#139 Forbidden Planet

Watched: September 29 2017

Director: Fred M. Wilcox

Starring: Leslie Nielsen, Anne Francis, Walter Pidgeon, Robby the Robot

Year: 1956

Runtime: 1h 38min

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Commander Adams (Nielsen – before he became everyone’s favourite deadpan comedy actor) and his crew are travelling through space to a distant, Earth-like planet in order to rescue any survivors from a previous mission.

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Earth technology circa year 2300. Can’t wait!

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When they reach their destination they find only two survivors; the mysterious Dr Morbius (Pidgeon) and his young attractive daughter Altaira (Francis). They live alone with their robot Robby and a menagerie of wild animals while Dr Morbius explores the remains of an advanced ancient civilization which used to inhabit the planet. Also, there’s a killer monster roaming around, but the good doctor and his daughter seem somehow immune to it. Curiouser and curiouser.

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Must be her scandalously short dresses keeping them safe. Monster doesn’t want to seem too forward.

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The all-male crew start creeping on Altaira pretty quickly, leading to the commander berating her for her short dresses. ‘Cause, you know, it’s her own freaking fault. Naturally, the two then fall for each other, and Altaira decides to leave her home and father for Earth. This does not please Father, nor the monster…

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You silly girl. You must understand that your dress is distracting my crew and this is your fault and not a great opportunity for us men to reconsider our view of women and our capability to control our urges. Go change.

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Forbidden Planet is an awesome sci-fi adventure, based on Shakespeare’s The Tempest, but greatly influenced by Freud as well. For its time, and genre, it had a big budget and is presented in colour and Cinemascope – quite rare for ’50s sci-fi.

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Not to mention Robby the Fanciest Robot!

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We’re suckers for old-timey sci-fi and so naturally we loved this film. Add to that Leslie Nielsen, mysterious monsters, ancient civilizations, action, a score of “electronic tonalities,” Freud, and incestuous undertones (again, Freud) and we have a winner.

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Also, Morbius the Creepy Science Guy

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Forbidden Planet has the honour of being the first film on the list where someone let us know when we started this project that they wanted to join us for the viewing, so we had a viewing party! Sort of… Well, three people and pizza constitute a party in our book. The next one which has sparked interest is Flash Gordon (1980), so we’re looking forward to that. In a few years. We don’t get out much.

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We’re pretty sure this kind of thing is waiting for us out there, so we prefer to stay inside where it’s safe…

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What we learned: We’re all monsters in our subconscious, but we have laws and religion to keep us under control. Also, never trust the sole surviving member of an exploration party where everyone else died under mysterious circumstances.

Next time: Invasion of the Body Snatchers (1956)

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#137 The Quatermass Xperiment

Watched: September 24 2017

Director: Val Guest

Starring: Brian Donlevy, Jack Warner, Margia Dean, David King-Wood, Thora Hird, Richard Wordsworth

Year: 1955

Runtime: 1h 18min

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As a young couple laugh randomly in a field, a rocket comes crashing down from the sky. Emergency services arrive shortly after but are unable to do anything with the space craft other than wait for it to cool down.

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Not a scenario covered in basic training for most British emergency services. Only a few.

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Enter Professor Quatermass (Donlevy) – a scientist with little patience, no respect for so-called authorities, and no time for nonsense. He is the brains behind the semi-successful space launch, and he is worried about the crew after they lost radio contact for 57 hours. And rightly so – when they finally open up the ship, two of the three astronauts have vanished, and the only remaining crew member is in a state of shock.

 

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“Not to worry, my dear. I suspect, if we put him in this dental chair and stick tubes in him, he’ll probably snap right out of it. Yes, that’ll do the trick!”

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The survivor, Victor Carroon (Wordsworth) is transferred to a hospital after he fails to make any progress, but his wife Judith (Dean) has the brilliant idea to kidnap her non-responsive, traumatized and possibly infectious husband and get him out of there.

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“We still don’t know what’s wrong with you or what happened to the rest of the crew, but what could possibly go wrong?”

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With their subject missing, Quatermass and Dr Gordon Briscoe (King-Wood) find out some ugly truths about his condition, and they must hunt Carroon down before he manages to kill and/or infect too many others. The future of the planet is at stake!

