Morbius-13 Reviews

Billy the Kid Versus Dracula (1966)

Bela Lugosi and Christopher Lee, You Both Have Absolutely Nothing To Worry About!

[1/10 · 5 January 2001]

"The West's deadliest Gunslinger against the World's most diabolical Killer!"--Ad Line.

This is one TERRIBLE feature!

I first learned about this dud (movie?) in a Winter 1966 issue of Monster World magazine (a lesser companion magazine to the more popular Famous Monsters of Filmland) which gave both Billy the Kid Vs. Dracula and its co-feature the lamentable Jesse James Meets Frankenstein's Daughter considerable coverage (Ouch!). I believe Billy the Kid Vs. Dracula was theatrically released in March or April 1966 in the Toronto (Canada) area. When I discovered that John Carradine was cast as Dracula being a naive kid at the time I foolishly thought that it might be a pretty exciting film (after all John Carradine DID make a very good Count Dracula in the Universal Pictures classics House of Frankenstein and House of Dracula both of which I had seen on television).

It's not the idea of a legendary monster coming to America which is the problem here (it had been capably done before in The Mummy's Tomb, The Mummy's Ghost, The Mummy's Curse, Son of Dracula, Revenge of the Creature, The Return of Dracula, etc.) but this Kiddies' Matinee Frightfest is SO inept and amateurish completely lacking any sense of the appropriately spooky atmosphere, mood or directorial verve and cinematic mastery on the part of William "One Shot" Beaudine.

John Carradine's sickly, frail looking and dentured Count Dracula is just TOO old (despite the slick brilliantine hair dye job) and his intended "bride" the bland, wide-eyed teen Betty Bentley (lamely portrayed by the untalented Melinda Plowman) is just TOO young for the aged, supernatural Grandpappy (a true odd couple!). Further making an already abysmal situation even worse is the film's screenwriter who shockingly displays virtually NO understanding or knowledge about the Vampire King at all! This Dracula is able to freely go about during the daylight hours, he drinks whiskey (Olde Red Eye?), his deportment and delivery of dialogue completely lacks any genuine continental bearing or aristocratic flair and Carradine's campy, creaky performance of the Count is much more akin to a cheating, unscrupulous gambler from Baltimore circa the mid-1800s rather than a dignified nobleman from Transylvania.

It is a sad commentary that Mr. Carradine (a truly fine character actor) was humiliatingly relegated to this kind of unworthy trash in his later film career particularly when one recalls some of his great work in films like Stagecoach (1939), Drums Along the Mohawk (1939), The Grapes of Wrath (1940) and The Return of Frank James (1940) to name but a few. Interestingly Mr. Carradine would have a good supporting role as Cruikshank the shady English butler in Munster, Go Home! released later the same year as Billy the Kid Vs. Dracula.

Bullets don't affect the Vampire yet when Billy the Kid hurls his empty six-shooter at old Drac's noggin he actually knocks him out and how about that absurdly dumb visibly string-operated rubber bat poorly utilized in those scenes where this hilariously bobbing and wobbly contraption flutters out-of-sight behind a conveniently stationed bush followed by an obvious "break" in the filming after which Dracula immediately pops out from the same obstruction thereby attempting to imply that the bat has somewhat discreetly transformed itself into Dracula .

Lastly dig those numerous, unsubtle red lighting effects projected onto Count Dracula's leering (and bleary-eyed) visage. Just awful!

Pertaining to Carl K. Hittleman's uninvolving and soporific script who can possibly forget such priceless tidbits of dialogue as when Dracula contemptuously refers to Billy the Kid's friend and ally the stalwart, pistol-packing Dr. Henrietta Hull (Olive Carey) as a "backwoods female pill slinger?" The Bounder! The Cad! The Chauvinist!

As a historical footnote this outrageous, Poverty Row travesty came out at the height of the Batman (ABC 1966-68) craze on television!

A couple of things that I will say about Billy the Kid Vs. Dracula to its credit (and Jesse James Meets Frankenstein's Daughter) is that it was actually photographed in COLOUR (next to John Carradine's salary the colour film and lab processing was most probably the film's second highest or perhaps single highest cost expenditure) and reliable Republic Pictures serial villain Roy Barcroft is cast in an atypically sympathetic role of Sheriff Griffin (maybe HE should have played Dracula instead?).

