Day the World Ended

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(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.

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. 

Poster.

Poster.

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

Gojira

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(7/10) Inspired by King Kong and The Beast from 20,000 Fathoms, Gojira gave birth to the massive Japanese kaiju movie industry, and more or less single-handedly brought science fiction into the country’s mainstream. Eiji Tsuburaya pushed Japan’s severely under-developed special effects industry forward by a mile, but the quality was still a far cry from Hollywood at its best. Despite its clumsy rubber monster and the under-developed characters, Gojira is a tremendously gripping and stark allegory for Japan’s experiences during WWII, and director Ishirô Honda elevates Gojira above its B movie roots with his beautifully grim visuals and his relentlessly intimate focus on the casualties of war.

Gojira/Godzilla (1954, Japan). Directed by Ishirô Honda. Written by Ishirô Honda, Takeo Murata & Shigeru Kayama. Starring: Akira Takarada, Momoko Kôchi, Akihiko Hirata, Takashi Shimura, Kokuten Kôdô, Haruo Nakajima. Produced by Tomoyuki Tanaka for Toho Film.
IMDb rating: 7.5/10. Tomatometer: 93% Fresh. Metascore: 78/100.

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Gojira destroying Tokyo.

In 1954 a horror was unleashed upon the world that resonates to this very day. Few movie monsters have the distinct honour of impacting our culture so that it actually changes our language, and becomes a concept in and of itself, even for people who have never seen the films they appear in. We talk about ”the King Kong of” some product, Frankenfood, the Governator and of course Bridezilla. The list could perhaps be made slightly longer, but you’ll be hard-pressed to find many more monsters, or indeed film concepts, that resonate so strongly throughout the entire world. Godzilla is one of those rare creatures that everybody in the world can conjure up an image of, regardless of age or geography. And like most great movie concepts, the reason for Godzilla’s timeless appeal is a number of happy (or unhappy) coincidences. 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

Robot Monster

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(5/10) In a nutshell: Often named as one of the worst movies ever made, this 1953 cult gem is actually better than its reputation, despite the super-low budget, the sloppy direction, the non-existent sets, the complete lack of logic and the truly bewildering script. It makes up for this with ambition, imagination and soul, and a huge amount of talent both in front and behind the camera. And an obese robot gorilla in a diving helmet that gets an existential crisis while trying to eliminate the last seven people on Earth with a death ray that shoots soap bubbles.

Robot Monster (1953). Directed by Phil Tucker. Written by Wyatt Ordung (and a shady furniture salesman). Starring: George Nader, Claudia Barrett, Selena Royle, John Mylong, Gregory Moffett, Pamela Paulson, George Barrows, John Brown. Produced by Phil Tucker for Three Dimension Pictures. Tomatometer: 31 %. IMDb score: 2.9

Robot Monster in all his poetic beauty.

Robot Monster in all his poetic beauty.

There are bad movies and then there is Robot Monster – a film nearly as bad and nearly as loved as Ed Wood’s Plan 9 from Outer Space (1959). It is often cited as a ripoff of standard fifties sci-fi films regarding aliens coming to Earth to wreak havoc, but it isn’t all that simple. In 1953 there simply hadn’t been many of these movies made. There was a string of such films released in short succession during the spring and early summer of 1953, but with its release date of June 10, 1953, Robot Monster was definately a forerunner. Continue reading

April 1, 2000

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(2/10) In a nutshell: This 1952 musical comedy is a propaganda film made in Austria during the occupation of the Allied forces, intended to promote the withdrawal of international troops and boost the national identity. Set in the year 2000, it follows the proceedings of a prime minister rolling out the greatest hits of Austrian history, art and music in order to convince the leaders of a global police force to finally lift the occupation from the country. Much singing, dancing and historical re-enactment, but very little actual plot. Plus for gathering the creme de la creme of Austrian stage talent, minus for blackface.