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He retains some of his humanity. Little girls with dolls are scary and must be avoided!

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We’ve never seen this one before, although we have seen the two surviving episodes of the 1953 BBC show on which is was based. It was good to finally get some closure and find out how this all developed.

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Answer: not that well…

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This is a great sci-fi horror, which obviously inspired shows like Doctor Who, although the effects are now a little bit dated (not that we care about that stuff – we are masters at suspending our disbelief!). The stages of Carroon’s transformation are still very good, and also very sad.

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Donlevy’s Quatermass is a bit more aggressive than Reginald Tate’s TV version, but we enjoyed him a lot.

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We can’t wait for the other two Quatermass films – we loved the shows they’re based on and can’t imagine the films being anything less than amazing.

What we learned: Outer space is scary.

Next time: Bigger Than Life (1956)

#128 Diabolique/Les diaboliques

Watched: August 7 2017

Director: Henri-Georges Clouzot

Starring: Simone Signoret, Véra Clouzot, Paul Meurisse

Year: 1955

Runtime: 1h 57min

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Christina Delassalle (Clouzot) and Nicole Horner (Signoret) are colleagues at a boarding school for boys somewhere in France, but that’s not all they have in common. They are also involved with the same man – Christina’s tyrannical bastard of a husband Michel (Meurisse).

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“It’s always more fun to share with everyone”

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Michel does not only mistreat his poorly (but wealthy) wife – he is also abusive to his mistress and the children in the school. Fed up with him, Nicole concocts a murderous plan to rid the two women of their shared lover. Christina is hesitant at first, but after her husband humiliates her and rapes her, she has finally been pushed too far.

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Not what most men have in mind when they picture being bathed by two women

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They go through with their plan, but the already mentally and physically fragile wife is quickly deteriorating from the stress and the guilt. Then, the body disappears, freaky stuff starts happening and things turn creepy.

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Artist’s representation of us watching this film

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Diabolique is very, very creepy and suspenseful. Michel is extremely unlikable and we’ve never wanted two people to get away with murder more than in this case. This film kept us guessing to the end (although we had a theory which turned out to be spot on) and there are a lot of exciting twists and turns in the plot.

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The look of a woman mentally preparing for murder

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We won’t say much more as we do not want to spoil this gem for anyone, but if you haven’t seen it, it should go to the top of your to-watch list. So good.

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What we learned: If you’re going to murder someone, make sure you know how to play it cool.

Next time: It’s Always Fair Weather (1955)

#124 Them!

Watched: June 29 2017

Director: Gordon Douglas

Starring: James Whitmore, Edmund Gwenn, Joan Weldon, James Arness

Year: 1954

Runtime: 1h 34min

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Police pick up a shell-shocked little girl in the New Mexico desert. They also spot an abandoned car and trailer, and when they check them out they find a war zone sprinkled with sugar. What on earth could have happened?

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Nothing good, that’s what!

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As more similar crime scenes appear, Police Sergeant Ben Peterson (Whitmore) investigates with the help of his trooper, who quickly becomes another victim of the unseen threat. FBI Agent Robert Graham (Arness) replaces the dead trooper, and with their only clues being strange tracks, sugar, and huge amounts of formic acid in the victims’ bodies, the investigators call in some experts. Dr Harold Medford (Gwenn) arrives, accompanied by his daughter, Dr Patricia Medford (Weldon). The two of them have some crazy theories.

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Surprise! The crazy theories were spot on and there really are enormous killer ants running around in the desert!

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The culprits are giant ants, mutations made by radiation from nuclear bomb tests in New Mexico (see “Godzilla: Bombs are Bad“). The team manage to destroy the nest, but realise that three queens have managed to escape. Now they must track them down and destroy them before they destroy all of humanity.

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Pretty much the most fun you can have with nuclear mutation mistakes

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As mentioned, we watched this as a double feature with Godzilla, and they really are a perfect match. Atomic monsters threatening major cities who must be destroyed by scientists and the military working together, with a sprinkle of romance and humour. We loved them both, although Them! seems the slightly sillier version of the same general idea.

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Giant dinosaury sea monsters beat giant animatronic insects in terms of fright factor, in our opinion. The insects win for fun factor, though.

