An under-rated, admirable and well-crafted sci-fi film that explores concepts that are relevant to modern audiences.
Story written by Willis Goldbeck
Screenplay: Thelma Schnee
Music by Van Cleave
Distributed by Paramount Pictures
Release date: 1958
Running time: 70 minutes
Cast
Mala Powers: Anne Spensser
Otto Kruger: Dr. William Spensser
Robert Hutton: Dr. John Robert Carrington
Ross Martin: Dr. Jeremy 'Jerry' Spensser
Charles Herbert: Billy Spensser
So, what is this technological Frankenstein movie all about?
What will be the effect on Jeremy Spensser’s brain?
Will there be irreversible changes to his personality?
Will the very essence of his humanity be at stake?
Trailer
Following the titles and credits and a view of the that (in theory!) bastion of diplomacy and peace, the United Nations General Assembly Building, we see brothers, Dr. Henry Spensser and Dr. Jeremy Spensser viewing a film about factory automation. It seems that the future is not only coming – it is already here in all its mechanized glory.
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"International Peace Prize Awarded to
Jeremy Spensser."
Somewhat idealistically, Jeremy is of the opinion that if, "People of the world get enough to eat, war might just become obsolete." Certainly, it cannot be denied that it is the case (both then and now) that the basis of much of the conflict around the world is the inequitable distribution and access to resources.
We have now been introduced to Jeremy as one who is a great humanitarian. However, there is some question as to the consequences for humanity in the kind of technology that the Spensser brothers have been championing: a machine “that works like a man” and one that could “put the human race out of business.”
An ambulance unexpectedly takes Jeremy’s body to his father’s home where Dr. William Spensser locks himself in his lab. Despite Jeremy having been “dead within five seconds," his father has decided to perform an operation on him. After three hours, Dr. Spensser opens the lab door and tells his family, "I did, I did all I could."
At Jeremy's funeral service, while the eulogy is being presented, Dr. Spensser, hurriedly exits in anger and frustration. Shortly after, in a “theoretical” discussion with Jeremy’s friend, Dr. John Carrington, he ponders whether great brains in human history could have continued their work to better the condition of humanity if they were unencumbered by their bodies. John considers that both the brain and the body are necessary constituents of the soul. Without a body, a brain would regress into something monstrous. It’s as if Dr. Spensser were sounding out John about the dreadful secret he is keeping regarding Jeremy.
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Many Hollywood films over the years would tritely have us believe that there is such a thing as a soul. Established religions and their institutions tell us that we have souls and if we do doubt it then we are told that all we need is a bit of faith. Many of us just simply and unquestioningly accept the existence of a soul as received wisdom and as a fact.
Could the idea of human beings having this thing called a “soul’ merely be an expression of human arrogance. “Hey! Look at us, we’re different, we’re special! None of you other creatures have souls, but we do ‘cause we’re better than you! God says so, so there! Nya, nya, nya, nya, nya!”
Perhaps it is too unbearable for us to contemplate complete and utter non-existence once we die. We feel something of us must continue in some form and so we conjure up the notion of an eternal soul to help allay our fears of facing the unknown.
This doesn’t bother those who might hold a rather bleak rationalist, materialistic and deterministic view of what it means to be a human being. None of this superstitious mumbo jumbo nonsense about souls. “Can you measure a soul? Can you? Huh?” If you can’t quantify it, observe it, prod and poke it, bounce it around, PROVE it with empirical evidence – then it doesn’t exist, so shut up! We are what we are by virtue of our brains and our consciousness. Once our candle flame snuffs out, it’s cold darkness for us man, with no soul or comfortable afterlife to keep us warm.
Well, all I know is that I have respect for those who have a belief in the existence of a soul on the basis of their convictions, beliefs and faith. Equally, I also have respect those who reject the notion of a soul, based on reason, careful thought and reflection. I have no time or respect, however, for those who in a reflexive knee-jerk manner accept or reject the idea of a soul without having spent any time considering the matter before coming to a glib and minimalist conclusion.
I certainly don’t know what a soul is, if I have one or not, nor what I would do with it if I did have one. Could the soul be something that transcends anything to do with our immediate existence, with our minds and bodies and what can be perceived via either one? Could the soul be something that links the past, present and future together into a limitless moment of being while being both “here” and “there” at the same time? Could everything we say and do, think and feel as individual human beings be our own way of making small incremental contributions to the eternal cosmic creative process? In that way, could the “soul” in effect live on forever both within us and without? Who knows?
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Spensser then seeks Henry’s assistance with providing a mechanical body for Jeremy's brain.
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Held upright by a support structure, the reanimated Jeremy is able to see and hear. His eyes light up and his voice activates. The mechanical Frankenstein awkwardly moves around the lab until it sees its reflection in a mirror. Jeremy suddenly emits a strange electronically synthesized spine-chilling scream of horror that reverberates around the house. This catches the attention of Anne who runs downstairs to investigate. It seems to her that the voice she heard was that of her late husband. Henry tells Anne that Dr. Spensser simply lost his temper due to a failed experiment.
