🚀 “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…

flight to mars

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 cliché battle of the sexes on board.

flight_to_mars_1951 arthur franz

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.”

Flight to Mars 5

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.

flgiht to mars animated underground technology

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.

Acquanetta_005_(Tarzan and the Leopard Woman)

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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manfromplanetx poster

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

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

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

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

Keep watching the Skies!

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

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

Robot Monster rocket

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

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?”

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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)

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“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!

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LOST WORLDS AND SPACE TRAVEL

Destination Moon

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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.

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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

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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!

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Prehistoric Women 1950

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

Rocketship-X-M

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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:

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Film Noir ♥ Transgression Into the Cultural Cinematic Gutter: From Shadowland to Psychotronic Playground

“Unexpressed emotions will never die. They are buried alive and will come forth later in uglier ways.”
Sigmund Freud

“Ladies and gentlemen- welcome to violence; the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains sex.” — Narrator from Faster, Pussycat! Kill! Kill! (1965)

Faster Pussycat
Tura Satana, Haji, and Lori Williams in Russ Meyer’s Faster, Pussycat! Kill! Kill! 1965
Cul-de-Sac
Françoise Dorléac and Donald Pleasence in Roman Polanski’s Cul-de-sac 1966
the Naked kiss
Constance Towers kicks the crap out of her pimp for shaving off her hair in Sam Fuller’s provocative The Naked Kiss 1964
Shock Corridor
Peter Breck plays a journalist hungry for a story and gets more than a jolt of reality when he goes undercover in a Mental Institution in Sam Fuller’s Shock Corridor 1963
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Bobby Darin is a psychotic racist in Hubert Cornfield and Stanley Kramer’s explosive Pressure Point 1962 starring Sidney Poitier and Peter Falk.

THE DARK PAGES NEWSLETTER  a condensed article was featured in The Dark Pages: You can click on the link for all back issues or to sign up for upcoming issues to this wonderful newsletter for all your noir needs!

Constance Towers as Kelly from The Naked Kiss (1964): “I saw a broken down piece of machinery. Nothing but the buck, the bed and the bottle for the rest of my life. That’s what I saw.”

Griff (Anthony Eisley) The Naked Kiss (1964): “Your body is your only passport!”

Catherine Deneuve as Carole Ledoux in Repulsion (1965): “I must get this crack mended.”

Monty Clift Dr. Cukrowicz Suddenly, Last Summer (1959) : “Nature is not made in the image of man’s compassion.”

Patricia Morán as Rita Ugalde: The Exterminating Angel 1962:“I believe the common people, the lower class people, are less sensitive to pain. Haven’t you ever seen a wounded bull? Not a trace of pain.”

Ann Baxter as Teresina Vidaverri Walk on the Wild Side 1962“When People are Kind to each other why do they have to find a dirty word for it.”

The Naked Venus 1959“I repeat she is a gold digger! Europe’s full of them, they’re tramps… they’ll do anything to get a man. They even pose in the NUDE!!!!”

Darren McGavin as Louie–The Man With the Golden Arm (1955): “The monkey is never dead, Dealer. The monkey never dies. When you kick him off, he just hides in a corner, waiting his turn.”

Baby Boy Franky Buono-Blast of Silence (1961) “The targets names is Troiano, you know the type, second string syndicate boss with too much ambition and a mustache to hide the facts he’s got lips like a woman… the kind of face you hate!”

Lorna (1964)- “Thy form is fair to look upon, but thy heart is filled with carcasses and dead man’s bones”

Peter Fonda as Stephen Evshevsky in Lilith (1964): “How wonderful I feel when I’m happy. Do you think that insanity could be so simple a thing as unhappiness?”

Glen or Glenda (1953)“Give this man satin undies, a dress, a sweater and a skirt, or even a lounging outfit and he’s the happiest individual in the world.”

Glen or Glenda
Ed Wood’s Glen or Glenda 1953

Johnny Cash as Johnny Cabot in Five Minutes to Live (1961):“I like a messy bed.”

Dr. Moreau (Charles Laughton) Island of Lost Souls: “Do you know what it means to feel like God?”

The Curious Dr. Humpp (1969): “Sex dominates the world! And now, I dominate sex!”

