Warning from Space

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(4/10) Uchujin Tokyo ni arawaru, released by Daiei in early 1956, is Japan’s first science fiction film in colour. Remembered for its wonky star-shaped aliens, the jumbled, illogical movie borrows from earlier sci-fi classics without managing to tie the themes together. Although beautifully filmed and decently acted, it moves along slowly and is way too talky. Occasionally brilliant, sometimes unintentionally hilarious, often numbingly stupid.

The mighty Pairans from outer space. Once seen they can never be unseen.

The mighty Pairans from outer space. Once seen they can never be unseen.

Warning from Space (1956, Japan). Directed by Koji Shima. Written by: Gentaro Nakajima, Hideo Oguni. Starring: Keizo Kawasaki, Toyomi Karita, Shozo Nanbu, Bontaro Miake, Mieko Nagai, Kiyoko Hirai, Isao Yamagata. Produced by Masaichi Nagata for Daiei Studios.
IMDb rating: 4.4/10 Tomatometer: N/A Metascore: N/A 

Poster.

Poster.

While still absolutely unknown in the West in the beginning of 1956, Japanese science fiction was rumbling onto scene. Movie studio Toho had released four sci-fi movies: the flawed masterpiece Gojira (1954, review), the invisible man film Tomei ningen (1954, review), Godzilla Raids Again (1955, review), and the ill-fated snowman movie Ju jin yuki otoko (1955, review), which the studio withdrew from circulation soon after its premiere. While Toho is the one of the Japanese Big Six studios that we (rightly) come to think of first when we talk about Japanese sci-fi, Daiei was not far behind. In fact, Daiei had originally beat Toho to the mark with its low-budget invisible man crime thriller Tomei ningen arawuru (1949, review). Now, however, Daiei decided to outdo Toho and make Japan’s first science fiction film in colour. And while it was probably tempting to enter the monster movie genre, the studio opted to not put all their eggs in one basket and try to beat Toho at their own game. Instead Daiei took on another challenge, and produced Japan’s first alien invasion movie – in fact this is the first Japanese movie to feature space flight, aliens UFO:s. Not content with this, they threw in a planetary collision as well, thinking they might get Japan’s first apocalypse film underway while they were at it. The result was 宇宙人東京に現わる (Uchujin Tokyo ni arawaru), literally translated as Spacemen appear over Tokyo, but anglicised as Warning from Space. The film premiered on January 29, 1946, before Toho’s colour film Rodan. Continue reading

Ucan daireler Istanbul’da

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(0/10) Flying Saucers over Istanbul is Turkey’s ”first” science fiction film, and quite possibly the worst as well. An unfunny comedy about belly dancing alien women who land their UFO in Istanbul to bring Earth men to their planet. Noted for featuring Turkey’s ”queen of disgrace and scandal”, belly dancing vamp and nude model Özcan Tekgül. And Marilyn Monroe. Sort of.

The robot Stelikami and the alien amazon women.

The robot Stelekami and the alien amazon women.

Ucan daireler Istanbul’da (1955, Turkey). Written & directed by Orhan Ercin. Starring: Orhan Ercin, Zafer Önen, Türkan Samil, Özcan Tekgül, Halide Piskin, Mirella Monro, Özdemir Asaf. Produced by Özdemir Birsel for Birsel Film.
IMDB Rating: 5.9/10. Tomatometer: N/A. Metascore: N/A.

Poster.

Poster.

If you want to say something good about this film, translated as Flying Saucers over Istanbul, then it is that it has some historical value as the first Turkish film to deal with space flight, UFOs or aliens. In addition it is – maybe – Turkey’s first science fiction film ever. It is a toss-up between this film and Görünmeyen adam Istanbul’da (1955) or The Invisible Man in Istanbul, which I, unfortunately, haven’t been able to find online nor on DVD. I can’t find any release dates for either of the movies, but write-ups on the web seem to at least indicate that the invisible man film was released prior to the UFO film. I don’t think that Görünmeyen adam Istanbul’da has ever been released on DVD, whereas Ucan daireler Istanbul’da is available online with English subs, as it has fallen into public domain. Continue reading

The Quatermass Xperiment

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(7/10) Released in the US as The Creeping Unknown, this British 1955 sci-fi horror film is a landmark of the genre. Based on a popular TV series, it was Hammer Films’ first horror movie and their first major hit film. American heavy Brian Donlevy stars as Quatermass, a bulldozer of a rocket scientist trying to solve the mystery of a returned astronaut being transformed from within by an alien life-force that threatens to release its spores all over London. A dark, unsettling sci-fi thriller that still resonates today.