April 1, 2000 (1952). Directed by Wolfgang Liebeneiner. Written by Rudolf Brunngraber and Ernst Marboe. Starring: Hilde Krahl, Josef Meinrad, Waltraut Haas, Judith Holzmeister, Elisabeth Stemberger, Ulrich Bettac, Karl Ehmann, Peter Gerhard, Curd Jürgens, Robert Michal, Heinz Moog, Paul Hörbiger, Hans Moser. Produced by Karl Ehrlich and Ernst Marboe for Wien-Film and the government of Austria. IMDb score: 5.9

Curd Jürgens and Waltraut Haas in April 1, 2000.

Curd Jürgens and Waltraut Haas in April 1, 2000.

This is one of the more interesting science fictions films to come out of Europe in the early fifties. That’s not saying a lot, though, as the sci-fi craze didn’t quite catch on in the Old World with the same speed as in Hollywood. With the exception of the British The Man in the White Suit (1951, review), the Europeans really didn’t make science fiction worth noting between 1950 and 1953, when the TV-series The Quatermass Experiment (review) renewed the continent’s interest in the genre. April 1, 2000 (or 1. April, 2000) also has the distinction of being only the third science fiction film to come out of Austria, unless you count The Hands of Orlac, which I stubbornly call a supernatural horror film. Even more interesting is that it was commissioned by the Austrian government. Continue reading

Red Planet Mars

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(1/10) In a nutshell: Jesus lives on Mars and solves all the Earth’s problems by reading aloud from the bible. That is the notion that this 1952 trainwreck of a film is trying to turn into a pathos-filled and solemn fable about politics, science and the human condition. Fairly well designed, filmed and acted for a low-budget effort, but boy, you can’t polish a turd. (1/10)

Red Planet Mars (1952). Directed by Harry Horner. Written by John L. Balderston & Anthony Veiller. Based on the play Red Planet by John L. Balderston and John Hoare. Starring: Peter Graves, Andrea King, Herbert Berghof, Walter Sande, Marvin Miller, Morris Ankrum. Produced by Donald Hyde and Anthony Veiller for Melaby Pictures Corp. IMDb score: 4.9

Walter Sande, Andrea King and Peter Graves in Red Planet Mars.

Walter Sande, Andrea King and Peter Graves in Red Planet Mars.

Red Planet Mars is – just like another film I recently reviewed, Invasion U.S.A. from the same year – a perfect time capsule of the hysterical atmosphere of the cold war. It has all the trappings of the most obnoxious, xenophobic, conservative, bible-thumping propaganda movies at the time – and then turns it up to eleven. It’s difficult to know where to start with this one, so I’ll begin with the plot. Continue reading

Invasion U.S.A.

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(1/10) In a nutshell: One of the true bottom-feeders of the cold war propaganda films, this movie depicts five people who oppose the universal draft seeing USA invaded by the Soviet Union. Despite good talent both behind and in front of the camera, this startlingly dumb movie is singularly boring and consists to a large part of military stock footage and five people talking in a bar. Worth watching perhaps only because of Dan O’Herlihy of Robocop fame and the fact that it features two Lois Lanes.

Invasion U.S.A. (1952). Directed by Alfred E. Green. Written by Robert Smith & Franz Shulz. Starring: Gerald Mohr, Peggie Castle, Dan O’Herlihy, Robert Bice, Tom Kennedy, Wade Crosby, Phyllis Coates, William Schallert. Produced by Robert Smith & Albert Zugsmith for American Pictures. IMDb score: 2.5

New York City getting bombed in Invasion U.S.A.

New York City getting bombed in Invasion U.S.A.

Let’s be clear about one thing: Glenn Erickson of DVD Savant is one of the most brilliant film critics on the internet. But sometimes I am completely flabbergasted by his judgement – like when he uses words like ”well-handled”, ”neatly structured”, ”clever” and ”excitingly assembled” about a film that the rest of humanity agrees is a big giant pile of turds. This film is Invasion U.S.A. To Erickson’s defense, he also calls it ”one of the weirdest political films ever made”, writes that it reaches ”the heights of camp hilarity” and that it is hard ”to be sillier than this movie”. Continue reading