Timeslip

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(5/10) The last of actress Faith Domergue’s three science fiction movies of 1955 was a British quota quickie. Released as The Atomic Man in the US, it concerns two journalists investigating the case of a radioactive man who gets pulled back from death on the operating table and seems to be out of sync with time, all while his doppelgänger is involved with secret and potentially dangerous nuclear experiments. The sci-fi is underdeveloped, the science laughable and the script flawed, but entertaining and even exciting. Ken Hughes directs solidly and the acting is excellent.

Faith Domergue and Gene Nelson as reporters and lovers in Timeslip.

Faith Domergue and Gene Nelson as reporters and lovers in Timeslip.

Timeslip (1955, UK). Directed by Ken Hughes. Written by Charles Eric Maine. Starring: Gene Nelson, Faith Domergue, Peter Arne, Joseph Tomelty, Donald Gray, Vic Perry. Produced by Alec C. Snowden for Merton Park Studios.
IMDb score: 5.5/10. Tomatometer: N/A. Metascore: N/A.

DVD sleeve.

DVD sleeve.

In 1955 science fiction still hadn’t really caught on with British movie producers. But the trend was pointing upwards. A change happened in 1953 when BBC made the live-aired TV series The Quatermass Experiment (review), in which an astronaut returns from space, and begins mutating into a dangerous alien life-form that he has been infected with. The series became a phenomenon, and soon thereafter British quota quickie companies started making cheap sci-fi movies, such as Spaceways (1953, review), Devil Girls from Mars (1954, review) and Stranger from Venus (1955, review). They were seldom masterpieces, but never complete turds, either. However, with the exception of The Quatermass Experiment (review), it feels like British producers weren’t quite sure about how to handle sci-fi, and often bungled the sci-fi element in favour of weak romantic plots or an over-emphasis on classic film noir trappings. Such is partly the case with Timeslip, which was released as The Atomic Man in the US, but it is nevertheless one of the better sci-fi quota quickies. Continue reading

Creature with the Atom Brain

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(4/10) Cult director Edward Cahn’s comeback film from 1955 has sci-fi favourite Richard Denning tracking nuclear-powered zombies. Screenwriter Curt Siodmak is back at his favourite subject – brains – but it’s not his best script. An exploitation cheapo with major studio backing, this was a gore-fest in the fifties. Today it seems flawed, but still entertaining and competent.

BRAAAAINS!

BRAAAAINS!

Creature with the Atom Brain (1955, USA). Directed by Edward L. Cahn. Written by Curt Siodmak. Starring: Richard Denning, Angela Stevens, S. John Launer, Michael Granger, Gregory Gaye, Linda Bennett. Produced by Sam Katzman for Clover Productions.
IMDb rating: 5.4/10. Tomatometer: N/A. Metascore: N/A.

Poster.

Poster.

”In a sense, this film’s title sums up the appeal of the science fiction/monster movies of the 1950s. It’s lurid, it’s to the point, and it deals with (a) monsters, (b) atomic radiation and (c) intelligence, all within a single exploitable phrase. Creature with the Atom Brain. Run that around your tongue for a while, and imagine yourself a 12-year old”. Thus writes Bill Warren in his fifties’ sci-fi bible Keep Watching the Skies about the film that this review concerns, a cheap exploitation affair from Sam Katzman’s Clover Productions, a subsidiary of mid-level studio Columbia Pictures. And for once, the title actually lives up to the film. Nay, it undersells the film – it should be in plural: CreatureS with Atom Brains!

Creature with the Atom Brain was produced by Katzman himself as the bottom half of a science fiction double feature (I have waited almost three years to get to write that phrase!), alongside Charles Schneer’s and Ray Harryhausen’s giant octopus film It Came from Beneath the Sea, which I reviewed just a few days back. It was written by Curt Siodmak, probably as a commission, and directed by Edward L. Cahn, an industry veteran known for his ability to shoot films fast but competently. In fact, this was his first brush with sci-fi, unless you count a short Our Gang effort from 1940, which involved a robot, but it certainly wouldn’t be his last. Continue reading

Stranger from Venus

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3/10 Patricia Neal, the star of The Day the Earth Stood Still, reprises her role in in this cheap British knock-off from 1954. The film was the brainchild of eccentric ufologist, WWII pilot, occultist, writer, filmmaker and electronic music pioneer Desmond Leslie, and didn’t even get a theatrical release in the US. Confined to a British inn, the movie is plodding and derivative, but still manages to hold the viewer thanks to a decent cast and some interesting script quirks.

