Showing posts with label monster. Show all posts
Showing posts with label monster. Show all posts

Saturday, 27 January 2024

Alien (1979)

 

A landmark film with an excellent combination of the sci-fi and horror genres along with a great deal to think about


Directed by Ridley Scott
Screenplay by Dan O'Bannon
Story by Dan O'Bannon, Ronald Shusett
Produced by Gordon Carroll, David Giler, Walter Hill
Cinematography: Derek Vanlint
Edited by Terry Rawlings, Peter Weatherley
Music by Jerry Goldsmith
Production companies: 20th Century-Fox, Brandywine Productions
Distributed by: 20th Century-Fox
Running time: 116 minutes
Budget: $11 million[a][5]
Box office: $184.7 million


Cast


Tom Skerritt: Dallas
Sigourney Weaver: Ripley
Veronica Cartwright:Lambert
Harry Dean Stanton: Brett
John Hurt: Kane
Ian Holm: Ash
Yaphet Kotto: Parker
Bolaji Badejo: Alien
Helen Horton: Mother (voice)
Eddie Powell: Alien (uncredited)



Trailer

The crew of the commercial towing vessel, "Nostromo" is on its way home to Earth when they are prematurely awakened from cryosleep when a transmission of unknown origin is detected by “Mother,” the ship’s AI super-computer.

Is the signal a desperate SOS, or……. a warning?

Obliged to investigate, the crew descend on a small inhospitable planetoid.

Their ship sustains damage in the rough landing.

While repairs are carried out, three crew members leave the spaceship to investigate the source of the transmission.

The party of three discover a crashed but relatively intact derelict extraterrestrial spacecraft.

What they discover within the alien vessel manages to find its way into the “Nostromo.”

The seven crew members will have to fight for their very lives against a deadly eighth passenger.

Nor is the danger to their existence solely from a terrifying alien intruder…..


Read on for more........

Saturday, 13 April 2019

Terror in The Midnight Sun (1959)



 Space Invasion of Lapland
(Rymdinvasion i Lappland)
Invasion of the Animal People 

For some, a Viking good time! 
For others, a bloody waste of time! 
So bad, it’s good some might say 
While yet others might suggest 
It should never see the light of day.


Directed by Virgil W. Vogel
Produced by Bertil Jernberg, Gustaf Unger
Written by Arthur C. Pierce (screenplay and story)
Music by Harry Arnold, Allan Johansson
Cinematography Hilding Bladh
Edited by Shirley Citron, Tom Rolf; 

Running time: 73 minutes (Sweden); 55 minute (US); 80 minutes (TV)

Cast


Barbara Wilson as Diane Wilson
Sten Gester as Erik Engström
Robert Burton as Dr. Frederick Wilson
Bengt Blomgren as Col. Robert Bottiger
Åke Grönberg as Dr. Henrik
Gösta Prüzelius as Dr. Walter Ullman
Doreen Denning as Anna, Dr. Ullmans secretary
Ittla Frodi as girl in the sports car
Brita Borg as the singer
Lars Åhrén as the monster
John Carradine as narrator (US version) 



Trailer


Space Invasion of Lapland is a 1959 Swedish-American black-and-white science fiction-monster film that was heavily re-edited by American producer Jerry Warren and had newly filmed American sequences added. I admit that until recently I was unaware of the existence of this film. Sadly, after viewing it I feel that I have not missed much. 


Read on for more....


Sunday, 24 February 2019

The Manster (1959) 双頭の殺人鬼, "The Two-Headed Killer"



An imaginative low-budget movie with a cautionary tale that explores questions of identity and what it means to be human


Directed by George P. Breakston, Kenneth G. Crane
Produced by George P. Breakston
Screenplay by Walter J. Sheldon
Story by George P. Breakston
Music by Hiroki Ogawa
Cinematography: David Mason
Edited by Kenneth G. Crane
Production company: Shaw-Breakston Enterprises
Running time: 72 minutes


Cast


Peter Dyneley: Stanford
Jane Hylton: Linda Stanford
Tetsu Nakamura: Dr. Robert Suzuki
Terri Zimmern: Tara
Norman Van Hawley: Ian Matthews (as Van Hawley)
Jerry Itô: Police Supt. Aida
Toyoko Takechi: Emiko Suzuki
Kenzo Kuroki: Genji Suzuki
Alan Tarlton: Dr. H.B. Jennsen
Shinpei Takagi: Temple Priest
George Wyman: Monster


A mad scientist! 
Experimental drugs! 
Two-headed test subjects! 
Horribly mutated human guinea pigs! 
What on earth is going on?


Trailer

Before the credits even begin to roll, let’s consider the title we have before us: THE MANSTER. Encapsulated within this title we have two concepts which are central to the film – MAN & MONSTER. At what point does a man stop being a man and instead becomes a monster? Does a monster in fact lurk deep within the heart of every man? If so, what forces contribute to bringing that monster to the forefront? These and other questions will be answered in…..

