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

History-Project-2016-godzilla

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

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

Keep watching the Skies!

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

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

Robot Monster rocket

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

amazing colossal man vegas

attack_of_the_50_foot_woman_3_by_farzelgaart-d4ubn9h

50 foot woman at the bar

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

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

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

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

Robot Monster 2

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

Chiller Theater

Fright Night WOR

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

Retro Drive In

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

3D Audience

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

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

Creature From the Black Lagoon

Incredle Shrinking Man vs Cat

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

I’LL ALSO BE TALKING ABOUT SOME GUILTY PLEASURES!

Attack of the Crab Monsters 4

Attack of the Crab Monsters (1957)

not-of-this-earth paul birch

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

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

Tabanga and Korey

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

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

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

1955 hairdryer wants to be a space-age helmet

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

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

Le Voyage Dans La Lune 1902

Trip to the Moon 1902

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

Emil Jennings in Algol 1920

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

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

barrymore 1920 dr jekyll

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

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

aelita-queen-of-mars-1924

Aelita Queen of Mars (1924)

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

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

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

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

Metropolis

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

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

Island-of-Lost-Souls 1932

Kathleen Burke Island of Lost Souls

Island of Lost Souls charles_laughton

Island of Lost Souls 1943 The House of Pain

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

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

things-to-come

96h01/huch/2909/08

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

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

Flash Gordon Buster Crabbe and Ming

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

James Whales Bride of Frankenstein 1932

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

colin clive and dwight frye Frankenstein 1931

Frankenstein's hand it's alive

ColinClive it's Alive

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

Bride & Frankenstein's monster

bride_of_frankenstein 1935

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

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

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

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

splitting the atom men in white coats

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

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

The Atomic City 1952

The Atomic City 1952 trailer

Duck & Cover 1951 classic propaganda film

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

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

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

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

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

Twilght Zone 'The Shelter' s3e3

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

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

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

X The Unknown

Invaders from Mars

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

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

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

The Flying Saucer -ship

The flying_saucer 1950

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

destination moon rocket

destination-moon-space matters

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

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

Flight to Mars

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

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

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

I Married a Monster From Outer Space

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

Xenomorph

bodysnatchers 1956 review

The Thing it's round like a spaceship

The Thing at the door

the thing shadow play

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

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

War of the Worlds Valley of Shadows

When Worlds Collide 6

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

This Island Earth Metaluna mutant

invaders from mars b&w

Is that a fireball or something

“Is that a fireball or something?”

CapturFiles_42

INVADERS FROM MARTS MUTANTS WITH ZIPPERS

InvadersFromMars

invaders-from-mars-

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

The Man from Planet X

the-day-the-earth-stood-still

Day the Earht STood Still Klaatu solves the board 2

Day the Earth Stood Still Patricia Neal and GORT1951-

GORT

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

they would have changed into people who hate you

“They would change into people who hate you!”

Steven Spielberg talks about the impact of Invaders from Mars 1953, “It certainly touched a nerve among all the young kids like myself who saw that movie at a very young age. That you would come home and that you would not recognize your mom and dad they would have changed into people who hate you!”

I can attest to the persuasion these films could have over the burgeoning imagination of a child, especially one like me who felt very much like an outsider as a kid. One night, as sure as my name is MonsterGirl, I went home, looked at my parents, decided they had been switched by aliens and ran out of the house, walking around the block for at least an hour before I convinced myself that I was being ridiculous. Or was I? These themes did have a not so subtle impact on a young impressionable mind who could easily question the world around them. Who could you trust? Would would believe you anyway?

There is the outsider narrative, diminishing human forms as in Bert I. Gordon’s Attack of the Puppet People 1958 where obsessed and lonely puppet maker John Hoyt loses his marbles. Although mad -bad science has shrunk down people before the 1950s in The Devil Doll 1936 and in the hands of crazed Albert Dekker in Dr. Cyclops 1940.

Attack of the Puppet People John Hoyt and Agar

dr cyclops 1940

There is the quintessential existential crisis, the beautifully thought provoking film by director Jack Arnold starring the eternally transcending man Grant Williams in, The Incredible Shrinking Man 1957.

the-incredible-shrinking-man-1957-

And of course there is the matter of GIGANTISM!

Earth vs the Spider

EarthVsTheSpider

THEM!

Monster_Challenged

The Black Scorpion

Giant insects, sea creatures and people who ran around half crazed and scantily dressed were a by-product of the atomic age!

50 ft Woman

The Amazing Colossal Man

George Lucas —“Out of that fear came I think a lot the monsters which you mess around with stuff and you’re gonna unleash this unknown monster!… it’s making tangible the unknown… A lot of that has to do with the mystery of this silent death that comes along with it that nobody knows exactly what it is or where it came from or can’t see it, can’t touch it. Well let’s make it easier to deal with by making it a giant monster.”

War of the Colossal Beast

Some films show the ascension from violence & hyper-masculinity, Women as professionals & bold heroines who didn’t shrink as hysterical victims. Female dominated civilizations (Cat- Women of the Moon 1953, Queen of Outer Space 1958, Missile to the Moon 1958, Fire Maidens from Outer Space 1956, that threatened to maniacally seduce & subsume male voyagers, dressed by 5th avenue they are outré chic. Wanton warriors & nubile space maidens who often never saw the male species before or wanted to destroy them altogether!

Fire Maidens of Outer Space

missile-to-the-moon-1958 directed by richard-e-cunha

A tagline reads “SEE-Astounding she-beasts of Venus!”

Queen of Outer Space

In Queen of Outer Space 1958 the masked disfigured Queen Yilana (Zsa Zsa Gabor) imprisons the men who crash land on her planet, intending to annihilate the earth with her beta disintegrator, though her beautiful subjects revolt in the name of love.

Mark Hamill –“We sometimes imagined other planets as paradises…. with girls!!! they looked more Hollywood starlets than space aliens, anyway they were eager to please. Their dancing their music their leotards were so Moderne! like Greenwich Village in outer space.” referring to Cat-Women of the Moon 1953.

Cat Women on the Moon May we serve you earth men?

“May we serve you earth men?”

Missile to the Moon-You're the first man I've ever seen.

“You’re the first man I’ve ever seen!” Carol Brewster as Alpha is mesmerized

missile to the moon

Step on it and don't spare the atoms! planets as paradise with GIRLS!!!

“Step on it, and don’t spare the atoms!” from Abbott & Costello Go to Mars (1953)

CapturFiles_44

“Their dance, their music, their leotards were so Moderne!”

KT Stevens as The Lido in Missile To The Moon

Missile To The Moon- Hollwood chorus girls

Missile to the Moon 1958

Missile to the Moon spider maiden

Missile to the Moon 1958

There’s nothing worse than a space Queen–The Lido (K.T. Stevens ) and one of her maidens in distress…

Mark Hamill who narrates the wonderful documentary written and directed by Richard Schickel Watch the Skies! Sci-Fi , the 1950s and Us presented by Turner Classic Movies also reminds us that “50s science fiction may have shot at the stars but the dialogue often remained earth bound tied up with the battle of the sexes.” Many prevailing sub-texts were also love stories, soap operas involving relationships between men and women.They would create love stories in space!

project moonbase 1953

Project Moonbase 1953 Donna Martell as Colonel Briteis (bright eyes?)

they would create love stories in space Lloyd and Osa in Rocketship X-M doomed to crash

Rocketship X-M (1950) starring Lloyd Bridges and Ossa Massen

Osa's character in Rocketship XM is brave in the end not hysterical-she sees her death as a new beginning

Cameron Mitchell plays Steve Abbott in Flight to Mars 1953, who tells Marguerite Chapman as Alita a fellow scientist/astronaut, “I think you’re a prize package and very feminine.”

Flight To Mars 1951

There is always time for romance in outer space!

flight-to-mars with scientist Margaritte Chapman

There were menaces from without, menaces from within. The ordinary world transformed into the monstrous. There were warnings from benevolent aliens and aggressive attacks by aliens who wanted to colonize our planet.

Sometimes the warnings or threats came from disembodied heads and brains, like Donovan’s Brain 1953, Fiend Without a Face 1958 and The Brain from Planet Arous 1957.

Donovan's Brain 1953

fiend WITHOUT A FACE

Gor from Planet Arous

The indie filmmakers introducing teenagers as both heroes & monsters. Many films were horror/sci-fi hybridizations. And by the end of the decade we were left a legacy of impressive productions that remain timeless masterpieces, the cult grade- B Sci-Fi picture with their indelible charm and kitsch emblems, and the true stinkers that are so bad there too good not to appreciate. Sublime, thrilling, provocative & yes campy!