The Snake Pit (1948): Jacqueline deWit as Celia Sommerville “And we’re so crowded already. I just don’t know where it’s all gonna end!” Olivia de Havilland as Virginia Stuart Cunningham “I’ll tell you where it’s gonna end, Miss Somerville… When there are more sick ones than well ones, the sick ones will lock the well ones up.”

Delphine Seyrig as Countess Bathory in Daughters of Darkness (1971)“Aren’t those crimes horrifying. And yet -so fascinating!”

Julien Gulomar as Bishop Daisy to the Barber (Michel Serrault) King of Hearts (1966)“I was so young. I already knew that to love the world you have to get away from it.”

The Killing of Sister George (1968) -Suzanna York as Alice ‘CHILDIE’: “Not all women are raving bloody lesbians, you know” Beryl Reid as George: “That is a misfortune I am perfectly well aware of!”

The Killing of Sister George
Susannah York (right) with Beryl Reid in The Killing of Sister George Susannah York and Beryl Reid in Robert Aldrich’s The Killing of Sister George 1960

The Lickerish Quartet (1970)“You can’t get blood out of an illusion.”

THE SWEET SOUND OF DEATH (1965)Dominique-“I’m attracted” Pablo-” To Bullfights?” Dominique-” No, I meant to death. I’ve always thought it… The state of perfection for all men.”

Peter O’Toole as Sir Charles Ferguson Brotherly Love (1970): “Remember the nice things. Reared in exile by a card-cheating, scandal ruined daddy. A mummy who gave us gin for milk. Ours was such a beautifully disgusting childhood.”

Maximillian Schell as Stanislaus Pilgrin in Return From The Ashes 1965: “If there is no God, no devil, no heaven, no hell, and no immortality, then anything is permissible.”

Euripides 425 B.C.“Whom God wishes to destroy… he first makes mad.”

Davis & Crawford What Ever Happened to Baby Jane?
Bette Davis and Joan Crawford bring to life two of the most outrageously memorable characters in Robert Aldrich’s What Ever Happened to Baby Jane? 1962

WHAT DOES PSYCHOTRONIC MEAN?

psychotronic |ˌsīkəˈtränik| adjective denoting or relating to a genre of movies, typically with a science fiction, horror, or fantasy theme, that were made on a low budget or poorly received by critics. [1980s: coined in this sense by Michael Weldon, who edited a weekly New York guide to the best and worst films on local television.] Source: Wikipedia

In the scope of these transitioning often radical films, where once, men and women aspired for the moon and the stars and the whole ball of wax. in the newer scheme of things they aspired for you know… “kicks” yes that word comes up in every film from the 50s and 60s… I’d like to have a buck for every time a character opines that collective craving… from juvenile delinquent to smarmy jet setter!

FILM NOIR HAD AN INEVITABLE TRAJECTORY…

THE ECCENTRIC & OFTEN GUTSY STYLE OF FILM NOIR HAD NO WHERE ELSE TO GO… BUT TO REACH FOR EVEN MORE OFF-BEAT, DEVIANT– ENDLESSLY RISKY & TABOO ORIENTED SET OF NARRATIVES FOUND IN THE SUBVERSIVE AND EXPLOITATIVE CULT FILMS OF THE MID TO LATE 50s through the 60s and into the early 70s!

I just got myself this collection of goodies from Something Weird!

weird-noir
There’s even this dvd that points to the connection between the two genres – Here it’s labeled WEIRD. I like transgressive… They all sort of have a whiff of noir.
Grayson Hall Satan in High Heels
Grayson Hall -Satan in High Heels 1962
mimi3
Gerd Oswald adapts Fredrick Brown’s titillating novel — bringing to the screen the gorgeous Anita Ekberg, Phillip Carey and Gypsy Rose Lee and Harry Townes in the sensational, obscure and psycho-sexual thriller Screaming Mimi 1958
The Strangler 1964 Victor Buono
Victor Buono is a deranged mama’s boy in Burt Topper’s fabulous The Strangler 1964
Repulsion
Catherine Deneuve is extraordinary as the unhinged nymph in Roman Polanski’s psycho-sexual tale of growing madness in Repulsion 1965

Just like Alice falling down the rabbit hole, Noir took a journey through an even darker lens… Out of the shadows of 40s Noir cinema, European New Wave, fringe directors, and Hollywood auteurs, brought more violent, sexual, transgressive, and socially transformative narratives into the cold light of day with a creeping sense of verité. While Film Noir pushed the boundaries of taboo subject matter and familiar Hollywood archetypes it wasn’t until later that we are able to visualize the advancement of transgressive topics.

