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

History-Project-2016-godzilla

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

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

Keep watching the Skies!

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

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

Robot Monster rocket

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

amazing colossal man vegas

attack_of_the_50_foot_woman_3_by_farzelgaart-d4ubn9h

50 foot woman at the bar

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

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

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

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

Robot Monster 2

There are many films that I’ll cover more in-depth, some are the more highly polished masterpieces that have lingered for decades with us as adult children who grew up watching them on a rainy afternoon on televisions with knobs that only had 9 channels, and if you were lucky you didn’t snap the knob off every 6 months! Growing up in New York I had Chiller Theater, on local channel 11 or Creature Features on Channel 5, and 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 were 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 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 whiff 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 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!

Queen B’s of 1950s Science Fiction & Horror 🎃

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 giving 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 and 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 its own, storytellers who grasped the concepts of science fiction who questioned the endless possibilities, and the far-reaching machinations of brilliant minds, this project is 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, revealing that we all just might be harboring in our subconscious 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! In 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 its 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 a decade upon decade, in particular, revived in the 1950s!

Metropolis

The first influential science fiction film by Fritz Lang created a dystopian society in Metropolis in 1927. Its influence has maintained its 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

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

Flash Gordon and similar serials provided superheroes 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 centuries.

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 its profound 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 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 reported 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 for 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 its time, it attempts to portray a realistic 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 the 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 judgment) 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 ambiance with its chilling back lit set pieces- The Thing From Another World 1951, adapted from John W. Campbell’s story ‘Who Goes There?’, other films that followed the path of paranoia — Invaders from Mars 1953, War of the Worlds 1953, It Came from Outer Space 1953, It Conquered the World 1956 & Invasion of the body snatchers 1956.

Xenomorph

bodysnatchers 1956 review

The Thing it's round like a spaceship

The Thing at the door

the thing shadow play

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

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

War of the Worlds Valley of Shadows

When Worlds Collide 6

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

This Island Earth Metaluna mutant

invaders from mars b&w

Is that a fireball or something

“Is that a fireball or something?”

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INVADERS FROM MARTS MUTANTS WITH ZIPPERS

InvadersFromMars

invaders-from-mars-

Hollywood saw a trend later on in the 50s with Destination Moon 1950 when they came upon a story written by Harry Bates called The Return of the Master this became Robert Wise’s The Day the Earth Stood Still 1951 which has remained one of the best regarded science fiction films of all time. This is one of the rare occasions when the alien Klaatu played beautifully like an intricate clock by the chiseled face, tranquil speaking Michael Rennie is benevolent, bringing with him a sincere and dire warning about earth people’s course and the future of their citizenship 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 its 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 believe you me 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 of 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 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 like Hollywood starlets than space aliens, anyway, they were eager to please. They danced their music their leotards were so Moderne! like Greenwich Village in outer space.” referring to Cat-Women of the Moon 1953.

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

“May we serve you, earth men?”

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

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

missile to the moon

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

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

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

KT Stevens as The Lido in Missile To The Moon

Missile To The Moon- Hollwood chorus girls

Missile to the Moon 1958

Missile to the Moon spider maiden

Missile to the Moon 1958.

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

Mark Hamill 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 remind 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, and 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

Indie filmmakers introduce teenagers as both heroes & monsters. Many films were horror/sci-fi hybridizations. And by the end of the decade, we have 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 shoestring budget and 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, and 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 that 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 therefore be seen as a profoundly ambiguous figure 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 percussion 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.

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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, and 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 masterpieces such as William Cameron Menzies’s 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.

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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.

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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 equipped 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 at the end of the decade. Stories that were infused with the themes of the 50s and set the tone for future decades to come. The Twilight Zone was groundbreaking and thought-provoking, dealing with issues of war, class, and race, it was a socially conscious program that constantly tried to remind us of our humanity. The decade of 1950s Science Fiction also bled into the mindfulness of my favorite early 60s science fiction anthology series The Outer Limits.

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The Zanti Misfits

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

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

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

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

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

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

Creature Black Lagoon

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

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

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

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Fritz Lang’s iconic robot in Metropolis (1927).

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

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

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

The Face of Paranoia

THE FACE OF PANIC_PARANOIA BODY SNATCHERS

Invasion Anxiety!

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FEAR OF THE ATOMIC BOMB! The Atomic City 1952 trailer.

I see you with my million eyes!

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Hey, big fella got a light!

Godzilla King of the Monsters

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

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‘The modern world.’

1952

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

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LOST WORLDS AND SPACE TRAVEL

Destination Moon

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

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

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

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

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

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

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

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

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Destination Moon gear

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

destination-moon

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

The Flying Saucer

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The FLying Saucer 1950 saucer

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

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The Flying Saucer 1950

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Pat Garrison and Mikel Conrad-50s cool!

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

Mike Trent: I sobered up.

Prehistoric Women

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Laurette Luez as Tigri.

