(5/10) In a nutshell: More an old-school horror movie than a science fiction film, this low-budget effort by the visual innovator William Cameron Menzies is an atmospheric mystery play with strong expressionist leanings and a Lovecraftian atmosphere. The female heroin of the piece travels to a remote Scottish castle to find out why her husband-to-be has broken off their engagement weeks before the marriage with a cryptic letter saying he must remain secluded in his family’s old mansion. Starring sci-fi cult actor Richard Carlson. The script stalls, the characters are flat and the ending is downright silly.
The Maze (1953). Directed by William Cameron Menzies. Written by Daniel B. Ullman. Based on the novel The Maze by Maurice Sandoz. Starring: Richard Carlson, Veronica Hurst, Katherine Emery, Michael Pate, John Dodsworth, Hillary Brooke, Lilian Bond. Produced by Richard V. Heermance, Walter Mirisch for Allied Artists Pictures. IMDb score: 6.0/10
The Maze – Its only a model.
The Maze is a science fiction film only by a very narrow margin, thanks to revelation in the very final scene in the movie, which I won’t reveal, since it would destroy the viewing pleasure for all involved. But I’ll try and give it a short run-down without giving too much away. The plot follows young Kitty Murray (Veronica Hurst) who is engaged to the dreamy Gerald MacTeam (Richard Carlson). During a holiday in France Gerald suddenly gets called to his old family castle in Scotland, and several weeks later sends a short letter telling Kitty that their engagement is off – pressing matters demand his presence at the castle, and they are never to meet again. Distraught, Kitty decides to travel to the castle, and her stern aunt Edith (Katherine Emery) insists on tagging along. Continue reading
(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
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
(6/10) In a nutshell: Screenwriter H.G. Wells, producer Alexander Korda and director William Cameron Menzies take us on an epic journey through the future in this pompous 1936 social prophesy. The most expensive film ever made in Britain in 1936, Things to Come boasts incredible sets and miniatures, great effects, high quality filming and a team of great actors. But ultimately the movie trips on its clay feet, which is the impossibly stiff script, lacking in emotion and real dialogue. Wells is using his biggest sledgehammer to pound in his message, and prevents the audience from doing any thinking for themselves.
Things to Come. 1936, UK. Directed by William Cameron Menzies. Written H.G. Wells, based on his own novel The Shape of Things to Come. Starring: Raymond Massey, Edward Chapman, Ralph Richardson, Margaretta Scott, Cedric Hardwicke. Music: Arthur Bliss. Produced by Alexander Korda for London Film Productions. Tomatometer: 92 %. IMDb score: 6.8
In the future the world will be ruled by stiff philosophers decked out in gowns and big shoulder pads.
Things to Come was Great Britain’s most impressively epic science fiction film to date – without even a close rival – when it came out in 1936. It had a budget of about 350 000 pounds, equal to about 21 millions today; an absolutely astounding amount of money to put on a film back in that day. And thus it would remain all the way to 1968 when Stanley Kubrick made 2001: A Space Odyssey in London. Penned by the 70-year old sci-fi master H.G. Wells from his own 1933 novel The Shape of Things to Come, it was however more an ideological treatise and a futuristic prophesy than a dramatic film. Although time has conjured up a good deal of latter-day apologetics who hail Wells’ vision and – rightly so – praise the production design, the simple truth of the matter stands: Wells was an awful screenwriter. Continue reading