Continue reading “Film Noir ♥ Transgression Into the Cultural Cinematic Gutter: From Shadowland to Psychotronic Playground”

4 Outstanding Actresses: It’s 1964 and there’s cognitive commotion!

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Anne Bancroft as a lady who lunches and listens to gossip in The Pumpkin Eater – being held hostage by the intensely neurotic Yootha Joyce a lonely housewife sitting next to her while trapped under the hair dryer of life…
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Woman at hair dressers-“It’s like I told you, my life is an empty place!” Jo-“Well what do you want me to do about it?”

“The question isn’t who’s going to let me; it’s who is going to stop me.” – Ayn Rand

Cognition–ˌkägˈniSHən|
(noun)
the mental action or process of acquiring knowledge and understanding through thought, experience, and the senses.
• a result of this; a perception, sensation, notion, or intuition.

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These 4 particular films seem to be part of a trend of films that deal with either women’s brewing emotional turmoil or in the case of Jean Seberg’s Lilith- a creeping organic madness, perhaps from childhood trauma that is not delved into. 

Let’s consider women either in distress or the oft used “hysterical’ trademark that summons every neurotic ill associated with women. With these 4 films it’s the same root problem: Why should society determine what counts as an emotional problem? This is especially true for women, as if she was the engendering source of a specific kind of female mayhem, the creator of the tumult itself… Capable of giving birth, does she also give birth to a certain kind of madness directed inwardly or aimed outward at society and it’s unyielding ethical questions?

It’s not that I think Barbara Barrie is troubled because she falls in love with a black man. It’s that the world is troubled by her decision. Because of her choice -a society inherently cruel punishes her by taking away the one thing she had personal power over, to remove her child from her life. Although, she has a wonderful relationship with Frank both are being judged and condemned.

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The judge who awards custody of her little girl to the biological father even though he is not the better parent. Not too long ago, women could be hospitalized just for being menopausal, based on what their husbands say.

Women were at the mercy of white male society’s judgment. So if a white woman loves and marries a black man in the volatile climate of the civil rights 60s it would absolutely cause turmoil and quite the commotion.