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

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

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

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

Prehistoric Women 1950 Engor and Tigir

Prehistoric Women Engor discovers fire

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

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

Prehistoric Women 1950 the scourge of the skies

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

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

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

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

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Prehistoric Women 1950

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

Rocketship-X-M

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

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

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

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

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

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

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

Rocketship XM Osa and Lloyd and deep thoughts

Rocketship XM the crew inside their ship

rocketship-x-m on Mars

Rocketship XM the crew investigates the landcape

Rocketship X-M sepia exploring

Rocketship X-M

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

Rocketship XM the surving race

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

Rocketship XM attacked by the Martian savages

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

Rocketship XM the Crash landing

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

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

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

‘Their last desperate hope is for transcendence”

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

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

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

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

 

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

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

Floyd: Isn’t that enough?

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

Floyd: Murdering savages!

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

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

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

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

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

Step Right Up! It’s The William Castle Blogathon: The Last Gasp!!!

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No ballyhoo, gimmickry, shenanigans, hucksters or PT Barnum Hoopla– just one huge wave of gratitude washing over us as we conclude this incredible week. There have been a lot of words to sum up William Castle’s legacy here but somehow I’m speechless and humbled by all the amazing efforts, dedication, witty nuggets of facts hidden deep deep within the back story of the thing, all the heartwarming camaraderie, sense of community, mutual admiration, fair play, unique approach and prolific vision that each of you brought to the event just sort of blows my mind.

When I first dreamt up this blogathon honoring Mr. Castle, I never imagined in my wildest fancies that it could be this spectacular! And that’s because of all of you…

It just makes me feel such satisfaction to see how much of yourselves you put into each feature. How humorous, informative and unique you approached your version of Castle’s style and body of work. All I can seem to say is THANK YOU Goregirl ( I couldn’t have done this without you my brilliant & cheeky friend) and THANK YOU all… I am delighted and honored and really really proud that everyone had such a grand time… With tremendous gratitude your MonsterGirl- Joey

JUST A REMINDER THAT WE’RE EVER GRATEFUL TO DAVID ARRATE AND WENDY CHRISTENSEN FOR FOR THEIR INCREDIBLE BANNERS WHICH MADE THIS WHOLE SHINDIG A SMASHING SUCCESS

William Castles 13Ghosts
Maybe we can scare up Mr Castle himself with all the love we’ve been showing him-now concentrate and let’s see if we can communicate with his spirit-Sshhh I think I hear some chains Rattl-O-a go-go!

This is the last gasp of air we’ll all be able to settle down from the week’s excitement! No more buzzers under your seats, or skeletons in the cellar. No more Ballyhoo and Fanfare… at least until the next time… You’ve all been so swell, I feel all tingly inside… uh oh. Nah it’s just the warm glow of appreciation to so many wonderful and brilliant bloggers who turned out to help Terri and I celebrate the greatest showman of em all… I hope you all had fun. I know we did. And please, keep William Castle in your hearts and every once in a while dust off one of his fabulous motion pictures and make a night of it with the entire family. He lived to entertain you, I hope we did the same…

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Today-the last day: Goregirl features: Vinnie from Tales of the Easily Distracted, Jenna Berry of Classic Movie Night, Sam at Wonders in the Dark, Kristen from Journeys in Classic Film,Toby Roan from 50 Westerns from the 50s &

(Me)-Joey The Last Drive InBack Story: What Ever Happened to William Castle’s Baby? (Rosemary’s Baby)

Here at The Last Drive In I’ll be featuring the fabulous Dorian from Tales of the Easily Distracted – with a zany romp: The Spirit is Willing (1967)

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Fritzi (Gwen) from Movies Silently  is going to wow us (silently from the projection booth of course) with, After the Silents: Chills! Thrills! William Castle Special!

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Then Jeff Kuykendall of Midnight Only  is going to be all creepy crawly with his feature on Bug (1975)

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William Castle at Bug

David Arrate of My Kind of Story –is going to dazzle us with Its a Small World Malcolm Shanks’

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Classic Film and TV Cafe  A William Castle Double Feature: The Tingler and Mr. Sardonicus- An Undertaker Is Standing By In Case You Die Of Fright!

Misty of Cinema Schminema  is going to thrill us with Project X (1968)

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and finally The Nitrate Diva -is getting all mysterious noir on us with Castle’s Betrayed aka When Strangers Marry (1944)

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Lindsey at The Motion Pictures wants to show appreciation for some of her fellow bloggers with ‘recommended reading’

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A little something for your Nightmare’s from The Phantom Erik  Episode 048: The Tingler (1959 Podcast

With Love to you Mr. William Castle-From all of us and your ever lovin’ MonsterGirl- Joey! Good Night-

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And the Spine-Tinglers Are:

Monday, July 29th:

Aurora at Once upon a screen… The Night Walker (’64)

Rich at Wide Screen World: Top 5 William Castle Gimmicks

Le at Critica Retro: Texas, Brooklyn and Heaven (’48) ‘Live Dreaming’

Furious Cinema: William Castle: Mad as Hell Movie Showman

Lindsey at The Motion Pictures: Favorite Things About… House on Haunted Hill

Forgotten Films: Macabre (’58)

Barry at Cinematic Catharsis: 13 Ghosts (’60)

Joey at The Last Drive In: House on Haunted Hill (’59) ‘Only the ghosts in this house are glad we’re here’

Goregirl’s Dungeon: Fun with GIFS: The William Castle Edition

Tuesday, July 30th:

David Arrate of My Kind of Story  It’s a Small World (1950) ‘Image Gallery’

The Last Drive In William Castle’s Villains & Victims! Scream-O Vision…

Ivan of Thrilling Days of Yesteryear & Radio Spirits: The Whistler, Mark of the Whistler, Voice of The Whistler

Heather Drain at Mondo Heather: 13 Frightened Girls! (1963) & Hullabaloo & Horror: A Tribute to William Castle

Lindsey at The Motion Pictures: Matinee (1993) A Cinematic Love Letter to the films of William Castle

Karen at Shadows and Satin: Mysterious Intruder (1946)

Kristina at Speakeasy: The Houston Story (1956)

Ray at Weird Flix: Slaves of Babylon (1953)

The Metzinger Sisters at Silver Scenes: Busy Bodies: Promoting Castle’s Camp” & The Films of William Castle!

