Beautiful Poison: Jean Simmons in Angel Face (1953) & Gene Tierney in Leave Her To Heaven (1945)

It’s that dastardly wonderful time of year when  Speakeasy* Shadows and Satin & Silver Screenings host The Great Villain Blogathon 2017! featuring an endless array of diabolically cunning, insensate evil, down right nefarious and at times psychotic adversaries that Cinema has to offer!

Now in the past several years I’ve taken a long look at Gloria Holden & Gloria Swanson: When the Spider Woman Looks: Wicked Love, Close ups & Old Jewels -Sunset Blvd (1950) and Dracula’s Daughter (1936).

Dark Patroons & Hat Box Killers: for 2015’s The Great Villain Blogathon! I focused on the extraordinarily passionate Vincent Price in Dragonwyck 1946 and the ruthlessly sublime Robert Montgomery in Night Must Fall 1937—in a twisted nail biter by director Walter Graumen who puts the lovely Olivia de Havilland in peril at the hands of a sociopathic animal James CaanLady in a Cage (1964) for the spectacular Blogathonian lady’s hosting the 2014’s —The Great Villain Blogathon and once again last year for 2016’s event, I featured True Crime Folie à deux: with my take on Truman Capote’s true crime drama In Cold Blood (1967) & the offbeat psycho thriller The Honeymoon Killers (1969).

I was tempted to do a double feature tribute to the two masterful, despicably loathsome characters brought to life by Robert Mitchum. First his superb manifestation of the crazed preacher Harry Powell in Charles Laughton’s expressionist masterpiece The Night of the Hunter (1955). And then as the animalistic psychotic Max Cady in director J. Lee Thompson’s Cape Fear (1962).

I might not wait until The Great Villain Blogathon 2018, and just do a special feature “Robert Mitchum’s Alpha Madmen” because he & these two films are just too good not to write about before next go around! And I’m simply mad about Robert Mitchum, not to worry, not mad in the same way as Angel Face’s Diane Tremayne!

The Great Villain Blogathon is perhaps one of my favorite blogathons because the possibilities are devilishly deliciously endless. My mind began to wander around all the delightfully deadly possibility of dastardly dames…

Beautiful Anti-Heroines with a psychological underpinning as in THE DARK MIRROR 1946 starring Olivia de Havilland playing twin sisters one bad, one good, de Havilland also embodies that certain dangerous allure in MY COUSIN RACHEL 1952.

THE STRANGE WOMAN 1946 features a very cunning and mesmerizing Hedy Lamarr, and then there’s always Anne Baxter who portrays a deeply disturbed woman in GUEST IN THE HOUSE 1944. All would be excellent choices for this bad ass… blogathon! BUT…!

This year, I find myself drawn to two intoxicatingly beautiful antagonists who’s veneer of elegance & delicate exquisiteness is tenuously covering their obsessive shattered psyches. Jean Simmons and Gene Tierney both manage to create an icy austerity and a menacing malignancy within the immediate allure of their physical beauty and wiles. 

Also significant in both these films, the characters of Diane Tremayne and Ellen Berent flip the male gaze and conquer it for themselves, being the ones ‘to look’.

In both these films the two deadly women are father-fixated! Both are pathologically jealous. And both women will not go “easy” Diane won’t put the car in gear “Easy!” and Ellen will not leave Dick alone and go away “easy.” These two killer psycho-noir ladies are a great pairing of deadly damsels!

DEFINITION : beauty |ˈbyo͞odē|

noun (pl. beauties)

1 a combination of qualities, such as shape, color, or form, that pleases the aesthetic senses, especially the sight: I was struck by her beauty | an area of outstanding natural beauty.

DEFINITION : CRIMINALLY INSANE

criminally |ˈkrimən(ə)lē|

adverb

1 in a manner that is contrary to or forbidden by criminal law:

psychosis |sīˈkōsəs|

noun (pl. psychoses |-ˌsēz| )

a severe mental disorder in which thought and emotions are so impaired that contact is lost with external reality.

DEFINITION: OBSESSION

obsession |əbˈseSHən|

noun

the state of being obsessed with someone or something: she cared for him with a devotion bordering on obsession.

  • an idea or thought that continually preoccupies or intrudes on a person’s mind:

DEFINITION: FREUDIAN

Freudian |ˈfroidēən| Psychology

adjective

relating to or influenced by Sigmund Freud and his methods of psychoanalysis, especially with reference to the importance of sexuality in human behavior.

DEFINITION:PATHOLOGICALLY JEALOUS

pathological |ˌpaTHəˈläjək(ə)l| (also pathologic)

adjective/noun

the science of the causes and effects of diseases, especially the branch of medicine that deals with the laboratory examination of samples of body tissue for diagnostic or forensic purposes.—• mental, social, or linguistic abnormality or malfunction—compulsive; obsessive

jealous |ˈjeləs|

adjective

*feeling or showing envy of someone or their achievements and advantages:

*feeling or showing suspicion of someone’s unfaithfulness in a relationship:•

*fiercely protective or vigilant of one’s rights or possessions:

• (of God) demanding faithfulness and exclusive worship.