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All these women experience cognitive commotion, but are not necessarily crazy. One Potato Two Potato is about the societal impositions forced upon an inter-racial couple and the strain of a child custody battle forcing her to qualify herself as a good mother. The sentiments of the time, the courts and society in general are dis-empowering Julie through her motherhood.
This inflicts an agonizing torture on Barbara Barrie’s character Julie. Barrie’s performance as well as Bernie Hamilton as a man whose own masculinity is tested, tears me up inside…
A white woman, Julie Cullen falls in love with Frank Richards, a black man, against the will of everyone around them, including his parents who think he should stick with his own kind. Eventually Franks mother and father come around and embrace Julie, and her daughter who considers Martha and William her grandparents.
Julie has a son with Frank…and suddenly is being faced with a white judge deciding on who will gain custody of her little girl from a previous marriage to a man Joe Cullen who abandoned them years ago. Not til he finds out that she is being raised by a black man does he rise to take action and gain custody of his daughter.
This is a courageous story to relate in 1964. Barrie’s anguish is one that is not self inflicted, there is no mental disorder, or neurotic dilemma yet it would challenge anyone who dares to be truthful and follow their heart in a world where many people must hide who they are. A beautiful love story that becomes tainted by the stain of ingrained hatred and ignorance. And causes ruination to a happy family.
Barbara Barrie’s performance as Julie Cullen Richards is nothing short of intuitively astounding.
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Just for funzies I wanted to paint some contrast into the mix, therefore pointing to films that truly deal with women and mental illness. More than cognitive commotion, they’re unstable, non compos mentis, deranged, knife wielding, murderous femmes, traumatized, delusional dames… or all out CRAZY NUTS!!!!!!!!!
And…
I’ll probably write about all these films mentioned–the women on the verge of a nervous breakdown or already on the shoulder of the weary road of life with all four tires flat at some point. I’ll Consider Charles Vidor’s Ladies in Retirement 1941 where Ida Lupino has to take care of her two dotty sisters Elsa Lanchester and Edith Barrett as the Creed sisters… They’re wonderfully Cukoo!!! I did a little piece on this gem a while back…
Robert Siodmak’s The Dark Mirror 1946 with Olivia de Havilland playing twins Terry & Ruth Collins, Gene Tierney gorgeous yet cunningly homicidal in Leave her To Heaven 1945, Laraine Day is totally unhinged in The Locket 1946, Joan Crawford as Louise Howell has a nightmare filled flashback in Curtis Burnhardt’s Possessed 1947.
“she is shown as alienated and stricken with psychological torture”– {source Marlisa Santos The Dark Mirror; Psychiatry and Film Noir 
Then again in Anatole Litvak’s story actually set in a mental institution with Olivia de Havilland stuck in The Snake Pit 1948, Vivien Leigh is the consummate delusional Blanche Dubois in Tennessee Williams’ A Streetcar Named Desire 1951Marilyn Monroe gives a riveting performance as the deranged babysitter–(oh god kid just be quiet for Nell) in Roy Ward Baker’s Don’t Bother to Knock 1952, Joanne Woodward is in emotional conflict with three different personalities all herself…in The Three Faces of Eve 1957.
Don't Bother to Knock
Eleanor Parker gives a stunning portrayal of multiple personality disorder in Hugo Haas’ Lizzie 1957, I’ve written about Liz Taylor almost getting her frontal lobe sucked out at the request of her domineering Aunt -(Katherine Hepburn) just to hide her son’s sordid secret life in Suddenly, Last Summer 1959, Jean Simmons tries to find happiness in a loveless marriage that isn’t her fault in the engrossing Home Before Dark 1958, Ingmar Bergman’s Striking minimalist piece about mental turmoil in his beautifully photographed Through a Glass Darkly 1961, William Castle’s groundbreaking gender bending Homicidal 1961.
Three Faces of Eve
Woodward in The Three Faces of Eve 1957
Homicidal
Joan Marshall is Homicidal 1961 in William Castle’s answer to Psycho
Carroll Baker is a traumatized rape survivor in Something Wild 1961 and what I found to be a misogynist romp wasting several wonderful actresses who were offered these humiliating roles in The Chapman Report. In particular Clare Bloom who deserved better with her talent -as a nymphomaniac struggling with her sexual desires until she ultimately commits suicide in The Chapman Report 1962 and good old William Castle’s once again with his Strait-Jacket 1964 starring one of the ultimate Grande Dames Joan Crawford this time wielding an axe in addition to her nightmarish flashbacks.

Now… none of the 4 women I am covering here are homicidal or dangerous, all these women are experiencing a psychic struggle with issues that speak from their place in the world as women… who are defining somehow in their own way, what their identity means to them… Well, perhaps Lilith is a bit more volatile in terms of how she wields her sexuality and influences men & women both! But she is a divine innocent albeit-nymphomaniac living in a dreamy world of her own –not a homicidal vamp who devours men and spits them out… She is an innocent without malice. The men do the damage to themselves…

“And her eye has become accustomed to obvious ‘truths’ that actually hide what she is seeking. It is the very shadow of her gaze that must be explored”--Luce Irigaray

still-of-max-von-sydow,-harriet-andersson-and-gunnar-björnstrand-in-såsom-i-en-spegel-(1961)-large-picture
Max von Sydow,, Harriet Andersson and Gunnar Bjormstrand in -(1961)-Through the Glass Darkly directed by Ingmar Bergman
Twentieth Century Fox-Inside the Photo Archive
Gene Tierney as the murderously deranged Ellen Berent Harland in Leave Her to Heaven 1945

Seance on a wet afternoon 1964 previous post HERE

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Kim Stanley gives an unnerving performance as a delusional and dangerous woman who plots to kidnap a child so she can claim her psychic powers then located her…

And of course the two titans of Grande Dame Guignol fêtes courtesy of Robert Aldrich…