Teenagers from Outer Space

I-Was-a-Teenage-Werewolf

There were collections of stylized works by Jack Arnold, Bert I. Gordon, Edward L. Cahn and one indie auteur who showed us how to make a memorable movie on a shoe string budget who also launched many a career, the inimitable and grand Roger Corman. And of course those guys at American International Pictures (AIP)

Within the 50s decade shedding the Gothic themes of the 30s & 40s, the poetic shadow plays of Val Lewton,1950s Sci-Fi films had a pre-occupation with the modern world and mostly all the central menaces were transformed into non-human threats that we not only couldn’t empathize with but were revolted against as dangerous, vicious, insidious and potentially nihilistic in vision, they were seen as only a threat to our humanity and ultimately would lead to our destruction.

It came from outer space Xenomorph close up

Within Sci-Fi there are so many films which are complex hybridizations of horror/science fiction /fantasy and have become too insurmountable to dissect or decipher all the nuances between the various free-floating genres. Writer critic historian Robin Wood in his Hollywood from Vietnam to Reagan.—wagers that “the horror film’s radical potential lies in the fact that ‘the true subject of the horror genre is the struggle for recognition of all that our civilization represses or oppresses’ Jancovich states that the monster “must therefor be seen as a profoundly ambiguous figures which challenges social norms and so reveals society’s repressive monstrosity.”

Killers from Space

Killers from Space 1954

This theme is attached to McCarthyism that showed up as coded narratives in the more highly produced Sci-Fi films- “the myth of Communism as total dehumanization—accounts for the prevalence of this kind of monster in that period” -Mark Jancovich -Rational Fears- American Horror in the 1950s.

We can’t forget contributions made by the maestros in the visual effects department, direction, art direction and cinematography from George Pal, William Cameron Menzies and Ray Harryhausen.

Ymir4

20-million-miles-to-earth-creature-ymir and elephant-in-rome

20 Million Miles to Earth (1957) Ray Harryhausen’s Ymir from Venus

it-came from beneath the sea

It Came from Beneath the Sea (1955) Ray Harryhausen’s The Kraken

Cinematographers who brought these visual narratives & landscapes to life- just to name a few!

Clifford Stine (It Came from Outer Space 1953,This Island Earth 1955, Imitation of Life 1959,Spartacus 1960) Sidney Hickox (Them! 1954, The Big Sleep 1946,Dark Passage 1947,White Heat 1949), John F. Seitz (Invaders from Mars 1953, Sullivan’s Travel’s 1941m Double Indemnity 1944, Sunset Boulevard 1950), Russell Harlan ( The Thing from Another World 1951, Red River 1948, Witness for the Prosecution 1959 To Kill a Mockingbird 1962) George Barnes (War of the Worlds 1953, Rebecca 1940, Spellbound 1945) Leo Tover (The Day the Earth Stood Still 1951, Hold Back the Dawn 1941,The Snake Pit 1948, The Woman on the Beach 1947,The Heiress 1949, Journey to the Center of the Earth 1959) Ellsworth Fredericks (Invasion of the Body Snatchers 1956, Hold Back the Night 1956,The Stripper 1963, Mister Buddwing 1966)

And just as key to the atmosphere and attitude of the films were the musical contributions which defined that certain feel of chills and excitement, screwball antics and off-beat perscussion that filled up your head with pulsing visions of laser beams and other-worldly noises that ran up your spine like a finely coiled wire resonating the confluent sounds of the cosmos! Geesh that was a mouthful!

Invasion of Saucer Men bug eyes

There were composers who masterfully underscored some of the BEST films and even the worst!, Dimitri Tiomkin * Bronislau Kaper * Bernard Herrmann *Hans J. Salter and Henry Mancini to name a few.

Instrumentalist Clara Rockmore mastered the Theremin which had a cosmic, universal vibe that was, well out of this world!

The Theremin is an electronic musical instrument created by Russian inventor , Léon Theremin controlled by the performing thereminist who makes the dulcet eerie tones by manipulating the two metal antennas that respond to the hand movements which influence the oscillations or frequency with one hand and effecting the volume with the other hand.

Popular were the films that dealt with the hubris of science that ultimately manifested monsters. There were even pants monsters, yes! pants monsters…! The burning sun turned him into a hideous fiend, but he still had time to put on those Haggars casual men’s trousers!

THE HIDEOUS SUN DEMON, Robert Clarke (in doorway), Patricia Manning (second from right), 1959
THE HIDEOUS SUN DEMON, Robert Clarke (in doorway), Patricia Manning (second from right), 1959

There was a running sentiment —the notion of us against them, and even at times when not working together to fight a common enemy- you’d see the military vs science… And sometimes, though almost always male hero driven, there emerged some anti-damsels, all-powerful women who broke the cliched mold of the helpless hysterical female and arose as smart, intellectual (a socially constructed gendered male quality), mindful and fearlessly driven woman with guts and composure even if it was to hold off from laughing at Paul Blaisdell inside that cucumber monster from Venus.

it conquered the world cucumber close up

Roger Corman’s It Conquered the World (1956) The Venusian cucumber

Beverly Garland anti damsel It conquered the world

Just look at Julie Adams as Kay Lawrence in Creature from the Black Lagoon 1954, Joan Weldon as Dr. Patricia Medford in Them! 1954, Beverly Garland as Dr. Andrea Romar in Curucu, Beast of the Amazon 1956 & and her gutsy Clair Anderson in It Conquered the World 1956, Tina Carver as Dr. Terry Mason in From Hell It Came 1957 and Faith Domergue as Dr. Ruth Adams in This Island Earth 1955 & Prof. Lesley Joyce in It Came from Beneath the Sea 1955, and Lola Albright as Cathy Barrett in The Monolith Monsters 1957 .

Some sci-fi films were visually surreal landscapes or existential masterpiece such as William Cameron Menzies Invaders From Mars 1953 or Ib Melchior’s The Angry Red Planet 1959 and Jack Arnold’s magnificent adaptation of Richard Matheson’s The Incredible Shrinking Man 1957.

angry red planet rat bat spider

The Angry Red Planet (1959) The Rat Bat Spider puppet monster!

Incredible Shrinking Man Grant Williams in the atomic cloud

Grant Williams sails into the radioactive mist in The Incredible Shrinking Man 1957

Invaders from Mars awake from a dream

Invaders from Mars (1953) Jimmy Hunt awakens to a UFO crashing into the sand dunes

“To sleep perchance to dream”-Hamlet-William Shakespeare

This dream-scape is a visual masterpiece, with the appearance of the sublimely brilliant Finnish painter Hugo Simberg, ( I happen to get permission from The National Museum of Finland to use Simberg’s ‘At The Crossroads’ as the cover of my album Fools & Orphans) thanks to the art design by visionary William Cameron Menzies!

the surreal art design looks like a Hugo Simberg painting

A scene from Invaders from Mars (1953)

It is absolutely true about one thing— that it’s wholly complex to begin dissecting what makes a film solely and definitively Science Fiction and what constitutes it being a hybridization of horror & fantasy. There are way too many that fall right on the gray line that either exists in the middle or transects both themes at once.

The Tingler Vincent Price I"m stuck on you

Vincent Price can’t get that pesky Tingler off his arm in William Castle’s terrific horror/sci-fi extravaganza equip with buzzing chairs-The Tingler (1959)

For example, I am covering William Castle’s The Tingler 1959, because, while the central terror surrounds a monstrous ‘horror movie themed monster’ a creeping fiend that lives inside us all and grips our spines the moment we are in abject fear, it is discovered by scientific and medical research. One could say the film is also a crime drama. There are too many nuances and parameters that intersect. James Whale’s adaptation of Mary Shelley’s Frankenstein 1931 is called a Monster movie by Universal and by fans of all generations. But it falls into the deep well of hybridization as so much of it focuses on the very philosophical questions around scientific hubris, the creation of human life and the question of god, ownership of one’s identity, and what is monstrous?

Boris Karloff as The monster

“A lot of science fiction films are also horror films in which monsters are spawned by scientific experiments, but not all horror films are science fiction, because science fiction does not deal in the supernatural. Science fiction takes place in the realm of the not-yet; supernatural horror films operate in the realm of the impossible.” — “Cult Science Fiction Films” by Welch Everman

The enormous influence that Science Fiction cinema had long-lasting effects on the advent of television. Just look at Rod Serling’s Fantasy/Sci-Fi anthology series which aired on CBS from 1959-1964. The show came in on the end of the decade. Stories that were infused by the themes of the 50s and set the tone for future decades to come. The Twilight Zone was groundbreaking and thought-provoking, dealing with issues of war, class, race, it was a socially conscious program that constantly tried to remind us of our humanity. The decade of 1950s Science Fiction also bled into the mindfulness of my favorite early 60s science fiction anthology series The Outer Limits.