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A cult classic which is surprisingly tense given the premise, Them! is a great film if you’re a fan of creepy creature features with slightly dated effects but otherwise great performances and lots of eerie sounds. We loved both Doctors Medford, and had a great time watching this.

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Who you gonna call? Antbusters!

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What we learned: Get the antennae! Also, not all nuclear explosions lead to superheroes.

Next time: All That Heaven Allows (1955)

#120 Godzilla/Gojira

Watched: June 29 2017

Director: Ishirô Honda

Starring: Akira Takarada, Momoko Kôchi, Takashi Shimura, Akihiko Hirata

Year: 1954

Runtime: 1h 36min

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Godzilla – King of the Monsters! Hydrogen bombs off the coast of Japan have awoken the mighty beast from its oceanic slumber and it is coming for Tokyo. Send in the army, sacrifice your daughters, and RUN!

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Not sure how a girl is supposed to placate this beast, but for a while that was the only viable plan

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As Godzilla, a dinosaury creature of local legend, wreaks havoc on the shores of Japan, scientists and military personnel work to pacify and/or kill the monster. Some, such as Dr. Yamane (Shimura), are convinced they should let the rare specimen live.

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It just wants to play! And it’s so cuuuuute!

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Others, particularly the military, but later also Yamane’s daughter Emiko (Kôchi) and her two boyfriends (it’s complicated) Hideto and Serizawa (Takarada and Hirata, respectively), begin to realise that their only course of action is to destroy it before it destroys all of Japan and possibly the world.

Emiko (Momoko Kochi) witnesses the horrifying effects of the "At
“Kill it! Kill it with……oxygen..?”

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Godzilla is a legendary creature feature which has spawned countless sequels, remakes, and reboots. However, none of them have quite managed to capture the magic of the original. Sure, there have been more advanced special effects in some other Godzilla-films, but the original man (technically men; Haruo Nakajima and Katsumi Tezuka) in the monster suit is strangely effective.

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It might be an advantage to the overall effect that the movie is quite dark and a lot of details are slightly obscured

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It’s atmospheric and intense, with a dramatic score, great performances and real threats. We watched this as a part of 1000filmblog’s Atomic Double Creature Feature Night™ together with Gordon Douglas’ Them! (#124) from the same year, and it was a fantastic combination. As we’re going through the fifties and sixties, we’re looking forward to more atomic/space-agey horror and sci-fi – we love us a good monster movie and a good atomic scare!

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We’ll leave you with the poster for the American edition of this Japanese classic – now with added Americans!

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What we learned: Hydrogen bombs are bad. Also, when Godzilla emerges, we might have to give up a girl as sacrifice.

Next time: Magnificent Obsession (1954)

#114 House of Wax

Watched: June 11 2017

Director: André De Toth

Starring: Vincent Price, Frank Lovejoy, Phyllis Kirk, Carolyn Jones, Roy Roberts, Charles Bronson

Year: 1953

Runtime: 1h 28min

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House of Wax is an old favourite of Sister the Oldest, stemming from her love of Vincent Price in her teenage Goth days (we’ve all been there). A remake of Michael Curtiz’ Mystery of the Wax Museum (1933), it stars Price as Professor Henry Jarrod, an eccentric sculptor who works with wax figures.

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His obsession with his Marie Antoinette hints at his brewing insanity. Then again, she’s quite the looker!

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When Jarrod’s business partner Matthew Burke (Roberts) is in need of some quick cash, he proposes to the artist that they burn down the museum to collect the insurance. Jarrod, who has a close, personal relationship with all his creations, is not exactly on board, so Burke tries to kill him. The museum burns down and Jarrod disappears and is thought to have perished in the fire.

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In reality, he has but gone the way of his figures

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Fast forward a few months, and Burke dies under mysterious circumstances, his body disappears from the morgue, and his delightful (possible) fiancée Cathy (Jones – a.k.a. She of the Tiny Waist) meets the same fate. Simultaneously, Professor Jarrod reappears with plans to open a new wax museum, this time with a Chamber of Horrors included, showing historical crimes as well as recent, local ones. Coincidence?

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“Why, yes, there is an incredible likeness between my former partner who tried to kill me and whose body disappeared from the morgue, and my recreation of his death. I really am that good.”