The Manster!

Read on for more....



Friday, 8 February 2019

The Giant Gila Monster (1959)



The Giant Gila Monster is a film that tries to rise above the typical B science fiction film of the 50's. It contains relatable characters who have interesting relationships rather than just pure stereotypes. The settings have an air of authenticity and the eerie background music adds to the atmosphere of the film. Despite the dismal special effects and a largely unconvincing and almost irrelevant monster, it is pretty darn hard to hate the film. 


Directed by Ray Kellogg
Produced by Ken Curtis, B.R. McLendon, Gordon McLendon
Written by Ray Kellogg (story), Jay Simms (screenplay)
Music by Jack Marshall
Cinematography: Wilfred M. Cline
Edited by Aaron Stell
Distributed by McLendon-Radio Pictures Distributing Company
Running time: 74 minutes
Budget: $138,000 (estimated)

Cast


Don Sullivan: Chase Winstead
Fred Graham: Sheriff Jeff
Lisa Simone : Lisa
Shug Fisher: Old Man Harris
Bob Thompson: Mr. Wheeler
Janice Stone: Missy Winstead
Ken Knox: Horatio Alger 'Steamroller' Smith
Gay McLendon: Mom Winstead
Don Flournoy: Gordy
Cecil Hunt: Mr. Compton
Stormy Meadows: Agatha Humphries
Howard Ware: Ed Humphries
Pat Reeves: Rick
Jan McLendon: Jennie
Jerry Cortwright: Bob




Trailer

Thank goodness for the grand disembodied voice of the narrator! If only life in today’s bewildering and over-complicated world had the comforting baritone voice of an all-seeing narrator to waft over us as it explains to us what the hell is going on……And what do we have instead? Bloody Alexa and Google Assist! God help us! 




The story starts off with a teenage couple’s romantic shenanigans about to be rudely interrupted when their car is pushed over and down into a ravine. Their existence is about to be obliterated by a giant claw-like object that descends upon them.

Read on for more.....


Thursday, 21 September 2017

Teenage Monster (1958)


Is it a Western?
Is it a Horror?
Is it a Sci-fi?
NO!
It’s a monster case of Teenage angst!


Directed by Jacques R. Marquette
Produced by Jacques R. Marquette, Dale Tate
Written by Ray Buffum
Music by Walter Greene
Cinematography: Taylor Byars
Edited by Irving M. Schoenberg
Distributed by Marquette Productions Limited
Running time: 65 minutes
Budget: $57,000 (approx.)


Cast

Anne Gwynne: Ruth Cannon
Stuart Wade: Sheriff Bob Lehman
Gloria Castillo: Kathy North
Chuck Courtney: Marv Howell
Gil Perkins: Charles Cannon
Norman Leavitt: Deputy Ed
Gabe Mooradian: Fred Fox
Stephen Parker: Charles Cannon as a Boy
Jim McCullough Sr: Jim Cannon
Frank Davis: Man on Street
Arthur Berkeley: Man with Burro


In 1880 in a small town in the American southwest, a young boy is exposed to the rays from a meteor and becomes a grotesque teenage killer monster who is hidden from a hostile world by his mother.




Trailer

Read on for more....

Sunday, 23 July 2017

Monster from Green Hell (1958)


An average 50's giant bug film that peters out at the end.



Directed by Kenneth G. Crane
Produced by Al Zimbalist
Written by Endre Bohem, Louis Vittes
Music by Albert Glasser
Cinematography: Ray Flin
Distributed by DCA
Running time: 71 minutes


Cast

Jim Davis as Dr. Quent Brady
Robert Griffin as Dan Morgan
Joel Fluellen as Arobi
Barbara Turner as Lorna Lorentz
Eduardo Ciannelli as Mahri
Vladimir Sokoloff as Dr. Lorentz






Trailer

Spoilers follow below….

Journey into Green Hell

(Full account of the “Green Hill” incident from the personal journal of Dr Quent Brady)

Entry….

My colleague, Dan Morgan and I have been put in charge of a U.S. government program that has been designed to send various animals and insects into earth orbit to test the effects of exposure to space radiation.

Why do we do this?

"This is the age of the rocket, the jet, atomic power. When man prepares to reach for the stars. But before he dares to launch himself into space, there is one great question to be answered: What happens to life in the airless void above Earth's atmosphere? Will life remain untouched, unharmed by its flight through space? Or will it change into…what? There was only one way to find out and we were working on it."

And how will we do this?

