the three music contributors to It Came from Outer Space… but I always get a thrill when the ‘coming near’ motif music happens in both!

In reading Bill Warren’sKeep Watching the Skies his overview of It Came from Outer Space, gets into the discrepancies about Ray Bradbury’s full participation in writing the screenplay, being totally replaced by Harry Essex who is credited for the screenplay, if it was his memory that was failing in recollecting what happened or if he had been misunderstood and his work co-opted by Essex because Universal didn’t like Bradbury’s treatment of the script. Warren is totally supportive of Bradbury being an un-credited contributor to the script. While he delves into the weeds a bit more about the mystery and contradictions about the facts behind-the- scenes, I think I’ll just stick with Jack Arnold’s beautifully executed science fiction master work here. But the entire section on the film is fascinating if you want a good read and 1950s science fiction is of particular interest, pick up a copy of Keep Watching the Skies by Bill Warren, it’s a sensational compilation of a decade of gems and stinkers, informative, funny engaging even including old published reviews of the films during the time of their theatrical release. I highly recommend it.

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First of all,this is one of those science fiction films that’s actually a really good film, with so many elements that work fabulously to transcend genre. This is one of the first major studio Universal – International to release a film in 3D, and one of the first to be shown in what was called wide screen and in stereophonic sound.

It was also the first science fiction film to be directed by Jack Arnold. (YAY!!!) The first using the southwestern desert as a location— the Mojave desert to be exact and not the Arizona desert as plotted out in the story—Donovan’s Brain was set there but made little use of the area as a central focal point. The desert already has an eerie, isolated vibe to it…

The film stars Richard Carlson as John Putnam and Barbara Rush as Ellen Fields.
Ray Bradbury wrote the original story on which the film is based, He was at the height of his writing with The Martian Chronicles, The Illustrated Man and Fahrenheit 451 which brought his genius into light.

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The story opens as a meteor cuts through the evening sky like a glowing fireball high above the alienating desert landscape. For the locals, this brings about many different reactions, including that of John Putnam, amateur astronomer who’s having dinner with his fiancee Ellen Fields. This gets John so excited that he immediately wants to drive out to the sight to investigate. He and Ellen hop on a helicopter and go and see where the meteor left a large crater.

Meanwhile from the view of what ever the alien life force is, it moves from the crashed spacecraft, revealing that it wasn’t a meteor at all. —“Bradbury describes  quick shots of animals fleeing in fright from the alien visitor. The jack rabbit, for instance. At this point, he does not mention the use of a subjective camera technique , which has so often been commented on in relation to the film.” -Bill Warren.

Putnam arrives at the crater and approaches the object that has crash landed in a gaping hole, nearly burned to molten rock. Suddenly a landslide occurs and covers up the opening and the space ship.

Bill Warren–In a sequence (not in the finished film) almost certainly suffused by Billy Wilders’ Ace in the Hole /The Big Carnival 1951, which also took place in the Southwestern desert, earth moving machinery arrives in an effort to uncover the buried pilot. No one believes Putnam’s story. Eventually everyone give up and goes home, including Ellen and Putnam. A strange shape crosses the highway in front of them, they stop to look for whatever it was and a Joshua tree in the dark frightens Ellen, but they do not see the strange shape again. The alien, with the first-person camera emphasized (the camera’s point of view is the Alien’s) watches them leave.

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The next day Putnam is interviewed by hostile reporters. A few days later, the excitement of the meteor has died down. They drive into the desert alone. stopping to look around. “It’s alive” says Putnam “it looks so dead out there. And yet, it’s all alive and waiting around us and ready to kill you if you go too far from the road. The sun will get you, or the cold at night, or the snakes and the spiders or a sudden rain that floods the washes will get you. Ohm there are a thousand ways you can die in the desert.”

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Here’s Essex’s version of the same scene, which is in the film, “It’s alive.” say Putnam. Ellen nodding adds, “And yet it looks so dead out there.” Putnam goes on. “But it’s all alive and waiting for you… And ready to kill you if you go too far. The sun will get you or the cold at night… a thousand ways the desert can kill.” There isn’t much difference though some of the dialogue is shared by Ellen which is a nice touch.

