(3/10) The first American yeti film is brought to you by Z-movie specialist W. Lee Wilder, brother of Billy Wilder. Like his earlier sci-fi movies, The Snow Creature is ineptly filmed and scripted. The yeti gets honoured with one of the worst creature suits in the history of cinema, and so little material is filmed that most of the film consists of people walking on a snowy mountain and one and the same shot of the yeti being used on a dozen of instances, sometimes freeze-framed, sometimes in reverse. Still fairly entertaining if you like bad fifties movies. Features sci-fi stalwart William Phipps and Lock Martin of Gort fame, as well as Bond villain Mr. Osato.
The Snow Creature (1954, USA). Directed by W. Lee Wilder. Written by Myles Wilder. Starring: Paul Langton, Leslie Denison, Teru Shimada, Lock Martin, Rollin Moriyama, William Phipps. Produced by W. Lee Wilder for Planet Filmplays.
IMDb rating: 3.1/10. Tomatometer: N/A. Metascore: N/A.
I have pondered and deliberated much over whether to include bigfoot and yeti films on this blog, or rather: whether they should be considered science fiction or not, even in a very broad sense of the word. It is basically the same problem as with lost world films and movies like Creature from the Black Lagoon (1954, review). Are they sci-fi or fantasy? I have included The Lost World (1925, review) and King Kong (1933, review), as well as the Creature films, and therefore see no sensible reason not to include yeti movies as well. I guess one must draw the line somewhere, however, and after some consideration I have come to the conclusion that the clincher should be whether there is an attempt to explain the creature’s existence in a scientific manner. The yeti and bigfoot are both cryptozoologic creatures, rather than magical fairy-tale creatures such as dragons or trolls, which fall firmly in the fantasy section. Thus: welcome snowmen. Continue reading
(2/10) In a nutshell: The second sci-fi film by Billy Wilder’s less talented brother Willie mashes up a cold war spy yarn with an alien abduction story and nuclear fright. The underlying story is a sound one, but it gets messed up by a thin script and a shoestring budget that relies on stock footage for filling time and has some of the most profoundly silly-looking aliens in film history. Future TV star Peter Graves of Mission: Impossible fame lends the film some dignity in the leading role, but it doesn’t help to save this ineptly produced and directed oddity. A must for lovers of bad B-movies, though.
Killers from Space (1954, USA). Directed by W. Lee Wilder. Written by Myles Wilder and William Raymond. Starring: Peter Graves, James Seay, Steve Pendleton, Frank Gerstle, John Frederick, Barbara Bestar, Shepard Menken. Produced by W. Lee Wilder for Planet Filmplays. IMDb: 3.1/10. Tomatometer: N/A. Metacritic: N/A.
Are these not the most terrifying killers you have ever seen?
This here is something of a cult classic with lovers of bad movies – mainly because of the hilarious look of the aliens. Once seen, they can never be unseen. First of all, there’s the ridiculous jumpsuits. But most of all, what we remember are the eyes – the wonderfully wacky ping pong ball eyes. This 1954 film was supposed to be serious – and the aliens were supposed to be frightening. And then they stuck ping pong balls on their eyes. It’s wonderful! Well, in fact, they are not ping pong balls at all. Director Willie Wilder had suggested ping pong balls, but makeup artist Harry Thomas thought that wouldn’t really look realistic, so he went to an actual optical shop to ask for glass eyes, that he could cut in half. But they cost 900 dollars apiece, which was probably more than Thomas’ entire makeup budget. John Johnson’s book Cheap Tricks and Class Acts quotes an article in Filmfax, where Thomas is interviewed. Thomas describes how after being turned down at the opticians’, he stayed up all night wrestling with the problem of the aliens’ eyes, and how to make them realistic, so he wouldn’t have to settle for Wilder’s idea with the ping pong balls: ”I was almost completely discouraged when I opened up the refrigerator to get something to drink, and there was my answer: a white plastic egg tray.” So there you have it. In your face, haters, those are not ping pong balls, they are very realistic egg tray bottoms. Good on you, Harry Thomas! Continue reading
(1/10) In a nutshell: For a no-budget effort, this 1951 invisible alien film by Billy Wilder’s elder brother Willie has impressive visual effects. But that’s also pretty much all that is good about this talky, illogical and slow-moving exploitation flick. Noreen Nash as the female heroine stands out, and there’s Harry Landers of Ben Casey fame.
Phantom from Space (1953). Directed by W. Lee Wilder. Written by William Raynor & Myles Wilder. Starring: Ted Cooper, Tom Daly, Noreen Nash, Dick Sands, Harry Landers, James Seay, Rudolph Anders, Steven Clark, Jim Bannon. Produced by W. Lee Wilder for Planet Filmways. IMDb score: 4.0
A colourised image of Dick Sands in the spacesuit of the alien in Phantom from Space.
The problem with a genre that gets big is that apart from the great films, there’s always a trail of bad exploitation films that follow in their wake. Some of them can rise up to become classics in their own right, like Invaders from Mars (1953, review), released just a month before this movie. Others defy their minuscule budgets with staggeringly weird solutions, relentless visions and more heart than a hundred Hollywood blockbusters put together, like Robot Monster (1953, review) and the works of Ed Wood, Jr. Then there’s the ilk of Phantom from Space, that just don’t cut the mustard, in any way or fashion, except for being a so-bad-it’s-good film. Continue reading