The crashed Quatermass rocket.

The crashed Quatermass rocket.

The Quatermass Xperiment (1955, UK). Directed by Val Guest. Written by Val Guest & Richard Landau, based on the TV series The Quatermass Experiment, written by Nigel Kneale. Starring: Brian Donlevy, Richard Wordsworth, Jack Warner, Margia Dean, David King-Wood, Lionel Jeffries, Maurice Kaufmann, Thora Hird, Jane Asher. Produced by Anthony Hinds and Robert L. Lippert for Hammer Films and Exclusive Productions.
IMDb rating: 6.8/10. Tomatometer: 92% Fresh. Metascore: N/A. 

Blu-Ray sleeve.

Blu-Ray sleeve.

Ah! Young love. A starry summer night on the rural outskirts of London. A playful couple on their way home from a night on the town tease and giggle as they fall into each other’s arms in the hay. But that’s all the romance and peace we have time for in this movie. Because just as the young lovers settle into an embrace, something comes roaring across the night sky, and from there on this 80 minute movie never once lets up it relentless pace. ‘

”What is that?” asks the boy.

”Is it a jet?” replies the girl.

”That’s no jet!” exclamates the boy, then points to the sky, horrified.

”Look!”

Fear-struck the couple race for safety, getting called into a house by a frightened farmer. ”Dad!” shouts the girls as the trio ducks for cover. There’s a tremendous roar and a crash outside. The roof of the house collapses. All are fine, but dad grabs his rifle and decides to have a look outside, only to be stopped with a dumb-struck look on his face. The camera cuts to his field, where flames and smoke rise, and in the middle of it a huge rocket has crashed nose first into the ground. Continue reading

King Dinosaur

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(0/10) Forget Plan 9 from Outer Space, that charmingly childish fantasy from Ed Wood. Bert I. Gordon’s super-cheap directorial (solo) debut King Dinosaur is a much better contender for the title of worst film ever made. This story of four scientists battling a T.Rex on an unknown planet is inept in every single department and doesn’t even have a redeeming amateurish charm to it. The most interesting aspect of the movie is probably the life story of one of its stars, a jazz singer who kickstarted fashion guru Mr. Blackwell’s career and almost caused a diplomatic incident in Argentina.

Douglas Henderson and Patti Gallagher flee a "Tyrannosaurus Rex" in a promo photo. The actual effects of the film never look this good.

Douglas Henderson and Patti Gallagher flee a “Tyrannosaurus Rex” in a promo photo. The actual effects of the film never look this good.

King Dinosaur (1955, USA). Directed by Bert I. Gordon. Written by Tom Gries, Bert I. Gordon, Al Zimbalist. Starring: William Bryant, Wanda Curtis, Douglas Henderson, Patti Gallagher, Marvin Miller. Produced by Bert I. Gordon for Zimgor Productions. Executive producer: Al Zimbalist.
IMDb rating: 1.9/10. Tomatometer: N/A. Metascore: N/A.

Note the dissimilarity between the lizard in the photograph above and the one on the poster.

Note the dissimilarity between the lizard in the photograph above and the one on the poster. The poster also as five people in it. That’s more than the entire cast of the film.

I had just finished my one-star review of The Beast with a Million Eyes (1955), and thought it probably couldn’t get much worse, when King Dinosaur came along and proved me wrong. It seems that 1955 was the turning-point for sci-fi cinema in the sense that filmmakers realised that by running a shrewd marketing campaign promising monsters and babes, they could really film almost anything that had a fleeting resemblance to the poster, create a script that had a beginning and an end, and preferably some padding in the middle, and get the film released. And since the movies probably didn’t cost more than 30 000 dollars, a profit was almost inevitable. Continue reading

This Island Earth

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(7/10) Dishing out the best visual effects in US sci-fi up until 1955, This Island Earth is the smartest sci-fi film of the fifties all the way to the middle of the movie, when the two hack screenwriters deviate from author Raymond Jones’ novel, and we plunge into comic book territory. However, this first space opera remains one of the best sci-fi films of the decade, despite a clumsy mutant and the fact that the writers forget to add any actual plot once we get to a distant planet. Features the first ever Miss Finland.

Jeff Morrow, Faith Domergue, Rex Reason and Lance Fuller watching Earth from afar.

Jeff Morrow, Faith Domergue, Rex Reason and Lance Fuller watching Earth from afar.

