Showing posts with label robots. Show all posts
Showing posts with label robots. Show all posts

Saturday, 18 July 2026

The Earth Dies Screaming (1964)







A thought-provoking sci-fi, horror and mystery thriller with a gripping tale of survival that explores themes about human beings’ capacity for both destruction and redemption


Directed by Terence Fisher
Written by Harry Spalding
Produced by Robert L. Lippert, Jack Parsons
Cinematography Arthur Lavis
Edited by Robert Winter
Music by Elisabeth Lutyens
Production company Lippert Films
Distributed by 20th Century Fox
Running time 62 minutes



Cast

Willard Parker as Jeff Nolan
Virginia Field as Peggy Hatton
Dennis Price as Quinn Taggart
Thorley Walters as Edgar (Ed) Otis
Vanda Godsell as Violet (Vi) Courtland
David Spenser as Mel Brenard
Anna Palk as Lorna Brenard


Trailer

For this post, I’d like to present an underrated and overlooked sci-fi film from the 1960s. In fact, I had forgotten about it and neglected to include the film as part of my recent free eBook, Sci-Fi Film Fiesta: The Swingin’ 60s – The Complete Book. (See download link below So, for your enjoyment may I present, The Earth Dies Screaming (1964)



Read on for more.....

Thursday, 5 June 2025

The Creation of the Humanoids (1962)



A deceptively intelligent early sci-fi film that relies quite heavily on dialogue that contain ideas of even more relevance today as we hurtle toward a future in which we will have to come terms with our relationship with our “smarter” technology.


Directed by Wesley Barry
Written by Jay Simms
Produced by Wesley Barry, Edward J. Kay
Cinematography: Hal Mohr
Edited by Ace Herman
Music by Edward J. Kay
Distributed by Emerson Film Enterprises
Running time: 84 minutes



Cast

Don Megowan as Capt. Kenneth Cragis
Erica Elliot as Maxine Megan
Don Doolittle as Dr. Raven
George Milan as Acto, a clicker
Dudley Manlove as Lagan, a clicker
Frances McCann as Esme Cragis Milos
David Cross as Pax, a clicker
Malcolm Smith as Court
Richard Vath as Mark, a clicker
Reid Hammond as Hart, Chairman of Surveillance Committee
Pat Bradley as Dr. Moffitt
William Hunter as Ward, Surveillance Committee Member
Gil Frye as Orus, a clicker
Alton Tabor as Kelly's Duplicate
Paul Sheriff as Policeman


Trailer


The setting: 23rd century post nuclear war holocaust society.
The surviving population suffers from a decreasing birth rate.
The human race is headed for extinction.
People have become dependent on humanoid robots (‘Clickers’) for assistance.
The ‘Order of Flesh and Blood’ fear that the robots will take over and supplant human beings.
The Order tasks itself with preventing the robots from becoming too human and with ensuring that human beings remain dominant.
A scientist experiments with creating human replicas that have genuine emotions and memories.
Two central characters, Kenneth Cragis and Maxine Megan form a close relationship and make a discovery that will call into question all that they thought they knew about the basis of their society and themselves.

And now prepare yourself for “The Creation of the Humanoids” and to have your ideas challenged on what it means to be human along with the possible future direction of our human civilization……..

Read on for more....... 

Saturday, 21 October 2023

Runaway (1984)


A lesser-known 1980s sci-fi gem that deserves far greater recognition


Directed by Michael Crichton
Written by Michael Crichton
Produced by Michael I. Rachmil, Lisa Faversham, Kurt Villadsen
Cinematography: John A. Alonzo
Edited by Glenn Farr, James Coblentz
Music by Jerry Goldsmith
Production company: Delphi III Productions
Distributed by Tri-Star Pictures
Release date: December 14, 1984
Running time: 99 minutes
Budget: $8 million
Box office: $6,770,587 (USA)


Cast

Tom Selleck as Sergeant Jack R. Ramsay
Cynthia Rhodes as Officer Karen Thompson
Gene Simmons as Dr. Charles Luther
Kirstie Alley as Jackie Rogers
Stan Shaw as Sergeant Marvin James
G.W. Bailey as Chief of Police
Joey Cramer as Bobby Ramsay
Chris Mulkey as David Johnson
Sullivan Walker as K.C.
Anne-Marie Martin as Hooker At Bar
Michael Paul Chan as Wilson, Vectrocon Security Guard
Babz Chula as Construction Foreperson
Marilyn Schreffler as Voice of Lois
Elizabeth Norment as Miss Shields
Carol Teesdale as Sally
Paul Batten as Harry
Betty Phillips as Linda
Stephen Thorne as Tommy
Stephen E. Miller as Rudy
Cec Verrell as Hooker
Amber Borycki as Baby (uncredited)



Sometime in a future which we have almost caught up with, robots perform domestic house-hold, agricultural, construction and many other services. The police have a specialized department tasked with investigating and resolving cases involving malfunctioning robots that pose a danger to humans. Such robots are known as "Runaways"

Trailer

Read on for more......

