(2/10) Roger Corman officially directed his first science fiction film in 1955. Seven people hole up in a secluded bungalow after total annihilation in a nuclear war. As personal tensions mount, it is a race to see if the blood-thirsty mutant prowling the valley kills them before they kill each other. Richard Denning leads a capable cast, but the film is done in by a 45-minute deadly boring stretch where nothing at all happens. Paul Blaisdell’s crude mutant costume is fun to look at, but as half the film is padding, there’s just no way of saving it.
Marty the Mutant carrying off Lori Nelson.
Day the World Ended (1955, USA). Directed by Roger Corman. Written by Lou Rusoff. Starring: Richard Denning, Lori Nelson, Paul Birch, Mike ”Touch” Connors, Adele Jergens, Paul Blaisdell. Produced by Roger Corman for Golden State Productions.
IMDb rating: 5.4/10. Tomatometer: N/A. Metascore: N/A.
First of all, I’d like to dedicate this post to the memory of actor Mike Connors, who sadly passed away on January 27, 2017, at the age of 91.
Second, I feel I should address the elephant in the room, namely my low rating of this film. Of course, this can probably be partly chalked down to personal taste, but it is rather seldom that I wander 3.5 stars off the IMDb consensus. I have a feeling that some reviewers tend to bump up their assessment of this film based on a notion that it is a trailblazer, and thus should warrant extra points for its ideas, even if they are poorly executed. But this notion is false. Day the World Ended was not the first post-apocalyptic movie – but it was almost certainly the worst at the time it was made. Continue reading
(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.
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.
”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
(3/10) In 1955 legendary producer/director Ed Wood released the first film of his sci-fi trilogy, and to his great satisfaction was able to place aged horror icon Bela Lugosi in the lead. Often considered Wood’s ”best” movie, this low-budget schlocker has to be ingested with a good dose of good-will. The inaptly made film is good for a whole bunch of laughs, but Lugosi plays his mad scientist with great gusto and even has some touching moments, and the movie has a very distinct charm.
Bela Lugosi as Dr. Eric Vornoff in Bride of the Monster.
Bride of the Monster (1955, USA). Directed by Edward D. Wood Jr. Written by Alex Gordon and Edward D. Wood Jr. Starring: Bela Lugosi, Tor Johnson, Tony McCoy, Loretta King, Harvey B. Dunn, George Becwar, Paul Marco, Dolores Fuller. Produced by Edward D. Wood Jr. for Rolling M. Productions.
IMDb raring: 4.1/10. Tomatometer: 45% Rotten. Metascore: N/A.
The fifties were a golden age for filmmakers without money, time or any particular talent. If you could raise 30 000 dollars, conjure up a script and stick a monster in the film, you could almost bet that someone would pick up distribution rights and make their money back, no matter how bad the movie was. There were quite a few hacks who tried their hands at sci-fi programmers, such as W. Lee Wilder or Bert I. Gordon. Roger Corman, who was in truth a very good producer and director, made an art out of making films on almost no money. But for some reason the name that has gone down in history as the king of bad movies is that of Edward D. Wood Jr. or Ed Wood for short. Best known for his ”magnum opus”, Plan 9 from Outer Space (1959), he did once produce and direct a film that had an actual budget and an actual script, and is often considered his best movie, and that is Bride of the Monster. Continue reading
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)
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
(0/10) In a nutshell: Exploitation director Ron Ormond built a new film on top of a completed, but shelved production by German wannabe director Herbert von Schoellenbach. Uncle Fester stars as a mad scientist creating spider women in a cave in a mesa, where a ragtag group of heroes and villains crash their plane after being kidnapped by a madman. There are giant spider props, mute and sultry spider girls, evil dwarves, a Chinese valet who speaks in proverbs, a mad one-eyed scientist, and by some miracle it all adds up to one of the most boring films in history. Worse than anything Ed Wood ever made. But still strangely compelling.
Mesa of Lost Women (1953). Directed by Herbert Tevos (Herbert von Schoellenbach) & Ron Ormond. Written by Herbert Tevos & Orville H. Hampton. Starring: Jackie Coogan, Paula Hill, Robert Knapp, Tandra Quinn, Harmon Stevens, Nico Lek, George Barrows, Allan Nixon, Richard Travis, Lyle Talbot, Chris-Pin Martin, Samuel Wu, John George, Angelo Rossitto. Produced by Melvin Gordon & William Perkins for Ron Ormond Productions. IMDb score: 2.5
Tandra Quinn as Tarantella in a puplicity shot for Mesa of Lost Women.
The most prevalent description of this bewildering tale is ”a really bad fever dream”. Another fitting attribute is ”something approximating a full-length feature film”. Like Invasion U.S.A. (1951, review), sitting through this one is a test of endurance, but no matter how much I loathed that film, at least it had one good performance and something resembling a cohesive plot. Mesa of Lost Women has no such redeeming qualities. It’s one of those films that you love after seeing it, because it’s so ridiculously bad, but sitting through it is a nightmare. I am not above giving bad movies good reviews when they deserve it, as I should have proved with my five-star rating of Robot Monster (1953, review). Although I love Mesa of Lost Women to bits for being so horrendously bad as it is, it would be a crime against cinema as an art form to give this film any more than zero stars. That doesn’t mean that you shouldn’t watch it, because you should. Just like you should go winter bathing at least once in your life. You’ll hate every minute of it, but you’ll be so happy once it’s done. Continue reading
(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.
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
(4/10) In a nutshell: George Reeves parades through this first full-length Superman film in clearly visible shoulder and chest pads, which says just about everything about the production values of the B effort, made as it was as a pilot for the successful TV series Adventures of Superman. The script is confusing and thin, but very sympathetic and sincere, and Reeves saves the day through his innate charm.
Superman and the Mole-Men (1951). Directed by Lee Sholem. Written by Robert Maxwell and Whitney Ellsworth. Based of characters created by Jerry Siegel and Joe Schuster. Starring: George Reeves, Phyllis Coates. Jeff Corey, Walter Reed, J. Farrell MacDonald, John T. Bambury, Billy Curtis, Produced by Barney A. Sarecky for Lippert Pictures. IMDb score: 6.0
Superman and the Mole Men poster.
Superman and the Mole-Men (1951) was the first full-length Superman film brought to American audiences. This low-budget production was, in fact, not so much a film that was intended to stand on its own legs, as it was a pilot for a planned Superman TV series. The 58 minutes long movie was produced by Lippert Picturs, the company behind the low-budget surprise hit of 1950, Rocketship X-M (review), the first serious US film to feature a space adventure. The TV series was picked up by ABC, and started airing 1952, and to the surprise of everyone involved, became a major hit show, turning Superman actor George Reeves into a national celebrity. Continue reading