ūüöÄ “Keep watching the skies!” Science Fiction cinema of the 1950s- The year is 1951- Part 2

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CONTINUED!

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AND DON’T FORGET TO RE-VISIT THE FABULOUS CLASSIC MOVIE HISTORY PROJECT BLOGATHON 2016!

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Click Here for the original introduction to the series!

X MAN, trips to MARS, Lost Continents, Men in White Suits, the man in red silk underwear-SUPERMAN, a Super Intellectual Carrot– plus lots more!

Flight to Mars

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Flight to Mars _1951

Fligth to Mars 1951

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The Earthlings…

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The Martians…

Fifty Years Into The Future!–The Most Fantastic Expedition Ever Conceived by Man!

Director Lesley Selander with a screenplay by Arthur Strawn  (The Black Room 1935, The Man Who Lived Twice 1936) Selander it seems is more known for his work with westerns both on the big screen and television set. The film stars Marguerite Chapman as Alita, Cameron Mitchell as Steve Abbott, Arthur Franz as Dr. Jim Barker, Virginia Huston as Carol Stafford, John Litel as Dr. Lane, and Morris Ankrum as Ikron who became an incredibly familiar supportive player in many of these fantastic films of the 1950s, (Rocketship X-M 1950, Red Planet Mars 1952, Invaders from Mars 1953, Earth vs. the Flying Saucers 1956, Beginning of the End 1957, Kronos 1957, The Giant Claw 1957, Zombies of Mora Tau 1957, Half Human 1958 and How to Make a Monster 1958.)

With special effects and art direction by Edward S. Hayworth, Jack Cosgrove, and cited by Fantascene Irving Block (matte artist for Invaders from Mars 1953, Forbidden Planet 1956, Kronos 1957, The Giant Behemoth 1959) was responsible for the impressive design and over all look of the picture with cinematography by Harry Neumann (The Land of Missing Men 1930, Vanity Fair 1932, The Thirteenth Guest 1932, When Strangers Meet 1934, The Mysterious Mr. Wong 1939, The Fatal Hour 1940, Doomed to Die 1940, The Face of Marble 1946, The Maze 1953 in 3D!, A Bullet for Joey 1955, My Gun is Quick 1957, The Wasp Woman 1959)

Flight to Mars telescope

Flight to Mars 1951 lobby card color

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After the reception that Destination Moon and Rocketship X-M got at the box office it’s no big leap to see why there would follow a film like Flight to Mars (1951) though 1951 and the rest of the 1950s decade wasn’t more jam packed with other films that forayed into space voyage. What became more noticeable was that the aliens–came here! Most likely to to budgetary constraints filming on location on Earth seems to make a lot more sense as it was cheaper to pull off. Along comes Monogram pictures, that became Allied Artists, who ventured into the landscapes of Mars, with a story filled with the sub-plot of earthly melodrama and clich√© battle of the sexes on board.

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Flight to Mars offered little pesky problems, like weightlessness, meteor showers, a contemplative pipe smoking Arthur Franz as scientist Jim Barker who spends so much time calculating their trip to Mars that he can’t see that Carol Stafford (Virginia Huston) is hopelessly in love with him. Cameron Mitchell plays newspaper man Steve Abbott, who is the ‘man’s man’ there to act as brawn and counter-balance to the intellectual egg-headedness of the brainy types on board including Dr. Lane (John Litel) and Professor Jackson (Richard Gaines) also scientists on board.

Flight to Mars brain and brawn

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“You listening Carol, I think you are a prize package and VERY feminine… {…} I sure do Mr. engineer and I don’t have to look in a test tube to find out.”– Steve

Flight to Mars Cameron Mithell "close enough to the man in the moon to talk to him"

The extent of Steve Abbott’s philosophizing “Close enough to the man in the moon to talk to him.”

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As Bill Warren writes, “It’s as if a law (the law of the box office) was laid down for makes of science fiction films of the 1950s; a man could not be both brilliant and amusing ; he couldn’t be both a genius and a lover, both a scientist and a sinner.; both skilled with his brains and with his fists. Wisecracks, sexual drive and heroics were usually allotted to one or two other characters. The scientist was almost always a loner with the faraway look of dreams in his eyes., never also a down to-Earth regular Joe who was also a brilliant researcher.

It stands to reason then that Carol would run straight into the arms of the hero, Steve Abbott, who notices that she’s “really feminine.”

Flight to Mars crash land orange sky

flight to mars the orange sky and towers

When the ship crash lands on Mars, and the sky burns a brilliant orange things get pretty exciting for the crew and us when they spot strange structures as part of the landscape. Enter steady science fiction player Morris Ankrum as the duplicitous Martian named Ikron, who not only looks very human but is quite eloquent with his use of the English language due to the fact that he has studied us from our radio and television broadcasts, and have know of their impending arrival. Ikron takes the earth men underground to their city dwelling with cars and air ships (animated) to show how advanced their civilization is.

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Flight to Mars

OSA MASSEN Character(s): Dr. Lisa Van Horn Film 'ROCKETSHIP X-M' (1950) Directed By KURT NEUMANN 26 May 1950 CTW88028 Allstar/Cinetext/LIPPERT PICTURES **WARNING** This photograph can only be reproduced by publications in conjunction with the promotion of the above film. For Editorial Use Only.
OSA MASSEN
Character(s): Dr. Lisa Van Horn
Film ‘ROCKETSHIP X-M’ (1950)
Directed By KURT NEUMANN
26 May 1950
CTW88028
Allstar/Cinetext/LIPPERT PICTURES

Incidentally Alamy has mis-marked this photograph as Osa Massen when clearly it is Flight to Mars…