This Island Earth (1955, USA). Directed by Joseph M. Newman & Jack Arnold. Written by Franklin Coen & George Callahan. Based on the novel This Island Earth by Raymond F. Jones. Starring: Jeff Morrow, Rex Reason, Faith Domergue, Lance Fuller, Russell Johnson, Douglas Spencer. Produced by William Alland for Universal International Pictures.
IMDb rating: 5.8/10. Tomatometer: 71% Fresh. Metacritic: N/A.

Poster.

Poster.

In first half of the fifties, primarily three major studios dabbled in science fiction. Paramount was the front runner, thanks to the lavish Technicolor sci-fi epics of George Pal. Warner got in it for the money when they realised there was a profit to be made from giant radioactive monsters like those in The Beast from 20,000 Fathoms (1953, review) and Them! (1954, review). Universal was probably the one that made the most interesting pictures, because of their range and their quirks. And in 1955, the studio made their most expensive science fiction film to that date, This Island Earth, an ambitious space opera in Technicolor with impressive effects and artwork.

Continue reading

Conquest of Space

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(4/10) Back with his fourth science fiction epic, George Pal sets out to explore the mental and theological aspects of a trip to Mars. Good ideas abound, but the movie is scuttled by ham-fisted script. The special effects are very ambitious and impressive when they work. Unfortunately they don’t work most of the time, leaving us with flickering composites and thick matte lines. Pal’s idea of bringing humour into the mix is making one of the astronauts a dim-witted Brooklyn stand-up comedian. Fun to watch, but ultimately disappointing.

Astronauts on a space sled going from a rocket to the space station, "The Wheel".

Astronauts on a space sled going from a rocket to the space station, “The Wheel”.

Conquest of Space (1955, USA). Directed by Byron Haskin. Written by: James O’Hanlon, Philip Yordan, Barré Lyndon, George Worthing Yates. Based on the books Conquest of Space by Chesley Bonestell and Willy Lay and The Mars Project by Hermann Oberth. Starring: Walter Brooke, Eric Fleming, Mickey Shaughnessy, Phil Foster, William Redfield, William Hopper, Benson Fong, Ross Martin. Produced by George Pal for Paramount Pictures.
IMDb rating: 5.8/10. Tomatometer: N/A. Metascore: N/A.

Poster.

Poster.

If someone asks you who was the most important person for the popularisation of science fiction films in the fifties, there can really only be one answer, and that’s producer George Pal. It was Pal’s extremely ambitious and visionary, albeit horribly flawed, independent film Destination Moon (1950, review) that kicked off the whole sci-fi craze. Likewise, it has been claimed that it was his 1955 movie Conquest of Space that killed it. This is a questionable statement, since some of the best sci-fi films of the fifties were still to come after Conquest of Space. And furthermore, even though it has been described as a horrible flop when it came out, it actually didn’t do all that badly. It made a million dollars at the US box office, essentially making back its shooting budget. That is not to deny that it is, at so many levels, a deeply flawed film. Continue reading

Gog

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(5/10) Ivan Tors’ third OSI film was hugely influential on sci-fi writers such as Michael Crichton, who basically ripped the film off in his book The Andromeda Strain. Extremely ambitious, the film ticks so many boxes of ”first time ever on film” that I can’t fit them all into this introduction. The script doesn’t live up to its ideas and director Herbert Strock fails to create a claustrophobic suspense drama. The viewer forgets that the protagonists are trapped in an underground lab because of the bright Eastman colours and the seemingly spacious science lab, where a giant computer runs amok and killer robots stalk the corridors. Quintessential cold war drama with communist infiltration, nuclear threat, space race science and casual sexism.

Gog (1954, USA). Directed & edited by Herbert L. Strock. Written by Ivan Tors, Tom Taggart, Richard G. Taylor. Starring: Richard Egan, Herbert Marshall, Constance Dowling, John Wengraf, Philip Van Zandt, Michael Fox, William Schallert, Billy Curtis. Produced by Ivan Tors for Ivan Tors Productions. IMDb rating: 5.5/10. Rotten Tomatoes: N/A. Metacritic: N/A.

Killer robots on the loose: Gog and Magog!

Killer robots on the loose: Gog and Magog!