Twilight Zone mr dingle martians

The Zanti Misfits

The Zanti Misfits-one of the many fabulous Outer Limits monsters!

There is nothing wrong with your television set. Do not attempt to adjust the picture. We are controlling transmission. If we wish to make it louder, we will bring up the volume. If we wish to make it softer, we will tune it to a whisper. We will control the horizontal. We will control the vertical. We can roll the image, make it flutter. We can change the focus to a soft blur or sharpen it to crystal clarity. For the next hour, sit quietly and we will control all that you see and hear. We repeat: there is nothing wrong with your television set. You are about to participate in a great adventure. You are about to experience the awe and mystery which reaches from the inner mind to – The Orwellian Control Voice from The Outer Limits anthology television series aired from 1963-1965.

Mark Jancovich writes “Again and again, the threats which distinguish 1950s horror
do not come from the past or even from the actions of a lone individual , but are associated with the processes of social development and modernization. In this period, it is the process of rationalization which is the threat, and in this way horror texts were at least as concerned with developments within American society as they were with threats from without… Here rationalization is understood as the process through which scientific – technical rationality is applied to the management of social, economic and cultural life…

… this new system of organization was seen by many as inherently totalitarian system which both created conformity and repressed dissent.”

the last man_on earth zombies

Vincent Price fights off zombies from a plague that wiped out most of the human race in Richard Matheson’s adapted screenplay from his story I Am Legen- The Last Man on Earth (1964)

The outsider narratives– were illustrated as contrasting and conflicting to accepted norms, we see this with Richard Matheson’s writing (I Am Legend which became Vincent Price’s agonizing journey as The Last Man on Earth 1964, and later The Omega Man 1971 and Jack Arnold’s films involving “the reoccurring preoccupation with alienation, isolation and estrangement” -Jancovich- seen in Creature From the Black Lagoon 1954 and The Incredible Shrinking Man 1957.

Creature Black Lagoon

Grant Williams protagonist Scott Carey becomes engulfed in a glittery mist of atomic dust particles in The Incredible Shrinking Man 1957 the film exudes anxiety of his diminishing masculinity by not only losing his literal size, his physical height but he loses his maleness as a husband and as a regular man. This estrangement become a journey of his eternal soul and it’s place in the vast unknown other-world.

grant small in the chair

Grant Williams is feeling ‘literally’ like such a small man.

shrinking sublime transcendance

There would be films that embrace the dystopia narratives, and curiosity with technical advancements like robots!

metropolis

Fritz Lang’s iconic robot in Metropolis (1927)

Forbidden Planet Robby Robot

Robby the Robot and Walter Pidgeon as Morbius in George Pal’s take on William Shakespeare’s The Tempest as Forbidden Planet 1956

These Science Fiction/Fantasy films have left a deep and abiding impression on so many of us. Whether you grew up actually seeing them for the very first time, or becoming a new fan who is excited to embrace the heart and soul of a genre that made you think beyond what if? Either way, Science Fiction is an exploration of our imaginations, both glorious and often terrifying but it’s a genre that is here to stay, and the 1950s in particular truly rang the alarm bell that is still reverberating today!

Added to the mix in many of these film favorites was the essential mechanism of ‘not being believed’ added to the fear and paranoia of the moment!

The Face of Paranoia

THE FACE OF PANIC_PARANOIA BODY SNATCHERS

Invasion Anxiety

tv3QQht

FEAR OF THE ATOMIC BOMB! The Atomic City 1952 trailer

I see you with my million eyes!

fly

Hey big fella got a light!

Godzilla King of the Monsters

The theremin ‘the dulcet tones’ that wavered throughout sci-fi and beyond!

clara rockmore theremin

‘The modern world’

1952

It’s intermission time! Head out to the snack bar for some 50s refreshments!

CapturFiles_1

LOST WORLDS AND SPACE TRAVEL

Destination Moon

destination_moon_poster_06

DestinationMoonLobbyCard

Directed by Irving Pichel and producer George Pal along with a screenplay by Robert Heinlein took a very documentary approach to the narrative and the landscapes. The film stars John Archer as Jim Barnes, Warner Anderson as Dr. Charles Cargraves, with Tom Powers and Dick Wesson. The film was a critical success an revived the Sci-Fi genre.

Destination Moon 1950 was an attempt to show a serious technical side to space travel. based on what science actually knew at the time. Actually it was in response to a spread that ran in Collier’s Magazine of series of paintings done by artist Chesley Bonastell of gleaming space craft.

Steven Spielberg had said of the picture, “DESTINATION MOON is a scientific attempt to create suspense based on no bad guys no villains and no aliens.

Similar to almost Apollo 13 (1995) or Marooned 1969)

George Lucas says “At the time it was a very provocative idea because nobody had ever seen anyone go to the moon.” 

Though it’s been called the precursor to 2001 Space Odyssey, Stanley Kubrick never admitted to having seen the movie. Which is highly possible, and given his genius we’ll take his word for it.
Destination Moon on the surface

In the midst of the Cold War, the film reflects America’s desire to conquer, and according to the generals in Destination Moon, the moon would be the ideal location for a strategic military base of operations. And thus the race for America to get there first. There’s also a conflict seen as there were those who would embrace the new technologies and those who saw the impending modernity as a threat or a ‘bad thing’.

Pichel and Pal wanted to situate this film farther away from the fantastical science fiction ‘soap opera’ serials of the 1930s. Physicists and astronomers were consulted in order to stay true to the realistic view Heinlein, Pichel and Pal desired as their vision of the future. They also used striking paintings by Chesley Bonestell to imagine the gorgeous lunar landscapes along with designer Ernest Fegte who create the realistic cratered look of the Moon.

destination-moon-1950--chesley-bonestell

Destination Moon gear

The film features the first lunar landing that was envisioned as realistic and not melodramatic or surreal. The crew led by actor John Archer manage to land on the Moon but they run out of fuel, that they seem doomed to be stranded. They lose all the excess weight in order to get the ship space worthy again, but till they are over the weight limit. In a noble act of courage and sacrifice Dick Wesson (Tom Powers) figures that he can remove his cumbersome pressure suit and re-enter the ship a lighter and better man in order to save the rest of the crew…

destination-moon

Dr. Charles Cargraves: You can’t buck public opinion; I’ve tried. Have you seen this?
[Newspaper headline: MASS MEETING PROTESTS RADIOACTIVE ROCKET]
General Thayer: That isn’t public opinion – it’s a job of propaganda!
Jim Barnes: You’re almighty right it is. Manufactured and organized – with money and brains. Somebody’s out to get us.

The Flying Saucer

the flying saucer

The FLying Saucer 1950 saucer

Directed by Mikel Conrad, stars Mikel Conrad as Mike Trent, Pat Garrison as Vee Langley, Hantz von Teuffen as Hans, Lester Sharpeas Col. Marikoff Roy Engel as Dr. Carl Lawton and Denver Pile as Turner! Because we feared the Russians in the early 1950s much of the paranoia around UFO sightings were connected to those pesky Reds! When CIA secret agent Mike Trent tracks a flying saucer to Alaska he finds out that it is a ship built by scientist Dr. Carl Lawton who hopes to sell it to the Americans!

The Flying Saucer screaming woman 1

The Flying Saucer 1950

1950-flying-saucer-pat-garrison-mikel-conrad

the flying-saucer-1950--pat-garrison-mikel-conrad

Pat Garrison and Mikel Conrad-50s cool!

Col. Marikoff: Mr. Trent, you’re giving us a great deal of trouble. Why didn’t you stay in New York with your drunken friends of the night club?

Mike Trent: I sobered up.

Prehistoric Women

prehistoric_women_1950_poster_02

Laurette Luez

Laurette Luez as Tigri

prehistoric_women_1966_Martine Beswick

Prehistoric Women would find a resurgence in the 60s! Here’s British actress Martine Beswick in the 1966 movie with the same title!

Prehistoric Women (1950) Directed by Gregg C. Tallas Shown from left: Jo Carroll Dennison, Joan Shawlee, Laurette Luez, Kerry Vaughn, Mara Lynn (bending over), Judy Landon
Prehistoric Women (1950)
Directed by Gregg C. Tallas
Shown from left: Jo Carroll Dennison, Joan Shawlee, Laurette Luez, Kerry Vaughn, Mara Lynn
(bending over), Judy Landon

Directed by Gregg  C. Tallas, (Siren of Atlantas 1949) offers an adventure sci-fi fantasy film. Prehistoric Women stars Laurette Luez as Tigri, Allan Nixon as (Mesa of Lost Women 1953, Pickup 1951) Engor, Joan Shawlee as Lotee, Judy Landon as Eras, Mary Lynn as Arva, Jo Carroll Dennison as Nika, Kerry Vaughn as Tulie, Tony Devlin as Rulg, James Summers as Adh, Jeanne Sorel as Tana, and Janet Scott as Wise Old Lady.