From Mary Ann Doane’s book “The femme fatale is the figure of a certain discursive unease, a potential epistemological trauma. For her most striking characteristic, perhaps, is the fact that she never really is what she seems to be. She harbors a threat which is not entirely legible, predictable or manageable. In thus transforming the threat of the woman into a secret, something which must be aggressively revealed, unmasked, discovered … Her appearance marks the confluence of modernity, urbanization, Freudian psychoanalysis…The femme fatale is a clear indication of the extent of the fears and anxieties prompted by shifts in the understanding of sexual difference in the late nineteenth century… “

Doane goes on to say that it’s no wonder cinema was a great place for the femme fatale of 1940s noir with the femme fatale representing a sign of deviant strength. That could be said of both of highlighted q!

ANGEL FACE (1952)


She loved one man … enough to KILL to get him!

Directed by Otto Preminger written by Frank Nugent, Oscar Milland, Chester Erskine and an uncredited Ben Hecht.

Jean Simmons stars as the antagonist Diane Tremayne Jessup, Robert Mitchum plays Frank Jessup, Mona Freeman as nice girl Mary Wilton, Herbert Marshall as Diane’s beloved father, Mr. Charles Tremayne, Barbara O’Neil as stepmother Mrs. Catherine Tremayne, Leon Ames as attorney Fred Barrett, and Kenneth Tobey as nice guy Bill Compton, who is also Franks ambulance jockey partner. Cinematography by Harry Straddling (Suspicion 1941, A Streetcar Named Desire 1951, A Face in the Crowd 1957, The Dark at the Top of the Stairs 1960, Gypsy 1962, My Fair Lady 1964) and haunting score by great composer  Dimitri Tiomkin.

Angel Face is a bit of a reserved psycho-drama/noir directed by Otto Preminger who also produced. Quite striking in it’s few brutal moments scattered throughout as the murders play out at the hands of the extremely poised Jean Simmons, (So Long at the Fair 1950, The Big Country 1958, Spartacus 1960) which is what gives the film it’s nasty ironic burn in the end.

Jean Simmons was absolutely mesmerizing as Charlotte Bronn, a tormented woman who suffers a nervous breakdown, who leaves the institution and tries to make sense of her life with her austere husband Dan O’Herlihy, sister Rhonda Fleming, and sympathetic Efrem Zimbalist Jr. in director Mervyn Leroy’s Home Before Dark 1958.

In Angel Face, Simmons plays it almost perfectly chilling with her refined beauty that displays no affect, a few obvious inner demons behind those dreamy eyes, not so much bubbling passion underneath as there is bursts of fervency out of necessity. She stunningly floats through the scenes with ice water in her veins, determined to possess, first her father (Herbert Marshall) and then Frank Jessup (Robert Mitchum).

As an actor Robert Mitchum possesses an enormous range, and many layers to his film & real life persona– although he always exudes that smooth yet brawny exterior, he can either play it self-possessed, a coolly determined hero or visceral anti-hero and at times he’s been quite effective as a sicko. In Angel Face, Mitchum while still the usual rugged beast and cocksure fella, this time he is foolish and unsympathetically led by his pants, right into our anti-heroine’s trap…

Frank should have stayed with nice nurse Mary, a nice fella for a girl.

Herbert Marshall as Charles Tremayne tries to explain to the doctor and the ambulance drivers what might have happened when the gas valve was left on in his wife’s bedroom.

Robert Mitchum plays former race car driver Frank Jessup, and ambulance jockey who becomes drawn into Diane Tremayne’s (Jean Simmons) psychotically woven web of obsessive love. Frank and Bill are called to the wealthy Tremayne family’s hilltop mansion, when Catherine Tremayne (Barbara O’Neil) is almost asphyxiated when the gas valve on her bedroom fireplace is stuck on. In reality Diane’s attempt to gas her stepmother fails. It seems that Diane is insanely jealous of the woman who took her dear doting father Charles’ (Herbert Marshall) attentions away.

Catherine Tremayne insists that someone has tried to kill her, and that the gas inhalation was not a suicide attempt. Catherine Tremayne is looked after by the doctor, given a sedative and tucked into bed. Frank wanders down the great staircase, lured by haunting piano playing.

Frank wanders into the parlor when he hears the refined and innocent doe eye looking Diane playing a classical melody on the grand piano. He is immediately struck by the beautifully delicate young woman. As soon as Diane sees Frank who tells her that her stepmother is okay, she becomes hysterical. He tries to calm her down in his gruff manner, “Look take it easy I told ya she’s gonna be fine.” Diane continues to sob, “Leave me alone.” He grabs her arm forcefully and yells at her to stop it, but Diane acts as if she is inconsolable, while Frank is getting more frustrated with her. So, the big guys slaps her, slaps her hard. Some sort of awareness washes over her face, in fact she might have rather liked getting smacked in the face and so, she slaps him back, just as hard. Frank laughs, “Now look, the manual says that’s supposed to stop hysterics, it doesn’t say a word about getting slapped back.” “I’m sorry”, “That’s alright forget it. I’ve been slapped by dames before.”

We can see that there is something definitely off about this strange young woman and it should have raised the hair on the back of his neck but Frank is a bit of a dog you see.