Ivan G. Shreve at Thrilling Days of Yesteryear: The Chance of a Lifetime (1943) {Boston Blackie}

Goregirl’s Dungeon:The Women of Castle

Wednesday, July 31st:

Brian Schuck at Films From Beyond The Time Barrier:Strait-Jacket (1964) ‘Mommie Dearest please put down that axe!”

Joey that’s me at The Last Drive In: Johnny Stool Pigeon (1949)

Rob Silvera at The Midnight Monster Show: Double feature Homicidal (1961) & House on Haunted Hill (1959)

Lindsey at The Motion Pictures: Macabre (1958)

Goregirl’s Duneon Goregirl’s Dungeon on YouTube: Alex North & Vic Mizzy

Thursday, August 1st:

Steve Habrat at Anti Film School: Mr Sardonicus (1961)

Classic Movie Hub: The Busy Body (1967)

John LarRue at The Droid You’re Looking For: William Castle Gimmick Infographic

Paul Lambertson at Lasso the Movies: The Tingler (1959)

Goregirl’s Dungeon: Favourite Five Series: William Castle

David Arrate at My Kind of Story/Images Masterson of Kansas (1954)

Lindsey at The Motion Pictures: Tribute to “The King of the Corn” William Castle

Scenes From The Morgue: Showcase of newspaper ads for William Castle films

Stacia at She Blogged By Night: Let’s Kill Uncle (1966)

Ruth- R.A Kerr at Silver Screenings: The Old Dark House (1963)

Ivan G. Shreve at Thrilling Days of Yesteryear: I Saw What You Did (1965)

Ray at Weird Flix: The Saracen Blade (1954)

Friday, August 2nd:

Toby Roan at 50 Westerns: The Law vs Billy the Kid (1954)

Misty Layne at Cinema Schminema: Project X (1968)

Jenna Berry at Classic Movie Night: Ghost Story/Circle of Fear

Classic Film and TV Cafe A William Castle Double Feature: The Tingler and Mr. Sardonicus- An Undertaker Is Standing By In Case You Die Of Fright!

Kristen at Journeys in ClassicFilm: Spine-Tingler: The William Castle Story

Joey at The Last Drive In: Back Story: What Ever Happened to William Castle’s Baby? (Rosemary’s Baby)

Jeff Kuykendall at Midnight Only: Bug (1975)

LIndsey The Motion Pictures: ‘Recommended Reading-William Caslte Blogathon’

Gwen Kramer at Movies Silently: After the Silents: Chills! Thrills! William Castle Special!

David Arrate at My Kind of Story-Images: ‘It’s a small world Malcolm Shanks part one’

The Nitrate Diva: Betrayed aka When Strangers Marry (1944)

Dorian Tenore Bartilucci at Tales of the Easily Distracted: The Spirit is Willing (1967) William Castle in Duo-Vision! The Spirit is Willing and ZOTZ!

Vinnie Bartilucci at Tales of the Easily Distracted: ZOTZ! (1962 William Castle in Duo-Vision! The Spirit is Willing and ZOTZ!

Sam at Wonders in the Dark: Krzysztof Komeda’s Score, Rosemary’s Baby (1968)

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Bug ’75 banner courtesy of Jeff Kuykendall – Midnight Only

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Step Right Up! It’s The William Castle Blogathon: Day Four!

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This has been a killer Blog-O so far. I am so thrilled to my ever lovin’ bones to all of you who have participated in this memorable celebration. And a truly grateful heartfelt thanks to my partner in crime Goregirl. This amazing event would not have been possible without her imagination, determination and sense of fair play. She’s a class act and I owe her a debt, which in her case might be my left kidney, a life time supply of Fireball Whiskey or a date with Tom Savini. I think I could swing the booze.

So… This is day 4 and we’ve got lots more thrills and chills in store for all of you guests and ghouls, gangsters and gun molls, and generally just a great gang of git alongs. Today I am as glowing as a PERCEPTO skeleton flying over a rowdy audience of teenagers- And I know that Bill Castle would be so proud to see how many fantastic writers and film buffs have turned out to pay tribute to his legacy!

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AND SAY… DON’T WAIT TOO LONG TO DIVE INTO ANY OF THESE INCREDIBLY THRILLING FEATURES OR YOU MAY JUST WIND UP LIKE THIS POOR FELLA!

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Mr. Sardonicus’ dear old dad

AND IF YOU’RE READING AT NIGHT MAKE SURE TO USE A LIGHT… YOU DON’T WANT TO RUIN YOUR EYES!

