Ricou Browning, the underwater stuntman who portrayed the Gill-man in the 1954 horror classic Creature trom the Black Lagoon and its sequels and went on to co-produce the dolphin tale Flipper for both the big screen and television, died quietly Sunday of natural causes at his home in Southwest Ranches, Fl. He was 93.
His son Ricou Browning Jr, who works as a marine coordinator for film and TV productions, confirmed his father’s death to Deadline.
Related Story Hollywood & Media Deaths In 2023: Photo Gallery & Obituaries Related Story Brett Radin Dies: Talent Manager With Knitting Factory Management Was 53 Related Story Gordon Pinsent Dies: Iconic Canadian Actor In Film And Television Was 92
Considered to be the last surviving original actor to portray any of the Universal Classic Monsters, Florida native Browning studied physical education at Florida State University before landing a job in the 1940s at Wakulla Springs, a scenic park that...
His son Ricou Browning Jr, who works as a marine coordinator for film and TV productions, confirmed his father’s death to Deadline.
Related Story Hollywood & Media Deaths In 2023: Photo Gallery & Obituaries Related Story Brett Radin Dies: Talent Manager With Knitting Factory Management Was 53 Related Story Gordon Pinsent Dies: Iconic Canadian Actor In Film And Television Was 92
Considered to be the last surviving original actor to portray any of the Universal Classic Monsters, Florida native Browning studied physical education at Florida State University before landing a job in the 1940s at Wakulla Springs, a scenic park that...
- 3/1/2023
- by Greg Evans
- Deadline Film + TV
Ricou Browning, who took to the water as the menacing Gill-Man in the Creature From the Black Lagoon and as the creative force behind the original Flipper movie and TV show, has died. He was 93.
Browning died Monday of natural causes at his home in Southwest Ranches, Florida, his daughter Kim Browning told The Hollywood Reporter. “He had a fabulous career in the film industry, providing wonderful entertainment for past and future generations,” she said.
The Florida native also served as a stuntman on Richard Fleischer’s 20,000 Leagues Under the Sea (1954), doubled for Jerry Lewis in Don’t Give Up the Ship (1959) and “played all the bad guys in [TV’s] Sea Hunt,” he said in a 2013 interview.
Plus, Browning directed the harpoon-filled fight in Thunderball (1965), another underwater scene in Never Say Never Again (1983) and the hilarious Jaws-inspired candy bar-in-the-pool sequence in Caddyshack (1980).
Browning, who said he could routinely hold his...
Browning died Monday of natural causes at his home in Southwest Ranches, Florida, his daughter Kim Browning told The Hollywood Reporter. “He had a fabulous career in the film industry, providing wonderful entertainment for past and future generations,” she said.
The Florida native also served as a stuntman on Richard Fleischer’s 20,000 Leagues Under the Sea (1954), doubled for Jerry Lewis in Don’t Give Up the Ship (1959) and “played all the bad guys in [TV’s] Sea Hunt,” he said in a 2013 interview.
Plus, Browning directed the harpoon-filled fight in Thunderball (1965), another underwater scene in Never Say Never Again (1983) and the hilarious Jaws-inspired candy bar-in-the-pool sequence in Caddyshack (1980).
Browning, who said he could routinely hold his...
- 2/28/2023
- by Mike Barnes
- The Hollywood Reporter - Movie News
This favorite animal film takes a half-step sideways out of the cute animal subgenre: the delightful Mij is no super-otter, just an ordinary playful garden-variety otter, as an Otter oughta be. (cough) Champion mellow English couple Virginia McKenna and Bill Travers have put together a film guaranteed to lower your blood pressure. But see it first before deciding it’s for your kids, as reality is not sugarcoated in its uplifting, but certainly not sentimentalized, view of our place in a world that still has some animals left alive.
Ring of Bright Water
Blu-ray
Kl Studio Classics
1969 / Color / 1:66 widescreen / 106 min. / Street Date May 21, 2019 / available through Kino Lorber / 29.95
Starring: Virginia McKenna, Bill Travers, Peter Jeffrey, Jameson Clark, Helena Gloag.
Cinematography: Wolfgang Suschitsky
Film Editor: Reginald Mills
Original Music: Frank Cordell
Written by Jack Couffer and Bill Travers from a book by Gavin Maxwell
Produced by Joseph Strick
Directed by Jack...
Ring of Bright Water
Blu-ray
Kl Studio Classics
1969 / Color / 1:66 widescreen / 106 min. / Street Date May 21, 2019 / available through Kino Lorber / 29.95
Starring: Virginia McKenna, Bill Travers, Peter Jeffrey, Jameson Clark, Helena Gloag.
Cinematography: Wolfgang Suschitsky
Film Editor: Reginald Mills
Original Music: Frank Cordell
Written by Jack Couffer and Bill Travers from a book by Gavin Maxwell
Produced by Joseph Strick
Directed by Jack...
- 5/25/2019
- by Glenn Erickson
- Trailers from Hell
Back in 1964 a lot of people still thought dolphins were fish, but by the time this TV show was finished, we all knew that our happy undersea friend was smarter than the average bear and lives in a world full of wonder. Ivan Tors’ grandly successful Florida-shot family show kept a lot of seagoing movie veterans in green seaweed, including both original ‘Creature’ Gill Men.
Flipper, Season One
Blu-ray
Olive Films
1964-65 / Color / 1:33 flat TV / 780 min. / Street Date August 29, 2017 / available through the Olive Films website / 39.95
Starring: Brian Kelly, Luke Halpin, Tommy Norden.
Cinematography: Clifford H. Poland Jr., Lamar Boren
Original Music: Henry Vars, song by
Written by: Jack Cowden, Ricou Browning, Peter L. Dixon, Laird Koenig, Stanley H. Silverman, Orville H. Hampton, Lee Erwin, Art Arthur, Jess Carneol, Key Lenard, Ivan Tors, Alan Caillou, Arthur Richards, Robert Sabaroff.
Produced by Ivan Tors, Ricou Browning, Leon Benson, Andrew Marton
Directed by: Ricou Browning,...
Flipper, Season One
Blu-ray
Olive Films
1964-65 / Color / 1:33 flat TV / 780 min. / Street Date August 29, 2017 / available through the Olive Films website / 39.95
Starring: Brian Kelly, Luke Halpin, Tommy Norden.
Cinematography: Clifford H. Poland Jr., Lamar Boren
Original Music: Henry Vars, song by
Written by: Jack Cowden, Ricou Browning, Peter L. Dixon, Laird Koenig, Stanley H. Silverman, Orville H. Hampton, Lee Erwin, Art Arthur, Jess Carneol, Key Lenard, Ivan Tors, Alan Caillou, Arthur Richards, Robert Sabaroff.
Produced by Ivan Tors, Ricou Browning, Leon Benson, Andrew Marton
Directed by: Ricou Browning,...
- 9/4/2017
- by Glenn Erickson
- Trailers from Hell
Robot roll call! This also-ran robotic fantasy from the 1950s is precisely the kind of movie one would expect from Republic, a two-fisted anti-Commie tract for juveniles. The studio comes up with an impressive robo-hero, but short-changes us when it come time for action thrills. Still, as pointed out in Richard Harland Smith’s new commentary, Tobor filled the the kiddie hunger for sci-fi matinees, at least until Robby the Robot came along.
Tobor the Great
Blu-ray
Kl Studio Classics
1954 / B&W / 1:85 widescreen / 77 min. / Street Date September 12, 2017 / available through Kino Lorber / 29.95
Starring: Charles Drake, Karin Booth, Billy Chapin, Taylor Holmes, Steven Geray, Hal Baylor, Alan Reynolds, Peter Brocco, Robert Shayne, Lyle Talbot, William Schallert
Cinematography: John L. Russell
Production Design: Gabriel Scognamillo
Special Effects: Howard and Theodore Lydecker
Film Editor: Basil Wrangell
Original Music: Howard Jackson
Written by Philip MacDonald, Carl Dudley
Produced by Richard Goldstone
Directed by Lee Sholem...
Tobor the Great
Blu-ray
Kl Studio Classics
1954 / B&W / 1:85 widescreen / 77 min. / Street Date September 12, 2017 / available through Kino Lorber / 29.95
Starring: Charles Drake, Karin Booth, Billy Chapin, Taylor Holmes, Steven Geray, Hal Baylor, Alan Reynolds, Peter Brocco, Robert Shayne, Lyle Talbot, William Schallert
Cinematography: John L. Russell
Production Design: Gabriel Scognamillo
Special Effects: Howard and Theodore Lydecker
Film Editor: Basil Wrangell
Original Music: Howard Jackson
Written by Philip MacDonald, Carl Dudley
Produced by Richard Goldstone
Directed by Lee Sholem...