Thursday, 9 September 2021

SILENT RUNNING (1972)



A melancholy sci-fi film that makes you think about what could happen, and is in fact happening to our planet, along with the consequences for us all if no action is taken.


Directed by Douglas Trumbull
Written by Deric Washburn, Michael Cimino, Steven Bochco
Produced by: Michael Gruskoff, Marty Hornstein, Douglas Trumbull
Cinematography: Charles F. Wheeler
Edited by: Aaron Stell
Music by: Peter Schickele
Production company: Universal Pictures
Running time: 89 minutes
Budget: $1,350,000


Cast


Bruce Dern: Freeman Lowell
Cliff Potts: John Keenan
Ron Rifkin: Marty Barker
Jesse Vint: Andy Wolf
Mark Persons: the Drone
Steven Brown: the Drone
Cheryl Sparks: the Drone
Larry Whisenhunt: the Drone
Joseph Campanella: Neal - Berkshire' Captain (voice)
Roy Engel: Anderson (voice)




Trailer


Spoilers follow below....




The viewer is at first treated to a close-up view of a slice of nature in all its colorful and vibrant splendor. The camera takes us on a journey through water droplet speckled plant-life along with glimpses of its insect, amphibious and other denizens.



As the camera pulls out, our view is jarred by the sudden appearance in the shot of a section of an artificial surface feature which appears to be a metal foot-ramp. Next we see a monk-like robed human figure and behind and above him a star-strewn view of space. This is not what might at first have been expected.



The robed individual is Freeman Lowell, one of four crewmen aboard American Airlines space freighter Valley Forge. Lowell is the resident botanist and ecologist who maintains the various plants, cultivates the crops and attends to the animal life, all of which are contained in enormous, geodesic greenhouse domes attached to his and other large spaceships.

The lush foliage being framed against the pitch black of outer space and contained within a marvel of human technology makes the existence of the flora and fauna all the more remarkable and miraculous.



“On this first day of a new century, we humbly beg forgiveness and dedicate these last forests of our once beautiful nation, in the hope that they will one day return and grace our foul Earth. Until that day, may God bless these gardens and the brave men who care for them.”

This is the not too distant future, where all plant and animal life on Earth is becoming extinct. What remains has been preserved in the domes of the 2000 meter long orbiting space freighters. The plan or mission is to eventually return the preserved plant and animal life to earth. The Valley Forge, is part of a fleet of freighters currently located just outside the orbit of Saturn.

Freeman Lowell is passionately and one might say obsessively dedicated to his work of preservation and conservation. Not so, however his crew-mates whose main priority is to return to Earth after their one-year deployment to space.


“Do I have to put signs up here to keep you guys off my grass?”

The tranquility of the scene is rudely disrupted by the antics of Lowell’s crew-mates who burst in on Lowell driving motorized buggies, tearing up the soil and nearly bowling Lowell over. Blowing off steam and having fun is a lot more appealing to Lowell’s crew-mates than dedication and respect for what’s around them and their responsibility toward it.

In the next few scenes featuring his interaction with his crew mates, Lowell comes across not just as some hippie drop-out intent on merely shunning civilization. Instead, this is a man who appreciates the natural world and all that it offers, who is adept at working in partnership with technology as a tool and one who can play a mean hand of poker which suggests skill at strategy and bluff. He probably just prefers the natural world and technology to his fellow ass-hole human beings and is fully committed to the ideals behind the forest preservation mission.

More importantly, Lowell appears to be a hopeless and naive optimist who fervently believes that the authorities back on earth have indeed paid attention to his communications and that “they're about to re-establish the parks and forest system” with him as director. After all, he’s spent the last eight years dedicated to the project and that “here's no way they're gonna announce cutbacks, not after this amount of time.”



“You don't think that it's time that somebody cared enough to have a dream?”

