(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!
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
(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.
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
(5/10) In a nutshell: Based on The Wolf Man creator Curt Siodmak’s influential novel, this is the first real sentient-brain-in-a-vat film. It’s hampered by a rather dull tax fraud subplot and the generic mad scientist storyline, which was quite passé in 1953 – even though the scientist, played by Lew Ayres, isn’t mad at all. On the plus side, the direction feels modern and grounded and the acting is primarily good. Holes in logic abound, and the ending is a cop-out. Stars future First Lady Nancy Reagan.
Donovan’s Brain (1953). Directed by Felix E. Feist. Written by Hugh Brooke & Felix E. Feist. Based on the novel Donovan’s Brain by Curt Siodmak. Starring: Lew Ayres, Gene Evans, Nancy Reagan, Steve Brodie. Produced by Tom Gries for Dowling Productions. Tomatometer: 50 %. IMDb score: 6.0/10.
The original brain in a vat.
There are tropes in science fiction that have become so commonplace today, that they are reduced to clichés. The time machine, the UFO, the mad scientist, the lunar landing, the killer robot, the invisibility serum, and of course the disembodied brain. The ”brain in a vat” has become a staple villain of sci-fi comics, the best known are probably Krang from Teenage Mutant Ninja Turtles and The Brain in DC Comics. The disembodied brain has also turned up in a number of TV series and films, and the basic concept has been drawn upon for cyborgs like Robocop. But the one film that people keep referring to as the essential brain-in-a-vat film is the independently produced Donovan’s Brain, made in 1953, based on Curt Siodmak’s novel of the same name. Continue reading
(4/10) In a nutshell: This 1953 film uses least 10 minutes of special effects from the German film Gold and steals its premise from an Arch Oboler radio show, but still manages to come off as something quite original. Made by Ivan Tors and legendary sci-fi writer Curt Siodmak, the film follows a sort of sci-fi FBI, trying to neutralise a radioactive material that keeps growing and threatens to sling the Earth out of orbit. Starring sci-fi cult actor Richard Carlson and features a bit-part by comedienne Kathleen Freeman.
The Magnetic Monster (1953). Directed by Curt Siodmak, Herbert L. Strock (uncredited) & Karl Hartl (uncredited). Written by: Ivan Tors & Curt Siodmak. Inspired by The Chicken Heart by Arch Oboler (uncredited). Edited from the film Gold (1934, uncredited). Starring: Richard Carlson, King Donovan, Jean Byron, Harry Ellerbe, Leo Britt, Leonard Mudie, Byron Foulger, Kathleen Freeman, Hans Albers, Michael Bohnen. Produced by Ivan Tors for A-Men Productions. IMDb score: 6.0
King Donovan and Richard Carlson in a magazine ad for The Magnetic Monster.
Legendary low-budget producer Roger Corman made many of his most famous sci-fi films by taking lavish European special effects films that were virtually unknown to American audiences or even critics, and intercutting them with newly shot scenes with American actors. The method wasn’t new. In 1943 Edward Dmytryk took a good portion of his Captive Wild Woman (review) about an ape woman from a 1932 lion taming film called The Big Cage. But what probably inspired Corman even more was German expat Curt (Kurt) Siodmak’s 1953 film The Magnetic Monster, which basically took its whole last 20 minutes from the German sci-fi thriller Gold (1934, review). Continue reading