Frank and Bill drive back to the hospital where they are set to get off from work. Frank says goodnight to Bill and walks over to the cafe, because Mary is waiting on his call. Bill tells Frank he’s a lucky guy, and he agrees- “You know it!”

What Frank doesn’t realize is that Diane has jumped into her little sportscar and has followed the men in the ambulance all the way back to the hospital. She watches as Frank enters the cafe. Harry the cafe owner says, “Well if it ain’t the dead body jockey” “Sure Harry that’s why I come here it looks like the morgue.”

Frank puts a coin in the phone and begins to call Mary but he gets a busy signal. He turns around and voilà Diane is standing there. She floats out an innocent sounding,“Hello.” Frank pleasantly surprised says “Well hello, you do get around fast don’t ya.” Diane answers, “I parked my broomstick outside” Frank-“Beer Harry… what do witches drink?”

Now… This is why Frank is a dog, it doesn’t trouble him that this young woman has followed him to work. He was supposed to have dinner with his girlfriend Mary who is a nurse at the hospital and a wonderful person.

Naturally one busy signal and Frank’s attention span is switched to this young stalker whom he finds intriguing. He finally gets Mary on the phone and tells her that he’s too tired to get together and goes off into the night to dine and dance with Diane. He is now ensnared in her web.

Frank-“I’ll see you tomorrow” Mary-“Tomorrow… was it a rough call?” Frank staring at Diane- “Yeah, rough.”

Diane asks Mary to lunch… she’s got a plan you see

What makes Diane even more conniving is that the next day she meets Mary for lunch and tells her about her evening with her boyfriend. She puts it under the pretense of helping the couple out with Franks plans on owning his own sports car repair ship, Diane having the means to offer financial support. But the seed is planted and Mary gets the heavy hint dropped that Frank is a dog and feels betrayed by Frank’s lie about being too tired. Mary is no dope and she let’s Diane know that she won’t be a fool. She tells Diane that she would have rather not known about their evening together and knows that Diane has brought her to lunch to try and shake her faith in Frank and to “find out how stupid” she was. Mary isn’t the typical good girl in noir—she’s more streetwise than that and a bit jaded by the ways of the world. She’s the good girl, but not a dumb girl.

That night Frank is about to go out on a date with Mary and he continues to lie about the previous evening “I was so beat last night I hit the sack as soon as I got in” Mary tells him “That, I can believe.”

Diane walks into the diner and tells Frank that she met with Mary for lunch.

Diane-“Go ahead hit me.” Frank-“First I’ll buy you dinner then I’ll hit ya.” Diane -“When I tell you what I did you probably won’t want to see me again, ever.” Frank-“sounds pretty grim.” Diane-“I had lunch with Mary I told her about last night… oh not everything just that we went out together.” Frank gripes-“Well why did you say that, I told her that…” Diane-“I just told her that I wanted to help you get the garage.” Frank-“Oh yeah you’re a big help.”

Later that evening while dropping subtle barbs at each other about the price of Diane’s spending, she lays the groundwork for getting Catherine to hire Frank as her new chauffeur.

Diane to Catherine complaining about her expense account-“Don’t you know it’s the simple things that cost the most!”

Diane tells Catherine that she could really use a chauffeur…

Now that Frank and Mary’s relationship is strained Diane moves in for the kill, she initiates a passionate kiss, she tempts him with the idea of a race coming up, tempting him with “pebble beach” and that she will loan her car to him, also luring him with the security of a better paying job.

He decides to take a job with the Tremayne’s as her stepmother Catherine’s chauffeur, though he tells Diane he’s just “not the type” even moving into an apartment over the garage. Diane tells Frank about her father, how he is a widowed writer, who has been wasting his talent, marrying into money for it’s comfort with the rich Catherine whom Diane despises for the way she treats him.

Part of Diane’s diabolical plot to draw Frank into her web, she pretends to be nice to Catherine asking her to invest in Frank’s desire to open up his own garage that caters to sports cars.

This is also a way for Diane to ingratiate herself into Franks life by appealing to his love of fast cars, as an extension of her own dangerous mind, she drives a sports car that Frank seems to be dazzled by and covets as he was once a race car driver. This is just an example of one of Diane’s manipulative powers as she seduces Frank with the illusion that he will be in control. Race cars are vehicles that represent freedom and freedom of movement as they are capable high speeds and risk taking. Both Diane and Frank seem to want to move at their own speed and of their own volition with no one interfering. In that way they are suited. Frank wants to do his own thing, opening up his own garage and Diane is looking for someone new to possess and control since her father is now a little more out of her reach.

But this is where the bait, or point of attraction leads Frank down a dangerous spiraling road led completely by Diane’s calculating will— where he will ultimately and literally crash and burn.

And so Frank meets with his employer who is receptive to him. Catherine actually thinks he’s a very nice young man and calls over to her lawyer to look over the papers, feeling fine about lending a great deal of money for him to open up his own garage, though she must wait for her attorney to look over the financial details of the transaction. Frank believes the deal is going to happen, until Diane sabotages the whole thing by insinuating herself using deception once again, pretending to show Frank a crumpled paper from the waste pail with the figures for the investment, that her stepmother supposedly trashed. Frank seems surprised that Catherine decided not to go ahead with it, as she appeared keen on the idea.