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Today I’m pleased to feature -Ruth at Silver Screenings with her spot on navigation of The Old Dark House 1963.

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I’m so excited I didn’t scare the ‘you know what’ out of Classic Movie Hub who’s is bringing us The Busy Body (1967)

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Paul at Lasso the Movies is going to tackle The Tingler (1959) Let’s hope he screams loud enough!

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FIRST: Watch this warning from William Castle just so you know what you’re getting into!

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POOR JUDITH EVELYN-IT NEVER FAILS-SHE’S ALWAYS GETTING THE BEJESUS SCARED OUT HER!!!!

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Lindsey at The Motion Pictures -is going to pay Tribute to ‘The King of the Corn’ William Castle

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Ray at Weird Flix -is offering us another spectacle with The Saracen Blade (1954)

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Then… Goregirl’s Dungeon is going to thrill us with her –Favourite Five Series: William Castle

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So… When you’re ready, just grab your pants (the one’s we’ve already scared off ya’ll ) and head over to Goregirl’s Dungeon as she features:

David Arrate of My Kind of Story, Ivan from Thrilling Days of Yesteryear, Stacia from She Blogged by Night, Steve of Anti-Film School, John from The Droid You’re Looking For & Scenes from the Morgue

And the Spine-Tinglers Are:

Monday, July 29th:

Aurora at Once upon a screen... The Night Walker (’64)

Rich at Wide Screen World: Top 5 William Castle Gimmicks

Le at Critica Retro: Texas, Brooklyn and Heaven (’48) ‘Live Dreaming’

Furious Cinema: William Castle: Mad as Hell Movie Showman

Lindsey at The Motion Pictures: Favorite Things About… House on Haunted Hill

Forgotten Films: Macabre (’58)

Barry at Cinematic Catharsis: 13 Ghosts (’60)

Joey at The Last Drive In: House on Haunted Hill (’59) ‘Only the ghosts in this house are glad we’re here’

Goregirl’s Dungeon: Fun with GIFS: The William Castle Edition

Tuesday, July 30th:

David Arrate of My Kind of Story  It’s a Small World (1950) ‘Image Gallery’

The Last Drive InWilliam Castle’s Villains & Victims! Scream-O Vision…

Ivan of Thrilling Days of Yesteryear & Radio Spirits: The Whistler, Mark of the Whistler, Voice of The Whistler

Heather Drain at Mondo Heather: 13 Frightened Girls! (1963) & Hullabaloo & Horror: A Tribute to William Castle

Lindsey at The Motion Pictures: Matinee (1993) A Cinematic Love Letter to the films of William Castle

Karen at Shadows and Satin: Mysterious Intruder (1946)

Kristina at Speakeasy: The Houston Story (1956)

Ray at Weird Flix: Slaves of Babylon (1953)

The Metzinger Sisters at Silver Scenes: Busy Bodies: Promoting Castle’s Camp” & The Films of William Castle!

Ivan G. Shreve at Thrilling Days of Yesteryear: The Chance of a Lifetime (1943) {Boston Blackie}

Goregirl’s Dungeon:The Women of Castle

Wednesday, July 31st:

Brian Schuck at Films From Beyond The Time Barrier:Strait-Jacket (1964) ‘Mommie Dearest please put down that axe!”

Joey that’s me at The Last Drive In: Johnny Stool Pigeon (1949)

Rob Silvera at The Midnight Monster Show: Double feature Homicidal (1961) & House on Haunted Hill (1959)

Lindsey at The Motion Pictures: Macabre (1958)

Goregirl’s Duneon Goregirl’s Dungeon on YouTube: Alex North & Vic Mizzy

Thursday, August 1st:

Steve Habrat at Anti Film School: Mr Sardonicus (1961)

Classic Movie Hub: The Busy Body (1967)

John LarRue at The Droid You’re Looking For: William Castle Gimmick Infographic

Paul Lambertson at Lasso the Movies: The Tingler (1959)

Goregirl’s Dungeon: Favourite Five Series: William Castle

David Arrate at My Kind of Story/Images  Masterson of Kansas (1954)

Lindsey at The Motion Pictures: Tribute to “The King of the Corn” William Castle

Scenes From The Morgue: Showcase of newspaper ads for William Castle films

Stacia at She Blogged By Night: Let’s Kill Uncle (1966)

Ruth- R.A Kerr at Silver Screenings: The Old Dark House (1963)

Ivan G. Shreve at Thrilling Days of Yesteryear: I Saw What You Did (1965)

Ray at Weird Flix: The Saracen Blade (1954)

Friday, August 2nd:

Toby Roan at 50 Westerns: The Law vs Billy the Kid (1954)

Misty Layne at Cinema Schminema: Project X (1968)

Jenna Berry at Classic Movie Night: Ghost Story/Circle of Fear

Kristen at Journeys in Classic Film: Spine-Tingler: The William Castle Story

Joey at The Last Drive In: Back Story: What Ever Happened to William Castle’s Baby? (Rosemary’s Baby)

Jeff Kuykendall at Midnight Only: Bug (1975)

Gwen Kramer at Movies Silently: After the Silents: Chills! Thrills! William Castle Special!