As Bill Warren puts it in his wonderful series Keep Watching the Skies published by the awesome McFarland Press-Prehistoric Women “Were this picture not so naive, it would seem more sleazy than it does. It’s not good in any way, but has a certain daffy charm because of it’s unsophisticated unbelieveability.”

Prehistoric Women 1950 Engor and Tigir

Prehistoric Women Engor discovers fire

The Commentator:And Engor called it Firee, which was his word for Fire.”

The film is narrated documentary style because the cast are primitives who Amazonian cave-women and had little to no dialogue, it just adds to the laughable style and god awful Cinecolor production. I’d like to know how they got a turkey vulture to wear a mask poor thing, the film is so blurring it’s hard to tell what the hell is flying up in the prehistoric blue sky… scourge of the skies indeed! Still, prehistoric films, though considered mostly adventure stories seems to be included in books on the Sci-Fi genre. Though it could also easily be branded as a very cheap sexist exploitation romp!

Prehistoric Women 1950 the scourge of the skies

Look it’s a flying dragon the scourge of the skies!

Bill Warren cites a review from the Monthly Film Bulletin: “They assert feminine superiority ruthlessly, setting their captives to hard labour, clubbing them intermittently and cutting off their escape… {Engor-} (the intelligent troglodyte who invents fire) uses a flaming torch to destroy a giant winged dragon (a disguised turkey vulture they must have tortured off set by putting fake ears and beak on it) that threatens their encampment {and}the girls are stunned with fear and admiration and surrender unconditionally.”

Tigri and her clan hate men but realize that they are sort of needed for some things, so they capture a bunch of fellas and try to force them to become their mates. But when Engor, escapes and discovers fire gets re-captured and not only slays the “flying dragon the scourge of the skies” but uses the fire to fight off the ugly brute who threatens their lives Tigri has a change of heart and all is right with the primitive world again. The women start running around panicked and screaming hysterically and the men are once again in charge… it’s ludicrous.

This giant is a real 9 foot giant… named Guadi in the film is Johann Petursson The Viking Giant was the Tallest Man From Iceland and traveled with Ringling Bros. Circus!

CapturFiles

Prehistoric Women 1950

The Commentator: “Strangely enough, the swan dive was invented before the swan.

Rocketship-X-M

411035-science-fiction-rocketship-x-m-poster

123XMlobby-580x384

GASP AT THE DARING COURAGE… AS THEY THUNDER BETWEEN PLANETS ON A RUNAWAY ROCKET!

Directed by science fiction story aficionado Kurt Neumann ( Secret of the Blue Room 1933, Half a Sinner 1934, Island of Lost Men 1939, a slew of Johnny Weissmuller Tarzan pictures, She Devil 1957, the outstanding Kronos 1957, and The Fly 1958 ) Rocketship X-M stars Lloyd Bridges as Col. Floyd Graham, Osa Massen as Dr. Lisa Van Horn, John Emory as Dr. Karl Eckstrom, Noah Beery Jr. as Maj. William Corrigan, Hugh O’ Brian as Harry Chamberlain, Morris Ankrum as Dr. Ralph Fleming, and Sherry Morland as the Martian girl.

Cinematographer Karl Struss   (Sunrise 1927, The Great Dictator, 1940, Limelight 1952, The Fly 1958) and art direction by Theobold Holsopple create at times a sublime and beautifully desolate landscape using matte paintings, miniatures among the technical effects. For all the scenes on Mars, the film is tinted a pinkish sepia tone (filmed partly in The Mojave desert). Struss lenses an landscape that is eerie and atmospheric.

Rocketship X-M was a B picture designed to beat DESTINATION MOON in the movie theaters, and even with it’s grim ending, it actually did better at the box office. Director James Cameron called it an ‘Anodyne answer to Destination Moon 1950.’ It was a cautionary tale about how we will not be able to control this new technology. It’s a warning about too much hubris surrounding this powerful technology that sometimes ‘precedes a tragic fall’-Mark Hamill.

The crew finds the remnants of a Martian Civilization that was destroyed by it’s own technology much like the revelation in Ridley Scott’s Alien 1979.

The film though with it’s bleak message is quite a surprisingly interesting science fiction tale about a trip to the moon, by way of Mars that is interesting because of it’s earnestness and visual style. And to be honest a lot more interesting and characters more full of life than with it’s predecessor in 1950 Destination Moon.

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

Rocketship XM Osa and Lloyd and deep thoughts

Rocketship XM the crew inside their ship

rocketship-x-m on Mars

Rocketship XM the crew investigates the landcape

Rocketship X-M sepia exploring

Rocketship X-M

German director Neumann came to Hollywood in 1925 and became best known for his work on The Fly. (1958) Rocketship X-M is a sober and beautifully filmed piece of science fiction realism blended with romance and crisis. Like Destination Moon ,it features the first manned rocket-ship to the Moon that winds up knocked off course winding up on Mars, stranded on the bleak landscape where the crew led by Dr. Karl Eckstrom stumble upon a dome-shaped structure and an odd metallic mask. They deduce from all the radioactivity that there must have been a superior race of intelligent beings who had once inhabited the planet but fell victim to some kind of atomic catastrophe, leaving only a few mutant savages to forage the bones of the now desolate planet.

Rocketship XM the surving race

These crazy looking bald Martians sort of remind me of Pluto in The Hills Have Eyes 1977

Rocketship XM attacked by the Martian savages

The crew is eventually besieged upon by the remains of that once thriving Martian race, which in a shocking reveal shows Sherry Moreland the Martian girl to have a lifeless stare as she is blind. The Martian trogldyte attackers kill Dr.Eckstrom, and Maj. Corrigan, wounding Chamberlain. Col. Floyd Graham and Dr. Lisa Van Horn make it back to the ship, but don’t have enough fuel to get back home. In a very intense and poignant scene as the two hold each other and embrace their inevitable fate with a transcendent fatalistic sense of hope, much like Grant Williams at the end of The Incredible Shrinking Man, the lovers watch through the view finder as they plunge toward Earth to their deaths, in a darker film ending– as they crash. Rocketship X-M seems to have brought the warning not to earth in the form of Klaatu the benevolent, but has placed us on a hostile planet much like Planet of the Apes that gravely warns us that our future could very well wind up the same way if we pursue atomic weapons.

Rocketship XM the Crash landing

Lloyd Bridges holds Osa Massen It ends badly for everyone. As they look out the porthole “it’s only seconds now, try not to be afraid” She clings to him-Suddenly she is not afraid anymore. She feels like something is lifting them up and holding them right before they crash…

Osa Massen sees her tragic end as a new beginning she sheds her fears and finds a courageous way to embrace their impending death. It’s a rather poetic scene when they hold each other and look out at the view finder and watch as life rapidly escapes them. It’s a very dark ending.

Doomed to crash and burn Floyd and Lisa cannot control the technology. There is a conflict with the machines and mechanisms we build that can either annihilate  us or set us free to explore and thrive.

‘Their last desperate hope is for transcendence”

ROCKETSHIP X-M — Director John Cameron calls it a ‘dualistic dance’ with technology -referring to the end being so nihilistic potentially– then the head of the program says they’ll start construction tomorrow.

Already on Earth they are planning another mission called Rocketship X-M2!

Rocketship XM no gentlemen the X-M was not a failure tomorrow we start on the construction of the X-M2

PROGRESS MARCHES ON-“No gentlemen the X-M was not a failure tomorrow we start on the construction of the X-M2”

 

Floyd: I’ve been wondering, how did a girl like you get mixed up in a thing like this in the first place.

Dr. Lisa Van Horn: I suppose you think that women should only cook and sew and bear children.

Floyd: Isn’t that enough?

[Floyd and Lisa comfort Eckstrom, who was mortally wounded by a Martian’s axe]

Floyd: Murdering savages!

Dr. Eckstrom: No Floyd. Poor fear-crazed despairing wretches. Pity them. Pity them!

STAY TUNED FOR MORE-coming up! 🚀 The Year is:

CapturFiles_2

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

Save

25 Silent and Classic Female Film Characters Who Didn’t Give A Damn!

giphy-4
Brigitte Helm as Maria/The Machine Man in Metropolis (1927)

anti-damsel-banner

She’s coming! The Anti-Damsel Blogathon August 15 & 16, 2015. Hosted by Movies Silently and The Last Drive in…

This post is a collaboration between Fritzi of Movies Silently and me, Joey, here on the Last Drive In.