“Oh Frank I’m so sorry.” Frank-“Don’t take it so hard. You had a nice idea it just didn’t work that’s all.” Diane-“I’m so sorry for you.” Frank-“She changed her mind forget it, we’ll make a big night of it.” Diane– “Not tonight.” Frank slightly annoyed-“Now why?” Diane warns him, “It would be safer not too. We have to be careful for a few days. More than ever now.” Frank-“What do we have to be careful of now?” Diane-“Well if she finds out she’ll dismiss you and I couldn’t stand to lose you now…” Frank-“So she fires me and I get another job. Maybe it’s better that way. At least we won’t have to play around like this. Hiding like kids.” Diane-“You don’t know her Frank. She’d lock me in.” Frank laughs-“How could she lock you in?” Diane-“She could do anything to me because of my father. If I try to fight her, she makes him pay for it, she knows I can’t stand that, please try to understand.”

Of course Diane has constructed this lie as Catherine was very interested in going through with the deal. She wants to poison Frank’s mind against Catherine, and Frank doesn’t go straight to Catherine and merely ask if this is true, he just takes Diane’s word for it.

Once he is working for the Tremayne’s, and the prospect of his garage will not materialize-Frank gets antsy.

While Diane plays chess with dear old daddy, Frank gets bored playing chauffeur above the garage and tries to call Mary but he can’t reach her. Diane says goodnight to father laying out his milk, biscuits and cigarettes by his bedside, like the loving daughter, he can’t do without.

While Diane sits at the piano and plays her lamenting melody, in her eyes she appears like a black widow knowing that she has a juicy fly trapped above the garage, planning her next strategy which comes in the middle of the night.

She comes to Franks room crying and frightened claiming that Catherine had been in her bedroom looking down at her. Diane says with her most delicate voice-“It was so strange I wanted to speak but I couldn’t.” Diane tells Frank that Catherine had closed the window and put the gas on in her room, that she heard that awful hissing sound. She didn’t dare leave the room. Frank wants to tell her father and the police, but Diane quickly gathers her composure, “No Frank we mustn’t do that.” 

Diane’s pretense of paranoia about Catherine’s trying to kill her emerges more clearly for Frank who is now taking notice of it.

An exercise in frustration, Frank begins to realize that he is in love with a lovely yet quite homicidal head case! but he fails to untangle himself from this deadly beauty.

Frank  [of Diane’s supposed ‘evil’ stepmother] … “If she’s tryin’ to kill you, why did she turn on the gas in her own room first?”

Diane  “To make it look as though somebody else were guilty…”

Frank  “Is that what you did?”

Diane  “Frank, are you accusing me?”

Frank  “I’m not accusing anybody. But if I were a cop, and not a very bright cop at that, I’d say that your story was as phony as a three dollar bill.”

Diane “How can you say that to me?”

Frank  “Oh, you mean after all we’ve been to each other?… Diane, look. I don’t pretend to know what goes on behind that pretty little face of yours – I don’t *want* to. But I learned one thing very early. Never be the innocent bystander – that’s the guy that always gets hurt. If you want to play with matches, that’s your business. But not in gas-filled rooms – that’s not only dangerous, it’s stupid.”

Diane tells him that she’s very tired. He says “Yeah, that I can believe.” When she tries to kiss him, he pulls away from her.

Meantime Frank visits with Mary, who is on her way out to meet up with Bill for a date. She is surprisingly nice to Frank which is more than he deserves. She tells him Bill was sure he’d show up for last night’s bowling tournament he tells her –“I’ve been busy.”

Frank asks how Bill did in the tournament, she tells him “wonderful.” Frank answers, “He’s been making out alright with you too huh.” 

Mary says, “Bill was very sweet to me after you walked out.”

Frank-“I took a job that pays better than being a lousy ambulance driver, is that a crime?” Mary- “Is taking the bosses daughter to the Mocalmba (club) part of the job?” Frank-“They got a good band there, remind me to take you there sometime.” 

You just can’t blame Mary for trying to move on, Bill is a much more dependable and a very likable guy who has worshiped Mary from the beginning. She asks about Frank’s new life, and he tells her that he’s thinking of quitting.

He tells her, “I’ve been thinking about quitting, it’s a weird outfit, not for me.”

Frank asks-“What’s the score Mary, has Bill taken over or do I still rate?”

Mary-“That’s a hard question to answer and I don’t think a fair one to ask” Frank-“A very simple question, yes or no, Bill or me? Can’t you make up your mind?” Mary tells him, “Yes, but I want to be sure you can make up yours. Can’t we let it go at that for a while” Frank-“Oh, I’m on probation, okay, how bout tonight, we got a date?” Mary laughs- “Why not” Frank says, “You know something you’re a pretty nice guy… for a girl.”

The next day Frank is going to leave, but Diane has packed her bags, and stumbles onto Frank packing his own bags. She asks him where he is going. He tells her that he’s quitting, when she asks why, he tells her, “well maybe it’s the altitude. Living up here makes my heart pound.”