- 8/19/2017
- by Glenn Erickson
- Trailers from Hell
By Hank Reineke
Curt Siodmak’s The Magnetic Monster is one of the more thoughtful – and thought provoking - science-fiction films of the era. Produced by Ivan Tors (whom would share screenplay credit with Siodmak), this intriguing 1953 release from United Artists is a cerebral, worthy addition to the classic sci-fi canon. Its likely most fondly remembered among devotees of 1950s sci-fi for whom the presence of a rubber-suited monster is not a prerequisite.
Richard Carlson (It Came From Outer Space, The Creature from the Black Lagoon) essays the role of Dr. Jeffrey Stewart, a brilliant graduate of Boston’s M.I.T. now working for the Osi (Office of Scientific Investigation). Stewart and his assistant, the bespectacled egghead Dr. Dan Forbes (King Donovan) are self-described “Detectives with Degrees in Science.” They’re government “A-Men,” the “A” prefix representative of their pedigree in atomic energy research. The two are called by...
Curt Siodmak’s The Magnetic Monster is one of the more thoughtful – and thought provoking - science-fiction films of the era. Produced by Ivan Tors (whom would share screenplay credit with Siodmak), this intriguing 1953 release from United Artists is a cerebral, worthy addition to the classic sci-fi canon. Its likely most fondly remembered among devotees of 1950s sci-fi for whom the presence of a rubber-suited monster is not a prerequisite.
Richard Carlson (It Came From Outer Space, The Creature from the Black Lagoon) essays the role of Dr. Jeffrey Stewart, a brilliant graduate of Boston’s M.I.T. now working for the Osi (Office of Scientific Investigation). Stewart and his assistant, the bespectacled egghead Dr. Dan Forbes (King Donovan) are self-described “Detectives with Degrees in Science.” They’re government “A-Men,” the “A” prefix representative of their pedigree in atomic energy research. The two are called by...
- 12/14/2016
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
By Lee Pfeiffer
I recently wrote in relation to a review of "The Big Show" that circus movies have gone the way of the Model T. You can add to that another genre of film that used to be a Hollywood staple- the safari movies in which the hero was a great white hunter. Changing social attitudes make it unlikely we'd ever again cheer some rock-jawed leading man as he unloads some hi caliber bullets into a grazing elephant or a lazing hippo. The last word on such films was Clint Eastwood's woefully underrated (and woefully under-seen) 1990 film "White Hunter, Black Heart", which was loosely based on the hunting obsessions of director John Huston during production of "The African Queen". Nevertheless, jungle-themed adventures are still the stuff of cinematic thrills in the minds of retro movie lovers. One of the best is "Rampage", a 1963 opus directed by Phil Karlson...
I recently wrote in relation to a review of "The Big Show" that circus movies have gone the way of the Model T. You can add to that another genre of film that used to be a Hollywood staple- the safari movies in which the hero was a great white hunter. Changing social attitudes make it unlikely we'd ever again cheer some rock-jawed leading man as he unloads some hi caliber bullets into a grazing elephant or a lazing hippo. The last word on such films was Clint Eastwood's woefully underrated (and woefully under-seen) 1990 film "White Hunter, Black Heart", which was loosely based on the hunting obsessions of director John Huston during production of "The African Queen". Nevertheless, jungle-themed adventures are still the stuff of cinematic thrills in the minds of retro movie lovers. One of the best is "Rampage", a 1963 opus directed by Phil Karlson...
- 10/10/2016
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
The Nazis can't even keep the National Socialist propaganda out of a simple science fiction fable. Hans Albers is the Aryan King Midas as a scientist, and gorgeous Brigitte Helm the Englishwoman who thinks he's peachy keen. The climax is pure Sci-Fi heaven, an unstable 'Atomic Fracturing' installation, wa-ay deep down in a mineshaft under the ocean. Gold (1934) Blu-ray Kino Classics 1934 / B&W / 1:33 flat Full Frame / 117 min. / Street Date June 14, 2016 / available through Kino Lorber / 29.95 Starring Hans Albers, Friedrich Kayßler, Brigitte Helm, Michael Bohnen, Ernst Karchow, Lien Deyers, Eberhard Leithoff, Rudolf Platte. Cinematography Otto Baecker, Werner Bohne, Günther Rittau Art Direction Otto Hunte Film Editor Wolfgang Becker Original Music Hans-Otto Borgmann Written by Rolf E. Vanloo Produced by Alfred Zeisler Directed by Karl Hartl
Reviewed by Glenn Erickson
The Hardy Encyclopedia of Science Fiction still teases Sci-fi fans that want to see everything listed in its pages. Thankfully, videodisc companies catering to collectors make possible the sale of titles that might never show up on some (authorized) streaming service. Video disc has brought us the original Der Schweigende Stern and Alraune from Germany, and I hope to someday see good copies of Kurt Siodmak and Karl Hartl's F.P. 1 Does Not Answer and the Harry Piel Sci-fi trilogy An Invisible Man Roams the City, The World Unmasked (an X-ray television camera) and Master of the World (a robot with a death ray). I've read about Karl Hartl's 1934 Gold for at least fifty years, since John Baxter's Science Fiction in the Cinema told us (not quite correctly) that its final reel had been borrowed for the conclusion of Ivan Tors' 1953 Sci-fi picture The Magnetic Monster. As it turns out, Kino is releasing both movies in the same week. Sometimes referred to as the Nazi Metropolis, Hartl's Gold is a follow-up to the director's very successful F.P.1. Does Not Answer, a spy thriller about a fantastic airport in the mid-Atlantic called Floating Platform One. Both pictures were filmed in simultaneous foreign versions to maximize the box office take. The German original of F.P. 1 starred matinee idol Hans Albers (The Blue Angel) Sybille Schmitz (Vampyr) and Peter Lorre, while a concurrent French version used Charles Boyer, Danièle Parola and Pierre Brasseur. A third English version starred Conrad Veidt, Jill Esmond and Donald Calthrop. The French version starred Brigitte Helm in the same role, but star Hans Albers reportedly rebelled at making two movies for the price of one. According to reports, the exceedingly expensive Gold was in production for fifteen months. We can see the cost immediately in the enormous main set for the 'atomic fracturing' machine built to transmute lead into gold. Otto Hunte and Günther Rittau designed and filmed special effects for Metropolis and the impressive set is very much in the same style. Off the top of my head I can't think of any technical apparatus quite so elaborate (and solid-looking) built for a film until the 1960s and Ken Adam's outlandish settings for UA's James Bond films. Writer Rolf E. Vanloo had worked on the silent classic Asphalt and is the sole writer credited on the popular Marlene Dietrich vehicle I Kiss Your Hand, Madame. His screenplay for Gold is tight and credible, even if its theme is even more simplistic than -- and somewhat similar to -- that of Thea von Harbou for Metropolis. Scientist Werner Holk (Hans Albers) aids the visionary Professor Achenbach (Friedrich Kayßler) in testing what looks like an electric atom smasher. The experiment: to turn lead into gold. The 'Atomic Fracturer' explodes, killing the old genius, whose work is discredited. Holk barely survives, thanks to a blood transfusion from his faithful girlfriend Margit Moller (Lien Deyers). When agents for the fabulously wealthy Englishman John Wills (Michael Bohnen) contact Holk, he realizes that the experiment was sabotaged. Werner allows himself to be taken to a fabulous yacht and from there to a Scottish castle, where, hundreds of feet under the ocean, Wills has constructed his own, far larger atom smasher with plans stolen from Achenbach. Split between his need for revenge and a desire to prove the dead Achenbach's theories, Holk goes through with the experiment. Wills' daughter Florence (Brigitte Helm), a gorgeous playgirl, is attracted to the German visitor, Holk finds that the workers' foreman, Schwarz (Rudolf Platte) is of a like mind on economic issues. But Wills' engineer Harris (Eberhard Leithoff) is jealous of Holk's talent, and cannot be trusted. Gold begins by repeating the 'big money hostile takeover of science' theme from Fritz Lang's Frau im mond: a pioneering German scientific exploit is siezed by an unscrupulous international business entity. The unspoken message is that the weakened Germany is being cheated in the world economy because it lacks the resources to exploit its superior technology. The avaricious John Wills makes big financial decisions all day long. There's no gray area in this conflict, as Wells murders, steals and spies on people to get what he wants. We've seen his ruthless agents wreck Achenbach's original, modest experiment. This 'England plays dirty' theme mirrors Germany's bitterness toward England for at least the better part of a century of colonial, naval and financial competition. Versailles and WW1 aren't mentioned, but that had to be on the minds of the audience as well: Germany innovates and works hard, but is consistently handed a raw deal. The scenes with the sleek, fascinating Brigitte Helm would be better if they went somewhere; her Florence does what she can to entice Herr Holk but withdraws when he declares his love for his faithful girl back home, the one whose life blood now flows in his veins. 