Thanks to the former Nazi German rocket scientist bastards we spirited out of Germany at the end of the war, we have lots of V2 rockets with which to conduct our tests and prepare human beings for what lies beyond the comforting confines of our planet. It is into one of these rockets that we were able to “load the passengers” and at 10.15 minus 5, 4, 3, 2, 1 we sent them off “into the wide blue yonder!”

Entry…..

After what seemed at first to have been a successful launch, the radar operator informed us that the rocket was “out of normal radar range.”

Read on for more....

Sunday, 4 June 2017

I Married a Monster from Outer Space (1958)



A commendable sci-fi film with impressive camerawork, mature dialogue, effective special effects, and good acting - but one that deserves a much better title!


I Married a Monster from Outer Space is set in the fictional town of Norrisville, California where Bill Farrell is having his bachelor party on the eve of his marriage to Marge Bradley. After leaving the bachelor party, he is abducted by an alien that takes on his form. The alien “Bill” marries Marge the next day. It doesn’t take long, however, for Marge to feel that there is something different about Bill. After a year of marriage, Marge realises that Bill has become a completely different man!


How does Marge deal with this revelation?

What else is discovered about this impostor?

Who else has been affected?
What is the purpose of this strange alien invasion?


Directed by Gene Fowler Jr.
Produced by Gene Fowler Jr.
Written by Louis Vittes
Music by Daniele Amfitheatrof, Hugo Friedhofer, Leith Stevens, Franz Waxman, Victor Young
Cinematography: Haskell Boggs
Edited by George Tomasini
Production company: Paramount Pictures
Running time: 78 minutes
Budget: $125,000


Cast


Tom Tryon: Bill Farrell
Gloria Talbott: Marge Bradley Farrell
Peter Baldwin: Officer Hank Swanson
Robert Ivers: Harry Phillips
Chuck Wassil: Ted Hanks
Valerie Allen: Francine - Hooker
Ty Hardin: Mac Brody (as Ty Hungerford)
Ken Lynch: Dr. Wayne
John Eldredge: Police Capt. H.B. Collins
Alan Dexter : Sam Benson
James Anderson: Weldon
Jean Carson: Helen Rhodes
Jack Orrison: Officer Schultz
Steve London: Charles Mason
Maxie Rosenbloom: Max Grady (Bartender)







What It Means To Be A Man

Despite the corny-sounding title, I Married a Monster from Outer Space, the film has a lot more depth to it than its title might suggest. For one thing, it speaks volumes on what it means to be a “MAN” in the modern world.

At the time the film was made, there was a lot more certainty surrounding gender roles and expectations. It would have been expected that males would wind up being the bread-winner and head of the family while women would be expected to be largely subservient home-makers and mothers.

As far as conventional male and female relationships is concerned, I Married a Monster from Outer Space calls into question the then contemporary concept of maleness. It even continues to do so sixty years later when right now in the early 21st Century many males often find themselves grappling with trying to figure out what their role in society is supposed to be. This can be quite a daunting task particularly at a time of re-evaluation of gender roles; the push toward gender equality; the increasing feminisation of society and perceived social & political correctness in matters concerning expressions and manifestations of maleness.

Read on for more......

Sunday, 5 July 2015

The Beast of Hollow Mountain (1956)


Low budget, undemanding but entertaining film


Directed by Edward Nassour, Ismael Rodríguez
Writers: Robert Hill (screenplay), Jack DeWitt (additional dialogue) from an idea by Willis H. O'Brien
Produced by Edward Nassour, William Nassour
Music by Raúl Lavista
Cinematography by Jorge Stahl Jr. (director of photography);
Film editing: Holbrook N. Todd, Maury Wright, Fernando Martínez
Art Direction by Jack DeWitt,
Visual Effects by Louis DeWitt, Jack Rabin (photographic effects); Henry Lyon (model maker); Edward Nassour (stop-motion animation)
Distributed by United Artists
Running time: 81 minutes


Cast


Guy Madison: Jimmy Ryan
Patricia Medina: Sarita
Carlos Rivas: Felipe Sanchez
Mario Navarro: Panchito
Pascual García Peña: Pancho
Eduardo Noriega: Enrique Rios
Julio Villarreal: Don Pedro
Lupe Carriles: Margarita
Manuel Arvide: Martínez
José Chávez: Manuel
Roberto Contreras: Carlos
Armando Gutiérrez: Employee
Guillermo Hernández: Jorge
Margarito Luna: Jose
Jorge Treviño: Shopkeeper

The Beast of Hollow Mountain is a 1956 film about an American cowboy living in Mexico who discovers that his cattle is being eaten by a giant prehistoric dinosaur, possibly an Allosaurus.
 





Movie trailer






 Spoilers follow below….

The scene and mood is immediately set for us, namely in southern Mexico at a place called "Hollow Mountain" about which tales have been told of a curse and where cattle and farmers have been mysteriously disappearing. The mountain has never been explored and there is a swamp at its base that claims the lives of anyone foolish enough to venture too close.