What Ever Happened to Baby Jane? 1962 & Hush… Hush Sweet Charlotte 1964

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Roman Polanski’s very post-modern almost Brechtian/Picassoesque ode to insanity starring Catherine Deneuve in his Repulsion 1965 –
There’s always Hitchcock’s Marnie (1964) showcasing an unstable female in distress brought on by childhood trauma. Considering Hitch’s lavish colors, and overt psychological embellishments that have created a pulpy romanticized landscape, that at times obfuscates the mental turbulence rather than letting it surface on it’s own. I chose to set this film aside and instead include the more off the beaten path of psychological leaning-‘women’s pictures.’ 1964 seemed to be one hell of a  year for Women in Distress by virtue of the female psychological crisis, once again to reiterate -not the ‘hysteria’ kind, mind you.”
Marnie (1964)
Tippie Hedren and Louise Latham in Hitchcock’s Marnie (1964)
“From the socially conservative 1950s to the permissive 1970s, this project explores the ways in which insanity in women has been linked to their femininity and the expression or repression of their sexuality. An analysis of films from Hollywood’s post-classical period (The Three Faces of Eve (1957), Lizzie (1957), Lilith (1964), Repulsion (1965),Images (1972) and 3 Women (1977)) demonstrates the societal tendency to label a woman’s behavior as mad when it does not fit within the patriarchal mold of how a woman should behave. In addition to discussing the social changes and diagnostic trends in the mental health
profession that define “appropriate” female behavior, each chapter also traces how the decline of the studio system and rise of the individual filmmaker impacted the films’ ideologies with regard to mental illness and femininity.”

— from FRAMING FEMININITY AS INSANITY: RE PRESENTATIONS OF MENTAL ILLNESS IN WOMEN IN POST-CLASSICAL HOLLYWOOD by Kelly Kretschmar

WOMEN ON THE VERGE… OF A BREAKTHROUGH!

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Curt Jurgens carries Samantha Eggar after she has fallen off her horse. There is more going on that Patricia Neal’s blind eye can see

Psyche 59 (1964)

Patricia Neal and Sammantha Eggar in Psyche 59
Patricia Neal and Samantha Eggar in Psyche 59 (1964)

The Pumpkin Eater 1964

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Ann Bancroft and Peter Finch are a married couple in crisis. Having perpetually popped out a myriad of children she is yet again pregnant. Will this keep him home this time…? The Pumpkin Eater (1964)

One Potato Two Potato 1964

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Barbara Barrie falls in love and marries Bernie Hamilton. Once her ex-husband realizes that his child is being brought up by a black man, times get even tougher for the couple

Lilith 1964

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THE WOMEN!!!

Barbara Barrie

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Patricia Neal

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Anne Bancroft

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Jean Seberg

Jean Seberg

LET’S BEGIN WITH…!

Alison Crawford (Patricia Neal)“Love has to stop somewhere along the line otherwise it’s almost like… like committing suicide “

PSYCHE 59 (1964) Alexander Singer (A Cold Wind in August 1961 with Lola Albright and Scott Marlowe) directs the remarkable Patricia Neal as Alison Crawford, a woman struck down with a form of psychosomatic or hysterical blindness. Alison is aware that the affliction is all in her mind since the doctors can’t find anything organically wrong with her sight. Her ‘hysterical blindness’ and memory loss of the events leading up to her accident follows a fall down the stairs while she is pregnant. When she awakens she is unable to see.

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Alison “My Brain won’t accept the images that my eyes make.”

What is happening for Alison is that she is subconsciously blocking out the truth about her husband and her younger, coquettish sister Robin.

She is now living a very quaint life with her husband played by the austere Curd Jürgens (I love him as the devilishly urbane concert pianist Duncan Mowbray Ely in The Mephisto Waltz 1971).

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Aside from her intense husband Eric, Alison’s very sexually charged sister Robin (Samantha Eggar) has now come to live with the couple after a divorce. Robin hovers very close to Eric like a carrion bird waiting to pick the bones of Alison’s troubled marriage. While Alison doesn’t have any cognitive memory of what led up to her fall, it’s obvious to us that she can sense the strong attraction between her husband and younger sister. At one time, her younger sister Robin and Eric and been involved before Alison caught and married him. Robin hasn’t stopped lusting after him. Slowly Alison’s memory comes back as the flashes and images of what she experienced right before she lost her sight literally comes into view.

Singer builds the tension in the air slowly, methodically until it all comes to a head set against the skillfully contained cinematography by Walter Lassally (The Loneliness of the Long Distance Runner 1962, Zorba the Greek 1964, To Kill a Clown 1972).

IMDb tidbit-Patricia Neal was offered the lead in The Pumpkin Eater, but it was not 100% confirmed she would get the role. She then opted, to her later regret, to make Psyche 59 (1964) instead, since it was an official offer.