Actually if you are really interested in a GOOD Horror Western film than check out Curse of the Undead (1959) starring Eric Fleming, Michael Pate and Kathleen Crowley which is a much better effort. Michael Pate portrays a mysterious, gunslinging Owlhoot with vampiric tendencies named Drake Roby who stalks the Old West and sets his sights (and fangs) on an attractive lady rancher. It's available through MCA-Universal Home Video.

Billy the Kid Vs. Dracula was commercially issued on home video (along with its co-feature Jesse James Meets Frankenstein's Daughter) in the mid-1980s through Embassy Home Video (Embassy Pictures theatrically released both films) but has long since been discontinued (I happen to have both which I bought on sale--REAL CHEAP!).

Jesse James Meets Frankenstein's Daughter has been recently released again on home video through the MGM-United Artists "Midnight Movies" series so I think it's a reasonable assumption that Billy the Kid Vs. Dracula will also be made available once more (just what the World really needs).

Thankfully there were no similar follow ups like The Daltons Against the Wolf Man, Cole Younger Meets Dr. Jekyll and Mr. Hyde or Johnny Ringo Vs. the Invisible Man......Hmmmm!

4D Man (1959)

Timely, absorbing, wildly inventive atomic age shocker noteworthy for the formidable presence and laudable, impressive characterization of Robert Lansing as the doomed and unwilling menace unleashed upon an

[7/10 · 31 May 2000]

With the development, denotation and proliferation of atomic weaponry and the expansion of nuclear plants after World War Two 1950s sci-fi motion pictures were quick to capitalize on these events utilizing the neotericness and general unfamiliarity of ongoing atomic research as a basis for story ideas. In these films atomic testing was responsible for the revival of long extinct dinosaurs (BEAST FROM 20,000 FATHOMS and GODZILLA, KING OF THE MONSTERS), contact with nuclear radiation in a myriad of ways caused gigantic mutations in existing animal species (THEM!, TARANTULA, ATTACK OF THE CRAB MONSTERS and BEGINNING OF THE END) as well as in human beings (THE CYCLOPS, THE AMAZING COLOSSAL MAN, ATTACK OF THE 50 FOOT WOMAN, WAR OF THE COLOSSAL BEAST and THE 30 FOOT BRIDE OF CANDY ROCK) and in one instance exposure to a radioactive mist caused a man to dwindle to microscopic dimensions (THE INCREDIBLE SHRINKING MAN).

Atomic research obviously involved much more than the creation of more potent and lethal forces of destruction through nuclear fission and 4D MAN was one of a handful of 1950s sci-fi films to present movie audiences with some idea of just what went on in such scientific facilities touching upon other explorative aspects of quantum physics such as bombarding elements with subatomic particles and experimentation with intensified electromagnetic fields.

4D MAN was the second of three interesting projects produced by Jack H. Harris which included THE BLOB (1958) and DINOSAURUS! (1960) forming an imaginatively diverse and highly entertaining sci-fi trilogy. While not masterpieces of the genre these Jack H. Harris productions had the important distinction of being filmed in colour which was contrary to the trend of photographing the majority of sci-fi B-films of the period in black and white.

Much of this film's basic story structure can be traced to Lambert Hillyer's THE INVISIBLE RAY (1936) where Boris Karloff as Professor Janos Rukh becomes contaminated from being exposed to his discovery of the space-born element Radium X charging him with a fantastically deadly power (enabling Rukh to kill his scientist rivals by the mere touch of his hand) which steadily deteriorates his rational reasoning while also proving progressively fatal to him as well (this is kept in check by a periodic dosage of a temporary antidote).