Flight To Mars 1951 B&W lobby card

Flight To Mars

The truth is that the Martians are running out of their precious resource of Corium and without the planet will become uninhabitable and they will perish. The Martians plan on hijacking the Earth rocket, use their technology to produce more rockets like ours and then conquer the Earth! But among these nefarious Martians are those who want to help them escape, like Tillamar played by Robert Barrat (Captain Blood 1935, The Life of Emile Zola 1937, Relentless 1948, and his last appearance as the kind father Stoney Likens in The Alfred Hitchcock Hour’s incredible episode Return of Verge Likens 1964) and his beautiful daughter Alita played by Marguerite Chapman¬† (Charlie Chan in the Wax Museum 1940, Appointment in Berlin 1943, Strange Affair 1944, The Green Promise 1949, The Seven Year Itch 1955)

Marguerite Chapman

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Ikron finds out about the little insurrection taking place as he has a pretty spy Terris (Lucille Barkley) who alerts him to everything that is going on. Alita who has also fallen in love with brainy boy scientist Dr. Jim Baker (Arthur Franz) is a true heroine and helps the crew lift off Mars and away from her treacherous father and his evil plans.

Flight to Mars the spy

Steve Abbott: Dr. Lane, I once heard of a man who climbed a higher mountain than anyone else alive, but he was never able to get down again. What’s left of him is still up there.

Dr. Lane: The point is, Steve, he made it.

Flight to Mars the ship

Steve Abbott: [looking at the Earth through the port hole of the spaceship] Ah, the Earth seems so big when you’re on it… from out here so small and nothing. It’s like closing your eyes in the dark and suddenly you’re alone with your soul.

Lost Continent

The Lost Continent

Directed by Sam Newfield (The Terror of Tiny Town 1938, The Mad Monster 1942, Dead Men Walk 1943, I Accuse My Parents 1944) starring Cesar Romero as Maj. Joe Nolan, Hillary Brooke as Marla Stevens, Chick Chandler as Lt. Danny Wilson, John Hoyt as Michael Rostov, Acquanetta as ‘Native Girl’, Sid Melton as Sgt. Willie Tatlow, Whit Bissell as Stanley Briggs and Hugh Beaumont as Robert Phillips. Cinematography by Jack Greenhalgh and Augie Lohman (Barbarella 1968) in charge of visual effects and stop motion animation.

Let’s just get Hillary Brooke out of the way now, as she doesn’t crash land on the Lost Continent, as Marlashe only gets to dance with Cesar Romero before his flight leaves for parts unknown!

Hillary and Cesar in Lost Continent 1951jpg

Lost Continent 1950 lobby card dinosaurs

Somehow dinosaurs seems to go along with rocket ships and exploration of lands without and within. So naturally a lot of fantasy/adventure films are considers little lost continents amidst the Sci-Fi genre. According to Bill Warren, dinosaurs were actually a potential plot mechanism thought of by Robert Lippert for Rocketship X-M, thank the space-gods that the film maintains it’s integrity with just a civilization of savages wiped out by nuclear holocaust.

As Bill Warren cites in his bible for the 1950s genre there was a “tradition of blending phony Old Native Legends with some new, science fictional story elements.”

Lost Continent lobby card

Lost Continent lobby card

An atomic powered rocket craps out over the South Pacific, and so a rescue mission led by Maj. Joe Nolan (Cesar Romero) is sent out to find the crew, aided by his co-pilot Danny (Chick Chandler) and cracking wise Sergeant Willie Tatlow played by Sid Melton who adds the comic-relief (Sophia Petrillo’s smart-alecky Sal, ‘May he rest in peace til I get there’) Along is Ward Clever, no wait he was a Sea-Bee, teehee Hugh Beaumont as top scientist Robert Phillips and scientists Michael Rostov played by the other ubiquitous supportive actor John Hoyt and Stanley Briggs played by the other very familiar face Whit Bissell who is terrified by a giant lizard one night and falls off the side of the mountain.

Major Joe Nolan: Look at the size of that footprint! I’ve never seen anything like it before!

Robert Phillips: I have. Once… in a museum.

Lost Continent Brontasaurus

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The crew crash lands just coincidentally in the same spot as the prior ship, and they find themselves on an Island (tinted in glorious green at the mountain top ) not only filled with volcanic activity but is radio-active AND it’s inhabited by the sultry Acquanetta (Captive Wild Woman 1943, Tarzan and the Leopard Woman 1946) a native girl who remained after all the others fled when they saw the great fire-bird fly over head and made the earth tremble.

Acquanetta born Mildred Davenport of Ozone, Wyoming.

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Here she is in Tarzan and the Leopard Woman 1946

Lost Coninent -Acquanetta

She also warns them not to climb the mountain as it is a ‘sacred mountain taboo’ which is the home of her gods. The crew is also getting a bit mistrustful of Rostov after all he is a Russian ex-patriot and has ice water in his veins. Joe gives him a dig after Briggs falls to his death pondering if he in fact just let the poor man fall, “another one of your–unpredictables?”

Lost Continent crew

The island or Lost Continent is a pressure cooker of vapors, clouds, greenery and uranium fields that might just blow! All this radioactivity must have been what brought down both rockets. and as one of them points out as “powerful as a stockpile of hydrogen bombs…”

The crew shoot a flying reptile minding it’s own business, there’s a gratuitous dinosaur fight between horned beasts and a brontosaurus ( which I thought were leaf eaters hhm, I’ll have to look that up) chases Phillips up a tree. The crew is befuddled by the presence of prehistoric dinosaurs, but Hollywood isn’t so they’ll just have to deal. Phillips asks,¬† “Who can explain it?… it’s an impossibility, yet here we are right in the middle of it!”¬†

The film even gets to stick some anti-red sentiment in there as the stranded crew from the rocket-ship come to find out that Rostov not only didn’t sabotage the rocket but is a regular ‘Joe/Mike’, who lost his wife in a concentration camp and considers some of his Russian countrymen ‘villains’ who he wants to go back and fight against them ‘pushing buttons on more rockets.’

