Not of This Earth

Evil, blood-sucking alien (like there's another kind in Corman's universe?) Paul Birch is draining the citizenry of L.A. to save not only himself but the dying planet Davanna in this creepy Corman classic. When nurse Bev Garland and her not-too-imaginative cop boyfriend discover what Birch is up to, the fun really gets going: foot chases, car chases, fiery crashes - in short, the works. Even though there's something for almost everybody in this little gem (except spaceships; sorry, all you hardware freaks), "Not of this Earth" remains one of the very few Corman films that has never been released on either VHS or DVD. Supposedly, the reason for this is that Corman himself wasn't satisfied with the finished product; hence, at least two remakes, or, three if you count the stupendously awful "Star Portal." As is typical in Corman films, the budget was very tiny; so tiny, in fact, that the only piece of the original, lavish "dimensional warp chamber" to survive fiscal reality was the multi-orbed thingamajig at the very top of the otherwise spartan black chamber. Too bad. The word is that the original design by Paul Blaisdell was pretty impressive. Well, for a low-budget B/W 1957 thriller, anyway. So, while a lot of money does not necessarily a hit film make (witness "Alexander"), it doesn't really hurt, either. Bottom line: don't pay too much attention to the, er, lean FX, such as the deadly lampshade bug. The story isn't bad, the acting is, for the most part, okay (although the three bums are laughable), and you actually feel some pity toward the end for Birch and his ilk. If you can find this one, go for it. Believe us, there's A LOT worse out there

A human-like alien leaves his dying planet to secure earthling blood that his planet needs.

Too bad Corman didn't dump that flying lampshade that apparently sucks the doc's blood. Because that's really the only cheezy element of this otherwise effective monster flick. It's arguably Corman's best. Birch is pretty scary with his deadpan face and perfectly parsed diction. Just don't ask him to take off his glasses. Then too, I wonder what he puts down as eye color. Plus I would give dear Beverly Garland a drive-in Oscar for her sparkly portrayal of nurse Storey. It's a performance far and above the call of a paycheck.

Yes indeed, what I remember from my first viewing decades ago is Dick Miller's vacuum salesman. He's so pesky and obnoxious, horns honked all over the drive-in when he got his. And what about the teen-age cutie who opens the film, even if she doesn't stick around. Too bad. Anyway, Corman sure knew his audience since we boys were hooked right then. Nonetheless, for the less hormonally minded, there's a message in the alien madness-- better watch out earthlings, nuclear war can cause a calamity that only a steady stream of blood can help.

Okay, so the movie's not exactly Oscar bait. Nonetheless, it's got a better-than-usual Corman script, plus good location staging that keep the usual hokey sets to a minimum. Yes indeed, it's still fun to track the Darvana alien, and maybe honk your horn when Miller gets his.

Having caught most of horror legend Corman’s more respectable early genre efforts – THE UNDEAD (1957), A BUCKET OF BLOOD (1959) and THE LITTLE SHOP OF HORRORS (1960) – I had been aching to check this one out being, by all accounts, the most elusive of the bunch. Having now watched the film on the very same day I acquired it says a lot about my love of fantasy films – when many a renowned mainstream (and, for all intents and purposes, desirable) title still languishes in my collection and which, sometimes, I’ve owned for a good many years already...

Anyway, going back to that opening statement about Corman’s pre-color/Edgar Allan Poe output, NOT OF THE THIS EARTH emerges to be fully deserving of its considerable reputation; indeed, I’d say it’s probably the most satisfying of the four films mentioned above: the others had a tongue-in-cheek, even campy approach – present here only in some amusingly dated jive talk from the youngsters and a goofy mushroom-like floating object used at one point to dispatch a prominent character – whereas this is quite straightforward, and as stark and unrelenting as they come! Besides, the typical alien invasion theme here is ingeniously augmented by the topical concern of paranoia found in Charles B. Griffith and Mark Hanna’s intelligent script, via its allusions to Nuclear War (the fictional world from which the alien emanates, Davana, is succumbing to interplanetary war a' la THIS ISLAND EARTH [1955]’s Metaluna) and The Red Menace (hypnotized by the extraterrestrial creature, the human victims’ subsequent devotion to his cause is comparable to the emotionless doppelgangers from INVASION OF THE BODY SNATCHERS [1956]); apart from this, the alien’s modus operandi – draining Earthlings of their blood – presents the film with a nice twist on the vampire myth! Incidentally, he uses the closet of his bedroom as a teleportation/communication machine between the two worlds, requires to wear sunglasses at all times (because one look into his creepy blank eyes can kill), but is himself vulnerable to loud noises (which proves to be his undoing in the climactic chase). Eventually, a second (female) visitor from outer-space arrives on the scene – but dies shortly thereafter, having unwittingly received a transfusion of infected blood! The film concludes, then, on a satisfactorily ironic note.

Despite the obviously modest budget at hand, the director has assembled a more than adequate cast to fill the main roles: Paul Birch is impressive and memorable as the ‘unearthly stranger’; Beverly Garland makes for one of the most engaging heroines in this type of film; Jonathan Haze’s character as Birch’s lackey is miles removed from his signature role of the geeky florist in THE LITTLE SHOP OF HORRORS; Corman stalwart and cult favorite Dick Miller has a delightful bit as a hip but ill-fated vacuum-cleaner salesman. By the way, the atmospheric cinematography (evident even in the poor-quality 16mm print I watched) is by John Mescall – who, years before, had been responsible for nothing less than BRIDE OF FRANKENSTEIN (1935)! Finally, it’s worth noting that NOT OF THIS EARTH was twice remade to much lesser effect – first in 1988 and again in 1995; curiously enough, on both of these, Corman himself would serve as executive producer!

Actually went to see "Attack of the Crab Monsters" but this was much better. The entire movie had a dark quality to it, like you were looking thru Paul birch's very cool wraparound shades (or maybe the theater needed a new projection bulb/ carbon arc light- no, "Crab Monsters" was OK..) The bat creature, as I remember it, was like a small webbed-between-it's-tentacles octopus that did an amazing skull crush. I was usually inured to a lot of those creatures, but I had nightmares for days after that thing. Beverly Garland always added to any movie, and I think from her output of films, she just lived on the sets. So where is it, Roger!!! We want to see it, and I don't think it's ever been on tape or dvd

I first saw this film in 1959 as a 7 year old while on holiday in Ireland. I remember feeling very scared watching it. It was part of a double bill with "The Attack of the Crab Monsters", another equally scary film for a child of such tender years. Both were rated "X certificate" by the UK censor.

The reason for my review is that I've just watched a doc on TV which deals with censorship in Ireland from 1923 to 1980 and one of the films discussed was "Casablanca", which in my opinion is the greatest film ever made. Though released in 1942, it was not shown until 1945. In those days, Ireland only had one certification, and any film that had content that was deemed "offensive", had to be cut, or was denied a certificate. The offending bit in this case was the portrayal of the Germans, quite rightly, as the villains.

At that time, they were treading a path of strict neutrality and they did not want to show the film in case it led to an anti-German backlash. To give some idea of how rigidly they stuck to this policy, when Hitler committed suicide, the then Irish Prime Minister, Eamonn De Valera, signed the book of condolence at the Germany Embassy in Dublin after Hitler's death

But I digress. Thinking about Irish censorship compared to the UK version and remembering how scared I was watching this X cert double bill, I wonder how scary the uncensored version must have been?

In case anyone is unaware, the film is considered a "Cold War allegory" with the invaders from Davanna representing an attempt by the Russians to take over the world.