Similarly Robert Lansing as physicist Scott Nelson in testing his younger brother's (Tony a renegade scientist of some disrepute) portable prototype contrivance in amplifying electromagnetic fields is able to move his hand through an impenetrable slab of metal. In successfully re-attempting the same feat within the force field again he discovers that the device has shorted-out yet he is now able to miraculously pass through any solid masses. Although not clearly delineated in the film his prior repeated exposure to the atomic furnace chambers in the development of a new dense alloy has caused an undetected mutation in Dr. Nelson's brain resulting in infinitely more intensified concentration faculties coupled with his also being affected by the experimental electromagnetic field now enabling Dr. Nelson to physically accelerate into the fourth dimension at will and whenever in this de-molecular condition he can freely walk through any physical barriers (walls, fences, doors, etc.). However while in this high velocity state Nelson also accelerates in age and by accident discovers he can only be restored to normalcy by draining the life energies of hapless victims resulting in a reign of terror until his eventual demise at the hands of his former scientist colleague-girlfriend in true "film noir" fashion by shooting Dr. Nelson (when not in his inter-dimensional form) as both are embraced in a passionate kiss.

The end is somewhat ambiguous as the apparently mortally wounded and dissipating Dr. Nelson (proclaiming himself "indestructible") retreats with some difficulty through a wall out-of-sight and the superimposed wording "The End" appears transforming into a visible question mark. This could imply a number of possibilities: A) Dr. Nelson died from the gunshot after disappearing into the wall remaining permanently embedded within it. B) Nelson could have successfully made his escape only to recover and return later to vengefully strike out at humanity anew. C) The artificially-induced fourth dimensional state could eventually be rediscovered and resurrected by some other researcher with similarly terrifying repercussions. D) What further unforeseen horrors is science on the brink of unleashing upon the world in the future?

Crucial to the plausibility and acceptance of this film's fantastic premise are convincing and competent special effects and the visuals employed in 4D MAN while all too sparse and fleeting are remarkably impressive nonetheless. Memorable is the scene where Dr. Nelson aimlessly strolls along a downtown street at night and mischievously applies his newly acquired powers by passing his hand through a mailbox removing a letter and properly replacing it through the slot (any solid object Nelson touches also de-solidifies), filching an apple through the front window of a produce store and similarly handling a diamond necklace on display in a jewellery shop. When Nelson pauses from his amusement and observes the darkened national bank across the street his smile betrays exactly what is on his mind (editing between the camera's point-of-view of the bank juxtaposed with the expression on Nelson's face wordlessly conveys his intention to make an unauthorized withdrawal). Sound is also utilized to considerable effect as a high-pitched electronic whine ominously signifies Dr. Nelson's transformation into the inter-dimensional entity. The age makeup of his victims whose life energies are absorbed by the desperate, deranged researcher is incredibly well handled indeed (particularly in the unintentional first murder of his physician friend where some cartoon animation is employed to dynamically accentuate the onslaught of rapid aging further making the effect all the more gruesome). With tremendous nightmarish impact the mummified corpses of his victims serve as a powerful testament to the frightening deadliness of this unstoppable and elusive killer on the prowl.

The late Robert Lansing was an curiously peculiar choice for the Jekyll-Hyde role but handily fulfilling the part's demands and his performance is an engaging, unique and refreshingly modernized interpretation of a stock horror film character. The actor's portrayal is as much a visual conception as it is a dramatic one which warrants a constant, studied scrutiny (witness how he perpetually has a lighted cigarette in hand and cleverly integrates his own habitual chain-smoking into his portrayal of Dr. Nelson). Through a facial expression, body movement or a hand gesture Mr. Lansing can convey his innermost thoughts, attitudes and feelings without the utterance of a single word a facility suitably appropriate for the visual demands of the cinema. Mr. Lansing also possessed a wonderfully expressive voice well capable of adroit, incisive delivery of dialogue when required so much so that the actor was recruited to handle the story's opening narration chores. For contrast the actor deliberately underplays his part so that his confrontational scenes where impassioned emotionalism is displayed (his frustration and anger exhibited over co-worker Linda's rejection of both his marriage proposal and pathetic amorous advances toward her, his pent up resentment directed against his callously exploitive and crassly unappreciative superior) noticeably stand out and make a stronger impression. Unfortunately in his film work Mr. Lansing was rarely involved with science fiction his most notable efforts being in television segments such as THE TWILIGHT ZONE (the unforgettable "The Long Morrow") and STAR TREK (the proposed spinoff pilot "Assignment Earth") and his was an enigmatic and charismatic personality which should have been utilized much more in the genre.