'Das Blut' cannot be dishonored, even if Holk is half convinced that Wills is going to have him murdered after the giant machine starts turning out Gold by the ton. Act Two instead becomes a conflict between Big Capitalism and the lowly-but-virtuous Working Man. Down in the underground warren of tunnels (another Metropolis parallel) Wills' Scottish workforce of sandhogs and technicians side with Holk against their boss. After a preliminary test yields a tiny bit of gold, we get the expected montages of worldwide economic panic, standard material in socially oriented sci-fi as diverse as La fin du monde and Red Planet Mars. Wells plans to grow rich by flooding the world with his artificially produced gold, a strategy that will have to be explained to me. Gold is the world's standard of value precisely because it's rare; it can't be printed up like money. Thirty years later, the surprisingly sophisticated scheme of Auric Goldfinger is to increase the value of his stash of gold bullion by rendering America's gold reserves radioactive, and therefore worthless. If scarcity raises the value of the element, making more should do the opposite. (On the other hand, what about artificial diamonds? Is there any correspondence there?) [I'm acutely aware that discussing the subject matter of movies mainly points up how much I don't know, about anything but movies.] The Incredible Holk convinces the mob of workers that he represents their interests better than the greedy John Wills. The idea that rich English capitalists need to be rejected in favor of honest German morality is the only real message here. It's as simple as the 'heart mediating between the hands and the brain' slogan of Metropolis, but with a slightly arrogant nationalism added. The lavishly produced Gold was filmed on a series of truly impressive sets, including Wills' enormous Scottish mansion. But the giant setting for the climax, deep in a mine under the ocean floor, is the stuff of core Sci-fi. Millions of volts of electricity are harnessed to transmute lead into Gold. That's got to be a heck of an electricity bill; factor in the other enormous overhead costs and we wonder if Wills will ever turn a profit. The special effects for this sequence are sensational. The enormous apparatus is suspended on huge oversized porcelain insulators. The giant glass tubes atop the specimen stage are apparently visualized with mattes and foreground miniatures. But the camera pans and trucks all over the hangar-sized set; it all looks real, with bolts of electricity flashing like crazy. It's a dynamic special effect highlight of the 1930s. The actors sell the conflict well. Beefy Hans Albers sometimes looks like George C. Scott. He exudes personal integrity and a calm force of will. Lien Dyers is as wholesome here as she was wantonly sexualized six years earlier in Fritz Lang's Spies. Michael Bohnen is more than convincing as a powerful man trying to corner all business on an international scale. Although mostly in for decoration, Brigitte Helm is a sophisticated dazzler. Those penciled eyebrows remind us that she had become the Marlene Dietrich that didn't go to Hollywood. Although she did have offers, Helm wanted to stay in Germany. The Nazification of the film industry and the appalling political climate motivated her to leave for Switzerland in 1935, abandoning her career. Although the gist of Gold fits in with Josef Goebbels' National Socialist propaganda aims, the movie doesn't attack England directly. Ufa may have held hopes of foreign distribution. The one man in Scotland that Holk knows he can trust is the captain of Wills' yacht, a fellow German. Nine years later, Josef Goebbels' anti-British version of Titanic would make a German the single ethical person in authority on the doomed ocean liner. The fellow is constantly badmouthing the craven captain and the venal English ship owner. When Hans Albers finishes this movie with a ten-cent moral about love being the only real treasure, the show seems plenty dumb. But that amazing special effect set piece is too good to dismiss so easily. Gold is a classic of giddy '30s science fiction. The Kino Classics Blu-ray of Gold (1934) is a good encoding of the Wilhelm Murnau Stiftung's best copy of this once-rare item. The print we see is intact and with has good audio, but the contrast is rough. It shifts and flutters a bit, especially in some scenes in the middle. I did notice that the final special effects sequences looked better than much of the rest of this surviving print. But the parts of the movie repurposed for The Magnetic Monster look better on that 1953 science fiction film than they do here. In his book Film in the Third Reich David Stewart Hull explains that when the occupation forces reviewed the recovered German films, they ordered this one destroyed. They were concerned that the Alchemy / Atomic Fracturing machine might have some connection to Germany's wartime nuclear program. So how could Ivan Tors have bought the footage from Ufa, if the U.S. Army had seized it? I have a feeling - just idle speculation -- that it might have been obtained in a special deal made through government connections. Since the image looks much better on The Magnetic Monster, Ivan Tors might even have cut up Gold's only existing printing element to make his movie. After finally seeing Gold, one more thing impresses me besides the grandiose special effects. It's sort of a 'brain-drain' movie. In the '30s, Germany had a reputation for the best precision engineering in the world. Werner Holk is semi-kidnapped to serve John Wills' greedy science project, which was pirated from Germany in the first place. Also in awe of German scientific prowess is Brigitte Helm's Florence. The playgirl finds Werner Wolk's brilliance and clarity of mission irresistible. He's both smarter and more ethical than her father. Holk just stands there looking like he's posing for a statue, and Florence is carried away. Ms. Helm is terrific, but it would be nice if her character had a more central role to play in the story. On a scale of Excellent, Good, Fair, and Poor, Gold (1934) Blu-ray rates: Movie: Very Good Video: Fair + This may be a rare surviving print. Sound: Good - Minus Supplements: none Deaf and Hearing Impaired Friendly? Yes; Subtitles: English Packaging: Keep case Reviewed: June 10, 2016 (5137)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
Reviewed by Glenn Erickson
The Hardy Encyclopedia of Science Fiction still teases Sci-fi fans that want to see everything listed in its pages. Thankfully, videodisc companies catering to collectors make possible the sale of titles that might never show up on some (authorized) streaming service. Video disc has brought us the original Der Schweigende Stern and Alraune from Germany, and I hope to someday see good copies of Kurt Siodmak and Karl Hartl's F.P. 1 Does Not Answer and the Harry Piel Sci-fi trilogy An Invisible Man Roams the City, The World Unmasked (an X-ray television camera) and Master of the World (a robot with a death ray). I've read about Karl Hartl's 1934 Gold for at least fifty years, since John Baxter's Science Fiction in the Cinema told us (not quite correctly) that its final reel had been borrowed for the conclusion of Ivan Tors' 1953 Sci-fi picture The Magnetic Monster. As it turns out, Kino is releasing both movies in the same week. Sometimes referred to as the Nazi Metropolis, Hartl's Gold is a follow-up to the director's very successful F.P.1. Does Not Answer, a spy thriller about a fantastic airport in the mid-Atlantic called Floating Platform One. Both pictures were filmed in simultaneous foreign versions to maximize the box office take. The German original of F.P. 1 starred matinee idol Hans Albers (The Blue Angel) Sybille Schmitz (Vampyr) and Peter Lorre, while a concurrent French version used Charles Boyer, Danièle Parola and Pierre Brasseur. A third English version starred Conrad Veidt, Jill Esmond and Donald Calthrop. The French version starred Brigitte Helm in the same role, but star Hans Albers reportedly rebelled at making two movies for the price of one. According to reports, the exceedingly expensive Gold was in production for fifteen months. We can see the cost immediately in the enormous main set for the 'atomic fracturing' machine built to transmute lead into gold. Otto Hunte and Günther Rittau designed and filmed special effects for Metropolis and the impressive set is very much in the same style. Off the top of my head I can't think of any technical apparatus quite so elaborate (and solid-looking) built for a film until the 1960s and Ken Adam's outlandish settings for UA's James Bond films. Writer Rolf E. Vanloo had worked on the silent classic Asphalt and is the sole writer credited on the popular Marlene Dietrich vehicle I Kiss Your Hand, Madame. His screenplay for Gold is tight and credible, even if its theme is even more simplistic than -- and somewhat similar to -- that of Thea von Harbou for Metropolis. Scientist Werner Holk (Hans Albers) aids the visionary Professor Achenbach (Friedrich Kayßler) in testing what looks like an electric atom smasher. The experiment: to turn lead into gold. The 'Atomic Fracturer' explodes, killing the old genius, whose work is discredited. Holk barely survives, thanks to a blood transfusion from his faithful girlfriend Margit Moller (Lien Deyers). When agents for the fabulously wealthy Englishman John Wills (Michael Bohnen) contact Holk, he realizes that the experiment was sabotaged. Werner allows himself to be taken to a fabulous yacht and from there to a Scottish castle, where, hundreds of feet under the ocean, Wills has constructed his own, far larger atom smasher with plans stolen from Achenbach. Split between his need for revenge and a desire to prove the dead Achenbach's theories, Holk goes through with the experiment. Wills' daughter Florence (Brigitte Helm), a gorgeous playgirl, is attracted to the German visitor, Holk finds that the workers' foreman, Schwarz (Rudolf Platte) is of a like mind on economic issues. But Wills' engineer Harris (Eberhard Leithoff) is jealous of Holk's talent, and cannot be trusted. Gold begins by repeating the 'big money hostile takeover of science' theme from Fritz Lang's Frau im mond: a pioneering German scientific exploit is siezed by an unscrupulous international business entity. The unspoken message is that the weakened Germany is being cheated in the world economy because it lacks the resources to exploit its superior technology. The avaricious John Wills makes big financial decisions all day long. There's no gray area in this conflict, as Wells murders, steals and spies on people to get what he wants. We've seen his ruthless agents wreck Achenbach's original, modest experiment. This 'England plays dirty' theme mirrors Germany's bitterness toward England for at least the better part of a century of colonial, naval and financial competition. Versailles and WW1 aren't mentioned, but that had to be on the minds of the audience as well: Germany innovates and works hard, but is consistently handed a raw deal. The scenes with the sleek, fascinating Brigitte Helm would be better if they went somewhere; her Florence does what she can to entice Herr Holk but withdraws when he declares his love for his faithful girl back home, the one whose life blood now flows in his veins. 