David Arrate at My Kind of Story-Images: Shanks (1974) & Masterson of Kansas (1954)

The Nitrate Diva: When Strangers Marry (1944)

Dorian Tenore Bartilucci at Tales of the Easily Distracted: The Spirit is Willing (1967)

Vinnie Bartilucci at Tales of the Easily Distracted:Zotz! (1962)

Sam at Wonders in the Dark: Christopher Komeda’s Score, Rosemary’s Baby (1968)

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Step Right Up! We’re Gonna Scare the Pants Off America: The William Castle Blogathon is on it’s way to a theater near you! July 29th- August 2nd, 2013

THE WILLIAM CASTLE BLOGATHON

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“I think he was a wonderful director. He followed his dreams, and after all he was right.”Marcel Marceau

On July 29th 1959 American Producer/Director & Screenwriter William Castle premiered (click on link to read my past post) The Tingler in the US to theater goers. The audience had the underside of their seats rigged with electric buzzers which were activated at the moment Vincent Price cautions them “Ladies and gentlemen, please do not panic. But scream! Scream for your lives! The stunt was named ‘Percepto’ and once the projectionist got his cue to let the current rip, people in the audience got a mild jolt to their tuchus and their money’s worth of chills and thrills!

The urbane Vincent Price plays Dr. Warren Chapin a man driven by a curiosity to find out the source of the mysteriously evil force that creates the SENSATION of fear. He discovers an organism called… The Tingler which manifests itself at the base of the spine when one is experiencing abject fear. The Tingler can only be subdued by the act of screaming.

In his memoirs Step Right Up! I’m Gonna Scare the Pants Off America he talks about the people who got their gluteus maximus’ buzzed with a small electric shock. Castle went as far as to hire fake “screamers and fainters” that he planted in the audience who would then be carted away on a gurney by “nurses” who were situated out in the lobby ready to put them in an ambulance parked outside the theater. This gimmick definitely outshines the last publicity scheme for his first chiller film touted with fanfare in which he offered a certificate for a $1,000 life insurance policy from Lloyd’s of London in case they should die of fright during his picture Macabre (1958) a film he felt inspired to make after seeing the success of Henri-Georges Clouzot’s Diabolique (1955) 

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Growing up in the 60s and 70s my childhood was filled with the sort of wonderful attractiveness William Castle’s shenanigans fostered in my yearning imagination. His films wouldn’t really be considered frightening by anyone’s standards today, but if you were a kid watching television on a rainy Saturday afternoon way back when, and suddenly you were thrust into a world where wearing whacky goggles would allow you to see wild ghosts wreaking havoc in an old eerie mansion in 13 Ghosts, or a disembodied hand rising up from a bath of brilliant red blood in an otherwise black and white landscape in The Tingler, or that moment when Nora Manning sees Mrs.Slydes the blind housekeeper who glides past her, a crone like harbinger of death, or those jaunty little party favors in the shape of coffins containing guns for the guests in House on Haunted Hill, with the added sensational musical scores and atmospherics you’d know the thrill and nostalgic glow that washes over you because William Castle made himself a presence quite like Hitchcock who was invested in bringing us into their world of fear and getting us excited about it!

Judith Eveylin The Tingler Blood Bath

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Castle’s films have left an indelible mark on so many of us, not to mention the incredible movie stars and character actors who inhabited his memorable films, like Vincent Price, Joan Crawford, Barbara Stanwyck, Shelley Winters, Sid Caesar, Ann Baxter, Robert Ryan, Richard Conte, Julie Adams, Rock Hudson, Rhonda Fleming Robert Taylor, Guy Rolfe, Janette Scott, William Prince, Judith Evelyn, Audrey Dalton, Margaret Hamilton, Tom Poston and Elisha Cook Jr. and so many more…

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Joan Crawford and William Castle

Keep in mind, he produced my favorite film of all time, which I’ve been planning to do a major feature on down the road. The transcendent mind blowing tribute to paranoia and motherhood, Rosemary’s Baby 1968, thank god he decided to let Polanski direct, but still he was the man behind the masterpiece.

Bill with Mia and John on the set of Rosemary's Baby

And Castle didn’t just do scary campy joyrides, if you look at his filmography you’ll see an array of film noir & mysteries like Hollywood Story (1951),The Fat Man (1951) Undertow (1949) series’ like The Crime Doctor & The Whistler, adventures like Serpent of the Nile (1953), with Rhonda Fleming. Westerns, television series and screwball comedies too like The Busy Body (1967) starring Sid Caesar, Robert Ryan and Ann Baxter , so if you’re a scaredy cat no worries there’s plenty to cover for everybody!

William Castle is one of THE most recognizable showman of film camp, purveyor of cheap chills, the maestro of gimmickry! In a time when the censors were becoming more lax and psycho-sexual themes were infiltrating the cinematic frontier, the trumpets were hailing Castle to step right up and create his own uniquely tacky ballyhoo! Sometimes kitschy, at times quite jolting and paralyzing, so many of us were marvelously effected by the collective tawdry Schadenfreude.

And so I got to thinking– geez it’ll be the 54th anniversary of that Spine-Tingling fun house ride of B-Movie schlockery and what better way to tribute the P.T. Barnum of Classic B-Movie fanfare than to co-host a blogathon with the witty and well versed Terri McSorley of Goregirl’s Dungeon. 