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Sue Allen (Kirk), Cathy’s roommate and only witness to her killer, grows suspicious when visiting the museum and finding that Joan of Arc is the spitting image of her dead friend, though her suspicions are mostly written off as the silly ideas of a hysterical woman. Her own likeness to Jarrod’s Marie Antoinette put her on the artist’s radar, and tensions mount.

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“I told her not to touch the artwork! That’s it. She must die.”

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House of Wax holds up incredibly well and is an excellent and creepy feature. We love the image of the melting wax figures, everything about Cathy (our favourite), Vincent Price’s iconic voice, and the grotesque plot.

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“No ding-ding without a wedding ring!” – Cathy, paraphrased. God, we loved her.

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Originally made in 3D, it is easy to see how that would have added to the experience, and some scenes are clearly inserted mainly for the 3D effect. Unfortunately, we’ve only ever seen it in 2D, but perhaps one day we’ll have the chance to watch it in the same way as its original audience. One can only dream…

What we learned: Don’t kill people’s creative works for money. Or, money and art do not always work well together. Something to that effect.

Next time: Mr Hulot’s Holiday/Les vacances de Monsieur Hulot (1953)

#113 Glen or Glenda

Watched: June 11 2017

Director: Edward D. Wood Jr (aka Ed Wood)

Starring: Bela Lugosi, Ed Wood, Dolores Fuller, Timothy Farrell, Lyle Talbot

Year: 1953

Runtime: 1h 11min

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Ed Wood is commonly known as the worst director of all time, which may or may not be true (there must be someone worse out there, although it’s possible they’ve never released anything major), due in large part to the cult classic Plan 9 From Outer Space (1959). Slightly less well known, though still fairly (in)famous, and (hopefully) slightly more autobiographical is Glen or Glenda from 1953.

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Despite his infamy, Ed Wood threw the best and most surreal parties!

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Transvestite Patrick/Patricia has committed suicide, and the investigator, Inspector Warren (Talbot) wants to learn more about their motive. He talks to Dr Alton (Farrell) who tells him two stories about different forms of gender identity, starting with the story of Glen/Glenda (Wood).

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Some men have different reasons for admiring lingerie in shop windows…

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Glen is a fairly normal heterosexual man who is engaged to marry Barbara (Fuller), and who likes to dress in women’s clothing and to feel like a woman. He describes it as a sort of split personality and he cannot quite make up his mind whether he wants to continue doing this or whether he wants to stop. He also has a hard time deciding how to tell his fiancée about his alter ego. This is the most clearly autobiographical narrative in the film, since the director himself went through a similar process (as we’ll see in Tim Burton’s Ed Wood when we reach 1994).

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He feels like it’s sinful and wrong too, poor guy/girl

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Dr Alton also tells Warren the story of pseudohermaphrodite Alan, who after a long period of confusion, goes through a sex change to transition to female. In between these two narratives, Bela Lugosi pops up in a lab straight out of a Frankenstein film and talks about human nature while doing experiments that have nothing whatsoever to do with the rest of the film. There’s also a (drug-fueled?) dream sequence heavy with symbolism (we think).

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An old Universal horror? A Hammer film, perhaps? Nope, it’s a docudrama about gender identity

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A film as indecisive about its nature as its eponymous character, Glen or Glenda cannot seem to make its mind up about in which genre it wants to belong. The scenes with Bela Lugosi fall firmly into the horror realm, while other parts of the film fluctuate between documentary, drama, romance, pantomime, silent movie, and symbolism heavy art feature. It is a very interesting film to watch though, and its cult status is understandable. The artistic merits of the film do not, however, quite match the level of the progressive and important subject matter, and it’s a strange experience watching it. Well worth it though!

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Yup. Still docudrama about gender identity.

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What we learned: Beware of the big green dragon that sits on your doorstep. Also, 7 out of 10 men are bald due to tight hats.

Next time: House of Wax (1953)

#86 Rope

Watched: January 30 2017

Director: Alfred Hitchcock

Starring: James Stewart, John Dall, Farley Granger, Douglas Dick, Joan Chandler, Edith Evanson, Cedric Hardwicke,

Year: 1948

Runtime: 1h 20min

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We continue our journey through film history with this classic Hitchcock thriller, filmed in glorious technicolor. Brandon (Dall) and Philip (Granger), old school friends, decide to kill a third friend and throw a dinner party for his family with the body hidden in the room. This is what an Ivy League education will do to your sense of morality, apparently.