'Das Blut' cannot be dishonored, even if Holk is half convinced that Wills is going to have him murdered after the giant machine starts turning out Gold by the ton. Act Two instead becomes a conflict between Big Capitalism and the lowly-but-virtuous Working Man. Down in the underground warren of tunnels (another Metropolis parallel) Wills' Scottish workforce of sandhogs and technicians side with Holk against their boss. After a preliminary test yields a tiny bit of gold, we get the expected montages of worldwide economic panic, standard material in socially oriented sci-fi as diverse as La fin du monde and Red Planet Mars. Wells plans to grow rich by flooding the world with his artificially produced gold, a strategy that will have to be explained to me. Gold is the world's standard of value precisely because it's rare; it can't be printed up like money. Thirty years later, the surprisingly sophisticated scheme of Auric Goldfinger is to increase the value of his stash of gold bullion by rendering America's gold reserves radioactive, and therefore worthless. If scarcity raises the value of the element, making more should do the opposite. (On the other hand, what about artificial diamonds? Is there any correspondence there?) [I'm acutely aware that discussing the subject matter of movies mainly points up how much I don't know, about anything but movies.] The Incredible Holk convinces the mob of workers that he represents their interests better than the greedy John Wills. The idea that rich English capitalists need to be rejected in favor of honest German morality is the only real message here. It's as simple as the 'heart mediating between the hands and the brain' slogan of Metropolis, but with a slightly arrogant nationalism added. The lavishly produced Gold was filmed on a series of truly impressive sets, including Wills' enormous Scottish mansion. But the giant setting for the climax, deep in a mine under the ocean floor, is the stuff of core Sci-fi. Millions of volts of electricity are harnessed to transmute lead into Gold. That's got to be a heck of an electricity bill; factor in the other enormous overhead costs and we wonder if Wills will ever turn a profit. The special effects for this sequence are sensational. The enormous apparatus is suspended on huge oversized porcelain insulators. The giant glass tubes atop the specimen stage are apparently visualized with mattes and foreground miniatures. But the camera pans and trucks all over the hangar-sized set; it all looks real, with bolts of electricity flashing like crazy. It's a dynamic special effect highlight of the 1930s. The actors sell the conflict well. Beefy Hans Albers sometimes looks like George C. Scott. He exudes personal integrity and a calm force of will. Lien Dyers is as wholesome here as she was wantonly sexualized six years earlier in Fritz Lang's Spies. Michael Bohnen is more than convincing as a powerful man trying to corner all business on an international scale. Although mostly in for decoration, Brigitte Helm is a sophisticated dazzler. Those penciled eyebrows remind us that she had become the Marlene Dietrich that didn't go to Hollywood. Although she did have offers, Helm wanted to stay in Germany. The Nazification of the film industry and the appalling political climate motivated her to leave for Switzerland in 1935, abandoning her career. Although the gist of Gold fits in with Josef Goebbels' National Socialist propaganda aims, the movie doesn't attack England directly. Ufa may have held hopes of foreign distribution. The one man in Scotland that Holk knows he can trust is the captain of Wills' yacht, a fellow German. Nine years later, Josef Goebbels' anti-British version of Titanic would make a German the single ethical person in authority on the doomed ocean liner. The fellow is constantly badmouthing the craven captain and the venal English ship owner. When Hans Albers finishes this movie with a ten-cent moral about love being the only real treasure, the show seems plenty dumb. But that amazing special effect set piece is too good to dismiss so easily. Gold is a classic of giddy '30s science fiction. The Kino Classics Blu-ray of Gold (1934) is a good encoding of the Wilhelm Murnau Stiftung's best copy of this once-rare item. The print we see is intact and with has good audio, but the contrast is rough. It shifts and flutters a bit, especially in some scenes in the middle. I did notice that the final special effects sequences looked better than much of the rest of this surviving print. But the parts of the movie repurposed for The Magnetic Monster look better on that 1953 science fiction film than they do here. In his book Film in the Third Reich David Stewart Hull explains that when the occupation forces reviewed the recovered German films, they ordered this one destroyed. They were concerned that the Alchemy / Atomic Fracturing machine might have some connection to Germany's wartime nuclear program. So how could Ivan Tors have bought the footage from Ufa, if the U.S. Army had seized it? I have a feeling - just idle speculation -- that it might have been obtained in a special deal made through government connections. Since the image looks much better on The Magnetic Monster, Ivan Tors might even have cut up Gold's only existing printing element to make his movie. After finally seeing Gold, one more thing impresses me besides the grandiose special effects. It's sort of a 'brain-drain' movie. In the '30s, Germany had a reputation for the best precision engineering in the world. Werner Holk is semi-kidnapped to serve John Wills' greedy science project, which was pirated from Germany in the first place. Also in awe of German scientific prowess is Brigitte Helm's Florence. The playgirl finds Werner Wolk's brilliance and clarity of mission irresistible. He's both smarter and more ethical than her father. Holk just stands there looking like he's posing for a statue, and Florence is carried away. Ms. Helm is terrific, but it would be nice if her character had a more central role to play in the story. On a scale of Excellent, Good, Fair, and Poor, Gold (1934) Blu-ray rates: Movie: Very Good Video: Fair + This may be a rare surviving print. Sound: Good - Minus Supplements: none Deaf and Hearing Impaired Friendly? Yes; Subtitles: English Packaging: Keep case Reviewed: June 10, 2016 (5137)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
- 6/14/2016
- by Glenn Erickson
- Trailers from Hell
Ivan Tors and Curt Siodmak 'borrow' nine minutes of dynamite special effects from an obscure-because-suppressed German sci-fi picture, write a new script, and come up with an eccentric thriller where atom scientists behave like G-Men crossed with Albert Einstein. The challenge? How to make a faceless unstable atomic isotope into a worthy science fiction 'monster.' The Magnetic Monster Blu-ray Kl Studio Classics 1953 / B&W / 1:37 flat Academy / 76 min. / Street Date June 14, 2016 / available through Kino Lorber / 29.95 Starring Richard Carlson, King Donovan, Jean Byron, Leonard Mudie, Byron Foulger, Michael Fox, Frank Gerstle, Charles Williams, Kathleen Freeman, Strother Martin, Jarma Lewis. Cinematography Charles Van Enger Supervising Film Editor Herbert L. Strock Original Music Blaine Sanford Written by Curt Siodmak, Ivan Tors Produced by Ivan Tors Directed by Curt Siodmak
Reviewed by Glenn Erickson
How did we ever survive without an "Office of Scientific Investigation?" In the early 1950s, producer Ivan Tors launched himself with a trio of science fiction movies based on that non-existent government entity, sort of an FBI for strange scientific phenomena. As of this writing, Kino has released a terrific 3-D Blu-ray of the third entry, 1954's Gog. The second Tors Osi mini-epic is the interesting, if scientifically scrambled Riders to the Stars, which shows up from time to time on TCM but has yet to find its way to home video in any format. The first of the series, 1953's The Magnetic Monster is considered the most scientifically interesting, although it mainly promotes its own laundry list of goofy notions about physics and chemistry. As it pretends that it is based on scientific ideas instead of rubber-suited monsters, Tors' abstract threat is more than just another 'thing' trying to abduct the leading lady. Exploiting the common fear of radiation, a force little understood by the general public, The Magnetic Monster invents a whole new secret government bureau dedicated to solving 'dangerous scientific problems' -- the inference being, of course, that there's always something threatening about science. Actually, producer Tors was probably inspired by his partner Curt Siodmak to take advantage of a fantastic special effects opportunity that a small show like Magnetic could normally never afford. More on that later. The script plays like an episode of Dragnet, substituting scientific detectives for L.A.P.D. gumshoes. Top-kick nuclear troubleshooter Dr. Jeff Stewart (Richard Carlson) can't afford to buy a tract home for his pregnant wife Connie (beautiful Jean Byron, later of The Patty Duke Show). He is one of just a few dauntless Osi operatives standing between us and scientific disaster. When local cops route a weird distress call to the Osi office, Jeff and his Phd. sidekick Dan Forbes (King Donovan) discover that someone has been tampering with an unstable isotope in a room above a housewares store on Lincoln Blvd.: every metallic object in the store has become magnetized. The agents trace the explosive element to one Dr. Serny (Michael Fox), whose "lone wolf" experiments have created a new monster element, a Unipolar watchamacallit sometimes referred to as Serranium. If not 'fed' huge amounts of energy this new element will implode, expand, and explode again on a predictable timetable. Local efforts to neutralize the element fail, and an entire lab building is destroyed. Dan and Jeff rush the now-larger isotope to a fantastic Canadian "Deltatron" constructed in a super-scientific complex deep under the ocean off Nova Scotia. The plan is to bombard the stuff with so much energy that it will disintegrate harmlessly. But does the Deltatron have enough juice to do the job? Its Canadian supervisor tries to halt the procedure just as the time limit to the next implosion is coming due! Sincere, likeable and quaint, The Magnetic Monster is nevertheless a prime candidate for chuckles, thanks to a screenplay with a high clunk factor. Big cheese scientist Jeff Stewart interrupts his experimental bombardment of metals in his atom