Of course Diane collapses onto the couch and begins to weep. Frank tells her, “Now let’s face it I never should have taken this job. You shouldn’t have asked me… you know I’m right. You have your world I have mine. You got beautiful clothes a big house, someday you’ll come into a lot of money. I got a pair of big hands and not much else.”

“But all I want is you. I can’t let you go now… I won’t.”

He tells Diane that he wants to quit his job and she becomes upset as her plaything and the object of her second fixation is now slipping away from her. Frank doesn’t want to be involved with the whole package anymore. “It’s no good I tell you, I’m not getting involved.” She asks “Involved with what?”

“How stupid do you think  I am –You hate that women Someday somehow you’re gonna hate her enough to kill her. It’s been in the back of your mind all along.”

Diane says coldly-“So she’s fooled you too! Just like she has everyone else.”

Diane reminds Frank about her father’s book. That one day she went into his desk to hide a present for him, just “something between him and me…”

And that she found inside the drawer where he was supposed to keep his manuscript, there was nothing but a stack of blank paper. He hasn’t written a line since he married Catherine. At first Frank just blows this off, “So he got tired. Writer marries a rich widow what’d ya expect him to write… checks.”  This touches on a nerve, “Don’t joke about my father!” She tells Frank that Catherine has “humiliated and destroyed him.”

Frank tells her that there’s no law that says she has to stay, she could move out and find work the way other girls must do. She tells Frank that she would leave if it weren’t for her father. “That’s where I came in. I guess that’s where I leave.”

“Frank please will you tell me one thing. Do you love me at all? I must know…”

“I suppose it’s a kind of love. But with a girl like you how can a man be sure.” Diane quietly asks, “Will you take me with you?” 

Frank-“You had it all figured out didn’t ya. You mean you’d really leave your father and everything here.” Diane-“If I have to, to keep you.” Frank-“I could be wrong about you.”

Diane begins to tell Frank how she can sell her jewels and the fancy car and he can get a small garage at first. He wants her to be sure what she is getting herself into. She tells him that she’s sure. They hear Catherine’s car pull around. He tells her to think it over for a few days. Her kisses and sympathetic story about her poor father has worked perfectly on Frank. And she makes sure that he promises that he won’t leave until then. Diane’s maneuvering has worked.

Diane leaves Franks room, and walks passed Catherine’s car. Tiomkin’s score plays fervently, feverishly as she looks down the steep cliff and seems thoughtful about the car that is framed behind her. Finding an empty package of cigarettes stuck in the hedge, she holds it out and watches it as it drops down the deep cliff side. Shades of darker things soon to follow.

Diane is so sinister she even loans Catherine a pair of her new driving gloves, just for the irony of it all. Sometimes she can be so sweet.

Catherine needs to go to her bridge game looking for Frank to drive her, Diane makes the excuse that he needed to go to Santa Barbara, having loaned her sports car to him. Diane offers to drive her instead, knowing all too well that she’ll refuse. And of course Catherine does in fact decide to drive herself to her bridge game. At the last minute, Charles decides to tag along for a ride to Beverly Hills.

Diane languidly floats as if in a psychotic trance and sits at her piano performing the same melody she played the night she failed to asphyxiate Catherine. We can hear Diane playing her melancholy ‘death song’ on the grand piano as her stepmother and father proceed to drive. But…

Diane has figured out how to tamper with the gear shift. She’s been watching Frank tinker with the mansion’s cars, and learns how to reconfigure the brakes and the shift.

Catherine starts up the car, put the gear into drive AND the car shoots backwards rather than forwards –it has been rigged to go into reverse, as her stepmother and father are propelled over the steep cliff’s edge.

Of course the convertible car goes careening over the jagged cliff, rolling over and over and smashing against the rocks, the crash dummies used are quite effective as they (Catherine and Diane’s father) seem to become crushed under the twisted fiery metal…

here’s a nifty gif to illustrate

It is one horrific scene indeed. A scene that truly rattles me!

Diane is successful at the second attempt on her stepmother’s (Barbara O’Neil Stella Dallas 1937, Gone with the Wind 1939, All this, And Heaven Too 1940, Secret Beyond the Door 1947, Whirlpool 1950) life. The problem with Diane’s almost ingenious perfect murder unbeknownst to her is that dear daddy wasn’t supposed to be a passenger in the car so he also dies in the fiery crash, a casualty in the wreckage of Diane’s unbridled psychotic scheme of stepmother machine meddling.

The police think there is something strange about the accident and Frank is charged with murder after Diane’s packed suitcase is found in his room.