Neal gives a restrained yet powerful performance of a woman who is trapped in self imposed darkness by her fear of the truth…

There is very subtle theme of self-brutality that exists for each of the characters, Alison’s self imposed sightlessness, Eric’s indignant stoicism is palpable as he walks through the story like a trapped stray dog, He is agitated by Robin’s presence, because he can not resist her.

Robin, her younger sister who must have been quite young at the time of her relationship with Eric begs the question of appropriate behavior on his part. Robin is constantly asserting a seductive influence on Eric right in front of the disadvantaged Alison.

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She is both a hyper-sexual narcissist and a bit self-destructive at the same time, either way she gets off on playing the seductress torturing Eric, right in front of her sister, dark sunglasses and delicate pout. Although Alison suffers from blindness, she maintains a certain dignity that although as all three characters seem like she is, one of the trapped animals in a psycho-melodramatic forest, we get a sense that she will one day regain her freedom and spread her wings and fly away from it all truth in hand.

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Alison “We must be near the marshes” Robin “We just passed it … Coming to the old windmill soon…its still turning.. nothing’s changed” Alison “There’s a factory there now, Don’t protect me Robby. Don’t make up windmills.”

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Based on the novel by Françoise des Ligneris, with a screenplay by Julian Zimet (who wrote Horror Express 1972 and one of the best atmospheric little horror obscurities The Death Wheelers 1973 formally called Psychomania about a group of British motor cycle thugs and their pretty birds who dabble in the occult. Beryl Reid and George Sanders being one of their relatives, they learn the secret of immortality. But you have to die first to obtain it.)

Psyche 59 is an interesting psychological mood piece, almost post modernly impressionistic with it’s stark and polished black and white photo work. And Patricia Neal who had just won an Oscar for her role as Alma Brown in Hud 1963 and gave a command performance in 1957 as Marcia Jeffries in A Face in the Crowd is just exceptional as Alison who is trying to navigate the dark world surrounding her.

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The film is strange and at times subtly cruel yet Neal’s character relies on our visual journey which becomes quite painful at times yet beautiful as she begins to emerge. In the film Patricia Neal’s relationship with Curd Jürgens has an eerie parallel to real life marriage to writer/spy Roald Dahl, but I don’t want to get into the sensationalized tidbits of public people’s wreckage.

The Film also stars Ian Bannen as Robin’s poor befuddled boyfriend , Elspeth March and Beatrix Lehmann plays Alison’s staunch and science fiction reading grandmother-wish I had one of those!

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Continue reading “4 Outstanding Actresses: It’s 1964 and there’s cognitive commotion!”

There is nothing wrong with your television set… Do not attempt to adjust the picture, we are controlling transmission: The Transendental Heartbeat of The Outer Limits 1963-1965

THE OUTER LIMITS 1963-1965

As much as I am passionate about Boris Karloff’s anthology television show THRILLER, I throw my enthusiasm to all things science fiction & fantasy toward the 60s series that brought to life some of the most memorable monsters and thought provoking story lines that was The Outer Limits.

As a kid I remember how the shivers of excitement ran through my veins as soon as the control voice began to usher in a new segment as the wavy white lines trembled on the screen. The voice was odd, yet familiar like an intimate stranger who could read your thoughts and knew your deepest fears.

I knew I was in for something majestic and beyond the realm of belief. While THRILLER tapped into my core fears of things that lurked in the shadows of this earthly domain, somehow The Outer Limits managed to propel my fears into the outer reaches of the universe. Still the things that go bump in the night, but more like the night sky.

And so I fondly assign a few of my favorite stories here at The Last Drive In, with follow ups to some more down that unknowing wavy road of life. If you’re not already a fan of this uniquely mind broadening show, then do yourself a favor and a try and catch an episode or two. You’ll see some favorite actors I’m sure, and I bet a Zanti under your bed… if you’re not even moved just a little by it’s poignant– strange and at times grotesquely whimsical way of painting a fantastical moral with some gorgeous visual cues and dynamic acting style to drive the message home and articulate thought provoking & philosophical themes.