Putnam and Ellen drive on and meet the phone linemen. Putnam climbs up the ladder to listen to the strange sounds on the wire that the linemen have been noticing since the crash. The elder lineman says —

 

–“In all my years nothing like that sound. Like Someone’s on the line. Down that way maybe, tapping the wire. Or up the other way, tapping the wire. listening to unlike we’re listening to him… After you been working out in this desert for fifteen years like I have you get funny ideas. There’s that sun in the sky and the heat, and look at the roads, full of mirages. And the sand out there, full of rivers and lakes that are fifty, a hundred miles away…. And sometimes you get to thinking maybe some nights, or some noons like this noon , the sun burns on the wires and gets in the wires and listens and hums and talks like this talk and that’s what you hear now. And sometimes you wonder if some of the snakes and the coyotes and the tumbleweeds don’t climb the poles at noon, far off where you can’t see them, and listen in on us human beings.”

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“Once again, Essex condenses and duplicates this speech without understanding the poetic paranoia behind the words. Fortunately director Jack Arnold and actor Joe Sawyer did, and the scene is one of the most famous and best like in the finished film.”-Bill Warren.

Putnam and Ellen decide to help the linemen find out what’s happening to the wires, and head off in the opposite direction from the one the linemen take. The linemen meet the alien , the scene cuts to Putnam and Ellen. who turn around and go back. They meet the alien masquerading as the younger lineman (Russell Johnson) When he quietly walks up and taps Putnam (Ellen in the film)  on the shoulder, Putnam spots a body behind a mesquite bush, assumes the linemen are dead, and that what he is talking to isn’t human.

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The scene that follows, one of the only two in the film in which Putnam is not the central figure, was added to the screenplay by Essex. In it, the alien George (Russell) tells the real Frank (Sawyer) that they have landed by accident and that they have the power to make themselves look like us.

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Bill Warren passionately tries to defend and clarify this.. “I could continue through the entire storyline in this fashion , it would be profitless. Despite  all claims by everyone else to the contrary, the story and the best elements of It Came From Outer Space were written by Ray Bradbury, not by Harry Essex. Because of the many influences of this film, Ray Bradbury’s therefor far more responsible for the look, the feel and the approach of 1950s science fiction movies than he has ever been acknowledged or even suspected before.”

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In the finished film the aliens apparently literally take on the form of other people, they are actual shape shifters their bodies are malleable enough that they can actually restructure themselves to resemble anyone. In Bradbury’s script, the effect is the same but the power seems to come from hypnosis —the aliens resemble lizards in Bradbury’s treatment.

I learned something really interesting from reading Warrens analysis of the film. I myself have often confused Richard Carlson with Hugh Marlowe at times. Here is partly the answer to that

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“In the draft actually called It Came from Outer Space, almost all of the film that was to be was created by Ray Bradbury. In this draft (begun October 1, 1952) Bradbury emphasized scenic and character descriptions much more strongly than the had in his earlier drafts. probably on studio orders. In so doing he created the standard science fiction her of the 1950. who was to be played by Richard Carlson or the nearest equivalent through most of the rest of the decade. Hugh Marlowe, John Agar, Jeff Morrow, Rex Reason. The characters they played were almost always variations on John Putnam the dedicated slightly strange and earnest young researcher. The actors often physically resembled Carlson.”

When it all comes down to it, what Bill Warren is asserting is that he found evidence that Essex’s script was a duplication of Ray Bradbury’s treatment, meaning the result –he isn’t getting the credit for his contribution and Essex is getting credit for Bradbury’s work. And he feels that what Essex did manage to change slightly, didn’t work at all, including inventing some of the poorly envisioned scenes.

What does happen by the end of Bradbury’s final draft is how his incredibly fluid and convoluted description of these alien came to life as close to the poetic description Bradbury put forth. The few times the aliens show themselves they are hard to assess, in form, with the emphasis on their milky jelly like eye in a gigantic impression of a head, surrounded by a foggy mist, with sparkles and glistens like a jello mold … but in the end, the film shows them as close to their poetic description that Bradbury had envisioned. Different than some man in a lizard type pants monster suit with bug eyes, or layers of monster make-up, the floating amorphous alien really does seem to exist on the extra terrestrial plane.

