Paul, a young man whose father was once lieutenant Governor of California before his untimely death, has a strange, recurring dream in which his mother falls in love with a dangerous man (... See full summary »
A young American painter and his French wife move with their small daughter to the US when the husband's father dies. His mother takes an instant dislike to the wife, and when she finds out... See full summary »
Edgar G. Ulmer
Santiago, a jolly modern bandito, has just lost his partner when he happens on the isolated farm of young Manuel and Maria Lopez. Manuel's aid is enlisted in what develops into a violent ... See full summary »
Edgar G. Ulmer
Betta St. John,
Experimental pilot testing a new rocket powered craft (actually a Convair F-102 interceptor) manages to fly into the future and land at the now deserted airbase he left. He ends up in a city with people who are suspicious he is a spy and who want to keep him to procreate with the rulers daughter because the majority of the inhabitants are sterile. He manages to escape and return to his own time but "with consequences". Written by
This film and another Robert Clarke / Edgar G. Ulmer production, The Amazing Transparent Man (1960), which was shot at the same time and in the same location, were originally to be distributed by a company called Pacific International. Shortly after the films were completed, Pacific International went bankrupt, and producer Clarke lost all the money he had put into it. The films were put up for auction by the film lab that processed them in order to recoup its costs. Both films were bought by American-International Pictures for a fraction of their cost, and upon release they made the company quite a bit of money. Except for his salary as an actor for two weeks' work, Clarke never saw a dime from the films. See more »
The bald skullcaps on the mutants were not applied well and some of them have wrinkles and their hairlines are obviously artificial. See more »
You are from a nation of speaking people. How glorious that must be! Our society is less fortunate.
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Disappointing, confusing, excessively talky time travel yarn which fails mainly because of a weak, overly complicated and insufficiently developed screenplay.
Time travel is a subject which has been addressed occasionally in films with varying degrees of success. For the most part these adventures usually entail journeying into Earth's imminent future and can provide an interesting basis for speculation of what might be in store for humanity. Probably the best cinematic examples of this brand of storytelling are George Pal's THE TIME MACHINE (1960) and Franklin J. Schaffner's PLANET OF THE APES (1968).
With such an engaging title as BEYOND THE TIME BARRIER and the promising premise of an intrepid jet pilot traversing through the stratosphere with his supersonic aircraft into the far-flung future (2024) one would expect to be in store for quite an experience. However this film offers very little that is new from previous efforts like Edward Bernds's WORLD WITHOUT END (1956) and fails to be particularly memorable or provide any genuine excitement.
This film's main weakness is its thin story line (the pilot soars into the future, is briefly taken prisoner by the existing society there and eventually escapes back to the present circa 1960) coupled with some ideas which have potential that is never successfully realized. Considering how dialogue heavy this movie is it has a strange inarticulate quality. Vague characters are introduced (a trio of captive scientists designated as "escapes" from Earth colonies on neighbouring planets who also accidentally travelled through time and miraculously ended up in the precise same era as the jet pilot) but the amount of exposition required to explain exactly who they are, where they came from and their role in this society of tomorrow renders them virtually incoherent to the viewer.
When the jet pilot resolves to return to the present (to warn the authorities about the cosmic radiation plague which will ravage the Earth of 1971 due to a depletion of the planet's protective atmospheric layers eroded by constant atomic weaponry testing) in traversing the time warp a second time he physically accelerates into an aged infirm yet he is still able to safely land his craft and recount his experience. While the sight of our now withered and wrinkled hero has some shock value it really serves no purpose since the pilot's mind remains unimpaired and he is able to alert his superiors at the air base hospital of the impending calamity that awaits mankind. Had he been unable to do so it would have effectively given some tragic irony to the story.
The film's one bright moment occurs when the pilot (after penetrating the barrier of time) touches down his craft at the site of his former air base and explores the now bleak and desolate landscape only to find everything in ruins and in a state of total disuse. Some effort is made to show the exterior of the futuristic city complex encountered by the pilot in a series of interesting drawings (coupled with a superimposed animated glow effect) and the surrealistic styling of the city complex's geometrically designed interiors have the proper out-of-this-world look to them. The sequences of the jet aircraft time travelling through the star-filled heavens are passable and Darrell Calker's competent orchestrations easily transcend this movie's shaky dramatics and ponderous events the music was designed to underscore.
If seen as a curio of 1950's sci-fi cinema BEYOND THE TIME BARRIER might hold some interest for the inquisitive or have some special appeal for hard core devotees of director Edgar G. Ulmer's work but this misfire effort will doubtlessly leave the more objective and discerning viewer with complete indifference and boredom. Had the script been more capably handled the result might have been some minor masterpiece and a more fitting epitaph to an underrated and much neglected talent.
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