When a spaceship lands on the moon, it is hailed as a new accomplishment, before it becomes clear that a Victorian party completed the journey in 1899, leading investigators to that mission's last survivor.
A remote monastery in China has trained a talking gorilla, King Kung Fu, in the ancient art of kung fu. Having mastered his fighting skills, King Kung Fu is sent to America to demonstrate ... See full summary »
Hysterical panic has engulfed the world after the United States and the Soviet Union simultaneously detonate nuclear devices causing a change to the nutation (axis of rotation) of the Earth. Written by
1961's "The Day the Earth Caught Fire" must be judged according to the parameters of classics as 1951's "The Day the Earth Stood Still", and not today's special effects mega productions in which the perspective of the disappearance of planet Earth is taken with cynic humor. The idea came to director Val Guest during the Cold War in 1954, and it is under that decade's spirit that the movie is better appreciated. I remember seeing it when it opened, and I've never forgotten that experience, specially its tinted sequence. Forty-three years later I am able to see it again, and it's still the same notable film, not the least affected by today's cinematic technology, because, in its core, Guest's motivation -the worry for the actions of mindless men who struggle to control the Earth- is still relevant. If it's not highly regarded today as "The Day the Earth Stood Still", I think it has to do with the fact that Universal sold it as a B movie in America (though not so by British Lion in the UK, where it was a huge success, and won the film industry's top prize for its screenplay) and because not too many critics paid attention to it and wrote positive reviews, establishing it as an important science-fiction movie since then. Although there are very few re-enacted disaster scenes and it relies upon footage of real catastrophes, the tension is handled effectively in the newspaper's office where most of the action takes place, with its overlapping dialogues and constant flow of new information; and in the development of the romantic story in the midst of violence and terror in the streets. Edward Judd, Janet Munro and Leo McKern contribute good performances to this fine movie, shot in wide-screen Dyaliscope.
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