We offer you a spirited sampling of totally empowered, take-the-reigns film characters who were anything but damsels in distress!  

Ambassador's-Daughter
1. Helen (Miriam Nesbitt) in The Ambassador’s Daughter (1913)

1. Helen (Miriam Nesbitt) in The Ambassador’s Daughter (1913): This short film from Thomas Edison’s motion picture studio features espionage and a quick-thinking heroine. She tracks down spies at the embassy, follows her suspect and manages to steal back the documents that he purloined from her father. Not at all bad for a film made seven years before the Nineteenth Amendment was ratified.

Helen Lass of the Lumberlands
2. Helen (Helen Holmes) in A Lass of the Lumberlands (1916)

2. Helen (Helen Holmes) in A Lass of the Lumberlands (1916): Helen Holmes was an action star who specialized in train-related stunts and adventure. In this 1916 serial, she saves the day on numerous occasions and even saves her love interest from peril on the train tracks. (It should be mentioned that the Victorian “woman tied to the train tracks” cliche was incredibly rare and usually treated with ridicule in silent films.) This is another movie that is missing and presumed lost.

Musidora Judex
3. Diana Monti (Musidora) in Judex (1916)

3. Diana Monti (Musidora) in Judex (1916): Not all the empowered women in classic film were heroines. In the case of Musidora, her most famous roles were as criminals. She was the deadly thief/hit-woman Irma Vep in Les Vampires and then took on the titular caped crusader in Judex. Smart, stealthy and likely to slip a stiletto between the ribs… in short, a woman not to be trifled with.

Ossi The Doll
4. Ossi (Ossi Oswalda) in The Doll (1919)

4. Ossi (Ossi Oswalda) in The Doll (1919): Ernst Lubitsch featured another feisty heroine in this surreal comedy. Our hero wishes to dodge marriage but cannot gain his inheritance without a bride. A plan! He will buy a lifelike doll from a famous toymaker and marry that. What he doesn’t know is that the doll was broken, the toymaker’s daughter has taken its place and she means to teach the reluctant bridegroom a lesson. Oswalda’s mischievous antics are a delight.

Miss Lulu Bett
5. Lulu (Lois Wilson) in Miss Lulu Bett (1921)

5. Lulu (Lois Wilson) in Miss Lulu Bett (1921): Independent women weren’t always given to violence and thievery. In the case of Lulu, she is a single woman trapped in two Victorian social conventions: spinster and poor relation. During the course of the film, she rejects both titles, learns her own self-worth and empowers herself to enter into a healthy relationship with the local schoolmaster. Tasty feminism!

Rischka Wildcat
6. Rischka (Pola Negri) in The Wildcat (1921)

6. Rischka (Pola Negri) in The Wildcat (1921): Ernst Lubitsch’s hyperactive Dr. Seussian comedy is worth seeing for the sets alone but the best part is Pola Negri’s Rischka, a young bandit queen who is terrorizing the mountains. She meets the local Lothario during a robbery and by the end of the scene she has stolen his heart. And his pants.

Countess A Woman of the World
7. The Countess (Pola Negri) in A Woman of the World (1925)

7. The Countess (Pola Negri) in A Woman of the World (1925): Anyone who thought going to Hollywood would tame Pola Negri’s wild side had another thing coming. In this film, she plays a countess whose skull tattoo causes an uproar in Anytown, USA. The film also features a romance between Negri and the stuffy local prosecutor, who soon finds himself on the receiving end of her bullwhip. Not a metaphor.

Catherine The Eagle
8. Catherine the Great (Louise Dresser) in The Eagle (1925)

8. Catherine the Great (Louise Dresser) in The Eagle (1925): Rudolph Valentino specialized in aggressive wooing but he finds the shoe on the other foot in this Russian romance. Louise Dresser is a kick as the assertive czarina who knows what she likes and goes for it.

Cornelia The Bat
9. Cornelia Van Gorder (Emily Fitzroy) in The Bat (1926)

9. Cornelia Van Gorder (Emily Fitzroy) in The Bat (1926): It’s a dark and stormy night and a murderous costumed villain means to recover stolen loot in an isolated mansion. What is an elderly woman to do? Take up her trusty pistol and investigate, of course! She also wields a dry wit and keeps cool under pressure. The Bat doesn’t stand a chance.

Eves Leaves
10. Eve (Leatrice Joy) in Eve’s Leaves (1926)

10. Eve (Leatrice Joy) in Eve’s Leaves (1926): Another gender reversal comedy, Eve’s Leaves features twenties fashion icon Leatrice Joy as a tomboy sailor who finds the perfect man while ashore on business. She ends up saving the day– and her favorite dude in distress– through quick thinking, a knowledge of knots and a mean right hook.

Molly (Mary Pickford) in Sparrows (1926)
11. Molly (Mary Pickford) in Sparrows (1926)

11. Molly (Mary Pickford) in Sparrows (1926): Mary Pickford was America’s Sweetheart during the silent era and audiences adored her fearless heroines. Molly is one of her boldest. She’s an orphan raised in a Southern swamp who must rescue a kidnapped infant. The epic final race across the swamps– complete with alligators– is still harrowing to behold.

She's-a-Sheik
12. Zaida (Bebe Daniels) in She’s a Sheik (1927)

12. Zaida (Bebe Daniels) in She’s a Sheik (1927): Silent movie audiences enjoyed reversals of gender tropes. The Rudolph Valentino vehicle The Sheik (1921) had been a smash hit and had spawned many rip-offs and parodies. (kidnapping + love = box office success!) In this case, a warrior princess falls for a French officer and decides the most sensible course of action is to abduct him for the purpose of marriage. Sadly, this comedy seems to be one of many silent films that is missing and presumed lost.

Dorothy Mckaill Safe in Hell
12. Gilda Carson-Erickson (Dorothy Mackaill) Safe in Hell (1931 pre-code

13. Gilda Carson/Erickson (Dorothy Mackaill) Safe in Hell (1931): Gilda is a complex cigarette smoking call girl who is laid back about her status as a working girl. When a friend calls her up to meet a guy whose wife is out of town she tells her “Okay, I’ll go right into my dance.” When Gilda is accused of murdering the man who rapes her, she flees New Orleans and seeks refuge in the Caribbean. But even there she is surrounded and must fend off criminals and sleaze balls especially the local police chief who threatens her freedom. On and off the screen actress Dorothy Mackaill pushed against the boundaries of virtue and stirred up a lot of social-incorrectness.

“Who has the good times, the swell clothes, the excitements… We do! And not because we’re portrayed as nice girls, no! because we’re smoking, drinking, dancing and being made love to.”

CapturFiles
13. The Bride (Elsa Lanchester) Bride of Frankenstein (1935)

14. The Bride (Elsa Lanchester) Bride of Frankenstein (1935): The Bride might be one of the first screen woman to rabidly defy an arranged/deranged marriage. She’s iconic,  memorable and filled with glorious hiss!.. because The Bride may have come into this world in an unorthodox way, but she’ll be damned if any man is going to tell her who to love! Elsa Lanchester manifested The Bride with a keen sense of fearsome independence. No matter whether the Monster demands a Mate, The Bride isn’t ready and willing. Lanchester always took daring roles that were larger than life because she had a way of dancing around the edges of Hollywood convention. Charming, hilarious and downright adorable even with the wicked lightning struck hair and stitches and deathly pale skin!

“Hiss…Scream….”

Annex - Russell, Rosalind (His Girl Friday)_01
15. Hildy Johnson (Rosalind Russell) in His Gal Friday (1940)

15. Hildy Johnson (Rosalind Russell) in His Gal Friday (1940): Hildy is a hard-bitten reporter for New York City’s The Morning Post. She’s just gotten back from Reno to a get a divorce from her louse of a husband who happens to also be her boss Walter Burns (Cary Grant). Hildy’s anxious to break ties with her manipulative ex-husband who just isn’t ready to let her leave the job or their marriage so she can marry straight-laced Bruce (Ralph Bellamy)… and he’ll do so by any means. But she’s nobody’s fool… and if she stays it’s because she’s made up her mind to embrace Walter’s crazy antics…
Hildy [to Walter]: “Now, get this, you double-crossing chimpanzee: There ain’t going to be any interview and there ain’t going to be any story. And that certified check of yours is leaving with me in twenty minutes. I wouldn’t cover the burning of Rome for you if they were just lighting it up. If I ever lay my two eyes on you again, I’m gonna walk right up to you and hammer on that monkeyed skull of yours ’til it rings like a Chinese gong!” 

shadow-of-a-doubt-joseph-cotten-teresa-wright-strangling-1943
16. Charlie (Teresa Wright), in Shadow of a Doubt (1943)

16. Charlie (Teresa Wright), in Shadow of a Doubt (1943): Charlie is tired of small-town life with her parents and annoying younger sister. She’s a longing for something exciting to happen, &  overwhelmed with joy when her beloved Uncle Charlie (Joseph Cotton) decides to pay the family a visit. But something isn’t quite right with her idol, he begins to exhibit a strange sort of underlying hostility and troubling secret nature… Her mother’s younger brother is actually a sadistic serial killer who preys on rich widows by marrying them, then strangling them! But young Charlie begins to see through his facade. She may be a girl who indulges in romantic fantasy she’s got a strong resource for self preservation and since no one else in the family believes her suspicions that he’s The Merry Widow killer. And she might just have to wind up killing him in self-defense…

“Go away, I’m warning you. Go away or I’ll kill you myself. See… that’s the way I feel about you.”