In almost direct defiance of such tales of curses, disappearances and certain death, an American cowboy (Jimmy Ryan) and three cowboys enter the area in search of lost cattle. We are then invited to start joining dots together by the placement of certain clues. First the men find mysterious tracks and then the carcass of a cow stuck in quicksand in a swamp. One of the men falls into a tar pit or quicksand at the base of the swamp and is nearly sucked down into oblivion, but he is fortunately rescued. Is this the curse at work or is the rival ranch owner Enrique Ríos responsible for what has happened to the cattle?

Later, when Jimmy rides into town, he manages to save a drunken ranch hand named Pancho by stopping his runaway horse that was spooked by a group of young pranksters throwing firecrackers at Pancho and his horse. Pancho and his seven-year-old son, Panchito (whose name you will hear again and again to an annoying degree!) are grateful to Jimmy thereby cementing a bond of friendship. The bond then extends and deepens to encompass someone else when Sarita, the daughter of Pancho's employer, Don Pedro, enters the scene wearing a fetching off the shoulder blouse.






The strengthening of this bond will serve to fuel the fires of future conflict when later, at Don Pedro’s ranch, as Jimmy is discussing the matter involving the missing cattle, Enrique angrily bursts in upon the scene, accuses Jimmy of underselling his cattle and warns him to return to Texas. The two almost launch into fisticuffs until Don Pedro intervenes.

Next morning, Jimmy wakes to discover that all his ranch hands have decamped due to fear of the Beast, a beast by the way that stubbornly lurks in the misty realm of superstitious tales and has yet to make an appearance! Have no fear, for Pancho and Panchito are here to replace the cowardly cowboys. Pancho promises not to drink anymore, while Panchito declares that he will be responsible for his father.

The beautiful Sarita angrily accuses Jimmy of luring Pancho away to work for him instead. However, when she learns that Pancho willingly came to help Jimmy, she apologizes to him.

Just as romance begins to reign supreme, Ryan learns that Sarita will be married to Enrique in two weeks and that Enrique can be cute and cuddly when you get to know him. There is a suggestion of obligation rather than love being involved in her engagement to marry Enrique as he has helped her father. Seeds of conflict are beginning to germinate! As Sarita leaves to go home, she finds that her horse is missing and has to ride back to town with Ryan using his horse. Guess you can see where all this is heading! 


So folks,.. 

Is this a Western? 
Is it a love (triangle) story? 
Is it a science fiction/horror genre film?




It is hardly surprising that when Jimmy and Sarita arrive in town, Enrique spots them and begins foaming at the mouth. A testosterone-fuelled melee ensues between Jimmy and Enrique as they both engage in a no-holds barred no-disqualification match in the street. After systematically destroying the livelihood of half the town’s population, Gringo Ryan emerges as Bareknuckle Champion of Mexico. Jimmy then reads a telegram he has just received informing him that the U.S. government has agreed to the price he is asking for his cattle.

Now the pressure is on when Don Pedro in the middle of “his town” tells Ryan that Enrique wants to buy his ranch and cattle for a fair price. Ryan refuses the offer and continues to do so despite the prospect of further conflict if Ryan does not give up the ranch before a new shipment of cattle arrives.

Shortly before the wedding at Hollow Mountain, Ryan and his pal and partner (business sense!) Felipe lead Pancho and his son to their cottage, whose former owner seems to have mysteriously disappeared. A search soon reveals the body of yet another missing cow. Could this be the work of you know what? Ryan dissuades Pancho from trying to explore the swamp claiming it would be unsafe for him to do so.

Back in town, Jimmy attempts to buy supplies but the merchant will not extend his credit. It turns out that Enrique has pressured the banker into not lending him money against the cattle sale. Soon after, Enrique catches sight of Ryan and Sarita talking to each other and he decides to come up with a new plan in which he sends out two ranch hands to steal some cattle while Ryan and Crazy-hat Felipe (whose sombrero takes up half the road!) are away. Enrique’s two henchmen are soon taken on as ranch hands by Ryan and Felipe.





That afternoon, Jimmy receives a note from Sarita to meet with her at the graveyard. When they meet, she warns him to be careful of Enrique and despite her feelings for Jimmy, pleads with him to leave for his own sake. Ryan, however, reads something different into her attempt to convince him to leave and give up his ranch up to Enrique, thereby ending hostilities between himself and Enrique.

Meanwhile at the cottage, Pancho asks Panchito to wait for him while he goes to the swamp in search of the lost cattle. He tells his son that If he is not back by dusk, Panchito is to tell Ryan about what happened. Despite Panchito’s pleas for his dad to not leave, Pancho goes ahead with his plan to search the swamp.


Enter the Beast! 