smasher to go out on blind neighborhood calls, dispensing atom know-how like a pizza deliveryman. He takes time out to make fat jokes at the expense of the lab's switchboard operator, the charming Kathleen Freeman. The Osi's super-computer provides instant answers to various mysteries. Its name in this show is the acronym M.A.N.I.A.C.. Was naming differential analyzers some kind of a fetish with early computer men? Quick, which '50s Sci-fi gem has a computer named S.U.S.I.E.? The strange isotope harnesses a vague amalgam of nuclear and magnetic forces. It might seem logical to small kids just learning about the invisible wonder of magnetism -- and that understand none of it. All the silverware at the store sticks together. It is odd, but not enough to cause the sexy blonde saleswoman (Elizabeth Root) to scream and jump as if goosed by Our Friend the Atom. When a call comes in that a taxi's engine has become magnetized, our agents are slow to catch on. Gee, could that crazy event be related to our mystery element? When the culprit scientist is finally tracked down, and pulled off an airliner, he's already near death from overexposure to his own creation. We admire Dr. Serny, who after all managed to create a new element on his own, without benefit of a billion dollar physics lab. He also must be a prize dope for not realizing that the resulting radiation would kill him. The Osi troubleshooters deliver a stern lesson that all of us need to remember: "In nuclear research there is no place for lone wolves." If you think about it, the agency's function is to protect us from science itself, with blame leveled at individual, free-thinking, 'rogue' brainiacs. (Sarcasm alert.) The danger in nuclear research comes not from mad militarists trying to make bigger and more awful bombs; the villains are those crackpots cooking up end-of-the-world scenarios in their home workshops. Dr. Serny probably didn't even have a security clearance! The Magnetic Monster has a delightful gaffe in every scene. When a dangerous isotope is said to be 'on the loose,' a police radio order is broadcast to Shoot To Kill ... Shoot what exactly, they don't say. This line could very well have been invented in the film's audio mix, if producer Tors thought the scene needed an extra jolt. Despite the fact that writer-director Curt Siodmak cooked up the brilliant concept of Donovan's Brain and personally invented a bona fide classic monster mythology, his '50s sci-fi efforts strain credibility in all directions. As I explain in the Gold review, Siodmak may have been the one to come up with the idea of repurposing the climax of the old film. He was a refugee from Hitler's Germany, and had written a film with director Karl Hartl. Reading accounts in books by Tom Weaver and Bill Warren, we learn that the writer Siodmak had difficulty functioning as a director and that credited editor Herbert Strock stepped in to direct. Strock later claimed that the noted writer was indecisive on the set. The truly remarkable aspect of The Magnetic Monster comes in the last reel, when Jeff and Dan take an elevator ride way, way down to Canada's subterranean, sub-Atlantic Deltatron atom-smasher. They're suddenly wearing styles not worn in the early 'fifties -- big blocky coats and wide-brimmed hats. The answer comes when they step out into a wild mad-lab construction worthy of the visuals in Metropolis. A giant power station is outfitted with oversized white porcelain insulators -- even a set of stairs looks like an insulator. Atop the control booth is an array of (giant, what else) glass tubes with glowing neon lights inside. Cables and wires go every which-way. A crew of workers in wrinkled shop suits stands about like extras from The Three-Penny Opera. For quite some time, only readers of old issues of Famous Monsters of Filmland knew the secret of this bizarre footage, which is actually from the 1934 German sci-fi thriller Gold, directed by Karl Hartl and starring Hans Albers and Brigitte Helm. Tors and Siodmak do their best to integrate Richard Carlson and King Donovan into this spectacular twenty-year-old stock footage, even though the extravagant production values and the expressionist patina of the Ufa visuals are a gross mismatch for The Magnetic Monster's '50s semi-docu look. Jeff's wide hat and David Byrne coat are there to make him look more like Hans Albers in the 1934 film, which doesn't work because Albers must be four inches taller and forty pounds beefier than Richard Carlson. Jeff climbs around the Deltatron, enters a control booth and argues with the Canadian scientist/turnkey, who is a much better match for the villain of Gold. Jeff changes into a different costume, with a different cap -- so he can match Albers in the different scene in Gold. The exciting climax repurposes the extravagant special effects of Otto Hunte and Günther Rittau, changing the original film's attempted atomic alchemy into a desperate attempt to neutralize the nasty new element before it can explode again. The matching works rather well for Jeff's desperate struggle to close an enormous pair of bulkhead doors that have been sabotaged. And a matched cut on a whip pan from center stage to a high control room is very nicely integrated into the old footage. The bizarre scene doesn't quite come off... even kids must have known that older footage was being used. In the long shots, Richard Carlson doesn't look anything like Hans Albers. A fuel-rod plunger in the control room displays a German-style cross, even though the corresponding instrument in the original show wasn't so decorated. Some impressive close-up views of a blob of metal being bombarded by atomic particles are from the old movie, and others are new effects. Metallurgy is scary, man. The "Serranium" threat establishes a pattern touched upon by later Sci-fi movies with organic or abstract forces that grow from relative insignificance to world-threatening proportions. The Monolith Monsters proposes giant crystals that grow to the size of skyscrapers, threatening to cover the earth with a giant quartz-pile. The Sam Katzman quickie The Day the World Exploded makes The Magnetic Monster look like an expensive production. It invents a new mineral that explodes when exposed to air. The supporting cast of The Magnetic Monster gives us some pleasant, familiar faces. In addition to the beloved Kathleen Freeman is Strother Martin as a concerned airline pilot. Fussy Byron Foulger owns the housewares store and granite-jawed Frank Gerstle (Gristle?) is a gruff general. The gorgeous Jarma Lewis has a quick bit as a stewardess. The Kl Studio Classics Blu-ray of The Magnetic Monster is a fine transfer of this B&W gem from United Artists. Once hard to see, it was part of an expensive MGM-Image laserdisc set twenty years ago and then an Mod DVD in 2011. The disc comes with a socko original trailer that explains why it did reasonably well at the box office. Every exciting moment is edited into a coming attraction that really hypes the jeopardy factor. At that time, just the sight of a hero in a radiation suit promised something unusual. Nowadays, Hazardous Waste workers use suits like that to clean up common chemical spills. The commentary for The Magnetic Monster is by Fangoria writer Derek Botelho, whose name is misspelled as Botello on the disc package. I've heard Derek on a couple of David del Valle tracks for Vincent Price movies, where he functioned mainly as an Ed McMahon-like fan sidekick. His talk tends to drift into loosely related sidebar observations. Instead of discussing how the movie was made by cannibalizing another, he recounts for us the comedy stock footage discovery scene from Tim Burton's Ed Wood. Several pages recited from memoirs by Curt Siodmak and Herbert Strock do provide useful information on the film. Botelho appreciates actress Kathleen Freeman. You can't go wrong doing that. Viewers that obtain Kino's concurrent Blu-ray release of the original 1934 German thriller Gold will note that the repurposed scenes from that film look much better here, although they still bear some scratches. On a scale of Excellent, Good, Fair, and Poor, The Magnetic Monster Blu-ray rates: Movie: Good + Video: Very Good Sound: Excellent Supplements: Commentary with Derek Botelho, Theatrical trailer Deaf and Hearing Impaired Friendly? N0; Subtitles: None Packaging: Keep case Reviewed: June 8, 2016 (5138magn)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
Reviewed by Glenn Erickson
How did we ever survive without an "Office of Scientific Investigation?" In the early 1950s, producer Ivan Tors launched himself with a trio of science fiction movies based on that non-existent government entity, sort of an FBI for strange scientific phenomena. As of this writing, Kino has released a terrific 3-D Blu-ray of the third entry, 1954's Gog. The second Tors Osi mini-epic is the interesting, if scientifically scrambled Riders to the Stars, which shows up from time to time on TCM but has yet to find its way to home video in any format. The first of the series, 1953's The Magnetic Monster is considered the most scientifically interesting, although it mainly promotes its own laundry list of goofy notions about physics and chemistry. As it pretends that it is based on scientific ideas instead of rubber-suited monsters, Tors' abstract threat is more than just another 'thing' trying to abduct the leading lady. Exploiting the common fear of radiation, a force little understood by the general public, The Magnetic Monster invents a whole new secret government bureau dedicated to solving 'dangerous scientific problems' -- the inference being, of course, that there's always something threatening about science. Actually, producer Tors was probably inspired by his partner Curt Siodmak to take advantage of a fantastic special effects opportunity that a small show like Magnetic could normally never afford. More on that later. The script plays like an episode of Dragnet, substituting scientific detectives for L.A.P.D. gumshoes. Top-kick nuclear troubleshooter Dr. Jeff Stewart (Richard Carlson) can't afford to buy a tract home for his pregnant wife Connie (beautiful Jean Byron, later of The Patty Duke Show). He is one of just a few dauntless Osi operatives standing between us and scientific disaster. When local cops route a weird distress call to the Osi office, Jeff and his Phd. sidekick Dan Forbes (King Donovan) discover that someone has been tampering with an unstable isotope in a room above a