There is a matter of chronology regarding just when 4D MAN was actually filmed. In a minor part is the then child actress Patty Duke still years ahead of her academy award performance as a young Helen Keller in Arthur Penn's THE MIRACLE WORKER (1962) and as the teen-star of her own popular television series THE PATTY DUKE SHOW (1963-66). As Marjorie the daughter of Lee Meriwether's "landlady" Miss Duke appears to be between eight to ten years of age however 4D MAN was theatrically released on October 1959 and the budding young actress was thirteen years old at that time. Speculation would suggest that this Jack H. Harris production was clearly filmed a few years prior to its actual release (probably made in tandem with Mr. Harris's first sci-fi project THE BLOB which was filmed in 1957 and 4D MAN was originally intended as its co-feature) but for some undetermined reasons its premier would be postponed until Universal-International Pictures finally distributed the apparently shelved film in late 1959.

Most reviewers of 4D MAN seem unanimous in their dissatisfaction with film composer Ralph Carmichael's brash and vibrant jazz score having been utilized in a film of this nature however considering the time period (the late l950s) this energetic and rambunctious music is cannily suited to the more contemporary setting nicely expressing the strong underlying emotions, tensions and conflicts of the characters as well as accentuating the thrills and excitement of the action. Mr. Carmichael's jazz music appropriately imbues the events with the gritty texture of a police manhunt-dragnet drama and in contrast to the more conventional symphonic orchestrations employed for the majority of sci-fi movies at the time the traditional scoring seems rather trite and overly melodramatic by comparison. It's curious that a soundtrack album wasn't issued in conjunction with the film's release for aficionados of this brand of music. Mr. Carmichael was also responsible for the background music in Jack H. Harris's other sci-fi production THE BLOB.

Although certainly not the first, 4D MAN was reflective of a marked tendency in the late 1950s toward an increased sophistication and relevancy in themes and concepts advanced and explored in sci-fi films a trend which would be followed through well into the next decade. With tremendous strides made in technology, scientific research and the then fledgling space program the onus and challenge was now on for film makers to seek out new and different avenues for story ideas to reach a far more demanding and knowledgeable audience. Through efforts such as 4D MAN these imaginative craftsmen succeeded quite admirably.

The Angry Red Planet (1959)

Diverting, likeable nightmare tale about a courageous band of space explorers and their adventures on the forbidding and mysterious planet Mars. Despite some technical inadequacies and the static staginess

[7/10 · 16 November 1999]

THE ANGRY RED PLANET was theatrically released on July 1960 however this movie was actually filmed in September 1959 and was given its early preview screenings the following November. The film strongly embodies the 1950s sci-fi visual form and styling and is an important artifact of this colourful and sadly bygone era. Generally this project was a little too ambitious for the budget and resources allotted to it and much of the scenic effects involving views of the Martian landscape, environment and civilization are basically sketches courtesy of a talented comic book illustrator (and one-time son-in-law of Moe Howard of the The Three Stooges) Norman Maurer. But this artwork is so representative of the distinctive style native only to this particular decade that while its inclusion was probably considered embarrassingly amateurish and shoddy during this film's original release Maurer's illustrations can now be viewed with a more historical perspective and appreciation.

THE ANGRY RED PLANET was filmed in an experimental process developed by Norman Maurer referred to as Cinemagic and the intent behind this proposed technique was to give everything in the Mars sequences a uniform appearance so that when Maurer's drawings and sketches were employed for visual reference their insertion would not be apparent to the movie audience. Problems with the film processing lab developers arose from their lack of understanding how to properly utilize the special lenses and components supplied in connection with Cinemagic. The final result on film was a reddish and yellow tinting coupled with an irradiated glow effect to the planetary sequences and a complete failure to camouflage Mr. Maurer's interesting but obvious artwork.