The ground breaking postmodern metaphysical world of science fiction & fantasy from the brilliant mind of executive producers Leslie Stevens and Joseph Stefano was far ahead of it’s time. Created by Leslie Stevens. Story consultant Lou Morheim and transcendent musical score by Dominic Frontiere (first season from 1963-64 ) The heavenly awe inspiring music never fails to make my chest heave, as the celestial melody creates the mood of a living breathing universe expanding, a near religious experience of the magnitude of awe that Science Fiction evokes in the hearts of dreamers.

The music for the second season was scored by Harry Lubin. There were 49 episodes in total….

Perhaps the first television show that was truly pioneering, unprecedentedly radical, inventive and even sociological in it’s contribution to the genre. It boasted some remarkable visual effects, and still remains a memorable collection of thoughtful plays that stretch the boundaries of imagination.

The Outer Limits could be considered Science Fiction/Fantasy genre, An anthology series created by Leslie Stevens and narrated by Vic Perrin who was the voice behind the Control Voice. Similar somewhat to The Twilight Zone with more of an earnest tone given rise to more Science Fiction oriented stories

A Daystar Productions–Villa DiStefano. United Artists Television originally aired on ABC with a run from September 16, 1963 – January 16, 1965

The show used writers like Leslie Stevens, Donald S Sanford, Lou Morheim, (The Beast From 20,000 Fathoms 1953) Harlan Ellison, and Seeleg Lester.

With cinematography by Conrad L.Hall, (American Beauty 1999, Marathon Man 1976, In Cold Blood 1967, Cool Hand Luke 1967, Butch Cassidy and The Sundance Kid 1969) You can imagine the vision that framed the stories behind the camera from the genius of Hall’s cinematic eye. John M Nickolaus (House of the Damned and The Day Mars Invaded Earth 1963 both very unique films partly due to the way they were lensed by Nickolaus) and Kenneth Peach.

Utilizing some of the greatest directors like Byron Haskins (Arsenic and Old Lace 1944, War of the Worlds 1953, Robinson Crusoe on Mars 1964) John Brahm (The Lodger 1944, The Twilight Zone, Boris Karloff’s Thriller) Laslo Benedek (The Wild One 1953), Leslie Stevens, Gerd Oswald, Paul Stanley, John Erman, Robert Flory, James Goldstone, Leonard Horn, Felix Feist, Charles Haas, Alan Crosland Jr. and Abner Biberman

Featuring some of the greatest character actors like Martin Landau, Sally Kellerman, William Shatner, Cliff Robertson, Jacqueline Scott, Sidney Blackmer, Robert Culp, Geraldine Brooks, Donald Pleasence, David McCallum, Jill Hayworth, John Considine, Shirley Knight, Jeff Corey, Harry Townes, Harry Guardino, Gary Merrill, Salome Jens, Ed Nelson, Martin Sheen, James Shigeta, John Anderson, Scott Marlowe, Ed Asner, Kent Smith, Joan Camden, Mark Richman, Nina Foch, Phillip Abbott, Gladys Cooper, Ralph Meeker, Jay Novello, Michael Tolan, Bruce Dern, Olive Deering, Henry Silva, Carroll O’ Connor, Barry Morse, Miriam Hopkins, John Hoyt, Marsha Hunt, Don Gordon, George Macready, Neil Hamilton, Walter Burke, Simon Oakland, Ruth Roman, Alex Nicol, Tim O’Connor, Warren Oates, Luane Anders, Gloria Grahame, Nellie Burt, Russell Johnson, Nick Adams, Nancy Malone, Marion Ross, Macdonald Carey, Sam Wanamaker, David Opatoshu, Joyce Van Patten, Signe Hasso, Allyson Ames, Leonard Nimoy, Robert Duvall, Vera Miles, Barbara Rush, Cedric Hardwicke, Malachi Throne, Peter Lind Hayes, Joan Freeman, Abraham Sofaer, Eddie Albert, June Havor, Howard DaSilva, Marianna Hill, Warren Stevens, Robert Webber, Michael Constantine, Crahan Denton, Grant Williams, and Peggy Ann Garner to name some of the acting highlights.

The Galaxy Being
Cliff Robertson appears in the shows first The Galaxy Being…

The Control Voice: 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 can reduce the focus to a soft blur, or sharpen it to crystal clarity. We will control the horizontal. We will control the vertical. For the next hour, sit quietly and we will control all that you see and hear. You are about to experience the awe and mystery which reaches from the inner mind to… The Outer Limits.