housewares store on Lincoln Blvd.: every metallic object in the store has become magnetized. The agents trace the explosive element to one Dr. Serny (Michael Fox), whose "lone wolf" experiments have created a new monster element, a Unipolar watchamacallit sometimes referred to as Serranium. If not 'fed' huge amounts of energy this new element will implode, expand, and explode again on a predictable timetable. Local efforts to neutralize the element fail, and an entire lab building is destroyed. Dan and Jeff rush the now-larger isotope to a fantastic Canadian "Deltatron" constructed in a super-scientific complex deep under the ocean off Nova Scotia. The plan is to bombard the stuff with so much energy that it will disintegrate harmlessly. But does the Deltatron have enough juice to do the job? Its Canadian supervisor tries to halt the procedure just as the time limit to the next implosion is coming due! Sincere, likeable and quaint, The Magnetic Monster is nevertheless a prime candidate for chuckles, thanks to a screenplay with a high clunk factor. Big cheese scientist Jeff Stewart interrupts his experimental bombardment of metals in his atom smasher to go out on blind neighborhood calls, dispensing atom know-how like a pizza deliveryman. He takes time out to make fat jokes at the expense of the lab's switchboard operator, the charming Kathleen Freeman. The Osi's super-computer provides instant answers to various mysteries. Its name in this show is the acronym M.A.N.I.A.C.. Was naming differential analyzers some kind of a fetish with early computer men? Quick, which '50s Sci-fi gem has a computer named S.U.S.I.E.? The strange isotope harnesses a vague amalgam of nuclear and magnetic forces. It might seem logical to small kids just learning about the invisible wonder of magnetism -- and that understand none of it. All the silverware at the store sticks together. It is odd, but not enough to cause the sexy blonde saleswoman (Elizabeth Root) to scream and jump as if goosed by Our Friend the Atom. When a call comes in that a taxi's engine has become magnetized, our agents are slow to catch on. Gee, could that crazy event be related to our mystery element? When the culprit scientist is finally tracked down, and pulled off an airliner, he's already near death from overexposure to his own creation. We admire Dr. Serny, who after all managed to create a new element on his own, without benefit of a billion dollar physics lab. He also must be a prize dope for not realizing that the resulting radiation would kill him. The Osi troubleshooters deliver a stern lesson that all of us need to remember: "In nuclear research there is no place for lone wolves." If you think about it, the agency's function is to protect us from science itself, with blame leveled at individual, free-thinking, 'rogue' brainiacs. (Sarcasm alert.) The danger in nuclear research comes not from mad militarists trying to make bigger and more awful bombs; the villains are those crackpots cooking up end-of-the-world scenarios in their home workshops. Dr. Serny probably didn't even have a security clearance! The Magnetic Monster has a delightful gaffe in every scene. When a dangerous isotope is said to be 'on the loose,' a police radio order is broadcast to Shoot To Kill ... Shoot what exactly, they don't say. This line could very well have been invented in the film's audio mix, if producer Tors thought the scene needed an extra jolt. Despite the fact that writer-director Curt Siodmak cooked up the brilliant concept of Donovan's Brain and personally invented a bona fide classic monster mythology, his '50s sci-fi efforts strain credibility in all directions. As I explain in the Gold review, Siodmak may have been the one to come up with the idea of repurposing the climax of the old film. He was a refugee from Hitler's Germany, and had written a film with director Karl Hartl. Reading accounts in books by Tom Weaver and Bill Warren, we learn that the writer Siodmak had difficulty functioning as a director and that credited editor Herbert Strock stepped in to direct. Strock later claimed that the noted writer was indecisive on the set. The truly remarkable aspect of The Magnetic Monster comes in the last reel, when Jeff and Dan take an elevator ride way, way down to Canada's subterranean, sub-Atlantic Deltatron atom-smasher. They're suddenly wearing styles not worn in the early 'fifties -- big blocky coats and wide-brimmed hats. The answer comes when they step out into a wild mad-lab construction worthy of the visuals in Metropolis. A giant power station is outfitted with oversized white porcelain insulators -- even a set of stairs looks like an insulator. Atop the control booth is an array of (giant, what else) glass tubes with glowing neon lights inside. Cables and wires go every which-way. A crew of workers in wrinkled shop suits stands about like extras from The Three-Penny Opera. For quite some time, only readers of old issues of Famous Monsters of Filmland knew the secret of this bizarre footage, which is actually from the 1934 German sci-fi thriller Gold, directed by Karl Hartl and starring Hans Albers and Brigitte Helm. Tors and Siodmak do their best to integrate Richard Carlson and King Donovan into this spectacular twenty-year-old stock footage, even though the extravagant production values and the expressionist patina of the Ufa visuals are a gross mismatch for The Magnetic Monster's '50s semi-docu look. Jeff's wide hat and David Byrne coat are there to make him look more like Hans Albers in the 1934 film, which doesn't work because Albers must be four inches taller and forty pounds beefier than Richard Carlson. Jeff climbs around the Deltatron, enters a control booth and argues with the Canadian scientist/turnkey, who is a much better match for the villain of Gold. Jeff changes into a different costume, with a different cap -- so he can match Albers in the different scene in Gold. The exciting climax repurposes the extravagant special effects of Otto Hunte and Günther Rittau, changing the original film's attempted atomic alchemy into a desperate attempt to neutralize the nasty new element before it can explode again. The matching works rather well for Jeff's desperate struggle to close an enormous pair of bulkhead doors that have been sabotaged. And a matched cut on a whip pan from center stage to a high control room is very nicely integrated into the old footage. The bizarre scene doesn't quite come off... even kids must have known that older footage was being used. In the long shots, Richard Carlson doesn't look anything like Hans Albers. A fuel-rod plunger in the control room displays a German-style cross, even though the corresponding instrument in the original show wasn't so decorated. Some impressive close-up views of a blob of metal being bombarded by atomic particles are from the old movie, and others are new effects. Metallurgy is scary, man. The "Serranium" threat establishes a pattern touched upon by later Sci-fi movies with organic or abstract forces that grow from relative insignificance to world-threatening proportions. The Monolith Monsters proposes giant crystals that grow to the size of skyscrapers, threatening to cover the earth with a giant quartz-pile. The Sam Katzman quickie The Day the World Exploded makes The Magnetic Monster look like an expensive production. It invents a new mineral that explodes when exposed to air. The supporting cast of The Magnetic Monster gives us some pleasant, familiar faces. In addition to the beloved Kathleen Freeman is Strother Martin as a concerned airline pilot. Fussy Byron Foulger owns the housewares store and granite-jawed Frank Gerstle (Gristle?) is a gruff general. The gorgeous Jarma Lewis has a quick bit as a stewardess. The Kl Studio Classics Blu-ray of The Magnetic Monster is a fine transfer of this B&W gem from United Artists. Once hard to see, it was part of an expensive MGM-Image laserdisc set twenty years ago and then an Mod DVD in 2011. The disc comes with a socko original trailer that explains why it did reasonably well at the box office. Every exciting moment is edited into a coming attraction that really hypes the jeopardy factor. At that time, just the sight of a hero in a radiation suit promised something unusual. Nowadays, Hazardous Waste workers use suits like that to clean up common chemical spills. The commentary for The Magnetic Monster is by Fangoria writer Derek Botelho, whose name is misspelled as Botello on the disc package. I've heard Derek on a couple of David del Valle tracks for Vincent Price movies, where he functioned mainly as an Ed McMahon-like fan sidekick. His talk tends to drift into loosely related sidebar observations. Instead of discussing how the movie was made by cannibalizing another, he recounts for us the comedy stock footage discovery scene from Tim Burton's Ed Wood. Several pages recited from memoirs by Curt Siodmak and Herbert Strock do provide useful information on the film. Botelho appreciates actress Kathleen Freeman. You can't go wrong doing that. Viewers that obtain Kino's concurrent Blu-ray release of the original 1934 German thriller Gold will note that the repurposed scenes from that film look much better here, although they still bear some scratches. On a scale of Excellent, Good, Fair, and Poor, The Magnetic Monster Blu-ray rates: Movie: Good + Video: Very Good Sound: Excellent Supplements: Commentary with Derek Botelho, Theatrical trailer Deaf and Hearing Impaired Friendly? N0; Subtitles: None Packaging: Keep case Reviewed: June 8, 2016 (5138magn)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
- 6/14/2016
- by Glenn Erickson
- Trailers from Hell
I live in Los Angeles, and my residency here means that a lot of great film programming-- revival screenings, advance looks at upcoming releases and vital, fascinating glimpses at unheralded, unexpected cinema from around the world—is available to me on a week-by-week basis. But I’ve never been to Cannes. Toronto, Tribeca, New York, Venice, Berlin, Sundance, SXSW, these festivals are all events that I have yet to be lucky enough to attend, and I can reasonably expect that it’s probably going to stay that way for the foreseeable future. I never attended a film festival of any kind until I made my way to the outskirts of the Mojave Desert for the Lone Pine Film Festival in 2006, which was its own kind of grand adventure, even if it wasn’t exactly one for bumping shoulders with critics, stars and fanatics on the French Riviera.
