Warner Archive
This spectacular collection is another valuable addition to the Warner Archive bundled releases, this time releasing four classic science fiction films together.
ATTACK OF THE 50 FOOT WOMAN
A tad overrated but very entertaining.
Unlike so many other B-movies that bore us with stiff rote acting, this one goes in the opposite direction, overacting and histrionics.
Stunning Allison Hayes, as the manic, anguished, cheated-on Mrs. Archer, might even elicit genuine sympathy from the viewer. William Hudson and Yvette Vickers as the smarmy Mr. Archer and his young floozy flame are a perfect match; don’t miss their open-mouthed kisses.
While clearly not made with serious intent, there is some real tension in the one scene that takes us inside the spaceship… if you allow that the extraterrestrial somehow shrinks himself to fit inside. Otherwise there is plenty to laugh at, from silly lines to awful effects. Inspired moments include a jitterbug, a fistfight with a butler, and a prospector with a pack mule.
Is there a theme? Some say it’s feminist: the woman’s growth in size symbolizes her self-awareness, and her determination to right the wrongs committed against her. I took it as a joke and enjoyed the whole thing, although I wish we’d seen Hayes in a bikini for more than 10 seconds.
And while the final scenes of destruction are satisfying, they are also very brief.
This disc offers the 2007 DVD commentary from Vickers with Tom Weaver. Vickers talks most of the time, but is sprightly and funny. Weaver reads from a copy of the actual screenplay used by Vickers in 1958, on which Vickers made notes about her wardrobe and how she wanted to exaggerate several lines. To her credit, she amped up some of the more angry lines (e.g. adding “dammit” at the end) and cooled off some of the more sensitive lines (e.g. adding “baby” at the end). Hayes appeared in several other 1950s B-flicks including The Hypnotic Eye. Vickers appeared a year later in Attack of the Giant Leeches wearing leopard-skin underwear. Hudson played the heroic doctor from The Amazing Colossal Man. The independent producer of 50 Foot Woman also hired Juran for Brain from Planet Arous. Also included is the film’s trailer.
THEM!
This is the first and possibly best of the Insect Fear movies of the 50s. It sets up many patterns that quickly become familiar to fans of the subgenre: an opening scene where police investigate an attack and have no idea what could have happened, the finding of strange signs of the insects (footprints, noises) before the insects actually appear on screen, a scientist working with the military to find a solution, a film-within-a-film, a giant map on which to trace the insects’ path over the countryside, and more.
This film has aged well. The acting is good, especially James Whitmore (more famous to my generation playing Brooksie in The Shawshank Redemption) as staunch police sergeant Patterson. Edmund Gwenn is very entertaining in the role of the elder Dr. Medford; this character closely recalls that of Professor Elson in Beast from 20,000 Fathoms. The serious mood lends Them! an air of authenticity lacking in later insect movies such as The Deadly Mantis. The climactic chase in the LA sewers recalls the pioneering Noir masterpieces He Walked By Night and The Third Man.
I have been fascinated with ants since childhood. I wrote my 10 -grade biology report on ant intelligence, and while the class laughed inmy face, my teacher Mrs. Melts loved it and gave me an A. I remain very impressed with ant communication and cooperation. If wandering ants must move from one tree branch to the next, the scouts will methodically link themselves together to form a chain-bridge so that the colony can cross. If wandering ants come to a river, the scouts will form a little floating island to ferry the colony to the other side. If a single ant becomes buried by wind-blown soil, it will send out a message that can be sensed by its nearby fellows; they will rush to his side and dig him out.
Them! is the most consistent of all Insect Fear pictures. The ants themselves are filmed in darkness or dust to prevent us from getting too close a look at the puppetry. But the most arresting images in the movie may be those of the dazed and traumatized little girl (Sandy Descher of The Space Children) at the opening. Note that ants were featured the same year in The Naked Jungle. Other Insect Fear pictures include Tarantula (good, 1955), The Black Scorpion (good, 1957), Beginning of the End (decent, 1957), The Deadly Mantis (poor, 1957), Earth vs the Spider (campy, 1958), Monster from Green Hell (poor, 1958), and The Strange World of Planet X (poor, 1958). Extras are slight with outtakes and trailer.