Finally they find their ship nose down in the earth, but they can’t get near it because there is a large brontosaurus and a triceratops hanging around, and Willie winds up getting gored to death. Then the earthquakes begin but the survivors make it out to sea on a raft just as the whole mountain blows up!

The Man from Planet X

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Directed by Edgar G. Ulmer (People on Sunday 1930, The Black Cat 1934, Detour 1945, The Strange Woman 1945, Ruthless 1948, Daughter of Dr. Jekyll 1957, The Amazing Transparent Man 1960)

Written by Aubrey Wisberg and Jack Pollexfen (The Secret of Convict Lake 1951, Captive Women 1952, Port Sinister 1953, The Neanderthal Man 1953, Five Bold Women 1960.)

Stars Robert Clarke as John Lawrence, Margaret Field as Enid Elliot, Raymond Bond as Prof. Elliot, and William Schallert as Dr. Mears.

Though this is a very low budget film, I have an affection for it’s unassuming and atmospherically charming tone and I actually had an action figure of the alien as part of a series released in the late 60s, early 70s which included the winged angel from Barbarella!

Man from Planet X jpg

Okay enough meandering down nostalgic Warren Drive, Long Island USA.

The sets were left overs from Joan of Arc (1948) at Hal Roach Studios. Ulmer designed the ship that resembled less of a space craft and more like ‘diving bell that was lowered into our dense atmosphere -Bill Warren. The film’s use of low lighting hides that fact that set and the interior ship design was constructed out of plywood. Inside the alien suit it is suggested was a little person or person of short stature actor possibly Billy Curtis. According to Warren, as described in the script, his face had the look of being distorted by pressure, or as if similar to a ritual mask belonging to a primitive tribe. The lighting adds to the unique quality of his expressionless face.

The_Man_from_Planet_X_ enid sees the ship

The film opens with American reporter John Lawrence (Robert Clarke-The Astounding She Monster 1957, The Hideous Sun Demon 1959) narrating in voice-over his panic over the well being of both Professor Elliot and his daughter Enid who have been taken back to a space craft by the alien from planet X. As he paces the observatory tower floor he begins to relate the strange story that has unfolded in the past few days. He fears for their lives as well as his own.

Lawrence was sent to a remote Scottish Isle Burray in the Orkneys, to see Professor Elliot (Raymond Bond) after a wandering planet called ‘X’ is spotted in our solar system and is approaching Earth, estimated coming close to the Orkneys. John Lawrence stays with Dr. Mears played by extremely likable and oft seen William Schallert, although in this film he plays a rather suspicious and brooding character who has a mistrust of Williams. John Williams also meets his lovely daughter Enid played by Margaret Field. This science fiction gem has a sub-plot as most do where love gets to blossom, as Enid and John they take a foggy drive then a cozy walk along the moors, they encounter a small metallic object and eventually stumble upon an object that they establish is a probe.

The Man from Planet X a fine british love story

As Anthony Newley sings from his and Leslie Bricusse’s song from their award winning musical The Roar of the Greasepaint –the Smell of the Crowd“Look at that Face, just look at it!”

Man from Planet X looks at Enid

Later that night Enid gets a flat tire and walks back across the moors in the shrouded mysterious late night fog where she comes upon a sphere with an observation glass and she looks in, a strange face peers out at her!

X-shows his face

Enid runs and gets her father, and when they arrive back at the ship to inspect it, a light shines in her father’s face and becomes temporarily submissive. The laser gun creates a calming light zone where people not only comply, but can understand the droning language of the alien from X. When Lawrence and Mears go back to investigate the Man from Planet X comes out once again to greet them. In a very interesting scene, this adorable alien attempts to judge whether these earth men can be trusted, so he turns off his air supply until Lawrence realizes what he is doing he turns his air back on and from that point he sees that Lawrence can be trusted.

Dr. Mears is another matter entirely. The Man from Planet X has not come to Earth meaning any harm, and only turns defense and hostile after the greedy Mears bares his viciously aggressive teeth–bad scientist, bad bad scientist!

The Man from Planet X Enid and Dad get zapped by beam

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The Man From Planet X 1951

The Man from Planet X

The Man from Planet X Enid is scared

The Man from Planet X alien follows them home

The alien follows both men back to the tower where they’re staying, but he’s left with the greedy Mears who only wants to exploit the poor little gray guy in the cutest little space suit ever. He discovers great cosmic secrets from Mr. alien X conversing within the universal language of mathematics. The nasty Mears tries to subdue him by turning his oxygen source on low but once he revives and takes Mears and Enid with him back to the ship, later taking Professor Elliot and several villagers along with him putting them in the same hypnotic trance forming a wall around his ship.

The man from planet x Dr Mears intimidates x

Dr. Mears: [to the Man from Planet X –laughing] Dr. Mears: To think – a fantastic gnome like you had to hurdle out of space to put this power in my hands. Well, now that we’ve made contact, I’m gonna tear out every secret you’ve got!

the-man-from-planet-x dr mears is dangerous

man_from_planet_x he comes in peae

the-man-from-planet-x-LAwrence and the alien

The Man from Planet X dr under light

the man from planet x villagers and contsable

Planet X is drawing nearer to Earth… Roy Engle as Tommy the Constable calls in the military. John Lawrence manages to awaken the sleep walkers and get them safely away from the ship, while the evil Dr. Mears runs back in the direction of military fire. The space craft and sadly, the alien are blown to smithereens. Planet X in it’s wake creates terrestrial winds, and bright lights — and then disappears into the vastness of outer space once again, perhaps dooming Earth to bad weather?

the man from planet x bad weather

Whether or not The Man from Planet X was an innocent drifter who found himself in a kerfuffle on Earth just trying to survive being in the wrong place at the right time or as Lawrence feared might have been trying to invade the planet… because of his ‘otherness’ he had to be destroyed.

Dr. Mears-” How may we know what processes of thought run through his head? How may we assume he thinks as we do? How may we anticipate what a bizarre and fantastic organism might or might not do?”