Castle opens up The Tingler with this fabulous warning to the audience:

I was going to wait and announce the blogathon officially on May 31st which will be the anniversary of Castle’s death in 1977, but we all seem so excited about this, I thought I better get on it and post the details and start the Tingler climbing up our proverbial collective spines! And what a great bunch contributing too!

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In honor of The Tingler’s 54th anniversary

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The William Castle Blogathon runs from July 29th through August 2nd, 2013 and is Co-hosted by Joey (MonsterGirl) of The Last Drive In and Terri of Goregirl’s Dungeon.

The list of films and contributors are below: We’ll narrow down the dates each person will publish their post a little further down the road. I don’t want to be too restrictive about films being covered twice as everyone has their own unique perspective. There’s still a bunch of films not chosen yet so please consider widening the scope of our celebration by tackling a lesser known film of Bills! All are welcome, if you’re interesting in joining the ride, please contact me!

Please grab any banners for the blogathon and use them on your site if you’d like!

There’s also no constraints on how long your piece should be. As you know I tend to be really long winded myself. If you have any questions at all, like if you’d prefer your name displayed differently please always feel free to drop me a line at ephemera.jo@gmail.com or leave a comment here:

The Spine-Tinglers Are!

(Lindsey)-The Motion Pictures Tribute &

(Gwen) Movies SilentlyThe Crime Doctor & The Whistler

(Dorian) Tales of the Easily DistractedThe Spirit is Willing (1967)

(Vinnie) Tales of the Easily DistractedZotz! (1962)

(Stacia) She Blogged By NightLet’s Kill Uncle (1966)

(David Arrate)- My Kind of Story-Images Shanks (1974) & Masterson of Kansas (1954) and It’s a Small World (1950)

(Brian Schuck) Films From Beyond The Time BarrierStrait-Jacket (1964)

(Joey-MonsterGirl!) The Last Drive InHouse on Haunted Hill (1959) & Johnny Stool Pigeon (1949) & Back Story: What Ever Happened to William Castle’s Baby? (Rosemary’s Baby)

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(Kristina)-SpeakeasyThe Houston Story (1956)

(Paul)-Lasso the Movies The Tingler (1959)

Goregirl’s Dungeon ‘The Women of Castle”, tribute to musical scores &

(Steve Habrat) Anti Film SchoolMr Sardonicus (1961)

(Ruth) –Silver ScreeningsThe Old Dark House (1963)

(Rob Silvera) The Midnight Monster Show Homicidal (1961) & House on Haunted Hill (1959)

(Aurora) Once Upon a Screen… The Night Walker (1964)

Classic Movie Hub The Busy Body (1967)

(Karen) Shadows and SatinMysterious Intruder (1946)

The Nitrate Diva When Strangers Marry (1944)

(Jenna Berry) Classic Movie Night Ghost Story/Circle of Fear

Forgotten Films-Macabre (1958)

(Kristen) Journeys in Classic Film  Spine-Tingler: The William Castle Story

(Heather Drain) Mondo Heather13 Frightened Girls!(1963) & Bio

(Barry) Cinematic Catharsis 13 Ghosts (1960)

(Misty Layne) Cinema SchminemaProject X (1968)

(Ivan) Thrilling Days of Yesteryear–  The Chance of a Lifetime (1943){Boston Blackie} & I Saw What You Did (1965) 

(Rich) Wide Screen World“Top 5 William Castle gimmicks”

(John LarRue) The Droid You’re Looking For- “Visual Feature-(various films)”

(Sam) Wonders in the Dark- Rosemary’s Baby (’68)

(Jeff Kuykendall) Midnight Only Bug (1975)

(Le) Critica RetroTexas, Brooklyn and Heaven (1948)

(Toby Roan)- 50 Westerns The Law vs Billy the Kid (1954)

(The Metzinger Sisters) Silver Scenes  “Busy Bodies: Promoting Castle’s Camp” & The Films of William Castle!

(Ray) Weird Flix -Slaves of Babylon (1953) & The Saracen Blade (1954)

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And a special thanks to David Arrate at My Kind of Story for these banners!

William Castle banner It's a Small World

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William Castle’s: The Tingler (1959) “There’s not a worm in your backbone when you get scared!”

Or the miracle of PERCEPTO! “We must have buzzed 20 million behinds!”-William Castle

THE TINGLER 1959

Directed by William Castle, written by Robb White, and starring Vincent Price, as Dr. Warren Chapin, Patricia Cutts as Isabel Stevens Chapin, Judith Evelyn as Martha Higgins, Philip Coolidge as Ollie Higgins, Darryl Hickman as David Morris, Chapin’s young assistant pathologist, and Pamela Lincoln as Lucy Stevens. Von Dexter’s ominous score helps paint the creepy and menacing atmosphere.

Urbane master of horror Vincent Price stars in one of William Castle’s atmospheric carnival rides as Dr. Warren Chapin, a pathologist whose milieu is the autopsies of executed prisoners from the State prison.

Chapin is driven by a curiosity to find out the source of the mysteriously evil force that creates the SENSATION of fear, and so he sparks a theory that there is an organism called… The Tingler manifests itself at the base of the spine when one is experiencing abject fear. The Tingler however is subdued by the act of screaming. This nightmare from the vertebral id looks like a giant centipede or a flat lobster with mandibles, lots of legs, and armored scales.

