Invaders from Mars


(6/10) In a nutshell: This Hugo-nominated 1953 film by William Cameron Menzies is delightfully whimsy and disturbingly surreal, balancing between pure camp and serious psychological questions about adolescence. In a dreamlike reality (or a realistic dream) 10-year old David’s parents and friends are body-snatched by Martians who have landed in his backyard. It’s a race to see if David and his confidantes can blow up the UFO before the aliens have infiltrated the whole town.

Invaders from Mars (1953). Directed by William Cameron Menzies. Written by Richard Blake, John Tucker Battle, Arthur Gardner. Starring: Helena Carter, Arthur Franz, Jimmy Hunt, Leif Erickson, Hillary Brook, Morris Ankrum. Produced by Edward L. Alperson for Edward L. Alperson Productions. Tomatometer: 82 %. IMDb score: 6.5

1953 invaders from mars 029 luz potter

Publicity poster for Invaders from Mars, Luz Potter as “Martian Intelligence”.

1953 was the year when the floodgates finally opened for what we would call ”fifties camp” in science fiction – only three films into the year, I have already reviewed Robot Monster, and now we get to another cult classic: Invaders from Mars. While the former is an entity in and of itself, the latter also has some claim to uniqueness: it was the first alien film in colour. Rushed into theatres in April to beat the premiere of George Pal’s Magnum Opus The War of the Worlds (review), the movie is one of the more bizarre, and beloved, entries in fifties science fiction canon. Continue reading

Unknown World


(4/10) In a nutshell: The first actual hollow Earth film made in Hollywood, this 1951 cheapo produced by visual effects wizards Jack Rabin and Irving Block is almost a good picture, but stumbles in basically all departments. Pretentious, illogical, naive, chauvinistic, shakily directed and badly acted, but it does move along at a decent pace, is filmed in stunning cave locations and has occasional glimpses of profundity and brilliance. Loosely based on Jules Verne and Edgar Rice Burroughs.

Unknown World (1951). Directed by Terry O. Morse. Written by Millard Kaufman. Inspired (uncredited) by A Journey to the Center of the Earth by Jules Verne and At the Earth’s Core by Edgar Rice Burroughs. Starring: Bruce Kellogg, Marilyn Nash, Victor Killian, Otto Waldis. Produced by Jack Rabin & Irving Block for Lippert Pictures. IMDb score: 3.9

Some guy (seriously, I can't tell the apart!), Marilyn Nash and Bruce Kellogg in Unknown World.

Some guy (seriously, I can’t tell the apart!), Marilyn Nash and Bruce Kellogg in Unknown World.

Released two years earlier, Unknown World might have become a minor cult classic, so novel was its idea in Hollywood at the time. But released in late 1951, the movie faced such stiff opposition from other science fiction films, like The Day the Earth Stood Still (review), Superman and the Mole-Men (review), When Worlds Collide (review) and Flight to Mars (review), that it was a bit overlooked. And unfortunately it hasn’t received the same sort of delayed love as other cult classics by later generations, either. The main reason being that it is neither very good nor campy enough to be loved by the so-bad-it’s-good fans. But for any completist sci-fi fan it is definately a must-watch, since it is the first full-length feature film to tackle the hollow Earth genre. Continue reading

Flight to Mars


(5/10) In a nutshell: Poverty Row studio Monogram jumped the bandwagon on space films in 1951 with this colour movie filmed in five days. The design and effects are not bad for a film of its budget, although much of it is scraped together from found objects, but all suspense evaporates as the space crew settles on Mars and the movie settles into a boring chamber drama with talking heads.

Flight to Mars (1951). Directed by Lesley Selander. Written bu Arthur Strawn. Starring: Marguerite Chapman, Cameron Mitchell, Arthur Franz, Virginia Huston, John Litel, Morris Ankrum, Richard Gaines, Lucille Barkley, Robert Barrat, Trevor Bardette, Tristam Coffin, Music: Marlin Skiles. Cinematography: Harry Neumann. Editing: Richard V. Heermance. Production design: Ted Haworth. Art direction: Dave Milton. Production management: Allen K. Wood. Sound recordist: John K. Kean. Visual effects: Jack Cosgrove, Jack Rabin, Irving Block. Produced by Walter Mirisch for Monogram Pictures. IMDb score: 5.2

Production still and PR poster from Flight to Mars.

Production still and PR poster from Flight to Mars.

1951 was a tremendous year for science fiction films in Hollywood, especially for films concerning space travel and aliens, subgenres that had only found their way into full-length cinema the previous year. In 1950 producer George Pal had tried to depict a scientifically accurate flight to the moon in Destination Moon (review), and Lippert Pictures had jumped on the wagon with a voyage to Mars in Rocketship X-M (review). In the first two thirds of 1951 spacemen came to Earth, first in The Man from Planet X (review), then in The Thing from Another World (review) and later in The Day the Earth Stood Still (review). Continue reading

Rocketship X-M


(6/10) In a nutshell: First serious American motion picture to go where no man has gone before. This 1950 Poverty Row movie was rushed into production to beat the lavish Destination Moon to cinemas and take advantage of the media buzz surrounding it. However, in some regards the cheap ripoff actually surpasses the ”original”, thanks to an Oscar-winning screenwriter, one of Hollywood’s greatest cinematographers, good acting and a movie with a good deal of heart and soul.

Rocketship X-M (1950). Directed by Kurt Neumann. Written by Dalton Trumbo, Kurt Neumann, Orville H. Hampton. Starring: Lloyd Bridges, Osa Massen, John Emery, Noah Beery Jr, Hugh O’Brian, Morris Ankrum, Judd Holdren, Barry Norton. Produced by Kurt Neumann, Murray Lerner for Lippert Pictures. IMDb score: 4.9

Osa Massen, John Emery, Hugh O'Brian and Lloyd Bridges in Rocketship X-M.

Osa Massen, John Emery, Hugh O’Brian and Lloyd Bridges in Rocketship X-M.



After the abysmal sci-fi decade that was the forties, fans of the genre finally got to look forward to well-made, original, lavish, high-quality – actual – science fiction films. The spark that ignited the explosion of A-list science fiction films about space travel in the early eighties was a costly gamble of 600 000 dollars, in lavish colour, co-written by author Robert A. Heinlein, that won an Oscar for special effects and was nominated for another for art direction – the first American moon landing film that strived for scientific accuracy. Except that was not this movie. That movie was George Pal’s Destination Moon (review). This film is the low-budget, black-and-white quickie produced by Poverty Row studio Lippert Pictures about a rocketship that accidentally end up on Mars instead of the moon and meet the family from The Hills Have Eyes. Continue reading