Double Indemnity
17. Phyllis Dietrichson (Barbara Stanwyck) Double Indemnity (1944)

17. Phyllis Dietrichson (Barbara Stanwyck) Double Indemnity (1944): set fire to the screen as one of the most seductive femme fatales— a dame who made sunglasses and ankle bracelets a provocative weapon. She had murder on her mind and was just brazen enough to concoct an insurance scam that will pay off on her husbands murder in Double Indemnity (1944). Walter Neff (Fred MacMurray) is the insurance guy who comes around and winds up falling under her dangerous spell…
Walter: “You’ll be here too?”
Phyllis: “ I guess so, I usually am.”
Walter: “Same chair, same perfume, same ankle?”
Phyllis:  “I wonder if I know what you mean?”
Walter: “
I wonder if you wonder?”

Tallulah Lifeboat
18. Constance Porter (Tallulah Bankhead) in Lifeboat 1944.

18. Constance Porter (Tallulah Bankhead) in Lifeboat (1944): It’s WWII and Connie is a smart-talking international journalist who’s stranded in the middle of the Atlantic ocean with an ensemble of paranoid and desperate survivors. Eventually her fur coat comes off, her diamond bracelet and expensive camera gets tossed in the sea. But she doesn’t give a damn, she can take the punishment and still attract the hunky and shirtless (yum) John Kodiak… survival’s just a state of mind… and she does it with vigor and class and a cool calm! 

“Dying together’s even more personal than living together.” 

Bette as Margo Channing in All About Eve
19. Margo Channing (Bette Davis) All About Eve (1950)

19. Margo Channing (Bette Davis) All About Eve (1950): In all Bette Davis’ films like (Jezebel (1938) Dark Victory (1939) The Letter (1940) Now, Voyager (1942)), she shattered the stereotypes of the helpless female woman in peril. Davis had an unwavering strength, fearlessly taking on the Hollywood system and embracing fully the moody roles that weren’t always ‘attractive.’  Davis made her comeback in 1950, perhaps melding a bit of her own story as an aging star in All About Eve. Margo must fend off a predatory aspiring actress (Anne Baxter as Eve Harrington) who insinuates herself into Margo’s territory. Davis’ manifests the persona of ambition and betrayal which have become epic… 

“Fasten your seat belts, it’s going to be a bumpy night.” 

night-of-the-hunter
20. Rachel Cooper (Lillian Gish) in Night of the Hunter (1955)

20. Rachel Cooper (Lillian Gish) in Night of the Hunter (1955): There are certain images that will remain with you long after seeing masterpieces like Night of the Hunter. Aside from the frightening portrayal of an opportunistic sociopath, the film is like a childhood fairy tale. It’s a cautionary tale about the boogeyman but it’s also a story about the resilient spirit and far reaching imagination of children, and those who are their guardian angels of the world. One of the most calming and fortifying images is that of Rachel Cooper (Lillian Gish) protecting the children from harm, holding a rifle and keeping watch like a wonderful fairy god mother elected to guard those little ones with her powerful brand of love… There’s just something about Gish’s graceful power that emanates from the righteous Rachel Cooper….

“It’s a hard world for little things.”

The Rose Tattoo

21. Serafina Delle Rose (Anna Magnani) in The Rose Tattoo (1955) As the tagline states ‘Seething with realism and frankness!” Magnani’s her passionate soul is up front, on her face, and in her movements. Like a wild animal she moves so freely as Serafina, who is perpetual grieving widow filled with fire. Serafina, a seamstress in a small New Orleans town, still mourns her dead husband Rosario Delle Rose (who had a rose tattoo on his chest) as if he were a saint, even after he was killed by police for smuggling drugs for the mafia. Burt Lancaster’s bigger-than-life presence comes her way bringing about lighthearted romance.

Serafina honors an older world of ancient feminine magic and empowerment), so the local Strega (or witch) with her wandering goat, and the town full of wives and gossips who stare and judge, cackling with unkind insults, forces Serafina to fight for every last bit of dignity. Once she learns her dead husband was having an affair, the spell that imprisoned her with mourning breaks and she awakens to celebrate life once again. She is stubborn, passionate, and she has a strength that commands the birds out of the trees.

Serafina: “We are Sicilians. We don’t leave girls with the boys they’re not engaged to!”
Jack: “Mrs Delle Rose this is the United States.”
Serafina “But we are Sicilians, and we are not cold-blooded!”

Anna Lucasta (1958) | Pers: Eartha Kitt, Sammy Davis Jr | Dir: Arnold Laven | Ref: ANN040AE | Photo Credit: [ United Artists / The Kobal Collection ] | Editorial use only related to cinema, television and personalities. Not for cover use, advertising or fictional works without specific prior agreement
22. Anna Lucasta (Eartha Kitt) in Anna Lucasta (1958)
22. Anna Lucasta (Eartha Kitt) in Anna Lucasta (1958): Young Anna is rejected by her sanctimonious father Joe played to the hilt by Rex Ingram. While the rest of the family wants Anna to come home, her self-righteous father can’t resist demonizing his daughter, with an underlying incestuous desire that he is battling. Anna takes the cliched road of the fallen woman and becomes a good time gal who meets Danny (Sammy Davis Jr.) a cab driving sailor who is as smooth as silk and as fiery as molten lead. Though there is an underlying sadness because of the estrangement with her father, Anna possesses a strong sense of self, and exudes a fiery passion that cannot be denied… She isn’t a bad girl, she had to find her own way and again, it often leads to taking control of who you love and how you love. She and Sammy have a smoking hot chemistry on screen, and Kitt is a powerful woman who made that road her own…

Danny: “Tell her who Papa is” (Papa is a little carved wooden Haitian idol)
Lester: “That’s the model of Agwé the Haitian god of the sea. Seems he’s good to sailors.”
Anna: “Looks like Papa and me’s got something in common…”

kiss1
23. Kelly (Constance Towers) in The Naked Kiss (1964)

23. Kelly (Constance Towers) in The Naked Kiss (1964): The opening of the film is one of the most audacious entrances in early exploitation cinema as Kelly confronts her pimp who has shaved off her hair and stolen her money. She brutally pummels the rat with her handbag. Stripped of her hair, looking like a mannequin (signifying her as an ‘object’), ahe is introduced to us as a fighter. She manages to fit in to her quaint new town of Granville until the perverse secret about the Granville’s benefactor is exposed. Kelly stumbles onto Grant’s (Michael Dante) dark secret that ultimately explodes in scandal.

Kelly is persecuted by local cop Griff (Anthony Eisley), who assumes she’s still a prostitute. Griff tells Kelly that it’s a “clean town” and he doesn’t want her operating there, although he isn’t adverse to taking Kelly to bed himself or frequenting Madame Candy’s (Virginia Gray) high class “cat house’ acting like he’s above reproach. But Kelly wants out of the business. She takes a job at a children’s hospital and brings joy and a special brand of love. Grant woos her, but before they reach their wedding day, Kelly stumbles onto Griff’s deviant secret and winds up accused of his murder. The story is a mine field of social criticisms and hypocrisy. Kelly initially starts out as the ‘whore’ of the story; as the one who needs redemption. But it’s the town that must be redeemed of it is jaundiced complacency. Kelly is a powerful protagonist, because she kicks down hypocrisy and judgement, shattering the limitations that are placed on women. In the end she no longer is labeled or objectified or persecuted. She is embraced as a savior, a heroine who becomes the catalyst for cleansing the ‘white middle-class’ town of it’s hypocrisy…

“I washed my face clean the morning I woke up in your bedroom!”

rosemarysbaby

24. Rosemary Woodhouse (Mia Farrow) in Rosemary’s Baby (1968): Rosemary has a fearless defiance in an ordinary world that becomes an unsafe space of paranoia. Aside from guarding her body and motherhood against intruders, Rosemary has an open mind, a delicate brand of kindness although troubled by a catholic upbringing that haunts her, she is still ‘too good’ and too independent to taint. She winds up taking life and the life of her baby on her own terms. Mia Farrow’s Rosemary Woodhouse is an indomitable image of striking resiliency. A heroine who takes on an entire secretive cult of devil worshipers entrenched in the high society of NYC. That takes a lot of guts, people!… And Ruth Gordon is a meddling old New York busybody who just happens to be a modern day witch. As Minnie Castavets she does what she wants. She is empowered with her quirky style and her beliefs, as wicked as they may be…And her wardrobe is bold, kitschy, and fabulous!
“Pain, begone, I will have no more of thee!”