“One of his main contributions to It Came from Outer Space seem to have been the shimmering bullseye effect used whenever the camera ‘is’ one of the aliens. The subjective camera “playing’ the aliens at time is Bradbury’s idea. but the refinements seem to have been Jack Arnold’s–Bill Warren

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Another aspect of these aliens is that they are not quite hostile, though they are not benign either. it’s sort of a unique view of them. They are panicked and desperate to get off the Earth, and get back to their original destination “Our mission was to another world, only an error dragged us to Earth” Some of the aliens, such as the one in the guise of Ellen that tries to kill Putnam,are indeed hostile to people. Others are just nervous, such as the Putnam duplicate. or openly friendly , like the one that copied George the lineman. In short, just like real people, they don’t have a common attitude they are not of one mind. They reveal an individual spirit. It’s quite a break away them from other aliens who are a collective group on a mission, unified.

This being director Jack Arnold’s first science fiction film leads with a focus on how the alien relates to this world he has invaded. The result that his films seems less fanciful and more realist than most other of this period, such as The Incredible Shrinking Man 1957.

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Ellen Fields: If we’ve been seeing things, it’s because we DID see them.

Sheriff Matt Warren: [three-shot, characters gazing toward sky into which meteor-spaceship has rocketed] Well, they’ve gone.

Ellen Fields: For good, John?

John Putnam: No. Just for now. It wasn’t the right time for us to meet. But there’ll be other nights, other stars for us to watch. They’ll be back.

 

Continue reading “🚀 Keep Watching the Skies! Science Fiction Cinema of the 1950s: The Year is 1953”

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

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“I bring you a warning. Every one of you listening to my voice. Tell the world… Tell this to everybody wherever they are. Watch the Skies! Everywhere. Keep looking. Keep watching the skies!

Ned ‘Scotty’ Scott — The Thing From Another World (1951)

Keep watching the Skies!

It’s that time of year once again when Movies Silently, Silver Screenings & One Upon a Screen host a momentous event…. The Classic Movie History Project Blogathon 2016 which will begin August 5th -10th, 2016.

Science fiction is a genre of speculative fiction dealing with imaginative concepts such as futuristic science and technology, space travel, time travel, faster than light travel, parallel universes and extraterrestrial life. Science fiction often explores the potential consequences of scientific and other innovations, and has been called a “literature of ideas. –Wikipedia definition of Science Fiction

Robot Monster rocket

This event always promises to be an epic endeavor as there are so many interesting themes and subjects to cover. I am excited to be participating once again with these fabulous hosts who make it possible for all of us to contribute to a wealth of classic film history goodies to devour. Now listen folks, don’t get frightened off! You cast of exciting unknown readers… This has become a real project for me, a work in progress that will unfold over the next several weeks. For the purpose of The Classic Movie History Project Blogathon 2016, I offer an overview that will be a lead in for the entire decade of 1950s science fiction cinema conquering it year by year in separate articles. As I started delving into this project, it began to grow larger and larger as if Jack Arnold and Bert I. Gordon themselves compelled me to GO BIG!

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50 foot woman at the bar

In order to review an entire genre of such an influential decade and do the treatment it so rightly deserves, I realized that I needed to spread it out as a series. Re-visiting these beloved movies that inspired my childhood with wonder and sometimes tapped into my own authentic fears, I fell in love all over again. And though I tend to gravitate towards the classical Gothic horrors that are steeped in mythology, the supernatural and the uncanny, I can’t help but feel my mind expanding by the iconic themes that emerged from 1950s science fiction! So I’ll be publishing each year as individual posts or chapters from 1952 on… over the next several week or so instead of all at once. Talking about all the films I mentioned here and so many more films & things to come!

It’s a collection–a decade of the sci-fi genre, sub-genres and it’s hybrids– some eternally satisfying because of their remarkable ability to continuously shine a light on fascinating & mesmerizing fantasy stories. Well written and adapted as visual narratives and surreal stories by beloved visionaries who set out to reach inward and outward through all of us dreamers and thinkers.

There are also those lovable Sci-fi films that are charming and wonderfully kitsch. And some… are just downright so, so, soooo awful their… awesome!

That’s what makes so many of these diverging films cut through the cross-sections to become cinematic jewels & memorable cult favorites!