As Pancho makes his way through the swamp, he hears a terrifying roar and discovers to his extreme consternation that the Beast of Hollow Mountain likes to dine out on Mexican cuisine. Our view is not one of the creature itself but is instead a point of view shot suggestive of the Beast descending upon the terrified, cowering and soon to be consumed Pancho.

When Pancho does not return, the frightened Panchito rides back to the ranch where Jimmy has been telling Felipe that he is planning to sell the ranch leaving Felipe in charge. Felipe is aghast at this news. Suddenly, Panchito bursts in crying out that his father has not returned and telling the two men about what has happened.

After riding out to the swamp, Ryan and Felipe find Pancho's hat and assume that he was swallowed up by the quicksand, but decide not to tell Panchito that his father is dead or show his hat to him. Later, a grief-stricken Panchito, tries several times to look for his father in the swamp, but is prevented by Ryan and Felipe each time. It seems that Panchito will not be friends with Ryan ever again.

While a festival is underway in town, Don Pedro has made arrangements for Panchito to be cared for in a foster home. Ryan also informs Sarita and Don Pedro that he will be moving himself and his cattle that very day, leaving the land for Enrique. As Jimmy says goodbye to Sarita, he tells her that he can never see her again or he would never be able let her go.

Although our villain, Enrique is cock-a-hoop to learn that Ryan is leaving, he puts another plan into action to stampede the cattle away from the station.

As Sarita dresses in her wedding clothes and prepares to wed Enrique, it is obvious that she is in love with Jimmy but she pretends to be happy in front of Done Pedro.

Later, after being told bluntly that his father is in fact dead, Panchito decides to go to the swamp to look for his father. Margarita, Sarita's maid, tries to stop him, but he gets away. Margarita then rushes to tell Sarita, who orders her horse to be saddled. 

Lo! Behold The Beast!







All hell breaks loose when at the ranch, the Beast appears before us for the first time in the film as it decides to snack on a steer. This then causes the cattle to stampede straight toward the town where the festival is in full swing. Mayhem and pandemonium ensue as the cattle stampede through the town, brushing aside the futile efforts of the cowboys trying to stop them.



So now we have Panchito in the swamp looking for his father, Sarita going after Panchito, Ryan on the trail of Sarita and Enrique and his men following Ryan: A veritable smorgasbord making its own way to the diner!



Now the pace ratchets up another notch as Panchito is chased by the Beast in the swamp. As he makes it across a river and to the small cottage, he is met there by Sarita and they both decide to hide in the cottage. The Beast arrives at the cottage, breaks through the roof and tries to attack the two humans. Enter our hero Ryan who manages to distract the Beast by shooting at it with his gun. Sarita and Panchito then exit the cottage and make their way to Panchito's horse while Ryan lures the Beast up a mountain.





Meanwhile the indefatigable man-with-a-purpose, Enrique pops up and attempts to kill Ryan, but the Beast’s presence causes his horse to panic and buck him off. Now the Beast, who is spoilt for choice, chases Enrique and both he and Ryan become unlikely brothers in arms – or, in adversity at least!



  
A wonderful pursuit down a steep slope and into a small cave is followed by a nail-biting scene at the cave entrance with the Beast reaching into the opening, after the two men. The only protection they have is Ryan's knife but it cannot stop the Beast from reaching Enrique, pulling him out of the cave and killing him. Ryan is saved from a similar fate when the other cowboys open fire on the Beast causing it to be distracted.




Wile the Beast chases the others, Ryan and Felipe make their way to the tar pit but are soon located by the Beast. In a death-defying scene, Ryan throws a lasso around a tree branch and uses the rope to swing back and forth, just out of reach of the Beast's snapping jaws. At a crucial point, the Beast moves forward a few steps too many and gets its feet stuck fast in the quicksand. We are then left with the sight of the Beast roaring helplessly as it begins to sink down and disappear into Nature’s clinging, cloying, enveloping embrace of extinction while Ryan and the others reunited look on sadly and then slowly make their way toward their horses.


Points Of Interest




The Beast of Hollow Mountain is the first film to feature both dinosaurs and cowboys and would be later followed by such films as Valley of Gwangi, (1968)

There’d be some people scratching their heads and wondering what genre of film The beast Of Hollow Mountain fits into. The film can be seen as being part of what is termed “Weird West” subgenre that combines elements of the Western with another genre, as in this film’s case, sci-fi and horror.





What is refreshing about this film (especially in this tap, click, swipe, instant gratification, CGI saturated, deconstructionist and contrived reality media age) is that one can simply sit back and enjoy a presentation that makes no demands on the spectator other than sheer enjoyment. What we have are the basic ingredients for good entertainment: a genuine western with elements of sci-fi, a villain, a punch-up, a cattle stampede, a heroine who’s nice on the eye, a love story and a mysterious, menacing creature that might or might not be the stuff of legend and tales.