The a cop on the case knows Frank from driving the ambulance, and he brings Frank in for questioning. Detective Lt. Ed Brady asks how Frank came to work for the Tremaynes, and Frank tells him that he sort of just fell into it, after they had gotten the call about Catherine’s near asphyxiation. Ed tells him he knows. He’s got the report right there on his desk, Detective Lt. Ed Brady (Larry J. Blake)-“probably accidental, sure makes you wonder, don’t it.”  Frank asks,“What da ya mean?” Ed “She claims somebody tried to murder her” Frank laughs it off-“She was hysterical, why would anyone try to murder her?” Ed-“Are you kiddin’ a woman with her kind of money. Oh by the way Frank, what sort of a girl is this step daughter er… Diane?” Frank tells him, “Very nice girl, very pretty girl.” Ed-“Any boyfriends?” Frank-“None that I ever saw. She and her father were very close.” he puffs on his cigarette some more. Ed mentions “But didn’t get a long with her stepmother eh” Frank- “I didn’t say that.” Ed-“Okay okay, when was the last time you drove the Tremayne car?”

Ed shows him the packed suitcase and then tells Frank he should get himself a lawyer.

Attorney Fred Barrett (Leon Ames), Diane’s lawyer comes to see her in the prison hospital ward.

“She idolized the man Fred it’s no wonder her nerves are cracked!”

Diane suffers a breakdown as she had only wanted to kill her stepmother, she never intended on killing her beloved father when she tinkered with the car. It looks like Frank is involved because he was the last known person to handle the car. He was known to have worked on the cars at the Tremaynes.

The Tremayne family lawyer hires one of L.A’s best defense attorneys, Fred Barrett a master at playing on a jury’s emotions.

Barrett tries to tell her that it won’t serve either she nor Frank to shoulder the blame because the jury would believe them both guilt. In a moment of honesty she tries to save Frank’s neck. Seeming less like a crazy girl and in more control of her powers now in the aftermath of what she has done, inadvertently killing her father, she wants to take responsibility for the murders herself, not wanting anyone to defend her and that she acted alone.

Diane confesses to the crime-“But I’m telling the truth.”

“The truth is what the jury decides…not you, not me, not Frank.”

At first Frank doesn’t want to go along with Barrett’s plan.

Barrett-“To be perfectly blunt Mr. Jessup I’m not particular invested in saving your neck. The concern is with my client Diane Tremayne” Frank-“Yeah that’s what I figured” Barrett tells him, “But the point is you have a much better chance together than separately. And the evidence actually points much more to you than it does to her. The fact that an automobile was involved” Frank interrupts, “If she thinks she can get away with that she’s lost her mind.”

Frank and Diane are married at the hospital…

The ladies at the prison bake the bride and groom a wedding cake-“Kids we sure hope you beat the rap!”

Barrett concocts a scheme to have Frank and Diane married in the hospital jail ward where Diane is spending her time while first catatonic, she is then convalescing after the break down. Diane’s legal team insists that she marry Frank so that it would seem like the couple were just innocent young people who intended matrimony and not having a sordid affair. They want Diane to keep her honest revelations to herself. A morally distasteful strategy that might guarantee a good outcome for them at the trial.

This scheme tries to offset any more scandal for the headlines framing it as two innocent people in love. And that explains them leaving the Tremayne house that day with plans to elope.

Another bad choice, Frank goes along with it, hoping to save his own skin not wanting to be convicted of the murders himself. He allows yet again an outside influence to manipulate his life. The idea of Frank and Diane getting married seems to push Diane further into the delusion that they will remain married and that she will have a future with Frank.

But Frank now wants nothing to do with the obsessive murderous Diane. D.A. Judson (Jim Backus) brings in the car’s mangled motor and drive shaft to demonstrate his theory how the transmission was jimmied to stay in reverse. The defense attorney Barrett manages to create a measure of reasonable doubt, supplied by with his own specialists who does create doubt in the minds of the jury and the trial ends with an acquittal. And the couple is now free to go. Frank wants a divorce.

Returning to the mansion Frank tells Diane he’ll go visit Mary to see if she’ll take him back. If she won’t he’ll leave for Mexico. Diane is devastated and in desperation makes him an offer. She’ll loan him her jaguar to go see Mary. If Mary takes him back, he can keep the car. If not he’ll bring the car back.

Here we are not sure whether Diane’s psychosis has broken up a little like a dark cloud getting clearer, as she appears more genuine at this point or is she is still manipulating Frank?

She shares a little history about her childhood and where her fixations might be coming from. She tells him that she was only ten years old when her mother was caught in an air raid in England, after which her father “became everything” to her. But once he married Catherine, Diane says she used to fantasize about what she and her father would do if her stepmother were dead.

She tells Frank that now she realizes that Catherine never meant any harm and she wants him to believe her when she says that she would give her life to bring them back. This is why she tells Frank that he cannot leave her because she wouldn’t know what to do without him. Now appearing just desperately lonely than viciously psychotic. But Frank isn’t ready to stay married to her, not even try at staying close, though he doesn’t hate her, he is “getting out all the same.”

After Frank leaves she closes up the house, dismisses the servants and wanders around the estate alone, before she goes to Frank’s room where she spends the night curled up in the armchair wrapped in his jacket.

Diane believes that she’ll never see him again. She goes to Barrett’s office, wanting to confess, and Barrett reluctantly agrees to take her statement. Diane details how she unwittingly got Frank to show her while giving the car a tune up how to rig the car to go in reverse. But he tells her she can’t be tried again due to double jeopardy. Her admission shows that she might not be totally delusional, just a regretful psychotic.