Robot Monster 2

There are many films that I’ll cover more in depth, some are the more highly polished masterpieces that have lingered for decades with us as adult children who grew up watching them on a rainy afternoon on televisions with knobs that only had 9 channels and if you were lucky you didn’t snap the knob off every 6 months! Growing up in New York I had Chiller Theater, on local channel 11 or Creature Features on Channel 5, or Fright Night on Channel 9. That’s how I fell in love, and got my fill of the treasures of films & television anthology series that was lurking out there destined to leave long lasting impressions on so many of us!

Chiller Theater

Fright Night WOR

Or back in the day, you went to the Drive-In theater to explore in the back seat of your pop’s Chevy Impala any double feature, and it was an invigorating and entertaining experience and you didn’t even have to get out of your pajamas.

Retro Drive In

You could spend all day in a musty theater festooned with captivating promotional lobby cards and colorful posters. Too bad, I wasn’t of the age to witness William Castle’s ballyhoo he strategically placed at certain theaters for that interactive live experience , EMERGO, PERCEPTO! You could take in a bunch of the latest scary films, sometimes double & triple features, while sitting on sticky red velvet seats that smelled like hot buttered popcorn and week old spilled Pepsi. A box of Milk Duds in hand and the faint wiff of air conditioner freon at your back. You’d enter the movie theater in the bright light of a sunny Saturday afternoon only to exit into the dark of night, tired and filled with wonder, awe and okay maybe looking over your shoulder a few times. Some films were big budget productions, that contained serious acting by studio contract players, terrific writing that blended deep thoughts and simple escapism pulled from some of the best science fiction, fantasy & horror literature and adapted screenplays, scares and witty dialogue besides and cinematography that still captivates us to this day.

3D Audience

Well… sure some were B movies that have now sustained that Cult film charm and cheesiness, and some… are just downright pitiful, laughable guilty pleasures… and a bunch even came with really neat 3D glasses!

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

Creature From the Black Lagoon

Incredle Shrinking Man vs Cat

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

I’LL ALSO BE TALKING ABOUT SOME GUILTY PLEASURES!

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Attack of the Crab Monsters (1957)

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Paul Birch is the alien vampire Paul Johnson in Roger Corman’s Not of This Earth 1957

The Brain from Planet Arous 1957* Attack of the Crab Monsters 1957* The Killer Shrews 1959* The Giant Claw 1957 *Beast From Haunted Cave 1959 *The Monster from Piedras Blancas 1959 *Invasion of the Saucer Men 1957 *The Monster that Challenged the World 1957 *Not of this Earth 1957* The She-Creature 1956* The Man Who Turned to Stone 1958* Invisible Invaders 1959* Attack of the 50 Foot Woman 1958* The Hideous Sun Demon (1959) * Monster on the Campus 1958* The Unknown Terror 1957* Creature with The Atom Brain 1955 * The Unearthly 1955 * From Hell it Came 1957,

Tabanga and Korey

It’s also important to mention some of the ubiquitous actors who graced both the great & guilty pleasure flicks, you’ll be seeing a lot of in the following chapters like John Carradine * Ed Nelson *Allison Hayes *Paul Birch *John Agar *Hugh Marlowe*Peter Graves *Richard Denning *Richard Carlson *Faith Domergue *Mara Corday *Les Tremayne *Marie Windsor *Morris Ankrum * Arthur Franz *Kenneth Tobey* John Hoyt * Whit Bissell and of course Beverly (kicks-ass!) Garland!

One thing is for certain, each film is relevant and all have a place in the 50s decade of Sci-fi / Horror & Fantasy!

So come back and read a little at a time and get some thrills even while you’re sitting under the hair dryer… Do people still do that today? I need to get out more…

1955 hairdryer wants to be a space-age helmet

This 1955 hair dryer is just begging to be a space-age helmet!

It all started with Georges Méliès 1903 fantasy A Trip to the Moon
Le Voyage Dans La Lune 1902 – Georges Méliès

Le Voyage Dans La Lune 1902

Trip to the Moon 1902

As early as 1920 there was the German expressionist film dealing with the arrival of a menacing alien visitor from the planet Algol giveing actor Emil Jannings a machine that awards him unlimited powers. ALGOL aka POWER 1920 directed by Hans Werckmeister

Emil Jennings in Algol 1920

“That which you believe becomes your world.”
Richard Matheson from ‘What Dreams May Come’

Science Fiction emerged out of the “Age of Reason” literature reflected a merging of myth and historical fact. Stories filled with an imagination that had no boundaries. While Science Fiction is a literary movement that can be a separate study all it’s own, story tellers who grasped the concepts of science fiction who questioned the endless possibilities, the far reaching machinations of brilliant minds, this project if focused on the history of 1950s science fiction cinematic and all it reveals. Science Fiction cinema flirted blatantly with ideas and images of a world that reached beyond the known, and contemplated aloud, fantastic stories as early as the silent era. Consider Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, re-envisioned time and time again.