The Man from Planet X oxygen tank testing humanity

Down on the ground Alien X has turned off his oxygen to test the earthling’s response. He’s about as aggressive as a kitten going belly up! John turns his air back on.

I have to admit that I am one of the ones who finds Edgar Ulmer’s work fascinating and worthy of it’s cult following as he’s done everything from moody b horror films to film noir. Some more lavish budgets like The Black Cat 1934, and Bluebeard 1944, to film noir masterpieces like Detour (1946) Some poverty row flicks with titles like Girls in Chains, Isle of Forgotten Sins and Jive Junction all made in 1943.

In an interview with film maker Peter Bogdanovich in Kings of the Bs, Ulmer said that he had to do it all for the sake of the money, “I admit to myself that I was somehow schizophrenic in making pictures. On one hand, I was absolutely concerned with the box office and on the other, I was trying to create art and decency with style. I could not completely get out of the commercial though I knew it limited me.”¬†

The Man from Planet X a diving bell

the man from planet x dr and john look inside the ship

But as Bill Warren says, what ultimately wound up happening because of Ulmer’s hand in The Man From Planet X resulted in ‘the first science fiction gothic horror film.”

An Austrian implant who had a knack for set design. And the lustrous and atmospheric demur of The Man From Planet X  just sets this curious and obscure little gem apart from all the other Sci-Fi films of the 1950s.

Enid Elliot: When I got close to it, it looked like a giant glass ball girdled with something like a steel belt. Three of them, I think. When I got close enough to look in – there it was.

Professor Elliot: It? What?

Enid Elliot: That face! Right on the other side of the glass looking right into mine! I was terrified!

Professor Elliot: A face? A human face?

Enid Elliot: A ghastly caricature like something distorted by pressure. I can’t think how else to describe it – a horrible, grotesque face looking right into my eyes!

Professor Elliot: Your statement has the tinge of fantasy.

the man from planet x diving bell

Enid Elliot: You know, I think that creature was friendly. I wonder what would have happened if… if Dr. Mears hadn’t frightened him.

 John Lawrence: Who knows? Perhaps the greatest curse ever to befall the world, or perhaps the greatest blessing.

The Man from Planet X a curse or blessing

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Continue reading “ūüöÄ “Keep watching the skies!” Science Fiction cinema of the 1950s- The year is 1951- Part 2″

A Symphony of Dark Patches- The Val Lewton Legacy 1943

This post is a feature…As part of the CLASSIC MOVIE HISTORY PROJECT BLOGATHON hosted by the fantastic gang over at- Movies Silently, Silver Screenings & Once Upon a Screen– Visit these wonderful blogs during this historic event and fill your head with a collection of fascinating movie memories.

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From Dreams of Darkness-Fantasy and the films of Val Lewton by J.P. Telotte:
‚Äú{The audience} will populate the darkness with more horrors than all the horror writers in Hollywood could think of… if you make the screen dark enough, the mind‚Äôs eye will read anything into it you want. We‚Äôre great ones for dark patches.‚ÄĚ – Val Lewton

Swimming pool scene Cat People '42
Jane Randolph as Alice Moore in Val Lewton’s Cat People 1942 directed by Jacques Tourneur
Bedlam
A scene from Bedlam (1946) directed by Mark Robson 

During the 1940s Val Lewton and his ‘Lewton Unit’ used the essential vision of fantastic darkness to recreate a very unique style of horror/fantasy genre, one which challenged Hollywood’s notion of the tangible monsters Universal studios had been manufacturing. Lewton, while working at RKO Studios, produced an exquisite, remarkable and limited collection of films that came face to face with a ‘nightworld.’ Lewton used our most deepest darkest psychological and innate fears that dwell within the lattice of shadows of our dreams and secret wish-fulfillment.

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“Our formula is simple. A love story, three scenes of suggested horror and one of actual violence. Fade out” -Val Lewton

Lewton worked at MGM between 1926 and 1932 and then served eight years under David Selznick. He had published nine novels and a number of short stories. In addition he produced regular radio show versions of MGM films. He also had ties in the industry as his aunt was the the very influential silent actress Alla Nazimova.

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the great stage and silent screen actress Alla Nazimova-Val Lewton’s very influential aunt…

But Lewton had left his mark with Selznick and in 1940 rival company RKO was interested in hiring him..It was actually Selznick who negotiated Lewton’s contract.

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“My task is to initiate a programme of horror pictures to be made at the comparatively low cost of 125,000 each. Which should compete successfully with Universal horror films. Which cost anywhere from 300,000 to a million dollars. I feel I can do this quite easily and the Universal people spend a lot of money on their horror product. But not much on brains or imagination.”-Val Lewton

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Lewton put together a team of collaborators with whom he would work closely. He chose Mark Robson to edit. Robert Wise and Lewton worked together on Citizen Kane and The Magnificent Ambersons. DeWitt Bodeen¬†had worked him during his time with David O’ Selznick was to write the first screenplay for Cat People.. His old friend Jacques Tourneur whom he became friends with while working on A Tale of Two Cities. was brought on board to direct. He chose Nicholas Musuraca as his director of photography and Roy Webb to compose the musical scores.They all worked on countless RKO films. It was Lewton’s intention to create quality pictures though he was constrained with a low budget. Jacques Tourneur had said that Lewton was an idealist who had his head up in the clouds who would come up with impossible ideas. However for Tourneur his feet were planted firmly on the ground, yet somehow they complemented each other perfectly, Tourneur claims it was a very happy time in his life, and that Lewton’s gift to him was the filmic poetry that he was able to carry with him forever.

Jacques Tourneur is perhaps one of my favorite directors, with his use of shadow and and all together dreamy lens of the world, he’s responsible for one of THE best classic horror films Curse of the Demon & film noir tour de force Out of the Past.¬†

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Jacques Tourneur directs Robert Mitchum and Jane Greer in Out of the Past 1947
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Jacques Tourneur’s moody horror with Niall MacGinnis and cat Curse of the Demon 1957
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Part of the Lewton Unit- image from the documentary The Man in the Shadows from top left Roy Webb composer, Val Lewton, Nicholas Musuraca Cinematographer, Mark Robson editing/directing, DeWitt Bodeen writing and Robert Wise-director.