Back in the lab, Jeremy is once again secure in his support structure. Henry is opposed to his father’s efforts at preserving Jeremy’s intellect and Jeremy himself begs his father to destroy him. Jeremy, however, eventually agrees to his continued existence on the proviso that, "I don't want anyone ever to see me. I will conduct all my experiments in this laboratory with you and Henry and no one else." Dr. Spensser agrees to his terms.
As they begin conducting polar plant growth experiments, Jeremy reports that he has been seeing strange new images. One in particular keeps recurring: A ship at sea in the fog, and the collision of the S.S. Viking. The first in a series of unforeseen consequences…….
The new technologically augmented and enhanced Jeremy reminds me of how much we have become dependent on technology to support us in our day-to-day living. So much of our existence is wrapped up in a protective security blanket of technology. We constantly carry around bits of it with us in our hands, in our pockets, strapped to our arms or wrists, in our cars, throughout our homes. Soon, we will be wearing items of tech as part of our attire and eventually it will be commonplace to have tech implanted within our bodies for various purposes. Day-by-day and layer-by-layer our tech gradually encroaches on our lives, our bodies and our minds. Perhaps we need to take the time to step out from our virtual worlds and consider what the very real unintended consequences might be for us as a species and our sense of humanity….our very “souls” perhaps?
Love is once again in the air and is about to whisk Henry off to Hawaii on a vacation with Anne and nephew, Billy. Alas, once again the unforeseen consequences of science intervene when Dr. Spensser summons Henry to the study where they watch a TV news broadcast about a disaster at sea – the disaster foreseen by Jeremy! Jeremy does indeed seem to have the power of ESP!
Another disturbing unforeseen consequence of Dr. Spensser’s experiment reveals itself when Henry finds himself alone with Jeremy and begins to chuckle. This elicits an emotional response from Jeremy who threatens Henry, "I warn you, Henry. These (hands) are powerful. You know how powerful because you made them. Don't goad me. I warn you, don't!" Is this the real Jeremy talking or is it a result of the technology distorting his sense of morality and his very humanity?
The effect of technology on our sense of our own humanity can be seen clearly when it distances us from the effects and consequences of our actions on others. The “shock and awe” and “fire and fury” power is at our disposal and is there to be used, so don’t goad us. We warn you, don’t! And so, some operator sits at a monitor and half a world away a drone lets loose a missile and a flash followed by a cloud of debris fills the view on the screen where moments ago there were……
As suggested in the earlier documentary on automation and the more recent scene depicting the ability of the creation to control the creator, we have presented to us the possibility of human beings eventually being supplanted by machines. Will our species in the not too distant future be faced with a similar dilemma as we continue to develop artificial intelligence technology? Could we one day be faced with a “Skynet” type of scenario?
As Jeremy leaves the lab and ventures out into the garden, he comes across his own headstone and grave marker. He hides himself when he hears the sound of his wife's voice. After placing flowers on his father's grave, Billy is drawn to Jeremy when he hears the latter’s voice.
As they begin conducting polar plant growth experiments, Jeremy reports that he has been seeing strange new images. One in particular keeps recurring: A ship at sea in the fog, and the collision of the S.S. Viking. The first in a series of unforeseen consequences…….
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One year after his “death,” Jeremy is determined to visit his own grave. His father tries to prevent him leaving the lab, but Jeremy hypnotizes his father by means of a flashing light emanating from his eyes. Yet another unintended and unforeseen consequence has emerged with the development of this new power of control. The creation has grown beyond the power of its creator to control it.
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Billy does not react to the sight of Jeremy with revulsion and horror. Instead, after an initial moment of surprise, he innocently asks, "Are you a giant? A real giant?” It is as if Billy is able to provide Jeremy the one emotional link back to his humanity.
In the lab, Jeremy is understandably upset with his father who had informed him that his son and his wife had died.
In the lab, Jeremy is understandably upset with his father who had informed him that his son and his wife had died.
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It is a conclusion that Jeremy’s father is compelled to accept when his son hypnotizes him into assisting Jeremy with his plan to rid the world of those pesky do-gooder humanitarians. I’m sure some of the red-neck rabble who ring up right wing conservative talk-back radio stations would agree with Cyborg Jeremy’s agenda!
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In a very touching act of humanity, Billy throws the switch deactivating the mechanical creature. Jeremy then falls over the railing and plummets to the floor below. As Anne embraces her son, Dr. Spensser says to John, "Well, you were right Carrington, without a soul there is nothing but monstrousness. I only wish that heaven and Jeremy could forgive me for what I did." The film finally closes with a close up of the creature’s head dripping blood - human blood - on to the floor.
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Points of Interest
Paramount released The Colossus of New York on a double-bill with The Space Children in 1958.
Nathan Van Cleave's music score is provided by a lone piano which serves to add to the film’s overall dark, fearful and melancholy atmosphere.
Eugène Lourié was an excellent art director whose competence and skill with effects led to his first directorial appointment with, The Beast from 20,000 Fathoms (1953), on which he collaborated with special effects genius, Ray Harryhausen. His other films included, The Giant Behemoth (1959) and Gorgo (1961).
©Chris Christopoulos 2017
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