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

John Barrymore lifts the dark conflicting tale of the inward monsters off the pages of Stevenson’s book. Barrymore so fluently moved through the silent stage, reveals that we all just might be harboring in our sub-conscious hidden dark and primal desires. Unleashed by a concoction, a seduction of science creates a fiend! Dr Jekyll & Mr. Hyde (1920)

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Aelita Queen of Mars (1924)

The odd yet visually stunning Russian spectacle Aelita Queen of Mars (1924) aka Revolt of the Robots.e

There were a few early visions of fantasy, magic & Science Fiction films from all around the world- At 3:25 aka The Crazy Ray (1924)  Directed by Rene Clair-a scientist invents a ray that makes people fall asleep where they stand! The German film Master of the World (1934) (Der Herr der Welt) where a German scientist wants to create an army of Robots to do the dangerous work of laborers so, when he is told it’s too risky he goes mad and it’s too late the machine has a mind of it’s own. It features really cool electronic chambers and more!

And Transatlantic Tunnel (1935) Scientists construct a tunnel under the ocean-stars Richard Dix, Leslie Banks and C. Aubrey Smith.

Metropolis 1927 the dystopian masterpiece by director Fritz Lang was the beginning of the fascination with exploring the fantastic and our unbounded imaginations on film, it’s remarkable set design, imagery and narrative sparked the Science Fiction genre in a big way— spanning decade upon decade, in particular revived in the 1950s!

Metropolis

The first influential science fiction film by Fritz Lang created a dystopian societ in Metropolis 1927. It’s influence has maintained it’s powerful thrust for decades. An inspiration for Ridley Scott’s neo-noir sci-fi masterpiece Blade Runner (1982)
Metropolis 1927

“Man is the unnatural animal, the rebel child of nature, and more and more does he turn himself against the harsh and fitful hand that reared him”-H.G.Wells

Island-of-Lost-Souls 1932

Kathleen Burke Island of Lost Souls

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Island of Lost Souls 1943 The House of Pain

Charles Laughton is superb as H.G. Wells Dr. Moreau a sociopathic sadist/scientist with a god complex whose profane experiments on animals and humans tortures them in the ‘house of pain’ trying to create a hybrid race he can hold sway over on his private island hell! Science has never been more evil! Island of Lost Souls (1932)

Then there was the 1936 adaptation of H.G. Wells’ Things To Come (1936) directed by William Cameron Menzies and starring Raymond Massey as Oswald Cabal, Ralph Richardson as The Boss, Margaretta Scott as Roxanna/Rowena and Cedric Hardwicke as Theotocopulos.

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“What is this progress? Progress is not living. It should only be the preparation for living.”

Flash Gordon and similar serials provided super heroes for generations of young people in the 30s & 40s, planting the seeds for the future that would give us the Star Wars legacy.

Flash Gordon Buster Crabbe and Ming

Audiences between the World Wars preferred horrors of a Gothic nature– James Whale’s Frankenstein 1931 & Bride of Frankenstein 1935, as they helped exercise demons conjured up from the 19th & early 20th century.

James Whales Bride of Frankenstein 1932

The electrical secrets of heaven, the lighting, the elaborate sets designed by genius Kenneth Strickfaden with his lights throbbing gizmos flashing and zapping, the creepy atmosphere of murky tones. The consummate Universal monster movie with iconic scenes introducing a new face, Boris Karloff who would become the great father of terror stories …

colin clive and dwight frye Frankenstein 1931

Frankenstein's hand it's alive

ColinClive it's Alive

What’s on that slab?,It’s Alive, It’s Alive!…” those monumental words that remain ingrained in our consciousness. Colin Clive becomes hysterical as he has creates life from death, but that life would become a whole new ethical, moral and imposing dilemma for Dr.Frankenstein. A horror film with strong science fiction/fantasy tropes. And the laboratory as gorgeous set pieces would become a staple of the science fiction realm.