Technical limitations not withstanding THE ANGRY RED PLANET achieves an uncomfortably tense and threatening mood during the spacecrew's tenure on the weird and alien world which is largely conveyed through the quartet's total isolation in their spacecraft surrounded by an apparently dead and motionless terrain devoid of even sound that seemingly inscrutably lies in wait for the earthlings to exit the comfort and security of their spaceship. Moments where the three-eyed Martian intelligence peers through the rocketship's large observation porthole (one of Maurer's drawings coupled with a superimposed ripple effect) and is seen only by the female crew member are genuinely startling and memorably haunting. The different life forms which make an appearance (the carnivorous plant, the bat-rat-spider-crab and the giant amoeba) while not the most convincing incarnations crafted are still inspiringly creative and original manifestations and help impart to this cinematic recreation of the red planet an appropriately nightmarish quality and the unearthliness of a frontier totally beyond human ken. Film composer Paul Dunlap's novel and engaging score which blends conventional musical instrumentation with electronic orchestrations suitably complements the varied moods and events of this most extraordinary adventure.

The strong focus placed upon the female biochemist crew member Iris as someone much more than a mere token figure or romantic interest is an impressive distinction for a sci-fi film of the period and worthy of attention. The events on Mars are revealed in flashback reconstructed from Iris's subsconscious recollections through drug-induced hypnosis (due to her suffering from a traumatized mental block and the inability of the other surviving crew member to be questioned). Upon liftoff from the inhospitable red planet, Iris has the thankless, unpleasant task of disposing of the elder Professor Gettell's body after he suffers a fatal heart seizure (presumably releasing it out the airlock into the vacuum of space) while also caring for the incapacitated Colonel O'Bannion. Later it is Iris who resourcefully comes up with the solution to the truly horrible amoebic growth on the mission commander's arm saving his life while her male colleagues at the space centre hospital remain ineffectually stumped and merely assist Iris in her anxious research for a remedy.

The denouement where the seemingly malevolent Martians (who have monitored the evolution of life on Earth since the dawn of time) permit the survivors of the Mars mission to return to Mother Earth with a taped message denouncing mankind's propensity toward violence and destruction, referring to the human race as "technological adults but spiritual and emotional infants" and flatly prohibiting any further visitations to their planet "unbidden" is a genuine revelation and remarkably mature for a decade where it was a foregone conclusion that man's destiny was in an unbridled exploration and conquest of the universe. THE ANGRY RED PLANET takes the stance that before mankind boldly and hastily ventures into this final frontier it would be prudent to be conscious of the possibility that we might be encroaching upon someone else's domain and what is taken for granted as an ordained right of trespass may well prove to be a granted privilege instead.

THE ANGRY RED PLANET while pockmarked with shortcomings and compromises in production is a unique and imaginative work whose strengths and virtues far outweigh its weaknesses. This film is really the kind of project that should have been handled by the major studios or by master craftsmen like George Pal or Ray Harryhausen but quite often some of the most interesting and inspired ideas were usually tackled by the smaller independent filmmakers without whose significant contribution and involvement sci-fi cinema in general would be much poorer.

Beyond the Time Barrier (1960)

Disappointing, confusing, excessively talky time travel yarn which fails mainly because of a weak, overly complicated and insufficiently developed screenplay.

[5/10 · 14 September 1999]

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.

The Spider (1958)

Chilling AIP programmer which succeeds in investing its proceedings with a definite air of spookiness.

[7/10 · 16 August 1999]

When EARTH VS. THE SPIDER crawled onto theatre screens nationwide in 1958 and first appeared on television in 1963 it was under the title THE SPIDER. Thus its current label is somewhat of an enigma. Perhaps the additional prefix of EARTH VS. was part of its original intended title (with actual prints struck as such) but was deemed too ambitious for what actually transpires in the movie. Possibly because of this title's similarity to the Ray Harryhausen epic EARTH VS. THE FLYING SAUCERS (released a few years earlier) it was feared to be an infringement on the Harryhausen work (or it could be mistaken as a re-release of same) and was shortened to the more appropriate THE SPIDER.

EARTH VS. THE SPIDER has the handicap of being a steal of Jack Arnold's TARANTULA (1955) and like all giant mutation films of the 1950's following in the wake of the 1954 sci-fi masterpiece THEM! (trying to emulate its distinctive qualities and commercial success) but taken on its own terms it successfully establishes its own eerie atmosphere and excitement that makes it popular today.