But since 2010 there...
But since 2010 there...
- 4/24/2016
- by Dennis Cozzalio
- Trailers from Hell
Some fun stuff dropping this month! A gory ’80s slasher, a thoughtful Sci-Fi epic, Lego superheroes, and More. Yes. More. No lie. Needle in my eye, etc. More.
The Peanuts Movie
Hailed by both critics and audiences, Charlie Brown, Snoopy, Lucy, Linus, and the entire gang hit the big screen in their first 3D foray last year. Extras include featurettes like “You Never Grow Up, Charlie Brown,” “6 Snoopy Snippets,” and Meghan Trainor’s video for “Better When I’m Dancin’.” You know you want to revisit your youth. You know you want to fly with the Red Baron! You know you want to dance with Meghan Trainor!
$19.99 Buy The Peanuts Movie
Victor Frankenstein
Harry Potter himself, Daniel Radcliffe, and the X-men’s Professor X, James McAvoy, join forces to breathe new life (so to speak) into one of the greatest horror stories ever told. Told from Igor’s perspective, this...
The Peanuts Movie
Hailed by both critics and audiences, Charlie Brown, Snoopy, Lucy, Linus, and the entire gang hit the big screen in their first 3D foray last year. Extras include featurettes like “You Never Grow Up, Charlie Brown,” “6 Snoopy Snippets,” and Meghan Trainor’s video for “Better When I’m Dancin’.” You know you want to revisit your youth. You know you want to fly with the Red Baron! You know you want to dance with Meghan Trainor!
$19.99 Buy The Peanuts Movie
Victor Frankenstein
Harry Potter himself, Daniel Radcliffe, and the X-men’s Professor X, James McAvoy, join forces to breathe new life (so to speak) into one of the greatest horror stories ever told. Told from Igor’s perspective, this...
- 3/10/2016
- by Harker Jones
- FamousMonsters of Filmland
Shout Factory opens the crypt once more, for the last remaining UA and Aip fright movies starring our favorite gentleman of horror. The label lays on the extras, with Steve Haberman commentaries and episodes of Science Fiction Theater. Now where are the Vincent Price cooking shows? The Vincent Price Collection III Master of the World, The Tower of London, Diary of a Madman, An Evening with Edgar Allan Poe, Cry of the Banshee Blu-ray Scream (Shout!) Factory 1961-72 / B&W + Color / 1:85 & 1:66 widescreen / 420 min. / Street Date February 16, 2016 / 69.97 Starring Vincent Price Directed by William Witney, Roger Corman, Reginald Le Borg, Kenneth Johnson, Gordon Hessler.
Reviewed by Glenn Erickson
Scream Factory now brings us Part Three of its Vincent Price collection, pretty much emptying the closet over at MGM. Not counting his twilight feature The Whales of August every Vincent Price film under the MGM banner will soon be out on Blu-ray.
Reviewed by Glenn Erickson
Scream Factory now brings us Part Three of its Vincent Price collection, pretty much emptying the closet over at MGM. Not counting his twilight feature The Whales of August every Vincent Price film under the MGM banner will soon be out on Blu-ray.
- 2/27/2016
- by Glenn Erickson
- Trailers from Hell
Now, after 62 years, viewable again in beautiful 3-D! Scientists are being murdered in a secret underground laboratory overseen by a super-computer and two robots, Gog and Magog. The restoration is a stunning achievement, covered thoroughly on the disc extras. The year is young, but this is an early favorite. Gog 3-D 3-D Blu-ray Kl Studio Classics 1954 / Color / 1:66 widescreen / 85 min. / Street Date March 1, 2016 / available through Kino Lorber / 34.95 Starring Richard Egan, Constance Dowling, Herbert Marshall, John Wengraf, Philip Van Zandt, Michael Fox, William Schallert. Cinematography Lothrop B. Worth Film Editor Herbert L. Strock Original Music Harry Sukman Written by Tom Taggart, Richard G. Taylor, Ivan Tors Produced by Ivan Tors Directed by Herbert L. Strock
Reviewed by Glenn Erickson
Once viewable only at isolated special film festivals, vintage films on 3-D are enjoying a comeback thanks to a busy independent company. The 3-D Film Archive has done work for various studios and disc distributors,...
Reviewed by Glenn Erickson
Once viewable only at isolated special film festivals, vintage films on 3-D are enjoying a comeback thanks to a busy independent company. The 3-D Film Archive has done work for various studios and disc distributors,...
- 2/10/2016
- by Glenn Erickson
- Trailers from Hell
Do you love movies about cute animals? The original pet-lion-in-Africa romp is actually a well balanced nature film about the separation between wild animals and those raised by humans. Virginia McKenna and Bill Travers winningly play the Adamsons, game wardens that dedicate themselves to the well-being of Elsa, the lioness they raise from infancy. Born Free Blu-ray Twilight Time Limited Edition 1966 / Color / 2:35 widescreen / 96 min. / Ship Date December 8, 2015 / available through Twilight Time Movies / 29.95 Starring Virginia McKenna, Bill Travers, Geoffrey Keen, Peter Lukoye, Omar Chambati Cinematography Kenneth Talbot Film Editor Don Decon Original Music John Barry Written by Lester Cole from the novel by Joy Adamson Produced by Sam Jaffe, Paul B. Radin Directed by James Hill
Reviewed by Glenn Erickson
Savant normally becomes sullen and anti-social around overly committed animal lovers, I suppose because I think the world gets a little out of balance when people seriously consider their domestic...
Reviewed by Glenn Erickson
Savant normally becomes sullen and anti-social around overly committed animal lovers, I suppose because I think the world gets a little out of balance when people seriously consider their domestic...
- 1/1/2016
- by Glenn Erickson
- Trailers from Hell
Animal movies aren't just for kids anymore, but nobody made one better than this French production, which stars a pair of talented Ursine thespians doing their thing amid more beautiful mountain scenery than seems decent. It's guaranteed perfect 'watch something with the kid' material, and more than intelligent enough for consenting adult fans of the great outdoors. The Bear 25th Anniversary Collector's Edition Shout! Factory Savant Blu-ray Review 1988 / Color / 2:35 widescreen / 96 min. / 25th Anniversary Collector's Edition / L'ours / Street Date September 29, 2015 / 19.99 Starring Bart the Bear, Youk the Bear, Tchéky Karyo, Jack Wallace, André Lacombe. Cinematography Philippe Rousselot Film Editor Noëlle Boisson Original Music Philippe Sarde Animal specialists Dieter Krami, Steve Martin, Doug Seus, Lynne Seus, Clint Youngreen, Jean M. Simpson. Written by Gérard Brach from the novel by Jame Oliver Curwood Produced by Claude Berri Directed by Jean-Jacques Annaud
Reviewed by Glenn Erickson
Jean-Jacques Annaud's The Bear charmed big audiences...
Reviewed by Glenn Erickson
Jean-Jacques Annaud's The Bear charmed big audiences...
- 9/8/2015
- by Glenn Erickson
- Trailers from Hell
"We Want Our DVD And Blu-ray!" - It always frustrates retro movie lovers when a film becomes unavailable in a home video format. Even "B" movies deserve a better fate. Sometimes this is due to contractual and licensing reasons. Nevertheless, we always want to be on the tip of the spear in lobbying for unavailable movies to be brought back to the home video market. In that regard, we are running our previously published review of "Clarence, the Cross-Eyed Lion", a minor effort, to be sure, but one that we hope will be available again on DVD or Blu-ray. It is presently available for streaming rental or purchase on Amazon.)
By Lee Pfeiffer
The Warner Archive has released a number of films made by Ivan Tors' production company during the 1960s. Tors specialized in underwater and animal-themed adventure movies and TV series and he had a number of major successes including Sea Hunt,...
By Lee Pfeiffer
The Warner Archive has released a number of films made by Ivan Tors' production company during the 1960s. Tors specialized in underwater and animal-themed adventure movies and TV series and he had a number of major successes including Sea Hunt,...