If science fiction enthusiast bemoan the exclusion of visionary producer George Pal from discussions about pioneers of the film genre, then they should be doubly as wronged over the fate of the now almost forgotten Ivan Tors. If Tors is remembered today, it is mainly as creator of the Flipper franchise and other family-friendly animal shows. But in his own way, Ivan Tors was just as visionary a science fiction producer as Pal in the fifties, albeit working with significantly lower budgets. His main claim to fame within sci-fi is his movie trilogy about the fictional OSI, or Office of Scientific Investigation, a sort of precursor to the X-Files, without the new-age mumbo-jumbo and lacking in aliens. Gog was the final film in the OSI series, and probably the most ambitious one. Continue reading

Riders to the Stars

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(5/10) In a nutshell: In his second OSI film producer Ivan Tors teams up with writer Curt Siodmak and director/actor Richard Carlson to to train a group of unwitting volunteers to become USA:s first astronauts. Although the film is presented in a refreshingly sober and scientific manner, the basic scientific premise of it is pure hogwash. The documentary feel lends it a nice calm, and although Carlson directs his actors well, he doesn’t quite have the chops for the climactic action sequence. Enjoyable, but no classic.

Riders to the Stars (USA, 1954). Directed by Richard Carlson and Herbert L. Strock. Written by Curt Siodmak and Ivan Tors. Starring: William Lundigan, Herbert Marshall, Richard Carlson, Martha Hyer, Dawn Addams, Robert Karnes. Produced by Ivan Tors for Ivan Tors Productions. IMDb rating: 5.6/10. Tomatometer: N/A. Metacritic: N/A.

1954-riders-to-the-stars-001-poster

With its January 14 US release, Riders to the Stars was the first science fiction film of the brave new year of 1954. The film was the second in producer Ivan Tors’ trilogy about the Office of Scientific Investigation – a sort of FBI for nerds. The previous one was the charming The Magnetic Monster (1953, review), which made good use of special effects shots from the German 1934 film Gold (review). The last one is perhaps the best known; Gog, which was released in 1954 as well (review). The two latter films were filmed in colour. Continue reading

Project Moon Base

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(3/10) In a nutshell: This rather inventive and surprisingly scientifically ambitious film was a TV pilot halfway through filming. Unfortunately the TV budget shows. A Communist saboteur infiltrates a 1970 reccie flight for the first American moon base, and the two pilots are more interested in settling the fifties war of the sexes than actually doing their jobs. A thin and silly script with a mixed but ultimately stuffy gender message. Crude but fun special effects save the film.

Project Moon Base (1953). Directed by Richard Talmadge. Written by Robert A. Heinlein and Jack Seaman. Starring: Donna Martell, Ross Ford, Hayden Rorke, Larry Johns, Herb Jacobs. Produced by Jack Seaman for Galaxy Pictures. IMDb score: 2.8

Modelwork by Jacques Fresco on Project Moon Base.

Modelwork by Jacques Fresco on Project Moon Base.

I have just finished my review of Cat-Women of the Moon (1953), in which I bemoaned the turgid sexism of that particular fifties turkey, only to be thrown into a film that is, if possible, even worse in that department, although it tackles it from a slightly different perspective. Continue reading

Cat-Women of the Moon

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2/10 In a nutshell: Surely one of the most inept productions ever to get a theatrical release, this Poverty Row film from bad movie giants Al Zimbalist and Jack Rabin steals its sets and props from other movies and throws science and logic out the window as it presents the first Amazons-in-space film. If you can forgive its ineptitude and fifties sexism, it’s a highly enjoyable so-bad-it’s-good movie. And there’s giant moon spiders.

Cat-Women of the Moon (1953, USA). Directed by Arthur Hilton. Written by Roy Hamilton, Al Zimbalist & Jack Rabin. Starring: Sonny Tufts, Marie Windsor, Victor Jory, William Phipps, Douglas Fowley, Carol Brewster, Susan Morrow. Prodcuced by Al Zimbalist and Jack Rabin for Z-M Productions. IMDb score: 3.6/10

The Cat-Women of the Moon.

The Cat-Women of the Moon.

In the fifties American manhood was threatened. When the men were off fighting WWII, women were called in to factories, retailers and institutions to take their place, and thus keep the wheels of society turning. In the process, many of them found that having a salary of their own greatly improved their freedom and made them independent of a male provider, which had been the norm up until then. As the men returned home, many women refused to let things slip back to the way it was before the war, and were backed up by a growing feminist movement. Suddenly women’s’ liberation was thing again, and companies that could hire women for a lesser salary than men, didn’t necessarily protest. But a lot of men felt threatened by the loosening of their control over women, and a lot of men dominated the media, the entertainment and the advertising industry, and this created a backlash, resulting in what we today loosely refer to as ”fifties values”, where great emphasis was laid on ”traditional” family values, Christianity, which stated that the man was the head of the family, chastity and female obedience. This was one of the driving forces in Hollywood behind an onslaught of ”Amazon Women” films, of which Cat-Women of the Moon is one of the best known examples. Continue reading