Stranger from Venus (1954, UK). Directed by Burt Balaban. Written by Desmond Leslie & Hans Jacoby. Starring: Patricia Neal, Helmut Dantine, Derek Bond, Cyril Luckham, Willoughby Gray, Marigold Russell, Peter Sallis. Produced by Burt Balaban & Gene Martel for Rich & Rich Ltd. IMDb rating: 5.4/10. Tomatometer: N/A. Metacritic: N/A.

A Title Card Screen for the movie: Stranger From Venus (1954)

A Title Card Screen for the movie: Stranger From Venus (1954)

By 1954 the British had entered the science fiction market again after some trepidation, although it was still a genre reserved for cheap knock-offs. However, the hugely popular live TV-series The Quatermass Experiment (1953, review) had left the British public hungry for more. Hammer and small outfits like Gainsborough had started dabbling in the genre with mixed results. 1954 had already seen the campy romp Devil Girl from Mars (review), a film in which a superwoman in S/M gear comes to dominate Earth’s men, and mistakes a small Scottish pub for London. Stranger from Venus is a similarly low-budgeted movie, which also takes place in a British inn (or is it British?). Continue reading

Killers from Space

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(2/10) In a nutshell: The second sci-fi film by Billy Wilder’s less talented brother Willie mashes up a cold war spy yarn with an alien abduction story and nuclear fright. The underlying story is a sound one, but it gets messed up by a thin script and a shoestring budget that relies on stock footage for filling time and has some of the most profoundly silly-looking aliens in film history. Future TV star Peter Graves of Mission: Impossible fame lends the film some dignity in the leading role, but it doesn’t help to save this ineptly produced and directed oddity. A must for lovers of bad B-movies, though.

Killers from Space (1954, USA). Directed by W. Lee Wilder. Written by Myles Wilder and William Raymond. Starring: Peter Graves, James Seay, Steve Pendleton, Frank Gerstle, John Frederick, Barbara Bestar, Shepard Menken. Produced by W. Lee Wilder for Planet Filmplays. IMDb: 3.1/10. Tomatometer: N/A. Metacritic: N/A. 

Are these not the most terrifying killers you have ever seen?

Are these not the most terrifying killers you have ever seen?

This here is something of a cult classic with lovers of bad movies – mainly because of the hilarious look of the aliens. Once seen, they can never be unseen. First of all, there’s the ridiculous jumpsuits. But most of all, what we remember are the eyes – the wonderfully wacky ping pong ball eyes. This 1954 film was supposed to be serious – and the aliens were supposed to be frightening. And then they stuck ping pong balls on their eyes. It’s wonderful! Well, in fact, they are not ping pong balls at all. Director Willie Wilder had suggested ping pong balls, but makeup artist Harry Thomas thought that wouldn’t really look realistic, so he went to an actual optical shop to ask for glass eyes, that he could cut in half. But they cost 900 dollars apiece, which was probably more than Thomas’ entire makeup budget. John Johnson’s book Cheap Tricks and Class Acts quotes an article in Filmfax, where Thomas is interviewed. Thomas describes how after being turned down at the opticians’, he stayed up all night wrestling with the problem of the aliens’ eyes, and how to make them realistic, so he wouldn’t have to settle for Wilder’s idea with the ping pong balls: ”I was almost completely discouraged when I opened up the refrigerator to get something to drink, and there was my answer: a white plastic egg tray.” So there you have it. In your face, haters, those are not ping pong balls, they are very realistic egg tray bottoms. Good on you, Harry Thomas! Continue reading

El monstruo resucitado

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(5/10) In a nutshell: Clearly a passion project of sorts for director Chano Urueta, The Monster, as it’s been labelled with the US DVD release, was a pioneering Mexican medical sci-fi movie upon its release in 1953. Made with virtually no budget the movie is clunky and the script absolutely zany, but holds up thanks to strong acting and a well-built eerie atmosphere. The star name was the ill-fated Czech immigrant Miroslava, or ”the Marilyn Monroe of Mexico”.

El monstruo resucitado (1953, Mexico). Directed by Chano Urueta. Written by Adruino Maiuri, Chano Urueta. Starring: Miroslava Sternova, Carlos Navarro, José Maria Linares-Rivas. Produced by Sergio Kogan, Abel Salazar for Internacional Cinematográfica. IMDB rating: 5.8/10.

Miroslava as Nora and José Maria Linares-Rivas as the mysterious Dr. Hermann Ling in The Monster.

Miroslava as Nora and José Maria Linares-Rivas as the mysterious Dr. Hermann Ling in The Monster.