Despite any budget constraints, full marks for effort must go to the effects involving the Beast itself whose movements were quite convincing. Loved the crazy tongue-action! As for the Beast itself, it was animated using two different stop-motion animation techniques. First, in a time-consuming and painstaking process, a two-foot-high armatured, rubber-covered model was moved, exposing one frame at a time. Replacement animation was also used and this involved several different models of the same creature made of plaster, each positioned in a slightly different way to represent a particular movement. An illusion of motion resulted when filmed in sequence for a few frames per second. The breathing effect of the creature was achieved by pumping air into a hollow space within the throat area of the two-foot-high model and then releasing it. Finally recalling scenes from Godzilla, two large rubber feet were worn by a technician in some shots to represent the monster walking.




Because these days we are so used to seeing one damn thing after another happening on our screens, some viewers may be chagrined at the fact that the beast doesn't appear until the last half-hour of the film. Some things however, are worth the wait, especially if the tension and mystery is allowed to build up to an exciting climax, which in the case of this film involves an action-packed running battle between cowboys and the dinosaur.






©Chris Christopoulos 2015

Friday, 1 August 2014

Tarantula (1955)


Jack Arnold’s well-crafted science fiction classic


Directed by Jack Arnold
Produced by William Alland
Screenplay by Robert M. Fresco, Martin Berkeley
Story by Jack Arnold
Based inspired by "No Food for Thought" (teleplay, Science Fiction Theatre series, May 14, 1955) by Robert M. Fresco
Music by Herman Stein, Henry Mancini
Cinematography: George Robinson
Edited by William Morgan
Distributed by Universal Studios
Running time: 81 minutes
Box office: $1.1 million (US)


Cast


Leo G. Carroll as Prof Gerald Deemer
John Agar as Dr Matt Hastings
Mara Corday as Stephanie Clayton
Nestor Paiva as Sheriff Jack Andrews
Ross Elliott as Joe Burch
Edwin Rand as Lt. John Nolan
Raymond Bailey as Townsend
Hank Patterson as Josh
Bert Holland as Barney Russell
Steve Darrell as Andy Andersen




Trailer




Spoilers Follow....



A tarantula injected with a special nutrient formula…



escapes from a scientist's laboratory...






and grows into a 100-foot monster that rampages through the Arizona countryside!!!!





A scene of barren desolation punctuated only by the mournful Arizona desert wind and the aerial winged seekers of death circling overhead above a staggering figure of unnatural deformity. This figure in its final death throes has seemingly been coughed up by the desert in disgust. The scene of tragedy is somewhat rendered comical as the figure is about to meet its “Maker” (whoever that may be) in the middle of the desert clad only in pyjamas!





This mysteriously deformed man turns out to be biological research scientist Eric Jacobs whose dead body is soon found in the desert. Dr Matt Hastings, a family doctor from the town of Desert Rock, is called in to examine the body. Jacobs worked with Prof Gerald Deemer who has been conducting mysterious experiments at an isolated mansion near the town.





Dr. Matt Hastings is baffled by the cause of Eric's death. Jacob’s distorted features suggest that he was suffering from acromegaly, a disorder of the pituitary gland that normally takes years to develop but in Jacob’s case seems to have progressed in a matter of only a few days. Hastings can't understand why he has deteriorated so rapidly. Dr Hastings requests that he be given permission to perform an autopsy to learn why Jacobs’ face is so distorted. This is refused on the grounds that Dr Gerald Deemer already signed the death certificate and there is no indication that Jacobs’ death was the result of foul play. Professor Deemer also insists that Jacobs was suffering from acromegaly and refuses to authorize an autopsy.

Prof Deemer’s comments give us an insight into his thinking and are made more poignant as events unfold. At one point he observes that “These things (aches, pains and bodily wear and tear) happen as you get older.” He also declares that as a physician one can feel helpless knowing what is wrong while not being able to do anything about it.

Matt Hastings is puzzled with the mysterious disease and decides to investigate acromegaly further.


Acromegaly




Taken from Ancient Greek άκρος akros "extreme" or "extremities" and μεγάλος megalos "large") acromegaly is a condition that most commonly affects adults in middle age and can result in severe disfigurement, complicating conditions, and premature death if left unchecked. Its slow progression makes the disease hard to diagnose in the early stages and it is frequently missed for years until changes in external features, especially of the face, become noticeable. Acromegaly is often associated with gigantism.


Deemer’s Lab






Deemer has been conducting experiments on animals using an atomic isotope to create a super food nutrient with the aim of feeding the world's increasing population. He has injected this nutrient (type 3Y) into lab animals, which have grown at astonishing rates. Using simple but quite effective special effects we see an enormous guinea pig after only 13 days treatment and a caged tarantula many times its normal size after 22 days treatment. Notice how its size and rapid rate of growth is emphasized by the visual juxtaposition with its normal-sized counterpart.