“Horror is created in the mind of the spectator. It’s necessary to suggest things. In all my films you never saw what caused the horror. I saw people screaming in the theater when there was a young girl in a swimming pool, but you never saw the black leopard. The lights blaze up at the end. And there’s Simone Simon. Something has definitely happened. -Jacques Tourneur

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Jacques Tourneur looking over the film sketches
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Jacques Tourneur on location for Berlin Express 1948

“Lewton gave us something quite different than what’s known as Hollywood craftsmanship you can say that he presented us with a parallel world in which everything feels both real and a little unreal-familiar but strange. The characters and the viewer slip into a mysterious, troubling gray zone. Where real life and dream life come face to face. And where beauty and destruction merge. Lewton and Tourneur really created a new kind of cinematic beauty”-from The Man in the Shadows Val Lewton documentary

The Golden Boy in Bedlam
the golden boy from Bedlam

Learning from his last employer Selznick he made sure to supervise absolutely every aspect of the film’s production, from casting, set design, costumes, the direction, and editing. He even rewrote every script himself without taking credit or under a pseudonym. In this way he developed his own visual style of storytelling, having prepared each detail before shooting.

“My feelings are generated, however by more than my gratitude for that first opportunity. They come from the warm and highly stimulating creative experience I had working with Val. He taught me so much about directing and filmmaking in general…Val Lewton was one of that fairly rare species, a truly creative producer. As such, he was able to achieve an outstanding reputation for the high quality, unusual and interesting “B” pictures he produced at RKO Studios starting in the early 1940s”¬†–¬†Robert Wise, March 1994

Robert Wise behind the camera
Robert Wise behind the camera
Wise, Robson & Lewton
Robert Wise, Mark Robson & Val Lewton

“I remember him staying up until all hours of the night working on screenplays. He enjoyed having his hand in the writing. I used to that that he went out of his way to pick inept writers so that he’d have to redo their work. He used to write on a Royal typewriter;he used only two fingers but he was very fast. He’d talk out the different parts as he wrote them and, since my bed was just on the other side of the wall, I’d fall asleep listening.”Nina Lewton Druckman from the Reality of Terror by Joel Siegel

Robert Wise was part of the Lewton Unit, one of my favorite directors who would go onto direct some of the most outstanding films in a variety of genres, from musicals like West Side Story 1961, Sound of Music 1965, to Lewton’s Curse of The Cat People 1944 and The Body Snatcher 1945, noir masterpieces, Born To Kill 1947, The Set Up 1949 and The House of Telegraph Hill 1950, I Want to Live! 1958, Odds Against Tomorrow 1959,to sci fi and Gothic ghost story masterpieces Day the Earth Stood Still 1951, The Haunting 1963 and The Andromeda Strain 1971.

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Michael Rennie and Gort in Robert Wise’s Sci-Fi masterpiece The Day the Earth Stood Still (1951)
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Robert Wise’s boxing noir The Set-Up 1949

Lewton drove himself very hard trying to achieve something beautiful of quality. He and his team were given a very small budget, a cast of veritable unknowns, and evocative titles that were sensationalist and lurid in nature and did not truly represent an accurate account of the narrative. There were no gruesome fiends nor even evidence of malevolent forces at work in his ordinary everyday environments. Yet RKO’s studio head Charles Koerner¬† dictated such titles as Cat People 1942, Curse of the Cat People 1944, Bedlam 1946, Isle of the Dead 1946, The Body Snatcher 1945, I Walked With A Zombie, The Ghost Ship and The Leopard Man in 1943 and The Seventh Victim.

“If you want to get out now, Lewton told Bodeen, I won’t hold it against you”

The sensationalistic titles lead viewers to expect corporeal horrors, grotesquery and accustomed chills. As critic¬†Manny Farber¬†points out that while¬†Lewton¬†got nicknamed the “sultan of shudders” or the “Chillmaster” they were missing the point entirely.¬†Lewton’s¬†films were purposefully¬†inhabited by the average, the bland, the pedestrian all, so as to populate his world with normal characters. People you’d see on the streets, or doing menial jobs. And amidst this population of ‘normal’ stirred interesting pulp stories that were unorthodox, otherworldly and often grim.¬†Themes like zoanthropy. a derangement in which someone believes they are an animal as in¬†Cat People¬†or the pervasive fear of¬†the Vorvolakas, an undead creature in Greek folklore that drinks it’s victim’s blood in¬†Isle of the Dead.¬†Even when dealing with dreadful English asylums and the sacrilege of body snatching.

Val Lewton with Boris Karloff set of Bedlam
Boris Karloff and Val Lewton on the set of Bedlam

By the way…¬†Bedlam 1946¬†is perhaps my favorite of the¬†Lewton¬†series. I’ll be doing a follow up to this piece and with an aim at covering the magnificent piece of filmic art that is¬†Bedlam. I’ll also include the remaining films I love,¬†Isle of the Dead,¬†The Body Snatcher¬†and his first¬†Cat People.

Films with subversive themes like zoanthropy. a derangement in which a person believes himself to be an animal as in¬†Cat People¬†or the pervasive fear of¬†the Vorvolakas is an undead creature in Greek folklore that drinks it’s victim’s blood in¬†Isle of the Dead.