Comparison with TARANTULA is unavoidable but while both films utilize an actual tarantula spider (for practical purposes) EARTH VS. THE SPIDER usually manipulates the title protagonist in confined, claustrophobic surroundings when pursuing its intended prey to great effect (the expansive yet enclosed underground caverns, the high school gymnasium and the climatic confrontation on the cavern ledge, etc.). Further this monster also spins a web (unlike the title menace in TARANTULA) and a great deal of suspense and tension is achieved as nosey intruders are caught in it while the wailing bellow of the approaching creature is heard.

The giant spider's cave sanctuary is as much a character as the spider itself and it engenders a tremendous sense of foreboding and dread as the two teenagers and later as the town sheriff, his deputies and some townspeople approach and enter it (the mood is beautifully underscored by Albert Glasser's ominous background music).

In comparison to the technical virtuosity of THE SEVENTH VOYAGE OF SINBAD released the same year (or any Harryhausen film of the period) the special effects in EARTH VS. THE SPIDER are thin beer indeed but adequate. These effects include rear projection, split screens, superimposures, miniatures and forced perspective utilizing photographic plates of famed Carlsbad Caverns. At the film's suspenseful finale there appears to be an unheralded moment of stop motion animation of the giant spider dangling along a precipice and the closing image of the dead creature impaled on stalagmite on the cavern floor (actually a painting) is quite impressive.

All told EARTH VS. THE SPIDER is a film well worth looking into.

X: The Man with the X-Ray Eyes (1963)

Superlative, Brilliant, Thoroughly Engrossing SF Tragedy Which Stands as Roger Corman's Best And Most Impressive Effort In This Field.

[8/10 · 12 August 1999]

Science fiction which questions the very nature of existence itself is probably the most fascinating basis for a story idea addressed. Prior to X: THE MAN WITH THE X-RAY EYES the only other film to explore this theme was Jack Arnold's profound THE INCREDIBLE SHRINKING MAN (1957) and both of these ground-breaking films paved the way for later endeavours like Stanley Kubrick's experimental 2001: A SPACE ODYSSEY (1968).

X: THE MAN WITH THE X-RAY EYES was released theatrically on September 1963. On network television at this time were two important sci-fi/fantasy series namely Rod Serling's THE TWILIGHT ZONE and Joseph Stefano's THE OUTER LIMITS. This Roger Corman work is very much the same school of science fiction as both of these series which places greater emphasis on strong writing, provocative drama, outstanding performances and ensemble casting as the main foundation for storytelling and focus for viewer interest.

Ray Milland as Dr. James Xavier sets the film's premise by noting that the human eye is only sensitive to one-tenth the spectrum of light and what would be seen if human vision developed enough to perceive the full spectrum. Unfortunately as his range of vision increases more and more his sensibilities prove inadequate to cope with the indefinable apparitions which he beholds and his radically changing perception of the physical world around him. The most significant and telling moment occurs when Dr. Xavier hiding out from the law in a tenement basement apartment (for the unintentional death of a colleague) peers upward with his super-vision penetrating through the ceiling of his room and sees beyond the night sky, past the starry heavens and beholds the very center of existence itself causing the awe-struck researcher to cry out in anguished torment.

Later with the authorities in hot pursuit, Dr. Xavier enters the tent of a road-show religious bible meeting and movingly tells the incredulous throng gathered within about what he has witnessed evocatively describing the vision as a "great eye" at the core of the universe which sees and watches us all.

The nihilistic ending of the film involves Dr. Xavier plucking-out his eyeballs (now no longer recognizable as eyes) at the impassioned urgence of a fanatical evangelist and his congregation with the image of Xavier's countenance freeze-framing to disclose his empty blood-red eye sockets then abruptly fading out to black (followed by the closing credits). This would seem to reaffirm the timeworn homily that there are some things man was not meant to know (or tamper with) and many critics and theatre goers understandably found this conclusion somewhat discordant and incongruous with the ideas and events which had preceded it. However this restructured ending was mandated at the insistence of the studio heads and is not the finale that was initially filmed. The original conclusion as intended had Dr. Xavier plucking out his eyeballs and looking around in confusion he cries out, "I can still see!" which sheds a different light for not only had his expansive vision enabled Xavier to observe the infinite but his heightened perception has now evolved beyond the need of mere eyes for sight.