First of all, please forgive my long absence, I’ve been stressed out by my day job as a magazine editor and haven’t had the energy to do the blog well, and decided it’s better to not do it at all than to do it poorly. But now I’m back with yet another look at an obscure horror sci-fi film. With this last of my review of 1953 I’m tackling something of a cult classic with Mexican horror lovers – El monstruo resucitado, directed by Chano Urueta. It’s literal translation is The Resurrected Monster or The Revived Monster, and it’s been released on DVD in the US simply as The Monster. It is also sometimes referred to as El monstruo Dr. CrimenContinue reading

The Day the Earth Stood Still

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(9/10) In a nutshell: Perhaps the best sci-fi film of the fifties, this 1951 movie directed by Oscar winner Robert Wise took a risky move by presenting a leftist peace statement just when the McCarthyist blacklistings were clamping down on Hollywood. Hugely influential on sci-fi tropes, it is remembered for its sleekly designed flying saucer and the menacing robot Gort, as well as for its realistic direction and impressive special effects, and for cementing the theremin as the sci-fi composer’s instrument of choice.

The Day the Earth Stood Still (1951). Directed by Robert Wise. Written by Edmund H. North. Based on novella Farewell to the Master by Harry Bates. Starring: Michael Rennie, Patricia Neal, Hugh Marlowe, Sam Jaffe, Billy Gray, Lock Martin, Richard Carlson, David McMahon. Tomatometer: 94 %. IMDb score: 7.8

Michael Rennie in The Day the Earth Stood Still.

Michael Rennie in The Day the Earth Stood Still.

Along with George Pal’s Destination Moon (1950, review) and Howard Hawks’ The Thing from Another World (1951, review), Robert Wise’s The Day the Earth Stood Still would set the template for science fiction films for a decade to come. Two years in the making, this was the second bone fide A-list sci-fi film in Hollywood, after The Thing (Destination Moon’s budget of 600 000 dollars could be described as an unusually big B movie budget). The money shows, both in the fact that the filmmakers have had time for generous pre-production, and in the talent, the sets and the special effects. Continue reading

Tales of Tomorrow

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(6/10) In a nutshell: Tales of Tomorrow aired on ABC in the US from 1951 to 1953 and was the first exclusive science fiction anthology series. Adult, intelligent and genuinly unsettling scripts are intermingled with more staple mystery and sci-fi fare. The live broadcast sets limits for direction, but genius camera work and editing sometimes surpass these limits. Leslie Nielsen dominates the cast, and watch out for the masterclass in method acting between Rod Steiger and James Dean.

Tales of Tomorrow (1951-1953). Created by Mort Abrahams and Theodore Sturgeon. Directed by Don Medford, Charles Rubin, et. al. Written by Man Rubin, Mel Goldberg, Frank de Felitta, Alvin Sapinsley, David E. Durston, Max Ehrlich, Gail Ingram, Theodore Sturgeon, Fredric Brown, Henry Kuttner, et. al. Starring: Leslie Nielsen, Cameron Prud’Homme, Walter Abel, Edgar Stehli, Theo Goetz, Olive Deering, Edith Fellows, Bruce Cabot, Rod Steiger, Gene Lockhart, Una O’Connor, Boris Karloff, Eva Gabor, Veronica Lake, Joanne Woodward, James Dean, Lon Chaney Jr, James Doohan, Paul Newman, et. al.  Produced by George F. Foley Jr, Mort Abrahams, Richard Gordon for George F. Foley, distributed by ABC. IMDb score: 7.4

Opening credits for Tales of Tomorrow.

Opening credits for Tales of Tomorrow.

I’ve been reviewing a lot of television lately: there was the first televised sci-fi series, Captain Video and His Video Rangers (1949, review), the first anthology series featuring science fiction, Lights Out (1949, review), but now we get to the third one, and the last one I’ll be reviewing in a while: Tales of Tomorrow, which ran on ABC from 1951 to 1953. This has the distinction of being the first television anthology series to feature exclusively science fiction, foreshadowing legendary TV shows like The Twilight Zone (1959-1964) and The Outer Limits (1963-1964). Continue reading

Lights Out

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(5/10) In a nutshell: Arguably the first anthology TV show to feature science fiction, Lights Out was adapted from a popular horror radio show in the US in 1949. Broadcast live with a varying degree of quality, very light on sci-fi and quite heavy on traditional ghost stories. Lights Out sported an impressive roster of actors, but the direction and originality never quite reached the same quality as rivalling shows that popped up in the early fifties, like Out There or Tales of Tomorrow.