Moreau Bride Wore Black

25. Julie Kohler (Jeanne Moreau) in The Bride Wore Black (1968): Julie Kohler is on a mission of revenge for the men who accidentally shot her husband on their wedding day outside the church. Julie has a maniacal almost macabre sort of presentation to her theater of revenge, she moves through the film with the ease of a scorpion. But there’s dark humor and irony running through, like a good mystery thriller. Julie is a captivating figure of sadness and passion put out at the height of it’s flame. Once passion for her late husband, and now passion for revenge. It’s playful and sexy and Moreau is utterly brilliant as the resourceful Julie Kolher. She creates a satirically dire and elaborate, and slightly Grande Guignol adventure of a vengeful woman on a crusade to exact poetic justice where the system has failed.

Coral: “Permit me to make an impossible wish?”
Julie: “Why impossible?”
Coral: “Because I’m a rather pessimist.”
Julie: “I’ve heard it said: There are no optimists or pessimists. There are only happy idiots or unhappy ones.”

16704

Here’s to those Empowered Women of Silent & Classic Film! — Your Ever-Lovin’ Joey 

A Very Ghoulish & Giffy Halloween from your ever lovin’ MonsterGirl!

giphy oz

tumblr_ms3v9hcuO81qirxojo1_500

tumblr_mdoev8IrjP1rhvtaoo1_500

giphy-4

original-4 copy

giphy-5

giphy-6

giphy-9

tumblr_n9jlf3GkDx1tyfqs1o1_250

invisible-man-reveal-o

tumblr_m02wo3jvbG1qc6jkio2_500

tumblr_mlmcbj0wDs1rpduwho1_500

anigif_enhanced-buzz-12548-1368027116-8

giphy-4

cabiniet-of-dr-cailgari-animated-gif-the-bedroom-attack

200

giphy-12

giphy-2

giphy-3

original copy

200-1

giphy-8

giphy-10

giphy-1

giphy-9

giphy-7

black-sabbath-gif-1

giphy-13

giphy-6

KongGif2.gif.CROP.original-original

haunting1

original-2

200

giphy-11

05d5cdd77d6ad3e2_Halloween

clown-film-horror-it-scary-Favim.com-235328_large

giphy-5

The-Exorcist-horror-movies-31497640-500-400

tumblr_inline_mfngm8VxSI1rpg4kv

tumblr_lhylozyWAb1qcay1ao1_500

night+of+the+demon+reach+out

tumblr_lnttdw3iy01qhad67o1_500

tumblr_lrws2su2un1qkyz1oo1_500

tumblr_lswbx8TUq31qg39ewo1_500

tumblr_lxmcbqLgzL1qg6rkio1_500 copy

tumblr_m4ottdDr9i1qg39ewo1_500

tumblr_m9t2pj0a2h1rdcooio1_500

tumblr_m94hifvJfN1rdq2opo1_500

tumblr_motwve2cAj1snnccgo1_500

tumblr_mcqb2z94Bo1qg39ewo1_500

tumblr_mhku5rtRo41r9x1oyo1_400

tumblr_mgiape17rV1qc2bleo1_500

tumblr_mcpayzTmW31rezildo1_1280

THANKS TO RETRO-FIEND FOR ALL THE SKIN-CRAWLING GIFS!!!!!

 BE SAFE AND HERE’S WISHING YOU A SPOOKTACULAR HALLOWEEN FROM THE LAST DRIVE IN…!!!!!!

Postcards From Shadowland: Huge Halloween Edition! 2013

09_metropolis_workers
Metropolis 1927
earth vs the flying saucers
Earth vs the Flying Saucers 1956
uninvited_610
The Uninvited 1944
Bedlam
Bedlam 1946
103-MadMonster4
The Mad Monster 1942
masque-du-demon-1960-15-g
Black Sunday 1960
Annex - Veidt, Conrad (Cabinet of Dr. Caligari)_01
The Cabinet of Dr. Caligari 1920
Tales From the Crypt
Tales from the Crypt 1972
1941_Wolfman_img5
The Wolf Man 1941
a NightMonster2
Night Monster 1942
Bela Island of Lost Souls
Island of Lost Souls 1932
carnival-of-souls
Carnival of Souls 1962
Annex - Chaney Jr., Lon (Frankenstein Meets the Wolf Man)_05
Frankenstein Meets the Wolf Man 1943
Annex - Chaney Sr., Lon (Hunchback of Notre Dame, The)_01
The Hunchback of Notre Dame 1939
Annex - Chaney Sr., Lon (London After Midnight)_05
London After Midnight  1927
Abbott & Costello Meet Frankenstein
Abbott & Costello Meet Frankenstein 1948
Annex - Chaney Sr., Lon (West of Zanzibar)_02
West of Zanzibar 1928
una O'Connor
The Invisible Man 1933
Annex - Cushing, Peter (Daleks' Invasion Earth - 2150 A.D.)_02
Daleks’ Invasion Earth -2150 A.D. (1966)
The Man from Planet X
The Man from Planet X (1951)
Annex - Karloff, Boris (Bride of Frankenstein, The)_05 2
The Bride of Frankenstein 1935
Chaney in the unknown
The Unknown 1927
amityville_horror
The Amityville Horror 1979
Annex - Karloff, Boris (Man They Could Not Hang, The)_NRFPT_03
The Man They Could Not Hang 1939
Corridors of Blood
Corridors of Blood 1958
Annex - Krauss, Werner (Cabinet of Dr. Caligari, The)_01
The Cabinet of Dr. Caligari 1920
Annex - Lugosi, Bela (Ape Man, The)_01
The Ape Man 1943
Annex - Lugosi, Bela (Chandu the Magician)_01
Chandu the Magician 1932
time-of-their-lives
The Time of Their Lives 1946
Annex - Lugosi, Bela (Ghost of Frankenstein, The)_01
The Ghost of Frankenstein 1942
Invisible-Man
The Invisible Man 1933
Annex - Lugosi, Bela (Raven, The)_03
The Raven 1935
Annex - Churchill, Marguerite (Dracula's Daughter)_02
Dracula’s Daughter 1936
bloody-mama
Bloody Mama 1970
Annex - Lugosi, Bela (Son of Frankenstein)_02
Son of Frankenstein 1939
Annex - Lugosi, Bela (White Zombie)_01
White Zombie 1932
Annex - Marshall, Tully (Cat and the Canary, The)_01
The Cat and the Canary 1927
Annex - Naish, J. Carrol (Dr. Renault's Secret)_NRFPT_02
Dr. Renault’s Secret 1942
black sunday
Black Sunday 1960
Kill Baby Kill
Kill Baby Kill 1966
Annex - Price, Vincent (Abominable Dr. Phibes, The)_01
The Abominable Dr. Phibes 1971
Bela-Dracula_04
Dracula 1931
Annex - Price, Vincent (Dragonwyck)_01
Dragonwyck 1946
Annex - Price, Vincent (House of Wax)_01
House of Wax 1953
Annex - Price, Vincent (Raven, The)_01
The Raven 1963
Dracula's+Daughter
Dracula’s Daughter 1936
Annex - Rathbone, Basil (Adventures of Sherlock Holmes, The)_01
The Adventures of Sherlock Holmes 1939
annex-karloffborisbrideoffrankensteinthe_03
the Bride of Frankenstein 1935
Beauty and Beast
Beauty and the Beast 1946
shrinking man
The Incredible Shrinking Man 1957
32093_Invasion-of-the-body-Snatchers-1
Invasion of the Body Snatchers 1956
tarantula
Tarantula 1955
village-of-the-damned-original
Village of the Damned 1960
catandcarary2
Cat and the Canary 1927