WORLD WITHOUT END
People before me have described World Without End as a combination of Planet of the Apes and The Time Machine. I’d also throw vintage Star Trek into that mix. Or the Wally Wood-illustrated “For Posterity” from Weird Science-Fantasy #24 (1953).
On future Earth, civilized humans live in isolated communities underground while mutant cavemen rule the surface. The intrepid rocket crew must find a way to help the good humans and defeat the mutants. So close, in fact, is this plot to The Time Machine, that H.G. Wells’ estate sued Allied Artists. Weirdly, Rod Taylor (here the British co-hero) later starred in the George Pal Time Machine film.
As you’ll suppose, the picture never reaches the heights to which it clearly aspires. Its mix of A-movie aspirations and B-movie effects (like one-eyed mutants) grows increasingly silly. But two things look good including first, he underground city with its austere yet alluring sets that recall Forbidden Planet or Flight to Mars; and second, the shirtless Rod Taylor and the selection of cute future gals wearing costumes designed by 1940s pinup artist Alberto Vargas. This is Vargas’ single film credit. I also liked the twisted plants in the science lab. Hugh Marlowe (our deep-voiced hero) later made Castle of Evil. Writer/Director Edward Bernds also made Space Master X-7.
THE BEAST FROM 20000 FATHOMS
One of the greats and one of my favorites. It is usually considered the first giant monster movie. Although King Kong was released earlier, it was Beast that inspired the troop of successive monster movies, including those of Japan, that ran through the 1950s and into the 60s. It is also the first “atomic monster” movie, in which the menacing creature (in this case a reawakened “rhedosaurus” dinosaur) is either created or disturbed by an atomic explosion. The story was inspired by Ray Bradbury’s “The Foghorn.” It is a well-paced film with only one boring stretch after the opening scenes when our hero seeks witnesses to prove that “it really happened.” (inherently boring for an audience who knows perfectly well that it really happened; heck, that’s why we’re watching!).
There are some impressive attempts at realism, such as explanations for why the monster is heading to New York and for why the military can’t simply blast it to bits with artillery. There is one unintentionally funny moment, when the heroes must ride a roller coaster to save the day. At its best it is thrilling, surprising, and, by the conclusion, thought-provoking and even poignant. Jaded is the mind that feels no thrills as the panicked New Yorkers flee their ravaged city. Hard is the heart that feels no sympathy at the final desperate howls of the dying beast.
Many monster movie motifs were established here, including fleeting glimpses of the creature before we see it full on, fleeting glimpses of buildings and landmarks before we see them destroyed, scientists tracking the path of the creature on a big map, military heavies explaining their attack strategies, heroes having “only one chance” to destroy the creature, and more. The movie’s main theme, that Man’s power and technology isn’t really as advanced as Man believes – connects it with the likes of The Day the Earth Stood Still and The Angry Red Planet.
The acting is surprisingly inspired. Our hero, the optimistic Dr. Nesbit, is played by the German-Swiss actor Paul Christian (actual name Hubschmid). He is suave without being smarmy, earnest without being fatuous. As a dark-skinned and accented foreigner, he is abrefreshing change from our typical strapping all-American hero. The minor romance adds little, but the austere Paula Raymond (Blood of Dracula’s Castle) does her best as the trusting Dr. Hunter. My favorite supporting performance is King Donovan (Invasion of the Body Snatchers) as the doubtful and confident psychiatrist Dr. Ingersoll, although many viewers are partial to young Lee Van Cleef (Escape from New York). Cecil Kellaway (I Married a Witch) seems brilliant and naive at once.
Sometimes I prefer It Came From Beneath the Sea but Beast is higher quality. I particularly like the moment when the old scientist implores his military companions to help him capture the beast alive. Who can blame him? This rhedosaurus is surely one of the most personable and memorable of all movie monsters. Director Eugène Lourié repeated Beast’s success with The Giant Behemoth and Gorgo. Extras include previously released featurettes and trailer.
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