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 »
After making his historic crossing of the Alps with elephants transporting supplies and troops, Hannibal marches on Rome in a war of revenge. During his advance, he captures Sylvia, the ... See full summary »
Carlo Ludovico Bragaglia,
Edgar G. Ulmer
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
Screenwriter Arthur C. Pierce appears briefly as one of the mutants escaping from the jail cell in the underground citadel. See more »
When Col. Martin orders the Sergeant to post a guard outside the operating room, the Sergeant salutes. The Colonel is "covered" (wearing a hat); the Sergeant is not. Military protocol specifies hats are not worn indoors and salutes are not rendered indoors nor when "uncovered." See more »
Britain's short lived magazine "Movie" pronounced BEYOND the TIME BARRIER "a little miracle." The film, made in the Texas State Show ground, back to back with The AMAZING TRANSPARENT MAN, has all the features of the cheesiest of fifties B features -obvious stock shots, tacky effects, walk-ons recruited from the crew (I was advised "Any one who said 'union' in Texas was a Communist and they shot him") with a plot cobbled together from Buck Rogers and "The Time Machine." Where then does this ringing endorsement come from? In the fifties, it had been decided that the film's director was a genuine auteur. Edgar G(orge) Ulmer has one of the most curious filmographies of all, starting in the art department of the Expressionist classics of the German silent Cinema, he worked with Murnau in Berlin and Hollywood. After Murnau's scandalous death, Ulmer was,we were told, the only person game to show up at his funeral and the master's mantle settled on his shoulders, getting him direction of The BLACK CAT from the tail end of the big budget Universal horrors. However, after refusing to be loaned out to the Shirley Temple unit, he spend the decade knocking out Race Pictures on Poverty Row and did Z films with the Producers Releasing Corporation, among which we note DETOUR and BLUEBEARD. Flirting with more ambitious productions proved unproductive and Ulmer returned to fringe activity including a nudie movie. Ulmer had already done the presentable MAN from PLANET X with Robert Clarke who was attempting to forge a career as a leading man in what would come to be called Psychotronic Cinema and they worked with a crew of specialists in this area among who the great Vladimir Sokaloff (Loves of Jeanne Ney, Mayerling, Life of Emile Zola and For Whom the Bell Tolls) found himself playing a futuristic overlord. Also on hand was master design Ernst Fegté, one of the few talents embedded in Hans Dreier's art department to make his presence visible in vintage Paramount productions. Fegté got an Oscar for 5 GRAVES to CAIRO. His décors, made up of modular triangular blocks, provide Beyond TIME BARRIER with a visual aspect not normal in these barrel scrapers - white overalled scientists among the tapering pillars. Plot has pilot Clarke shot into the upper atmosphere in the latest supersonic airplane - "What we learn from the flight will pretty much determine our next step in space." Occasionally the cut pricing pays as with our hero, in his flying suit, wandering the derelict airport rendered eerie by the lack of natural sound - who came up with the smashed piano?
7 of 11 people found this review helpful.
Was this review helpful to you?