X: THE MAN WITH THE X-RAY EYES was the third of three interesting works produced by American International Pictures (over a two year period) which starred Ray Milland. The other two films were Roger Corman's THE PREMATURE BURIAL (1962) and PANIC IN YEAR ZERO (1962) which Mr. Milland both directed and starred in. Not surprisingly Mr. Milland gives an exceptional performance as the ill-fated Dr. Xavier and his distinguished name and considerable Thespian expertise certainly gives this film much prestige and impact. Ray Milland is ably supported by a fine supporting cast of talented professionals including Diana Van Der Vliss, Harold J. Stone, John Hoyt, Don Rickles (in a marvelous straight character role), John Dierkes and a brief appearance by sci-fi film veteran Morris Ankrum (as a hospital board member).

Mention must also be made of Les Baxter's hauntingly atmospheric and unusual music score (particularly memorable is this compelling composition's wailing siren-like quality) which ranks among his best. Mr. Baxter is primarily known for his musical contributions to the early editions of Roger Corman's Poe series of horror films, AIP's Beach Party movies and other AIP hits such as William Witney's MASTER OF THE WORLD (1961) and Jacques Tourneur's THE COMEDY OF TERRORS (1964).

X: THE MAN WITH THE X-RAY EYES is certainly one of the most important films in the catalogue of both Roger Corman and American International Pictures and marked Corman's welcome return to the sci-fi genre which he had abandoned since the late 1950's. At this point in time Roger Corman was riding the crest of considerable artistic and commerical triumph (thanks mainly to his renowned Edgar Allan Poe film series) and X: THE MAN WITH THE X-RAY EYES came in a lush period of inspiration and creativity where this auteur director seemly could do no wrong.

Teenage Cave Man (1958)

Thought-provoking atomic age parable which rises above its limited ambience to yield a memorably moving and intelligent filmic experience.

[7/10 · 20 May 1999]

Conceived in the era of the 1950's nuclear holocaust scare, TEENAGE CAVEMAN is an inspired (albeit low-budget) reflection of this period's fears and a worthy attempt by producer/director Roger Corman to present more serious subject matter in the sci-fi genre.

On the plus side is the noteworthy script by R. Wright Campbell. Mr. Campbell's association with Roger Corman includes scripts for FIVE GUNS WEST, MACHINE GUN KELLY, THE YOUNG RACERS, MASQUE OF THE RED DEATH (in which he re-wrote "Twilight Zone" fantasist Charles Beaumont's submitted script for this film) and THE SECRET INVASION. Borrowing heavily the plot and ideas from Stephen Vincent Benet's short story, "By the Waters of Babylon," Campbell presents the intelligent, inquisitive and introspective son of the "symbol maker" (earnestly played by a 26 year old Robert Vaughn), who attempts to extend the boundaries of knowledge and existence well beyond the immediate environs. Most of this remarkable film's meaningful dialogue is conveyed through the Robert Vaughn character and writer Campbell invests the story with a profundity and poignancy which is sadly lacking in most of the bland, dismal pap usually served up as entertainment.

In addition to the casting coup of Robert Vaughn and R. Wright Campbell's exceptional script, praise must also be extended to composer Albert Glasser's well-crafted and inspired music score (particularly effective during the climatic denouement). Glasser is one of the unsung maestros of film scoring in the sci-fi "B" genre (along with his contemporaries such as Ronald Stein, Paul Dunlap, Raoul Krausher, Marlin Skiles and Walter Greene) and many a low-budget feature has benefited considerably from his skilled and gifted contribution.

TEENAGE CAVEMAN quietly presents its message to the viewer with sincerity and dignity. It stands as an honourable effort to enlighten as well as to entertain and exemplifies that in good film-making with the constraints of time and budget, the necessity of more creativity, ingenuity and talent to fill the gap.