Karloff and Thimig in Isle of the Dead Lewton
Karloff and Thimig in Isle of the Dead 1946

One of the things I love about Lewton’s films is that he used many either lesser known actors or those who never quite attained stardom yet lived on the fringe. Wonderful character actors such as Ian Wolfe & Edith Barrett (whom I both adore) actor/director Abner Biberman, Theresa Harris, Edith Atwater Sir Lancelot former calypso singer from Trinidad, the unusual beauty of Elizabeth Russell who was a former fashion model. The portly Billy House who played Lord Mortimer in Bedlam had been a star of vaudeville or Skelton Knaggs (Terror By Night, House of Dracula) British actor worked on the stage. The handsome Richard Dix ,Tom Conway, James Bell, Anna Lee, Evelyn Brent, Helene Thimig, Dewey Robinson and Ben Bard.

Lord Mortimer's new pet with Skelton Knaggs
Billy House as Lord Mortimer in Bedlam
Ian Wolfe in Bedlam
The marvelous Ian Wolfe in Bedlam
Knaggs as Finn in The Ghost Ship
Skelton Knaggs as the mute Finn in The Ghost Ship
Leopard Man angry mother
Kate Drain Lawson as Se√Īora Delgado in The Leopard Man
Edith Barret the ghost ship
Edith Barrett and Richard Dix in The Ghost Ship
Anna Lee in Bedlam
Anna Lee in Bedlam
Helene Thimig in Isle of the dead
Helene Thimig in Isle of the Dead
curse_of_the_cat_people01
Julia Dean and old Mrs Farren in The Curse of the Cat People

These characters seems to transcend their positions in the background and add layers of depth and a quiet simplicity or realism that made the storytelling more rich. They possessed a certain unique expressiveness that at times eclipsed the lead actors.

RKO known for their capacity to release films that were of the fantastic and original, initially who hired¬†Lewton¬†to organize and run their ‘B’-Film unit. RKO¬†had a reputation for ingenuity and artistic innovation, paying careful attention to the shaping of the narratives.¬†What he endowed them with was his deep understanding of the subtle patterns and symbols that lie within our dreams, psyche and fantasy world. Lewton satisfied the audience’s desire for horror yet what he delivered was swathed in a strange and poetically beautiful style.

At his disposal he had some of the best writers who knew how to tap into this process. Writers like DeWitt Bodeen, Donald Henderson Clarke, Curt Siodmak and Ardel Wray art director Albert D’Agostino (Notorious 1946, Out of the Past 1947, The Thing from Another World 1951) cinematographer Nicholas Musuraca & J. Roy Hunt (Crossfire 1947, Might Joe Young 1949) and directors Jacques Tourneur (Out of the Past 1947,Curse of the Demon 1957), Mark Robson and Robert Wise all contributed and helped shape the vision that became the Lewton film.

musuraca & tourneur
Nicholas Musuraca and Jacques Tourneur

And while¬†Val Lewton¬†didn’t direct any of the eleven films he produced for¬†RKO, (in two cases only taking screen credit for his contributions as writer), it’s rather irrelevant in terms of authorship -as collaboratively infused with talent of vision these films possess a distinct frame of reference that lead you into the fantasy realm or genre with an artistic unorthodoxy like no other.¬†Director¬†Jacques Tourneur¬†directed the first three¬†Lewton¬†films produced by the¬†Lewton Unit. He gave Lewton the soubriquet “The Dreamer.”

Joel Siegel from his 1973 book Val Lewton tells us,¬†‚ÄúHis production unit would make only horror movies with budgets limited to $150,000 per picture. The films were to be ‚Äėprogrammers‚Äô slated for placement on double features in less than key theaters, with a running time not to exceed 75 minutes. {Production Chief Charles Koerner‚Äôs office was to dictate the titles of these films, based upon a system of market pre-testing.‚ÄĚ

Lewton and Robson 2
Mark Robson and Val Lewton

Lewton hid much of the story in his shadow-plays and this allowed his crew to work the landscape by creating symbolism, key sounds (natural ordinary sounds become ominous premonitions and are fatalistic in tone), haunting textures, abstract shadow and a sense of dark absences. Within the more focused frames of the films are incidental point of view shots that fill in the spaces with a rich texture of realism within the fable-like quality, relying on shadow and suggestion to deliver the desired effect.

Lewton¬†himself would usually write a rough draft, an idea adapted from a property to be filmed. Then using his grand ability to visualize a formula, manipulate the structures of conventionality so that he could compose a landscape and narrative that would best articulate his observations.¬†Tourneur¬†emphasized¬†Lewton’s¬†“structure, construction, progression of high points, low points‚Ä̬†in the narrative. Director¬†Mark Robson¬†suggested that Lewton had already ‘thought everything out’ in such detail so as not to miss a thing.¬†Jessie Ponitz,¬†Lewton’s secretary relates,¬†“the last draft was always his.”

Lewton and typewriter
Lewton at his typewriter

Lewton’s brilliance and vision are partly due to his understanding of how psychoanalytic symbolism, myth, dreams and archetypes influence our intimate fear of what lies invisible to the eye. The¬†Lewton Unit¬†embraced the collective nightmares of the human experience, bringing our dream-work into the cold light of daily life¬†bounded to the material world.¬†He presents us with irrational unseen forces, in particular those that lurk in our subconsciousness or dream world. His films transport his protagonists by contrasting them from the open, sense of security from daylight- immersing them into the dark regions of shadows, and the black patches of uncertainty. They do not confront conventional monsters, vampires, ghouls and malevolent spirits of the classic Universal plots- but actually come face to face with their own internal nightmares. A mechanism that emerges from the shadows of the mind. We see these images of fantasy and it triggers our most basic and personal need to belong to that which is created, however disturbing those visions are, these fantasy/horror films possess an enigmatic kind of darkness. His characters never ran away from the darkness and dread that was so pervasive they actually ran head on into it, in order to demystify it and lead themselves & us to understand it a little better.

PSYCHE OR SOUL- THE LEGACY OF THE FANTASTICAL

CapturFiles
Jean Brooks as the mysterious Jacqueline in Val Lewton’s The Seventh Victim

Lewton¬†and his associates understood the principles of fantasy, and utilized them in the¬†complex visual structures they created in their series of films. In writing about Lewton’s use of fantasy,¬†J.P. Telotte informs us that these films “are not mere horror stories or exercises in terror, yet ‘redeem’ or reunite us with a repressed side of the human experience.” And this is what makes Lewton’s fantastical work so unique.