Lights Out (1949-1952). Directed by William Corrigan, Laurence Schwab Jr, Kingman T. Moore, Grey Lockwood, Fred Coe, et. al. Written by: A.J. Russell, George Lefferts, Fred Coe, Ernest Kinoy, Douglas Parkhurst, Wyllis Cooper, Arch Oboler, et. al. Starring: Frank Gallop, Jack La Rue, Mercer McLeod, Leslie Nielsen, Gregory Morton, John Newland, Peter Capell, Alfreda Wallace, Richard Derr, Ross Martin, John Forsythe, Burgess Meredith, John Carradine, Vaughn Taylor, Grace Kelly, George Reeves, Veronica Lake, Basil Rathbone, Anne Bancroft, Anne Francis, Boris Karloff, Anthony Quinn, Melvyn Douglas, Vincent Price, Produced by Herbert B. Swope, Fred Coe for NBC. IMDb rating: 7.3

Frank Gallop as the eerie presenter of Lights Out.

Frank Gallop as the eerie presenter of Lights Out.

Not really a science fiction show per se, Lights Out can still be credited as the first anthology show to bring sci-fi to the small screen. You could debate whether it was in fact the first science fiction show or not, but I’m going with the latter, and I’ll explain why below. Continue reading

House of Dracula

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(4/10) In a nutshell: Universal’s 1945 film marks the end of the era of the original Universal monsters, and at the same time the end of the American sci-fi film of the forties, more or less. Lon Chaney Jr. and John Carradine star alongside Onslow Stevens and Poni Adams in this rushed, inconsistent last huzzah for the monsters. Despite flashes of originality, it feels as if we are re-heating the same TV dinner for the umpteenth time as Frankenstein’s monster is once again found, buried in quicksand in a cave under a castle after having six building collapse on him in previous films, Dracula re-emerges after having been destroyed by the sun’s rays a third time in the last film, and we get to wonder if the Wolf Man will cheat death for a third time.

House of Dracula. (1945). Directed by Erle C. Kenton. Written by Edward T. Lowe Jr, George Bricker, Dwight V. Babcock. Starring: Lon Chaney Jr, John Carradine, Onslow Stevens, Lionel Atwill, Martha O’Driscoll, Jane Adams, Ludwig Stössel, Glenn Strange, Skelton Knaggs.  Produced by Joseph Gershenson and Paul Malvern for Universal. Tomatometer: 56 %. IMDb score: 5.8

John Carradine as Dradula and Martha O'Driscoll as his love interest.

John Carradine as Dradula and Martha O’Driscoll as his love interest.

This here is the movie that ended the original Universal monster franchise, unless you count The Creature of the Black Lagoon (1954) to the same series. Personally I consider it more of a symptom of the second wave of monster films kicked off by the science fiction craze of the fifties, even though the films have since been repackaged in DVD boxes along with the original monster films. It was also the last film that featured the original Universal monsters before they began to get spoofed in the Abbot & Costello films, which you won’t see reviewed on this blog. Continue reading

House of Frankenstein

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(4/10) In a nutshell: Universal’s horror stars gang together for the franchise’s second monster bash in a film that is a mix of good and mad. There’s too much going on in a too short period of time, Dracula is thrown by the wayside and the plot holes are big enough to fill a stadium. But there’s also a dash of originality and some first-class acting in this 1944 film.

House of Frankenstein. 1944, USA. Directed by Erle C. Kenton. Written by Curt Siodmak, Edward T. Lowe Jr. Starring: Boris Karloff, J. Carrol Naish, Lon Chaney Jr, John Carradine, Anne Gwynne, Peter Coe, Elena Verdugo, George Zucco, Lionel Atwill, Glenn Strange, Sig Ruman. Produced by Paul Malvern for Universal. Tomatometer: 55 %. IMDb score: 6.2

Glenn Strange, Boris Karloff and Lon Chaney in House of Frankenstein.

Glenn Strange, Boris Karloff and Lon Chaney in House of Frankenstein.

Quick! Give me the five greatest mad scientists of the forties! Did you say Boris Karloff, John Carradine, Lionel Atwill, George Zucco and J. Carroll Naish? Great, now you have them all in one film! This was the second monster mash movie after the success of Frankenstein Meets the Wolf Man (1943, review), starring Lon Chaney Jr, Bela Lugosi and Lionel Atwill. Lon Chaney also turns up in House, again as Larry Talbot/The Wolf Man. The film is sometimes referred to as ”The House of Frankenstein” and sometimes without the prefix. Continue reading