When Diane returns to the lonely mansion, Dimitri Tiomkin’s dark score swells dramatically around Diane as she appears to drift bereft with grief through the empty halls and rooms. But Diane’s hopes are sparked when Frank returns, Mary has by right rejected him, preferring the kind and loyal ex-partner Bill and Frank decides to leave for Mexico.

Diane pleads with him to let her go along. He says no way. Even though he’s called a cab, he decides to let her drive him to the bus station. They get in the jaguar, and Diane brings champagne and two glasses.

It might not be necessarily clear when the idea came to Diane, If it was the final realization that she’d be driving him to the station never to see him again. Maybe she thinks she can change his mind over that glass of champagne. But something clicks in her brain when Frank criticizes the way she puts the car in gear, as he exclaims. “Easy” that seems to spark her reaction…

He pours the champagne as she starts the engine. Then looking at him, she floors the car in reverse as the two go frighteningly backwards over that scary steep cliff…

And rockets them down the same cliff that killed her father and stepmother, the car smashing against the rocks mangled into the same kind of twisted metal sculpture.

Irony-a few minutes later the cab arrives…. Frank you idiot.

The scene is given it’s moxie by cinematographer Harry Straddling (Suspicion 1941, A Streetcar Named Desire  1951, A Face in the Crowd 1957)

Angel Face dramatically embraces the darker implications of noir.

I admit, I’d have a hard time saying no to Jean Simmons too… but Franks stupidity and Mitchum’s ability to play a tough guy (who smokes a cigarette sexier than any man I can think of) a guy just floating where the wind blows his pants is aptly described in Silver and Ursini’s book—FILM NOIR: THE DIRECTORS– on Otto Preminger

“One of the big achievement of Preminger his writers his cast and composer Tiomkin is to create a tone of amour fou in Angel Face that is realistic, poignant, delirious and suspenseful in equal doses. Frank is not the smartest guy, but he’s not a dummy, either. His lackadaisical attitude about life is embodied in Mitchum’s languid body language. Slow on the uptake about how dangerous Diane is, his problem is one of the noir anti-hero most common:thinking with his balls and not his brains. If he hadn’t given Diane a second chance, if Mary had taken him back;and if he’d realized Diane was willing to sacrifice her own life to be with him. A lot of ifs. Frank is always a half-beat behind trying to get in rhythm and he pays for it dearly. Preminger actually generates some sympathy for Diane when she tries to make up for the murders by confessing, only to realize the state will never punish her. Barrett’s assertion she may end up institutionalized if she presses the issue is more unpalatable to her than the gas chamber. When she comes home before seeing Frank for the final time, the romantic delirium builds to fever pitch, culminating in a bittersweet shot of her curled up in the shadows in Frank’s room. Frank’s coat wrapped around her. It is one of the most moving sequences… the character is completely self-aware of her own psychosis. Angel Face is Preminger’s finest noir.”

Continue reading “Beautiful Poison: Jean Simmons in Angel Face (1953) & Gene Tierney in Leave Her To Heaven (1945)”

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

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

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They’re too wild for one world!

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Source-courtesy of Getty Images

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

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

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

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

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

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

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

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

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Mary Blanchard as Queen Allura

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Anita Ekberg as a Venusian Guard

Venusian #1: “What is it?”

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

Venusian #2: “That’s a man?”

Abbott and Costello Meet Dr. Jekyll and Mr. Hyde

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

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

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

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

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

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

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

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

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

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

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Abbott and Costello Meet Dr Jekyll and Hyde

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

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

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The Beast from 20,000 Fathoms

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FANTASTIC SEA-GIANT CRUSHES CITY!

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

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

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

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

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

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

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

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

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

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

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

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

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Cat-Women of the Moon

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SEE: THE DEADLY CAVE OF MOON-GOLD!

SEE: THE BLOOD-THIRSTY BATTLE OF MOON MONSTERS!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Donovan’s Brain

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Janice Cory: “Sounds impossible.”

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

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Four Sided Triangle

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

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Photo courtesy of: Alamy

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

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

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

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

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

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

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

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

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Lena: An empty mind… and a new beginning!

Invaders from Mars

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“What makes you think the chief will?”

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

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

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

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

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

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Invaders from Mars

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It Came from Outer Space

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ellen Fields: For good, John?

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

 

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

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

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CONTINUED!

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

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Click Here for the original introduction to the series!

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

Flight to Mars

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Flight to Mars _1951

Fligth to Mars 1951

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The Earthlings…

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The Martians…

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

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

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

Flight to Mars telescope

Flight to Mars 1951 lobby card color

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

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

Flight to Mars brain and brawn

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

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

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

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

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

Flight to Mars crash land orange sky

flight to mars the orange sky and towers

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

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!

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Lost Continent 1950 lobby card dinosaurs

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

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

Lost Continent lobby card

Lost Continent lobby card

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

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

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

Lost Continent Brontasaurus

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

Acquanetta born Mildred Davenport of Ozone, Wyoming.