As in his book America in the Dark, Thomson implies that unlike the films that consist of vampires, werewolves, and other alien presences “The Fantasy genre {…} draw fundamentally on a realm of darkness and psychic imagery for it‚Äôs existence. Such films typically evoke a dreamlike environment or nightworld in which, as if it were our own sleep, we can pleasurably and profitably immerse ourselves. {…} I wish to call attention to their ability to reveal how we also might come ‚Äėto life with the dark‚Äô finding an important, even life enhancing meaning in the fantastic‚Äôs dream realm. {…}”

The Body Snatcher
The Body Snatcher 1945
A Palladist The 7th Victim
a Palladist from The Seventh Victim

Lewton’s fantasy reworks our perspective to let us ‚Äėsee‚Äô the dark spaces even within the light.¬†As Todorov writes in The Fantastic 1975, fantasy¬†evokes an ‚Äėindirect vision‚Äô¬†that allows us to see what is usually not visible in the ordinary world. Lewton uses this ‘indirect vision’ to transgress and transcend normal perception. Lewton’s works suggest a disparity between the expected and reality. From this disparity, the greatest threats come from the most ordinary occurrences, objects, and the commonplace. ¬†He populates his films with figures of authority who interpret their world incorrectly, harshly or inharmonious. The sudden revelation of the ordinary frightens and disorients the viewer in unexpected ways, forcing them to be more reflexive, to show the menace in the every day. As¬†Carl Jung¬†believed, fantasy precedes our normal sense of reality-¬†“The psyche creates reality everyday. The only expression I can use for this activity is fantasy.”

Drawing on the psychologist James Hillman who specialized in archetypes, Lewton’s¬†films evoke a dream-like nightmarish world in contrast to the realm of truth.¬†The style of these films are often lensed as seductive and mysterious journeys, where the audience can escape the ordinary for a while.¬†They seduce us by taking a path which follows our hidden desires within the psyche.

This is the proper aim at fantasy, as¬†James Hillman¬†explains; it should challenge our normal¬†‚Äúliteral perspective, its identity with material life,‚Ä̬†since that perspective is usually¬†‚Äústuck in coagulations of physical realities. This perspective of reality needs to break down and fall apart, to be skinned live and sensitized, or blackened by melancholic frustration.‚ÄĚ

Isle of the Dead-Karloff
Isle of the Dead 1946

This fantasy forces us to look at our own limitations of vision, and how difficult it is to describe the structure of something that has no’ structure’¬†It’s easy for the grey areas of fantasy to ‘lapse’ into absence and dissolve from a narrative field of a nightworld/dreamscape using the device of voice-over narrative or subjective camera. Lewton’s images make us ask are we seeing what’s really there, or are we merely informed by the dark spaces both inside the film and tapping into our individual and collective psyches.¬†As¬†Telotte¬†cites¬†Rosemary Jackson–¬†

‚ÄúObjects are not readily appropriated through the look; things slide away from the powerful eye/I which seeks to possess them, thus becoming distorted, disintegrated, partial and lapsing into invisibility.‚ÄĚ

Val Lewton¬†had a special insight and grasp of formulas and mythic structures so that he could envision within the complex narratives, the presence of the most significant archetypal patterns.¬†Lewton said ‚ÄúIf you make the screen dark enough, the mind‚Äôs eye will read anything into it you want! We‚Äôre great ones for dark patches.‚Ä̬†What those ‘dark patches’ suggest is something innate in all of us, a dark region within the ‘self’ that gets lost, or hidden away, or even denied as we go about our daily lives doing ordinary things in the guise of normalcy.

DARK PATCHES AND THE ABSENCE OF KNOWING

The Seventh Victim

In a Lewton film there is a sense of ‘Lack’ as an absence in the lives and environments seems to be at the core substance of these films.¬†This play of absence and presence operates as a structural principle in Lewton’s films. For the benefit of this post I will point particularly to I Walked With a Zombie, The Leopard Man¬† and The Seventh Victim, the prior both directed by the great Jacques Tourneur.¬†In his two films¬†that ‘lack’ translates into a disturbing landscape of openness in the narrative style.

The everyday, whether it be modern urban city streets, islands in the Caribbean or the nineteenth century, there is an attentive eye for detail that weaves a texture of daily life that the Lewton unit worked so hard to achieve. Be it the costumes, the architecture and the general look of the place during it’s particular time period. So much research went into developing the landscape of reality with a distinct verisimilitude. By looking at books, paintings and photographs they would try to capture the perfect light and shadow of the piece.

Although I won’t be covering Bedlam in this piece, the film is a perfect example of how The ‘Lewton Unit’ employed this research approach prior to filming. Several shot compositions were based on William Hogarth’s illustrations. Much emphasis was placed on ‘context’ as Lewton characters can so evidently be characterized by their station in life or occupations living in the seemingly natural world that is commonplace.¬†Writer DeWitt Bodeen notes that Lewton ‚Äúalways insisted that all his characters have special occupations or professions and be shown working their jobs.‚ÄĚ

Lewton’s films are populated with a texture of normalcy, people living in a visibly conspicuous and commonplace field of reality so that when the presence of the mysterious, and irrationality poke through it shatters the veil of normalcy and settles down to become abnormal and disturbing for the protagonist and us the viewer. These characters must journey through a field that is rife with coded messages, where they are not believed by the people around them.

Telotte explains, “What results is a subtle dialectic between ‚Äėsubstance and lack’, presence and absence, replacing that of the more traditional horror films, where in the ‚Äėself‚Äô as the audience‚Äôs surrogate, is opposed by a threatening otherness in the shape of a monster or murderous apparition. The tension is no less. Though it‚Äôs source is different it is more disturbingly lodged in the individual¬† and the way in which he perceives and conceives of his world.”