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Who needs morals when you have unlimited access to alcohol and this penthouse view?

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They also invite their old housemaster (whatever that is. Some sort of teacher?) Rupert (Stewart), who Brandon idolizes (and quite possibly is in love with on some level). The idea behind the party is to stroke their egos (particularly Brandon’s) by convincing themselves they have committed the perfect murder. For Brandon the party is exhilarating, while for Philip it’s excruciating.

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One of these men have less of a conscience than the others…

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As the (very tense) party progresses, we learn that the murderous philosophies so taken to heart by Brandon originate in Rupert’s fascination with Nietzsche and similar thinkers. They both think that there are differences between people and that some have more right to live than others. In fact, they go so far as to claim that it is the superior people’s right to take the lives of others. For Rupert these are simply thought experiments – not anything to be put into action. However, Brandon takes everything his hero says quite literally and drags his rather more weak-willed friend down with him.

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Guess which one is the dominant one! Hint: it’s not the one doing the actual killing…

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Rope is tense and exciting – a sitting room thriller with great long shots and a truly chilling character in Brandon (although, to be honest, there are many movie murderers who surpass him in creepiness). The long shots help build the tension quite well – especially when Mrs Wilson is tidying the chest containing the body after dinner. Philip gradually melts down until his Tell-Tale Heart-moment which reveals Rupert’s true feelings about the philosophies he spouts.

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Turns out, Rupert has some opinions about the difference between theory and practice.

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We love Rope – it’s a classic we’ve watched several times before, and we thoroughly recommend it to anyone who loves a good suspenseful melodrama. And a good murder. Which we do. There are also clear parallels to the real case of Leopold and Loeb, but we find fictional murders infinitely more satisfying than real life as we’re not total psychopaths…

Extra fun fact for you: “Farley” (as in actor Farley Granger) pretty much means “dangerous” in Norwegian. So, from a purely Norwegian linguistic point of view, he should have been the one to play Brandon. For some reason, Hitchcock did not take this into consideration when casting the film.

What we learned: Thinking oneself superior is a dangerous thing.

Next time: The Fallen Idol (1948)

#75 La Belle et La Bête/Beauty and the Beast

Watched: January 8 2017

Director: Jean Cocteau

Starring: Josette Day, Jean Marais

Year: 1946

Runtime: 1h 36min

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Belle (Day), the beautiful young daughter of a merchant, is being Cinderella’d by her rooty tooty snooty sisters after their family’s fortune was lost at sea. As her father gets word of one of his ships having reached port safely, he travels to the city to regain some of his fortune, only to find it has all been seized in payment of his debts. Returning home through a scary forest in a storm, he seeks shelter in a castle which seems abandoned yet has a marvelous feast set out for him.

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There’s nothing at all sinister or creepy about the place

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He spends the night in the castle and, when leaving the next morning, picks a rose for his daughter as that was her only request for a present. Big mistake. A frightful Beast (Marais) sets upon him and tells him he must die for this offence. The merchant manages to make a deal to go home home to see his family if he promises to return promptly or send a family member in his place. Belle, being the good daughter, offers to go to the castle instead of her ailing father.

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The pretty dresses and jewellry sort of make up for the creepy living statues and ornaments of her new home.

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Instead of finding a primitive beast ready to devour her, Belle meets a gentlemanly one who proclaims her mistress of the castle and himself her humble servant. She stays with him for months, and though every night she refuses his marriage proposal, they develop a friendship and companionship which is quite mutual, despite him looking like he’s always on the verge of reciting Shakespearean soliloquies. Case in point:

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We’d like to think his tendency to lurk behind her is more a kindness so that she won’t have to look at him, rather than something sinister. Despite the neverending marriage proposals.

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After a while, Belle finds out that her father is grievously ill and asks to go home to see him. The Beast agrees on the condition that she returns one week later, and gives her a magic mirror to see him, his glove which will return her to the castle whenever she’d like and, for some reason, the key to his fortune.