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Here she is in Tarzan and the Leopard Woman 1946

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

Lost Continent crew

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

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

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

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

The Man from Planet X

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

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

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

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

Man from Planet X jpg

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

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

The_Man_from_Planet_X_ enid sees the ship

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

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

The Man from Planet X a fine british love story

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

Man from Planet X looks at Enid

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

X-shows his face

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

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

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

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The Man From Planet X 1951

The Man from Planet X

The Man from Planet X Enid is scared

The Man from Planet X alien follows them home

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

The man from planet x Dr Mears intimidates x

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

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

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

The Man from Planet X dr under light

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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!

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50 foot woman at the bar

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

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

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

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

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

Chiller Theater

Fright Night WOR

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

Retro Drive In

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

3D Audience

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

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

Creature From the Black Lagoon

Incredle Shrinking Man vs Cat

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

I’LL ALSO BE TALKING ABOUT SOME GUILTY PLEASURES!

Attack of the Crab Monsters 4

Attack of the Crab Monsters (1957)

not-of-this-earth paul birch

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

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

Tabanga and Korey

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

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

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

1955 hairdryer wants to be a space-age helmet

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

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

Le Voyage Dans La Lune 1902

Trip to the Moon 1902

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

Emil Jennings in Algol 1920

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

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

barrymore 1920 dr jekyll

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

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

aelita-queen-of-mars-1924

Aelita Queen of Mars (1924)

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

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

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

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

Metropolis

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

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

Island-of-Lost-Souls 1932

Kathleen Burke Island of Lost Souls

Island of Lost Souls charles_laughton

Island of Lost Souls 1943 The House of Pain

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

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

things-to-come

96h01/huch/2909/08

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

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

Flash Gordon Buster Crabbe and Ming

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

James Whales Bride of Frankenstein 1932

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

colin clive and dwight frye Frankenstein 1931

Frankenstein's hand it's alive

ColinClive it's Alive

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

Bride & Frankenstein's monster

bride_of_frankenstein 1935

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

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

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

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

splitting the atom men in white coats

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

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

The Atomic City 1952

The Atomic City 1952 trailer

Duck & Cover 1951 classic propaganda film

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

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

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

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

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

Twilght Zone 'The Shelter' s3e3

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

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

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

X The Unknown

Invaders from Mars

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

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

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

The Flying Saucer -ship

The flying_saucer 1950

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

destination moon rocket

destination-moon-space matters

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

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

Flight to Mars

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

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

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

I Married a Monster From Outer Space

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

Xenomorph

bodysnatchers 1956 review

The Thing it's round like a spaceship

The Thing at the door

the thing shadow play

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

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

War of the Worlds Valley of Shadows

When Worlds Collide 6

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

This Island Earth Metaluna mutant

invaders from mars b&w

Is that a fireball or something

“Is that a fireball or something?”

CapturFiles_42

INVADERS FROM MARTS MUTANTS WITH ZIPPERS

InvadersFromMars

invaders-from-mars-

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

The Man from Planet X

the-day-the-earth-stood-still

Day the Earht STood Still Klaatu solves the board 2

Day the Earth Stood Still Patricia Neal and GORT1951-

GORT

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

they would have changed into people who hate you

“They would change into people who hate you!”

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

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

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

Attack of the Puppet People John Hoyt and Agar

dr cyclops 1940

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

the-incredible-shrinking-man-1957-

And of course there is the matter of GIGANTISM!

Earth vs the Spider

EarthVsTheSpider

THEM!

Monster_Challenged

The Black Scorpion

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

50 ft Woman

The Amazing Colossal Man

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

War of the Colossal Beast

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

Fire Maidens of Outer Space

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

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

Queen of Outer Space

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

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

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

“May we serve you earth men?”

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

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

missile to the moon

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

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

CapturFiles_44

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

KT Stevens as The Lido in Missile To The Moon

Missile To The Moon- Hollwood chorus girls

Missile to the Moon 1958

Missile to the Moon spider maiden

Missile to the Moon 1958

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

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

project moonbase 1953

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

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

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

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

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

Flight To Mars 1951

There is always time for romance in outer space!

flight-to-mars with scientist Margaritte Chapman

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

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

Donovan's Brain 1953

fiend WITHOUT A FACE

Gor from Planet Arous

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

Teenagers from Outer Space

I-Was-a-Teenage-Werewolf

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

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

It came from outer space Xenomorph close up

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

Killers from Space

Killers from Space 1954

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

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

Ymir4

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

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

it-came from beneath the sea

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

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

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

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

Invasion of Saucer Men bug eyes

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

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

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

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

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

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

it conquered the world cucumber close up

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

Beverly Garland anti damsel It conquered the world

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

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

angry red planet rat bat spider

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

Incredible Shrinking Man Grant Williams in the atomic cloud

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

Invaders from Mars awake from a dream

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

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

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

the surreal art design looks like a Hugo Simberg painting

A scene from Invaders from Mars (1953)

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

The Tingler Vincent Price I"m stuck on you

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

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

Boris Karloff as The monster

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

The enormous influence that Science Fiction cinema had long-lasting effects on the advent of television. Just look at Rod Serling’s Fantasy/Sci-Fi anthology series which aired on CBS from 1959-1964. The show came in on the end of the decade. Stories that were infused by the themes of the 50s and set the tone for future decades