How to Make a Monster (1958)

Bizarre tale of a latent madman who wreaks havoc against the movie studio where he's employed. This disturbing shocker deftly contrasts make-believe horrors of motion pictures with the psychotic killers of

[7/10 · 18 May 1999]

Movie audiences attracted by the sensationalistic advertising proclaiming, "See the ghastly ghouls in flaming colour!", doubtlessly expected that the film HOW TO MAKE A MONSTER was actually a colour movie and were surprised and disappointed to discover that the film was essentially a black and white feature with the final 8 minutes shot in colour (Leonard Maltin in his movie guide review states it is the final 18 minutes but this is probably a typographic error).

By the late 1950's, Britain's Hammer Films was producing, to great critical acclaim and financial success, a series of well-crafted horror movies which boasted that they were filmed in colour. These pioneering efforts marked the beginning of the end for the relatively inexpensive black and white programmers which had been the mainstay for the success of film companies like American International Pictures. Probably in an effort to tap into this ready-made market for colour movies, it was determined that small portions of a film would be economically shot in colour so it could be extensively promoted in the film's publicity (another consideration was to also utilize colour sequences for effect). With his next project, HORRORS OF THE BLACK MUSEUM, producer Herman Cohen would present his own answer to the Hammer movies by filming it in England and in colour.

For those interested, the colour footage begins after Pete Dummond and his captive guests, Tony and Larry, along with Pete's accomplice, Rivero, enter his house and Dummond lights some candles in his living-room/macabre shrine. Unfortunately the prints made available to television and home video omit the colour and are struck in black and white and there has been no real outcry from horror fandom or any of the genre magazines to effect a restoration of the colour footage. Perhaps someday soon this longstanding negligence on the part of the film's distributors will be rectified.

The script for HOW TO MAKE A MONSTER is credited to Herman Cohen and Kenneth Langtry. Kenneth Langtry is a pseudonym for a writer actually named Aben Kandel (he also employed the pen-name Ralph Thornton), who collaborated with producer Herman Cohen on a number of film projects including I WAS A TEENAGE WEREWOLF, BLOOD OF DRACULA, I WAS A TEENAGE FRANKENSTEIN, HORRORS OF THE BLACK MUSEUM, THE HEADLESS GHOST, KONGA and THE BLACK ZOO.

Kandel's script for HOW TO MAKE A MONSTER is a reworking of much of the same plot elements found in his TEENAGE WEREWOLF and FRANKENSTEIN films, but the villain of this piece not only employs those under his control to commit murder, he also participates in some of the mayhem himself. Perhaps sensing that the late 1950's audiences were becoming too sophisticated for outright monsters in horror films, author Kandel decided to weave a story utilizing this theme and present the movie audience with a much more realistic menace, the psychotic mastermind/killer (Cohen and Kandel would carry this concept to its logical extreme the following year in HORRORS OF THE BLACK MUSEUM, a horror film without a monster in sight).

The efforts behind HOW TO MAKE A MONSTER would be much diminished without the presence of character actor Robert H. Harris. His skilled interpretation of the deranged makeup artist Pete Dummond is a multi-faceted one eliciting a wide-range of qualities which at one moment engenders our respect as he encourages a young actor to give his utmost to his film role, our sympathy in the wake of the overbearing new studio executives and their pragmatism and crassness toward horror films and his art, and our dread as he tells his two guests in his monster museum that he wants to include their "heads" in his collection. His scenes where he brow-beats his weak-willed assistant, Rivero, over his incompetency and cowardice are an absolute delight. Harris portrays his villain in a quietly menacing fashion making his characterization all the more sinister and his subtle and controlled performance is a memorable one.

One wishes that Michael Landon could have been recruited to reprise his teenage werewolf role, his participation would have certainly added more stature and authenticity to the proceedings. Since the story supposedly occurs at American International studios, instead of utilizing an actor to portray the director of "Frankenstein Meets Werewolf," it's a pity AIP standby Roger Corman wasn't approached to fill the role and it seems only fitting that James H. Nicholson and Samuel Z. Arkoff (the actual founders of American International) should have somehow been worked into the storyline. All these additions would have given HOW TO MAKE A MONSTER a more auto-biographical and self-parody tone.

HOW TO MAKE A MONSTER is an engaging and fascinating oddity from American International Pictures of the 1950's and marks an interesting phase in the chronology of Herman Cohen productions for this movie company.