- 12/14/2012
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Directed by: Herbert L. Strock
Written by: Tom Taggart and Richard G. Taylor, from a story idea by Ivan Tors
Cast: Richard Egan, Constance Dowling, Herbert Marshall, John Wengraf
The science might be a bit dated, the Cold War paranoia a bit thick and the sexist behavior wince-inducing at times, but 1954's Gog is still quite entertaining.
A combination of an Agatha Christie novel and a Disney's "World of Tomorrow" documentary, the film delivers a taunt mystery and some suspenseful moments, while giving modern audiences a glimpse of the future our parents and grandparents envisioned for us.
Gog opens during a suspended animation experiment that results in the death of the lead scientist and his assistant. Both become trapped within the chamber when the door mechanism and control panels activate and trap them inside to freeze solid. Sure, you suspect the two could be revived, but the scientist falls out...
Written by: Tom Taggart and Richard G. Taylor, from a story idea by Ivan Tors
Cast: Richard Egan, Constance Dowling, Herbert Marshall, John Wengraf
The science might be a bit dated, the Cold War paranoia a bit thick and the sexist behavior wince-inducing at times, but 1954's Gog is still quite entertaining.
A combination of an Agatha Christie novel and a Disney's "World of Tomorrow" documentary, the film delivers a taunt mystery and some suspenseful moments, while giving modern audiences a glimpse of the future our parents and grandparents envisioned for us.
Gog opens during a suspended animation experiment that results in the death of the lead scientist and his assistant. Both become trapped within the chamber when the door mechanism and control panels activate and trap them inside to freeze solid. Sure, you suspect the two could be revived, but the scientist falls out...
- 3/14/2012
- by Chris McMillan
- Planet Fury
Gog is the long lost third film in director Herbert L Strock’s “Office of Scientific Investigation” trilogy, after 1953′s The Magnetic Monster and 1954′s Raiders To The Stars. The trilogy was not only critically well received, but also embraced by the scientific community, who appreciated Strock’s efforts to root his pictures in fact and with practical consideration, as opposed to flashing doodads and logic-defying technology. Gog was the strongest of the three efforts, and was released in 3-D, in color, and in the newly adopted widescreen format studios were just starting to take a serious look at. The film stars Richard Egan, Constance Dowling, Herbert Marshall, and John Wengraf.
Gog cover image courtesy MGM
Gog is credited as having influenced many of the “mad machinery” films in its wake, most notably, Jim Wynorski’s cult classic Chopping Mall (1986), a film about several mall security robots who go on a bloody rampage.
Gog cover image courtesy MGM
Gog is credited as having influenced many of the “mad machinery” films in its wake, most notably, Jim Wynorski’s cult classic Chopping Mall (1986), a film about several mall security robots who go on a bloody rampage.
- 1/3/2012
- by Justin
- FamousMonsters of Filmland
By Lee Pfeiffer
Released in 1966, producer Ivan Tors' Around the World Under the Sea seemed at first blush like an exercise in stunt casting: cobble together some contemporary TV favorites into a feature film and have MGM and Tors divvy up the profits. However, that perception would be entirely wrong. While the film did boast some popular TV stars in leading roles, the film itself is an intelligent adventure flick, well acted and very competently directed by old hand Andrew Marton. The film stars Lloyd Bridges (only a few years out of Sea Hunt), Brian Kelly (star of Flipper), Daktari lead Marshall Thompson and Man From U.N.C.L.E. David McCallum. Veteran supporting actors Keenan Wynn and Gary Merrill are also prominently featured and Shirley Eaton, riding her fame from Goldfinger, has the only female role in this macho male storyline.The film is yet another title...
Released in 1966, producer Ivan Tors' Around the World Under the Sea seemed at first blush like an exercise in stunt casting: cobble together some contemporary TV favorites into a feature film and have MGM and Tors divvy up the profits. However, that perception would be entirely wrong. While the film did boast some popular TV stars in leading roles, the film itself is an intelligent adventure flick, well acted and very competently directed by old hand Andrew Marton. The film stars Lloyd Bridges (only a few years out of Sea Hunt), Brian Kelly (star of Flipper), Daktari lead Marshall Thompson and Man From U.N.C.L.E. David McCallum. Veteran supporting actors Keenan Wynn and Gary Merrill are also prominently featured and Shirley Eaton, riding her fame from Goldfinger, has the only female role in this macho male storyline.The film is yet another title...
- 12/28/2011
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Creator of film special effects who turned an 18-inch model ape into King Kong
In the history of cinema, many children have followed their mothers or fathers into the film business, but few offspring pursued the path of a parent more slavishly than Harry Redmond Jr, who has died aged 101. Like a master craftsman, Harry Redmond Sr passed on the skills of his trade to his son, the trade being the creation of special effects for films. Most notably, they worked together on King Kong (1933), in which a giant gorilla captures an actor, Ann Darrow, played by the "scream queen" Fay Wray.
The Redmonds were important members of the King Kong technical team under the supervision of Willis O'Brien, the pioneer of model animation. Part of their job was to integrate the stop-motion models and animatronics into live-action sequences by means of back projection and travelling mattes. Although the model...
In the history of cinema, many children have followed their mothers or fathers into the film business, but few offspring pursued the path of a parent more slavishly than Harry Redmond Jr, who has died aged 101. Like a master craftsman, Harry Redmond Sr passed on the skills of his trade to his son, the trade being the creation of special effects for films. Most notably, they worked together on King Kong (1933), in which a giant gorilla captures an actor, Ann Darrow, played by the "scream queen" Fay Wray.
The Redmonds were important members of the King Kong technical team under the supervision of Willis O'Brien, the pioneer of model animation. Part of their job was to integrate the stop-motion models and animatronics into live-action sequences by means of back projection and travelling mattes. Although the model...
- 6/28/2011
- by Ronald Bergan
- The Guardian - Film News
It’s the last week of TCM’s string of monstrous Thursday night double-features. Joe Dante has the rundown.
We’re wrapping up Joe’s month-long look (yes, he writes the below copy) at TCM’s month-long series. The previous entries in this series — if you so happen want to program your own set of double features — can be found here:
Week 1!
Week 2!
Week 3!
Week 4!
But, for now, onward and upward with the monster-y goodness, direct from the desk of Joe Dante!
The Blob – Ok, Steve McQueen was embarrassed by his first picture, but he could never have imagined how popular it would eventually become. Yes, it skirts the edge of amateurism, but hey, it’s The Blob! The much-missed George Hickenlooper elucidates.
The H-Man – This Japanese production didn’t play very widely in 1959 but it’s an offbeat combo of gangsters and sci fi from the creator of Godzilla,...
We’re wrapping up Joe’s month-long look (yes, he writes the below copy) at TCM’s month-long series. The previous entries in this series — if you so happen want to program your own set of double features — can be found here:
Week 1!
Week 2!
Week 3!
Week 4!
But, for now, onward and upward with the monster-y goodness, direct from the desk of Joe Dante!
The Blob – Ok, Steve McQueen was embarrassed by his first picture, but he could never have imagined how popular it would eventually become. Yes, it skirts the edge of amateurism, but hey, it’s The Blob! The much-missed George Hickenlooper elucidates.
The H-Man – This Japanese production didn’t play very widely in 1959 but it’s an offbeat combo of gangsters and sci fi from the creator of Godzilla,...
- 6/27/2011
- by Danny
- Trailers from Hell
By Lee Pfeiffer
If you've never seen the 1966 Ivan Tors adventure film Around the World Under the Sea, you're missing a real gem. The premise finds a dedicated group of scientists on a death-defying undersea mission to plant earthquake warning devices on seabeds around the globe. The film has an eclectic cast including Lloyd Bridges, James Bond girl Shirley Eaton, Man From U.N.C.L.E. star David McCallum, Marshall Thompson of Daktari!, Brian Kelly of Flipper -with Keenan Wynn thrown in for good measure. The real star of the film is the late underwater photographer Lamar Boren, whose talents add immeasurably to the movie. The effects are still very effective by today's standards and it's a real joy to see so many charismatic stars in one movie. The film had a brief release on VHS by MGM in the 1980s but has yet to be released on DVD- c'mon guys,...
If you've never seen the 1966 Ivan Tors adventure film Around the World Under the Sea, you're missing a real gem. The premise finds a dedicated group of scientists on a death-defying undersea mission to plant earthquake warning devices on seabeds around the globe. The film has an eclectic cast including Lloyd Bridges, James Bond girl Shirley Eaton, Man From U.N.C.L.E. star David McCallum, Marshall Thompson of Daktari!, Brian Kelly of Flipper -with Keenan Wynn thrown in for good measure. The real star of the film is the late underwater photographer Lamar Boren, whose talents add immeasurably to the movie. The effects are still very effective by today's standards and it's a real joy to see so many charismatic stars in one movie. The film had a brief release on VHS by MGM in the 1980s but has yet to be released on DVD- c'mon guys,...
- 6/16/2010
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
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