The Body Snatcher Karloff

Like the protagonists, we are laid bare with our vulnerability to the abnormal. The threat comes as an external challenge to our lives, exposing our human weakness and fears and forces us to see life in an unsettling way. Everything falls out of harmony that which is usually so ordinary. And the sense of ‘otherness’ fills the screen and taps into our own psyche as the formidable shadows move about with an anima. The dark patches set themselves outward as props, while strange sounds and eerie low key lighting color the screen’s canvas as dark and mysterious.

Psychoanalyst Hillman¬†refers to a ‘vesperal’ motion that leads us into the darker regions of the self and the human psyche with it’s ‘fantasizing impulse.’¬†Lewton’s¬†Curse of the Cat People (you can read an earlier feature I did on this film-click on the link) is a more conventional initiation story focusing on the nature of innocence and ‘otherness’ and how it often challenges our rational perspectives of the world because it evokes the ‘unknowing.’

All of¬†Lewton’s¬†films are structured with a careful eye on the sequential narrative.¬†Val Letwon referred to scenes heightened by shadows as signifier of something foreboding he called them “horror spots.”¬†These¬†“horror spots’ were carefully spaced through out his films in sequential scenes, as if each frame were its own visual narrative. Many potent moments though brief partly due to the limited time constraints yet remain with you forever.

I WALKED WITH A ZOMBIE

These scenes were preceded by scenes of an alternating tone designated to bring relief to the audience, utilizing some form of imagery that could be very beautiful or lyrical.¬†Joel Siegel talks about this approach as ‚Äúfragmented, mosaic-like structure‚ÄĚ of the films, with their dependence on a ‚Äúseries of tiny, precise vignettes which do not so much tell the story as sketch in its borders and possibilities. For film historian Robin Wood in his “Return to the Repressed,” Lewton’s series of films is distinct for their “often illogical¬†poetic structure.‚Ä̬†

Early¬†Lewton films display a narrative style which recalls Jean-Paul Sartre‚Äôs prescription for fantasy storytelling: ‚ÄúIn order to achieve the fantastic, it is neither necessary nor sufficient to portray extraordinary things. The strangest event will enter into the order of the universe if it is alone in a world governed by laws.‚ÄĚ

Frances Dee, Tom Conway, Edith Barrett in I Walked with a Zombie (1943)

Lewton films do not simply strip the world of the laws which Sartre describes,¬†as many horror films do, rather they manipulate the context within which even the most commonplace actions are perceived. In I Walked With a Zombie, the players are often viewed through a veil of elaborate shadows cast by wooden lattice, brush and thicket, Very sensual images and very flowing. The eye for detail… every frame is so well thought out.¬†And while we as spectators have truly seen nothing tangible, there is that ‘lack’ reinforced by structural repetition. Drawing us in depends on our ability to fantasize and tap into the deep-rooted fears that we unconsciously embrace. This portrayal of Lewton’s mysterious yet mundane environment becomes utterly frightening.¬†Lewton explained how this process reveals the viewer‚Äôs participation in that which he sees, establishing that given these kinds of visual narratives man himself ‚Äúwill populate the darkness with more horrors than all the horror writers in Hollywood could think of.‚ÄĚ

Robin Wood’s The American Nightmare chapter of Hollywood from Vietnam to Reagan.–
It is built on elaborate set of apparently clear cut structural oppositions : Canada-West Indies, white-black, light–darkness, life-death, science-black magic, Christianity -Voodoo, conscious -unconscious, , etc–and it proceeds¬† systematically to blur all of them. JEssica is both living and dead.; Mrs. Rand mixes medicine, Christianity and voodoo, the figurehead is both St. Sebastian and a black slave, the black-white opposition is poetically undercut in a complex patterning of dresses and voodoo patches; the motivation of all the characters is called into question; the messenger-zombie Carrefour can’t be kept out of the white domain.”

Lewton’s work absolutely inspired and trained Robert Wise to scare the hell out us with his adaption of Shirley Jackson’s The Haunting in 1963, when in reality we never see a malevolent presence. Wise’s use of absence and presence, sequential stages of darkness and shadow, odd angles, and the process of what we ‘don’t see’ became one of the greatest ghost stories on film and I would dare to say one of the best films ever made. Wise learned this film philosophy from his time working as part of the Lewton¬†Unit, whose contribution to film rippled outward for decades.

Robert Wise The Haunting Julie Harris
Julie Harris climbs the menacing spiral staircase in Robert Wise’s masterpiece of Gothic ghost storytelling The Haunting 1963

Lewton’s most accomplished manoeuvre was making the audience think much more about his material than it warranted. Some of his devices were the usual ones of hiding information… he hid much more of his story than any other filmmaker and forced his crew to create drama almost abstractly with symbolic sounds, textures and the like which made the audience hyper-conscious of sensitive craftsmanship… He imperiled his characters in situations that didn’t call for outsized melodrama and permitted the use of¬† journalistic camera. {…}Je would use a spray-shot technique that usually consisted of oozing suggestive shadows across a wall, or watching the heroines’ terror on a lonely walk {…} The shorthand allowed Lewton to ditch the laughable aspect of improbable events and give the remaining bits of material the strange authenticity of a daguerreotype.” Manny Farber criticquoted from 1951 in¬†Jeremy Dyson’s book Bright Darkness

There is an overall unsettling revelatory pattern to each of the Lewton narratives. While I’m only covering the 4 contributions Lewton made during the year 1943, all of his 9 fantasy/horror films isolate the commonplace through the story, the patterns, the symbolism of innocence, and the rigidity of authority. In his films our roots in proven reason and sanity¬†are given a different value. This contrasting shadowplay create the ultimate texture and environment of fantasy/horror.

A SYMPHONY OF DARK PATCHES :

Continue reading “A Symphony of Dark Patches- The Val Lewton Legacy 1943”