Much of the episodes could be considered stagey and theatrical, with the acting a bit dramaturgical or heavy handed for a science fiction/ fantasy television drama, but as writers David J Schow and Jeffrey Frentzen say in THE OUTER LIMITS:The Official Companion “… embroidered quality of their performances. At times the dialogue seems hammy and intemperate, but since good theatre is not a reflection of the world, but a mirror distortion of its exaggerated for-point-making purposes, the bigger-than-life nature of the players is fitting.

THE ARCHITECTS OF FEAR-broadcast date September 30th 1963

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First let me say that I’m a huge fan of Robert Culp! So naturally this episode is very special to me. Culp appeared in a few more episodes of the series, this one being my favorite. At time his performance going beyond sublime. Directed by Byron Haskin with Conrad Hall as director of photography. Dominic Frontiere’s gorgeous score.

One of the most compelling of all The Outer Limits episodes. With Allen’s dilemma torn between his love and devotion to his wife Yvette and the scientific ideals he adheres to. Out of hubris –These misguided scientists trying to do a good thing for humanity, make huge mistakes and wind up destroying one of the blessed things about the world… a family (Yvette finds out she is pregnant right before Allen fakes his death) who has a right to life and love.

The Cast- Robert Culp as Allen Leighton, Geraldine Brooks as his wife Yvette, Leonard Stone as Dr. Phillip Gainer, Martin Wolfosn as Dr Herschel

Is this the day? Is this the beginning of the end? There is no time to wonder, not time to ask, “Why is it happening, why is it finally happening?” There is time only for fear, for the piercing pain of panic. Do we pray? Or do we merely run now, and pray later? Will there be a later? Or is this the day?

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An altruistic group of scientists theorize that in order to unite all the people of the earth, there must be a common enemy! Sounds feasible right… So they re-configure in larger size an alien being called a ‘Thetan’ rhymes with cretan…

To unify all the nations around the world against a frightening invasion of extraterrestrials. Essentially, they design to manufacture a ‘scarecrow.’ After pulling names out of a bowl to see which one of the scientists will undergo the grueling intensive physiological transformation by surgical transplantation, reassignment and exposure to environmental conditions similar to that of the planet Theta so he can be turned into a larger version of the little Thetan they keep in a cage. Although the creature is mostly seen in shadow, the sound it makes is hilarious and yet compelling at the same time. Somewhat as if you put a gag on a nasty muppet…

Physicist Allen Leighton (Robert Culp) gets to be the lucky guy. Once transmogrified into the alien, he will pilot a spaceship that will land in front of the UN while in session to confront the General Assembly with a laser gun…

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Allen-“You know what we really need to stop fighting among ourselves. Something else to fight, Somebody else. Really something else has to come along that will scare us all out of our skins!” Yvette “We stop fighting each other, we start fighting a scarecrow… that’s a gorgeous solution” Allen-“Well we don’t exactly fight it, but we fear it… So we unite against it. And if the threat continues long enough we gradually become used to being united. We actually grow to like it. Yvette-“Some scarecrows don’t even scare… crows!” Allen-“One might”
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“Mark against Evil”

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Allen goes off on a tangential soliloquy induced by the wrong reaction to the drugs he’s been given. He mentions Prometheus… how fitting that these mad scientist are creating a modern day monster by playing God...
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“Listen there’s more to this levitation than just the physical. I’m really able to fly. Are you aware of that! No, you’re no Phil Gainer, Professor Gainer, Dr Gainer. Hello Dr Gainer, allow me to present (in a german accent) these mad doctors here. Constant as you are of the space time continuum. There’r globules of solid (cackles in a whisper) propellant To send me on my long journey…. through the underworld or the —listen you gotta put pegs on my eyes Phil tells him to lye down According to ?’s law ( makes like his hands like ray guns and shoots…) laughing “I see you all, you got fat faces you know that. Baby eyes over baby pouts. Come on. Skidder along on your little rats feet. I am Callahan, Callaban. (he chuckles to himself) with a PhD. Ba Ba Black Sheep Have you any krell upstairs, downstairs in my baby’s nightshade. All around the town crying through the lochs how the children in their beds know it’s 8’O’Clock Stay back, stay back you think your putty little hands can hold Prometheus Odysseus Tycho Star…”

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