Each of us is inhabited by one of these creepy crawling death grippers, which grow larger as our fear expands, but because of our ability to scream, it lays dormant, incognito, and in repose at the base of our spines.

At first, Chapin locks himself in his lab, experimenting by taking doses of LSD and trying to induce fear first in stray cats and then in himself.

So it goes until Chapin meets Ollie and Martha Higgins who own a revival silent movie theater, and oh yes, Martha happens to be a deaf-mute, who also has an extreme phobia of the sight of blood.

As you know, I adore Judith Evelyn and am not very happy when it’s suggested that Chapin injects her with some LSD instead of a sedative in order to induce some nightmarish experiences, in which Martha will not be able to ‘scream’ therefore unable to suppress the little monster waiting to grip her when the moment of fear takes hold…

Click on the image, to see the ghostly chair at work…

In one of the most memorable classic horror movie sequences, Martha (Evelyn) during her presumed lysergic acid journey is stalked through her modest, bleak, and sinister apartment by a ghoulish phantom, who hurls a hatchet at her and then maneuvers her into the bathroom, where blood runs from the sink taps and the white porcelain tub fills with actual red-colored blood (the film is of course in B&W) An arm rises from the tub and clutches toward Martha, who is in the throws of primeval fear, made all the more brutal by the fact that she cannot utter a sound thus not… scream out!

Dying of fright on the bathroom floor, Ollie wraps her up in a sheet and brings her to Dr. Chapin’s house. Sensible, skip the police and straight to the autopsy I say!

Chapin had figured that Martha’s extreme fear would enable the Tingler to grow to its veritable actual size, and thus give him the opportunity to catch a living specimen, by slicing open Martha’s back and peeling the monster from her spinal column.

Having set out to try his experiment, he was unaware that husband Ollie equipped with a ghoul mask, axe, and tub filled with tomato red blood ( in a B & W film, using special focus lenses for the colored sequences) was plotting to scare his poor wife to death, and appropriate Chapin’s LSD inducing experiment to frighten Martha to death.

Once Chapin has the Tingler, Ollie takes his de-tinglered wife back home and Chapin’s wife Isabel (Price always seems to have a scheming hussy for a wife in these flicks) slips him a Mickey and lets loose the Tingler on her unconscious husband, which proceeds to clutch at his throat like a tick on a sunny august hound dog. Luckily sister-in-law Lucy arrives just in time to… SCREAM!

“Don’t you hate it when your neighbor’s dog fluffy humps your leg whenever he’s out for a walk!”

The Tingler lets go of its death grip, Chapin puts the thing in a pet carrier and goes off to Ollie’s apartment to put the darn thing back onto Martha’s backbone. He soon realizes that Ollie murdered his wife, a fight ensues, and the Tingler gets loose, slipping through the floorboards, and is now inside the movie house looking for someone to death grip!

From Guilty Pleasures of The Horror Film page 137- Article by Tom Weaver

William Castle had told Price that:

“Usually people who are frightened scream, and that keeps their Tingler from growing. Judith Evelyn will play a deaf-mute who runs a silent movie theater. Experimenting you scare the hell out of her, but because she can’t utter a sound she’s unable to scream-her Tingler grows, crushing her to death, you operate, remove the Tingler from her spine, but it escapes and gets into the silent movie theater. Well then, make believe that the theater is actually where the picture is playing…all hell breaks loose!”

In Weaver’s article, he discusses the waning horror movie genre after WWII and how Henri-Georges Clouzot’s Diabolique in 1955 was at the vanguard of cinema.

Vera Clouzot in her husband’s masterpiece Le Diaboliques 1955.

Castle was so impressed with how much the younger audiences had a hunger to be scared pantless, that supposedly it was this French thriller, that inspired Castle to try scaring the pants off audiences as well.

Many a Film Noir was tinged with elements of the horrific, with dark undertones and psychological angles that became very influential in American and British cinema. Where else did darker cinema have to go in order to funnel its often transgressive, unorthodox, taboo energies but through the Psychotronic, Cult, or B-Movie horror genres?

The very bizarre, disturbing, and surreal Shanks directed by William Castle.

Around the time of Clouzot’s macabre masterpiece, there were also some very unsettling dark-psychological themed offerings such as Autumn Leaves 1956, The Night Holds Terror 1955, The Three Faces of Eve 1957, A Cry in The Night 1956, Cast A Dark Shadow 1955, The Killer is Loose 1956, The Snorkel 1958, Edge of Fury 1958, Screaming Mimi 1958 and Tennessee William’s emotionally violent  Suddenly, Last Summer 1959 which suggested cannibalism, devouring motherhood and Oedipal rage.

From The Vault: Edge of Fury (1958)

Screaming Mimi (1958) Part 1: Ripper vs Stripper…

Screaming Mimi 1958 Part II: “The way he looks after her, you’d think a bossom was something unique”

Just a little later in the early 60s, I think of The Strangler with Victor Buono in 1964 or Grant Williams in The Couch in 1962, The Nanny in 1965, or The Naked Kiss 1964 which filtrated pretty grotesque narratives of, Pedophilia, deranged psychosis, incest and again, the Oedipus complex.