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“I’m sure there’s no way anyone would abuse that power”

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Of course, Belle’s cunty sisters, her idiot brother and his friend Gaston, uh, we mean, Avenant (also played by Marais), persuade her to stay on a bit longer, steal her key and decide to go kill the Beast and steal his fortune. However, Belle sees the Beast half dead from grief in her magic mirror and uses the magic glove to return to him at the same time her brother and Avenant arrive to dispose of him. There are declarations of love, the Beast transforms to his true princely form and all live happily ever after. Except for the intruders, one of whom is himself transformed (to take the Beast’s place as guardian of the castle? Of the afterlife? Of purgatory? Who knows?), but that’s their own fault.

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“Them bitches had it coming, trying to interfere with our strange and possibly Stockholm syndrome-induced romance!”

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Cocteau’s version is a very faithful adaptation of the traditional French fairy tale despite him, naturally, having taken some artistic licenses. Visually, this film is wonderful with amazing details, especially in the enchanted castle which is like Barbie’s Gothic Dream House – creepy but luxurious. The disembodied arms which act like servants and the half-living statues that adorn the halls and rooms are fantastic (in all senses of the word) and add an extra layer of surrealism and magic to the film. The costumes are extravagant, if not necessarily always flattering, and the beast is superbly made up.

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The food even looks appealing in black and white, which is impressive in itself

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If your only cinematic experience of Beauty and the Beast is the 1991 Disney version, we really recommend this one as well, as it is a very different perspective on the same story.

What we learned: women must learn to look beyond physical appearance, but the same is not necessary for men. Also, don’t trust your relatives – them bitches be greedy!

Next time: Notorious (1946)

#69 Dead of Night

Watched: December 18 2016

Director: Alberto Cavalcanti, Charles Crichton, Basil Dearden, Robert Hamer

Starring: Mervyn Johns, Roland Culver, Mary Merrall, Googie Withers, Frederick Valk, Anthony Baird, Sally Ann Howes, Michael Redgrave, Basil Radford

Year: 1945

Runtime: 1h 43min

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Dead of Night is the first of the horror anthology films on the list, and a good start to this scary and brilliant subgenre.

Architect Walter Craig (Johns) comes to look at a house he has been approached to alter or expand, and experiences a very strong case of déjà vu. It turns out he has had recurring dreams about the house and all the people who are currently there, but he cannot recall the ending of the dream, just that it is not a happy one.

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What horrible fate could possibly befall these respectable looking people? Stay tuned to find out!

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As Craig is trying to remember the details of his dream, the other guests take turns telling of their own experiences with the supernatural or uncanny. You know, to lighten the mood. The stories vary in length and seriousness, but some of them are very unsettling indeed.

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Ventriloquist-centred plots will always creep us out

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Among the guests’ tales we find a creepy ghost story involving children and murder (always a good combination) as well as a game of Sardines; a race car driver who’s saved from certain (?) death several times by the appearance of a strange man; a scary haunted mirror (a subject which we always find unnerving – childhood literature trauma might be to blame); a silly, silly ghost story involving two very competitive (and self-centered) golfers and the girl they’re both in love with (who by the way has no personality of her own and somehow agrees to marry whoever wins a golf game… Have some self respect, lady!); as well as the aforementioned ventriloquist tale starring Michael Redgrave of The Lady Vanishes-fame.

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Other nightmare fuel is also available for those not particularly freaked out by dummies

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Four different directors helmed the various segments, and they vary a lot in tone and style, with Cavalcanti’s two segments our personal favourites. We’re both partial to horror anthologies, and we cannot wait for the upcoming ones, such as #230 Dr Terror’s House of Horrors (1965), #359 Asylum (1972), #367 Tales From the Crypt (1972), #553 Creepshow (1982) and #582 Twilight Zone: The Movie (1983) to name but a few (numbers are liable to change as Mr Wright tends to alter his list now and then..). If you’re one of us (one of us!) we heartily recommend Dead of Night. Its circular plot is interesting, there are great performances, some good comic relief and it is genuinely scary at times. And we do eventually find out the ending of Craig’s nightmare… A new favourite for sure.

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Just make sure you NEVER buy an antique mirror. Trust us.

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What we learned: stay the fuck away from ventriloquist dummies! (Unless it’s the one from Buffy the Vampire Slayer, who’s quite naughty but not really evil.)

Next time: Detour (1945)