Bates Motel sign

silent-night-bloody-night
Silent Night, Bloody Night 1972
Freaks wedding-feast
Freaks 1932
west-of-zanzibar
West of Zanzibar
Chaney He Who Gets Slapped
He Who Gets Slapped 1924
Family Plot Karen Black RIP
Family Plot 1976  (rip Karen Black)
Curse-of-the-Demon-5
Curse of the Demon 1957
Devil_Girl_From_Mars03
Devil Girl From Mars 1954
Doctor Cyclops still
Dr Cyclops 1940
evelyn-venable-doubleWeb
Double Door 1934
rosemarys-baby-1968-
Rosemary’s Baby 1968
barbara-steele-and-vincent-price-pit-and-pendulum
Pit and the Pendulum 1961
experiment-in-terror
Experiment in Terror 1962
eyeswoaface
Eyes Without a Face 1960
demon fireball its in the trees
Curse of the Demon 1957
a behemoth PDVD_000
The Giant Behemoth 1959
frankenstein bride Mae Clarke
The Bride of Frankenstein 1935
ghost-of-frankenstein
The Ghost of Frankenstein 1942
haunted_palace_23
The Haunted Palace 1963
night of the demon true believers
Curse of the Demon 1957
he_who_gets_slapped
He Who Gets Slapped 1924
Hitchcock's Blackmail
Blackmail 1929
House on Haunted HIll -Nora-Mrs.Slydes
House on Haunted Hill 1959
house
House of Frankenstein 1944
images
The Haunting 1963
Night of the Living Dead
Night of the Living Dead 1968
Island of Lost Souls
Island of Lost Souls 1932
Metrópolis
Metrópolis 1927
it-came-from-beneath-the-sea
It Came From Beneath the Sea 1955
The-Crawling-Eye
The Crawling Eye 1958
itcamealien2
It Came from Outer Space 1953
it-came-from-outer-space-07
It Came from Outer Space 1953
Lifeboat
Lifeboat 1944
lionelatwill8
Man Made Monster 1941
Lon Chaney in The Monster
The Monster 1925
Murnau's Faust 3
Faust 1926
night-demon-macginnis
Curse of the Demon 1957
NightMonster1
Night Monster 1942
Poster - Day the Earth Stood Still, The_30
The Day the Earth Stood Still 1951
r2 d2  4The Thing-0
The Thing from Another World 1951
The Devil Commands
The Devil Commands 1941
stepford wives
The Stepford Wives 1975
screaming-skull2
The Screaming Skull 1958
Smoking Frankenstein friends are good
the Bride of Frankenstein 1935
Swimming with Julie
The Creature from the Black Lagoon 1954
The Black Cat Karloff and dead wife
The Black Cat 1934
The Black Cat Ulmer Karloff & Lugosi
The Black Cat 1934
fly
The Fly 1958
The Ghost Ship Lewton
The Ghost Ship 1943
The Invisible Ray
The Invisible Ray 1936
the leopard man
The Leopard Man 1943
freaks
Freaks 1932
The Man They Could Not Hang Karloff in Lab
The Man They Could Not Hang 1939
The Man They Could Not Hang
The Man They Could Not Hang 1939
The Mummy Karloff
The Mummy 1932
psycho
Psycho 1960
The Thing From Another World
The Thing from Another World 1951
The-Mummys-Ghost
The Mummy’s’ Ghost 1944
the undying monster
The Undying Monster 1942
jane_eyre-
Jane Eyre 1943
The Woman Who Came Back
The Woman Who Came Back 1945
the-amazing-colossal-man-pic-4
the Amazing Colossal Man 1957
the-incredible-shrinking-man
The Incredible Shrinking Man 1957
the-seventh-seal-
The Seventh Seal 1957
The+Haunting
The Haunting 1963
The Devil Commands
The Devil Commands
thing-from-another-world-pic-3
The Thing From Another World 1951
UndyingMonster+%2836%29
The Undying Monster 1942
Unholy 3 Lon Chaney
The Unholy 3 (1925)
Vampyr
Vampyr 1932
I walk with a zombie
I Walked with a Zombie 1943
the exorcist
The Exorcist 1973
carnival-of-souls-
Carnival of Souls 1962
White Zombie
White Zombie 1932
Zita JohannIsland-of-Lost-Souls-3
Island of Lost Souls 1932
Zounds-Herman Munster
Munster, Go Home! 1966

Special appreciation for several of the fabulous images courtesy of Dr. Macros High Quality photos!

HAVE A VERY SAFE & HAPPY HALLOWEEN FROM YOUR EVERLOVIN’ MONSTERGIRL!!!!!!

Postcards From Shadowland No.13

Act of Violence
Act of Violence 1948 directed by Fred Zinnemann and starring Van Heflin, Robert Ryan and Janet Leigh
Chaney Hunchback
Lon Chaney in Victor Hugo’s The Hunchback of Notre Dame 1923
Baby Jane
What Ever Happened To Baby Jane? 1962 Directed by Robert Aldrich and starring Bette Davis and Joan Crawford
bedlam-1946-001-boris-karloff
Bedlam 1946 directed by Mark Robson Produced by Val Lewton and starring Boris Karloff and Anna Lee
Bette Davis in Dead-Ringer
Bette Davis and Bette Davis in Dead Ringer (1964) directed by Paul Henreid and co-starring Karl Malden and Peter Lawford
Blondell and Tyrone Nightmare Alley
Joan Blondell and Tyrone Power in Nightmare Alley 1947 written by Jules Furthman for the screen and directed by Edmund Goulding
CabinInTheSky
Cabin in the Sky 1943 directed by Vincente Minnelli and starring Lena Horne and Ethel Waters
crossfire postcards
Crossfire 1947 directed by Edward Dmytryk starring the Roberts- Robert Young, Robert Mitchum and Robert Ryan
Day the Earth Stood Still
The Day the Earth Stood Still 1951 directed by Robert Wise and starring Michael Rennie, Patricia Neal and Hugh Marlowe
Devil Commands
The Devil Commands 1941 directed by Edward Dmytryk and starring Boris Karloff and Anne Revere written for the screen by Robert Hardy Andrews
Title: OLD DARK HOUSE, THE (1932) • Pers: STUART, GLORIA • Year: 1932 • Dir: WHALE, JAMES • Ref: OLD005AA • Credit: [ UNIVERSAL / THE KOBAL COLLECTION ]
THE OLD DARK HOUSE, THE (1932) GLORIA STUART and BORIS KARLOFF Dir: JAMES WHALE
dr-jekyll-and-mr-hyde
Dr JEKYLL AND MR HYDE 1931starring Frederick March & Miriam Hopkins and directed by Rouben Mamoulian
Farley andThey Live By Night
They Live By Night starring Farley Granger and Cathy O’Donnell. Directed by Nicholas Ray
Fontaine and Anderson Rebecca
Joan Fontaine and Judith Anderson in Alfred Hitchcock’s Rebecca 1940
CapturFiles
Phantom of the Opera 1925 starring Lon Chaney and Mary Philbin
freaks
Tod Brownings Freaks 1932
Gloria Odds Against Tomorrow
Gloria Grahame Odds Against Tomorrow 1959 directed by Robert Wise
Josette Day Beauty
Josette Day in Cocteau’s Beauty and the Beast 1946
Judith Anderson Rebecca
Judith Anderson in Rebecca 1940
Leigh and Thaxter Act of Violence
Janet Leigh and Phyllis Thaxter in Act of Violence 1948
Louis Calhern Marlon Brando Julius Caesar 1953
Joseph L. Mankiewitz directs Louis Calhern & Marlon Brando in  Julius Caesar 1953
Ls metropolis
Fritz Langs’ Metropolis 1927
M castle's sardonicus
William Castle’s Mr Sardonicus 1961 Starring Guy Rolfe and Audrey Dalton
Maclean the children's hou
William Wyler directs Shirley McClaine in Lillian Hellman’s The Children’s Hour 1961co-starring Audrey Hepburn and James Garner
Mary Astor and Van Heflin Act of Violence
Mary Astor and Van Heflin Act of Violence 1948
Odds Against Tomorrow Shelley Winters and Robert Ryan
Odds Against Tomorrow Shelley Winters and Robert Ryan 1959
Peck in To Kill a Mockingbird
Gregory Peck in Robert Mulligan’s To Kill a Mockingbird 1962 written by Harper Lee with a screenplay by Horton Foote
Robert Ryan The Set-Up
Robert Ryan in Robert Wise’s The Set-Up 1949
Sam Fuller's The Naked Kiss, Constance Towers
Sam Fuller’s The Naked Kiss 1964 starring Constance Towers
Samson and Delilah-Hedy Lamarr
Cecil B DeMille’s Samson and Delilah 1949 -starring Hedy Lamarr and Victor Mature
Taylor and Jane Eyre
Robert Stevenson directed Bronte’s Jane Eyre 1943 starring a young Elizabeth Taylor and Peggy Ann Garner
The Children's Hour
The Children’s Hour Audrey Hepburn and Shirley MacLaine
The Haunting
Julie Harris and Claire Bloom in Robert Wise’s The Haunting 1963
the night_of_the_living_dead_3
George R