Aldrich had ushered in a whole new persona for Bette Davis and Joan Crawford with his Grand Dame Guignol tour de force,  What Ever Happened To Baby Jane 1962.

The trumpets were hailing for Castle to step up and create his own uniquely tacky ballyhoo! While not Freud in the inkwell, certainly at least some kitschy Schadenfreude.

Castle could see that young Americans were starving for entertainment that was part horrific and a little exhibitionist. He purchased a copy on the cheap of a horror/mystery novel called The Marble Forest and got television writer Robb White to put a screenplay together, and hey while they were at it, why not give it a french sounding title as a tout to Diabolique!

That’s when they released Macabre 1958 which actually didn’t come until 3 years after the release of Diabolique. Weaver doubts Castle’s accuracy about certain details in his relatings about the series of events but then again William Castle was admittedly a showman, a huckster, the PT Barnum of Horror films, and didn’t deny that he could tell big whoppers at times. It was all in fun…!

William Castle and Mia Farrow on the set of Rosemary’s Baby!

There are even conflicting stories as to how the project for The Tingler came about. White who also wrote the script for House on Haunted Hill claims that it was makeup man Jack Dusick who showed White a foot-long rubber worm that he had created. “This worm, it haunted you… it scared you!!!”

White thought about the idea and went to Castle and told him that they should find out “where fear comes from” and they’ll use the WORM!

Actually, the concept of FEAR itself becomes a vital character to the narrative of The Tingler, although I’m sure Castle couldn’t give a hoot about the real ‘why’ more likely it was the ‘how’ to go about doing the ‘how’! He was more of the discount provocateur than an auteur. He had vision, it was just in 3D.

According to Castle, he asked an artist at Columbia’s art department what a Tingler should look like, ” Sort of like a lobster but flat, and instead of claws, it has long slimy feelers!”

Of course, the cast thought the script preposterous, but Price always approached anything he did with style, and an urbane dignity.

For the promotion of The Tingler, some theaters even had boxes in the lobby, where a live Tingler was being held. You were warned not to panic, but to SCREAM if it breaks loose!

White had written that they couldn’t find anything to make the Tingler look more frightening until Castle (Bill) came in one morning with a small vibrator which eventually saved the picture.

It was his idea to take out all the motors from thousands of vibrators and screw them under the theater seats, then rig everything up at crucial moments so that the audience would suddenly begin vibrating in waves, six rows at a time!

Again, whether this is true or not, Castle claims he got the idea one night after he got a violent electrical shock from changing a light bulb on his bedside table. William Castle wrote in his Step Right Up! “I’m going to buzz the asses of everyone in America!” 

By installing little motors under the seats of every theater in the country, the projectionist would get the special cues on the film itself, then press a button once the Tingler appears on screen to ‘jolt’ the audience, leading them to believe that the Tingler was loose in the actual theater!

Dona Holloway the Associate to the Producer dubbed the process PERCEPTO!

Now that I’m back in the NYC area, I have to see if the Film Forum on Houston Street still runs their horror/sci-fi/fantasy Festivals. Years ago, I happened to catch a showing of The Maze 1953 where they passed out 3D glasses to the audience. At one time the Film Forum ran The Tingler complete with Percepto! I would love to have had my ass in one of those seats…

As far as Robb White, he considered these films dumb, “I hated ’em” and “And for years didn’t see some of the films I made with Bill Castle. I mean they’re so dumb God!- there’s not a worm in your backbone when you get scared.”

“You’ll Scream If You Value Your Life!”

It’s been a SCREAM!-MonsterGirl…!

MonsterGirl’s Saturday Morning Some Men Doing Science In Their Laboratories!

Saturday mornings are for MEN WHO DO SCIENCE… BEWARE…!!!!!!!

THE 4D MAN

PETER CUSHING- The Curse of Frankenstein 1957

BLOOD OF THE VAMPIRE 1958

DR. PHIBES

DR FRANKENSTEIN

ATOM AGE VAMPIRE


Leo G Carroll playing with the forces of nature

TARANTULA

BEN TURPIN

THE BRAIN FROM PLANET AROUS

IT CONQUERED THE WORLD

THE INVISIBLE RAY

THE BRAIN THAT WOULDN’T DIE

EYES WITHOUT A FACE

BRIDE OF FRANKENSTEIN

JOHN CARRADINE

MONSTER ON CAMPUS 1958

ATTACK OF THE PUPPET PEOPLE 1958

THE DEVIL BAT

THE DEVIL COMMANDS 1941

DR JEKYLL AND MR HYDE

DONOVAN’S BRAIN 1953

DR. CYCLOPS 1940

THE FACE OF MARBLE

DR MORBIUS – FORBIDDEN PLANET 1956

CORRIDORS OF BLOOD

HELP ME HELP ME ….THE FLY 1958

METROPOLIS

THE UNEARTHLY

THE INDESTRUCTIBLE MAN 1956

DR MOREAU THE ISLAND OF LOST SOULS

THE INVISIBLE MAN – CLAUDE RAINS

THE THING -HOWARD HAWKS

THE MAD GHOUL

THE MAD DOCTOR OF MARKET STREET

THE TINGLER