Science: providing a potential solution for an impending problem, in this case a future of food shortages for humanity due to human population growth outstripping food production. The solution: to create a viable replacement for food and prevent future global starvation. But what about unforseen consequences?





While science strives to find solutions to problems, it can inadvertently create even greater unforseen problems. (Such concerns form part of the fears surrounding modern day scientific developments such as genetically modified food and crops.) Hastings learns that the experiments proved to be successful in that some animals were able to thrive and grow exclusively on the nutrient without any food. However, other animals have died after receiving injections of the nutrient, and as we have seen and are about to see, other animals have kept growing to gargantuan proportions with drastic implications for human beings. 

Hastings also learns that the cause of Jacobs' death was his impatience to see if the latest batch of the nutrient would sustain humans. It was his act of injecting himself with the nutrient which resulted in his advanced acromegaly and his subsequent rapid death. Deemer does not reveal that Jacobs also injected his research assistant, Paul Lund, with the same nutrient.






After Hasting leaves, the now deformed Lund appears, attacks Deemer and runs amok destroying part of the lab. As a result of this rampage, the lab catches fire and the glass of the tarantula's cage is shattered by Lund who then injects the unconscious Deemer with the nutrient.





During the struggle, the tarantula escapes the lab unnoticed. Lund then staggers, collapses and dies. Deemer soon regains consciousness, grabs a fire extinguisher, and puts out the fire. 

Deemer, intending to continue his work without questions or objections being raised, buries Lund's body without informing the authorities. As he is concealing all traces of the grave, the research monkey suddenly jumps from the side of the screen onto the Professor’s back in a tried and true shock tactic often used by director Jack Arnold. We will again see the little monkey perched on Deemer’s back, neck and shoulders in the film. It almost stands as symbol of the much larger monkey that Deemer will have on his back as a result of his course of action.


Enter Stephanie "Steve" Clayton



Stephanie "Steve" Clayton arrives in town to work with Dr Jacobs. She has signed on to assist in the lab as part of her master's degree program. After being told that she will have to wait a couple of hours for the only taxi driver in town to return and drive her out to the lab, she winds up accepting a ride from Dr Hastings, who also happens to be headed there.



Deemer’s Lab




After Hastings and Steve arrive at Deemer's house, the Professor pretends that lab fire was an accident due to an equipment malfunction. He goes on to explain how he is making the nutrient using the power of the atom to bind the solution. His aim is to produce a non-organic food concentrate to meet the demands of an ever increasing world population from 2 billion people to a projected 3 billion in 1975.

Deemer’s figures for the year 2000 show how thinking about future population trends greatly underestimated population growth. Present day food shortages are often a function of unequal distribution combined with natural and man-made causes (political corruption and mismanagement, war etc.) What we produce, where we produce and the way we produce our food will need to be reconsidered in the very near future, particularly in the face of global climate change. Science and the genetic manipulation of food resources will loom large in the global consideration of food production. One problem for humanity has been (as stated by Matt), “how many of us look that far into the future?”

Shape Of Things To Come


Events are foreshadowed as the camera zooms in on Deemer’s deformed hand, added to the fact that we know what had happened to Jacobs and Lund and Steve’s observation that there are “so many things to take into account” before there can be tests on humans.




Yes, the times are a-changing: Dealing with it ‘50s style!





Steve and Matt get to know each other better as Matt takes her around the town and out to take in the desert scenery. For Matt the desert is a focus of nature whereby everything that swam or crawled “left its imprint.” As for matters deemed to be creepy, “the unknown always is.” As if right on cue, a pile of rocks come crashing down on to the spot where they were sitting.


By the pricking of my thumbs something unknown, big and creepy this way comes!








The creepiness is added to by director Arnold’s visual shock tactic when the Sherriff’s hand suddenly darts from the side of the screen and touches Matt’s shoulder as he looks around. Add to that the later shot of a giant black silhouette of the tarantula and the point of view shot as the spider bears down on the terror-stricken horses and rancher. 




It turns out that the something unknown is devouring the local ranchers’ horses, leaving only their skeletal remains, “like peeling a banana.” Not even footprints or blood have been left behind. Not only that, but two human beings appear to have been added to the mysterious something’s menu in what at first sight appears to have been a car accident. 






The only clue as to what happened consists of large pools of what seems to be some kind of venom next to the stripped skeletons and near the car accident. After what seems to be a disturbing practice of handling and seeming to taste the unknown substance, Hastings takes some of the material in for a test at the Arizona Agricultural Institute.


The lab analysis determines that the mysterious substance is insect venom and more specifically, venom from a tarantula but in an enormous quantity.