Bride & Frankenstein's monster

bride_of_frankenstein 1935

The 1950s Science Fiction genre took root with it’s profouns contribution to our collective consciousness AS a genre its vision & breadth possessed quintessential & ever-lasting sociological and psychological metaphors, iconic tropes and striking imagery.

The splitting of the atom, ushering in the atomic age and the collective anxiety most definitely was the catalyst for the many of the movie fantasy stories known as the 1950s Sci-Fi film.

“But no matter what else it might be, what makes a science fiction film science fiction is the fact that it is, in some sense, about science—and not only science but futuristic science. By that I mean that science fiction movies deal with scientific possibilities and technologies that do not exist yet but that might exist someday. Science fiction is the realm of the not-yet.” — “Cult Science Fiction Films” by Welch Everman

Ridley Scott – (Alien 1979, Blade Runner 1982) “When you come to the second World War You’ve got a very specific enemy. You know what that enemy is, It’s there for all the wrong reasons and it should be prevented…. Then you got the next phase which is The Cold War again which is to do with paranoia . But I think real, it’s real. Movies started to dip into that.”

splitting the atom men in white coats

“The Splitting of the atom…. forces that can only be explained to us by these guys in white coats… All of a sudden the guys in white coats became these simultaneously kind of rock stars and the most evil thing you could imagine.”

In a scene from The Atomic City 1952– The mother’s child sitting at the kitchen table with his breakfast “If I grow up do you know what I’m gonna do?” The mother turns to him, leaving her scrambled eggs on the stove and corrects him nervously, “It’s when you grow up, not if…”

The Atomic City 1952

The Atomic City 1952 trailer

Duck & Cover 1951 classic propaganda film

From the short instructional film Duck and Cover “But no matter where they go or what they do they always try to remember what to do if the atom bomb explodes right then!” (the kids suddenly fall into the brick wall. The narrator says ) It’s a bomb DUCK & COVER!

James Cameron – “All of our fate as human beings, our destiny seems bound up in our technology and our technology is frightening. It’s Terrifying!”

Steven Spielberg- “So there was a great deal of anxiety in the air. It was not just fear of being beaten up by the local bully. But the fear was being NUKED!… But we almost pushed a button on each other during The Cuban Missile Crisis…… I was absolutely prepared for Armageddon and these movies from the 1950s and early 60s played on those fears. And these movies were all metaphors for those fears. ”

George Lucas- “I would say that there was a certain amount of anxiety about that I mean I grew up right in the very heat of that. DUCK & COVER drills all the time… We were always hearing about the fall out shelter. About the end of the world, issues that were always going on about how many bombs were being built. The Cold War was always in the media.”

From The Twilight Zone “The Shelter” season 3 episode 3

Twilght Zone 'The Shelter' s3e3

1950s Sci-Fi films represented a conservatism or ‘reactionary wing’ that seems consumed by a motive to emphasize the values of 1950s America post WWII, in the midst of a McCarthy era witch hunt that prevailed fueling our fears that seeped into many of the Sci-Fi narratives on screen and in literature. Reflecting the growing internal struggles within American society and the developing mistrust about Soviet aggression and anyone and anything perceived as subversive.

“Are you now or have you ever been a member of the Communist party?”

Some films that reflected the paranoia of the period were well regaled by a Hollywood studio system that was itself at the center of the controversial House Un-American Activities Committee (HUAC) targeting screenwriters and actors as ‘communist sympathizers’ and no one could be trusted. -Just like Invaders from Mars 1953, Invasion of the Body Snatchers 1956, X the Unknown 1956, The Incredible Shrinking Man 1957, and I Married a Monster From Outer Space 1958.

X The Unknown

Invaders from Mars

In 1947, in Roswell New Mexico the military reports that they have a UFO in their possession. The phenomena of sightings of UFOs would continue throughout the 1950s, though agencies were fully prepared to explain away the reports. Yet the public had a hunger to and fascination with the possibility of extra-terrestrials.

As Phil Hardy’s insightful take on the genre, all this manifested in a way that the Science Fiction films of the 1950s ‘supplanted horror as the genre that dealt with fear and paranoia.” The films expressed a very realistic look at science within the atomic age, and shed the shadows and expressionism of the earlier Gothic horrors and while not all scientific fact, tried to embrace a world of possibility.