Roll The Film


At the Institute Matt and the audience are treated to an educational film in which we learn that tarantulas;

  • Main enemy is the spider wasp
  • Move fast 
  • Can back down a rattlesnake 
  • Are flesh eaters 
  • Predigest their food 
  • Can live for 25 years 
  • Like all God’s creatures, “has a function in their own world.”

Joining The Dots





Steve meanwhile begins to notice disturbing changes in Dr Deemer's appearance and demeanour. His face is gradually becoming distorted and his mood has become more sinister and darker as the acromegaly continues to manifest itself.

Hastings learns that one of the professor's test animals was a tarantula, which was presumed destroyed in the fire. Deemer also confesses to Matt and Stephanie that Paul went on a rampage in the lab and caused the tarantula to escape. Hastings is able to make the connection to the recent disturbing local events.

Armed with this knowledge, Hastings pleads with the sheriff to obtain explosives in order to destroy the creature that has been killing livestock and humans.






As Stephanie is studying in her bedroom at night, the giant tarantula approaches Deemer’s house. Once at the house, the tarantula observes Stephanie through her bedroom window and then sets about wrecking the house. A terrified Stephanie attempts to save Deemer, but the tarantula kills him before she can save him.

Matt drives up to the house as it collapses and is just in time to rescue Steve from the Tarantula’s onslaught. They both drive off into the desert, notifying the State Police and the Sheriff, who issues orders to evacuate the town.






Efforts on the part of the sheriff and the highway patrol to slow the monstrous creature with machine guns as it follows the desert road toward the town fail completely. Another effort to kill the monster with dynamite also fails with the monster happily traipsing right through the blast


“Dog gonnit, I wish we had some nitro!!!” (sheriff)




Hey hairy legs, “…you've gotta ask yourself a question: "Do I feel lucky?" Well, do ya, punk?”

With the tarantula bearing down on the town, jets are scrambled from a nearby Air Force base. The fighter planes with Clint Eastwood as jet squadron leader soon approach. They fire rockets and drop bombs on the monster as it reaches Desert Rock. When that has no effect, they unleash napalm, incinerating the tarantula.





 Points Of interest


The special effects of Clifford Stine even after 60 years are still quite impressive with the images of the giant spider being effectively and realistically incorporated into the shots by using film footage of a real tarantula being blown up and rear projected. Models were used only for close-ups and the final shots of the creature on fire, Note also the realistic destruction of Demmer’s house by the giant spider as well as the excellent make-up job on Jacobs and Deemer. 

Apparently a real tarantula named “Tomorrow” was used in the film.





Take note of the realistic depiction of ‘50s small town America which makes the characters seem all the more real to the viewer.





Leo G. Carroll’s style of acting serves to make him a most convincing scientist. His manner and delivery of dialog suggests something of the absent-minded scientist totally absorbed in his work.

“Tarantula” was produced by William Alland who also produced "Creature From the Black Lagoon" and "It Came From Outer Space", both films featured in this blog. It was directed by Jack Arnold who also directed those two films. See also the “Tribute to Jack Arnold” post in this blog. 

The movie was filmed in and around the rock formations of "Dead Man's Point" in Lucerne Valley California, often used as a location for early western films. The town of Desert Rock, Arizona is fictional.





Spot the discrepancies between what is depicted on the poster and what was seen on and known from the film.



Fact File


Tarantula 







Tarantulas;

  • Are the world’s largest spiders. They range in size from 4.5 to 11 inches (11.4 to 28 centimetres) in length or about the size of a dinner plate




  • Are arachnids and not insects and consist of more than 800 species
  • Live mostly in the tropical, subtropical, and desert areas of the world, with the majority found in South America
  • Are not threatening to humans. Their venom is milder than a honeybee, and though painful, their bites are not fatal
  • Can live (female) 30 years or longer in the wild.
  • Are quite docile and rarely bite people.
  • Defend themselves by throwing needle-like, barbed hairs at their attackers.
  • Ambush small prey at night, by stealthily sneaking up on a potential meal and then pouncing
  • Can be fatally injured if they fall or are dropped due to rupture of their exoskeleton
  • Have retractable claws on each leg, much like a cat
  • Can regenerate lost legs
  • Have been around for millions of years and have not changed much in that time
  • Do not spin webs but use their silk to make doors or soft walls for their burrow
  • Live (many species) in burrows underground
  • Are nocturnal hunters that eat insects, beetles and grasshoppers. The Goliath Bird-eating Tarantula species will eat larger prey, such as, lizards, snakes, frogs, bats and small birds. (No humans on the menu-yet!)
  • Worst enemy is the Spider-Wasp (also people)




  • Are often caught as pets and in some countries are eaten



Who should be more afraid of whom?












©Chris Christopoulos 2014