The Flying Saucer 1950 begins the momentum for the decade of Science Fiction cinema’s love affair with unidentified objects and begins to round the edges of space crafts from other worlds that aren’t our American sharp and phallus shaped rockets!

The Flying Saucer -ship

The flying_saucer 1950

DESTINATION MOON 1950 was featured in COLOR BY TECHNICOLOR. Being hailed the 2001, Space Odyssey of it’s time, it attempts to portray a realism trip to the moon. Phil Hardy calls Destination Moon 1950a sober celebration of man’s imminent conquest of space that dominated the decade.’

destination moon rocket

destination-moon-space matters

Destination Moon did attempt to accurately portray a trip to the moon given the technology and knowledge that was stuck in 1950.

Then we shot past the moon in cinema and went straight to the red planet with Flight to Mars 1951!

Flight to Mars

Themes and metaphors that emerged from anxiety about the atom bomb, radiation fallout, the advent of modernity, the space race and the wanderlust to conquer outer space, interplanetary warfare, military vs. science hubris, science meddling with nature, fear of science and technology, invasion anxiety, continued fear of otherness, deviant (in terms of counter-culture not exclusively moral judgement) subversion and xenophobic nightmares.

Sometimes we were even married to a monster from outer space and didn’t even notice much of a difference except for the lack of small talk! Here’s Tom Tryon and Gloria Talbott in I Married a Monster from Outer Space 1958.

I Married-a-Monster-from-Outer-Space Tom Tryon and Gloria Talbott

I Married a Monster From Outer Space

Director Howard Hawk and screenplay by Charles Lederer, created a striking science fiction masterpiece of film noir ambience with it’s chilling back lit set pieces- The Thing From Another World 1951, adapted from John W. Campbell’s story ‘Who Goes There?’, other films that followed the path of paranoia — Invaders from Mars 1953, War of the Worlds 1953, It Came from Outer Space 1953, It Conquered the World 1956 & Invasion of the body snatchers 1956.

Xenomorph

bodysnatchers 1956 review

The Thing it's round like a spaceship

The Thing at the door

the thing shadow play

There were also science fiction films that rang the warning bell about cosmic calamity and catastrophic world coming to an end, annihilation fantasies like When Worlds Collide 1951.

War of the Worlds 1953 and When Worlds Collide 1951 had as Phil Hardy states, ‘religious dimensions’ that accused us of bringing about catastrophic punishment because of our misdeeds and transgressions.

War of the Worlds Valley of Shadows

When Worlds Collide 6

H.G. Well’s view of Martian invaders created for the public consciousness the idea of destructive beings from another world. It was a great reflexive move for those science fiction films to portray aliens that were sympathetic, yet non-humanoid in appearance. Most Sci-Fi films show aliens as menacing, not only destructive but dangerous because they also wanted to keep us as captives, zap our resources and colonize our planet, sometimes even take our women, oh god no unhand Faith Domergue you pants wearing Mutant!

This Island Earth Metaluna mutant

invaders from mars b&w

Is that a fireball or something

“Is that a fireball or something?”

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INVADERS FROM MARTS MUTANTS WITH ZIPPERS

InvadersFromMars

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Hollywood saw a trend later on in the 50s with Destination Moon 1950 when they came upon a story written by Harry Bates called The Return of the Master this became Robert Wise’s The Day the Earth Stood Still 1951 which has remained one of the best regarded science fiction films of all time. This is one of the rare occasions when the alien Klaatu played beautifully like an intricate clock by the chiseled face, tranquil speaking Michael Rennie is benevolent, bringing with him a sincere and dire warning about earth people’s course and the future of their civilization if they don’t relent about the proliferation of atomic weapons. There were several well intended alien visitors who were met with hostilities as with, Klaatu (Michael Rennie ) in Day the Earth Stood Still 1951, and The Man From Planet X 1951.

The Man from Planet X

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Day the Earht STood Still Klaatu solves the board 2

Day the Earth Stood Still Patricia Neal and GORT1951-

GORT

Many films, even the low budget excursions dealt with our primal fears of alienation, estrangement & loss of identity i.e.,(communism at it’s core, the ramifications of otherness) nothing hits home more than Invaders from Mars 1953, and the quintessential loss of self and individualism in Don Siegels’ Invasion of the Body Snatchers!