What Lowell doesn’t seem to understand is the fickle and self-absorbed nature of human beings as alluded to by crewman Wolf who tells him, “it's been too long, Lowell, people got other things to do now.”

This sentiment is underscored by a radio transmission from Con Central in which their boss, Anderson informs the crews of the fleet that orders have been received to “abandon, then nuclear destruct, all the forests and return our ships to commercial service.”





It is at this point that something within Lowell’s psyche seems to snap and begins to unravel. It is as if there is no place in the universe anymore for logic, reason, for rationality, for a sense of right and wrong. To him, such a destructive course of action as the blowing up of the Earth’s last remaining forests in space is just “insane.”



♪ Fields of children ♪
♪ Running wild ♪
♪ In the sun ♪
♪ Like a forest is your child ♪
♪ Growing wild ♪
♪ In the sun ♪
♪ Doomed in his innocence ♪
♪ In the sun ♪
♪ Gather your children ♪
♪ To your side ♪
♪ In the sun ♪
♪ Tell them ♪
♪ All they love will die ♪
♪ Tell them why ♪
♪ In the sun ♪
♪ Tell them ♪
♪ It's not too late ♪
♪ Cultivate one by one ♪
♪ Tell them to harvest ♪
♪ And rejoice ♪
♪ In the sun ♪



A future time where all flora and fauna is extinct on Earth.
The planet's ecosystems exist only in large pods attached to spacecraft.
Commercial interests have now taken precedence.
The pods are to be jettisoned into space and destroyed by nuclear devices.
The crew of Valley forge and other ships can return home to earth.
Botanist and crew member Freeman Lowell has tended the plants for eight years.
How will the dedicated Lowell take the news?
Is the earth destined to lose the last of its forests and living creatures?

Read on for more....

Tuesday, 17 December 2019

Sci-Fi Stories That Inspired Classic Sci Fi Films: “Deadly City” by Paul W. Fairman (1916 – 1977)



Paul Warren Fairman (1916-1977) was an editor and writer in a variety of genres under his own name and under pseudonyms. In 1955, he became the editor of Amazing Stories and Fantastic.


Fairman's science fiction short story"Deadly City" appeared in the March 1953 issue of Worlds of Science Fiction: If, under Fairman's "Ivar Jorgensen" pseudonym and was made into the motion picture, Target Earth which is features in this blog.


Target Earth (1954) is set in an eerily deserted Chicago and involves a small group of people who have been overlooked during a mass evacuation of "the city that never sleeps." The evacuation has occurred due to a sudden invasion by hostile robots (well, at least one in the film!) possibly from the planet Venus.

Fairman’s story, however focuses less on the alien invasion aspect than the film does. There are no robot invaders. Instead, the invaders are glimpsed once and only from a distance. The printed story is also far more gritty, noirish and brutal than the film version.


A new Roger Corman double feature on the Classic Sci-Fi Double Feature Page.

Tuesday, 25 March 2014

Tobor The Great (1954)

Enjoyable adventure sci-fi

Directed by Lee Sholem
Written by Carl Dudley, Philip MacDonald
Produced by Republic Pictures
Running time 77 min.


Cast


Charles Drake: Dr. Ralph Harrison
Karin Booth: Janice Roberts
Billy Chapin: Brian 'Gadge' Roberts
Taylor Holmes: Prof. Arnold Nordstrom
Steven Geray: The Foreign Spy-Chief
Henry Kulky: Paul - Spy-Henchman
Franz Roehn: Karl
Hal Baylor: Max - Spy-Henchman





Trailer








(Spoilers follow below) 


Special Report 

ROBOT RUINS RED SPY PLOT!
(Science Editor)






As has been recently reported, a young boy-genius, Brian “Gadge” Roberts, together with his grandfather's robot named “Tobor”, thwarted plans by Soviet spies to obtain information about the construction of the revolutionary new robot.

The boy hero’s grandfather, Prof Nordstrom is the inventor of “Tobor”, a robot he built to replace humans on spacecraft. Prof Nordstrom has often been in heated dispute with the CIFC (Civil Interplanetary Flight Commission) Commissioner over his agency’s questionable practices for preparing humans for space exploration.

At the mid-point of this decade in the middle of the 20th Century, our nation is poised to launch the first human being into space. To this end, the CIFC was formed and is tasked with developing newer and more efficient rocket motors and nuclear power plants, as well as alloys to house such motors.

The CIFC’s methods of handling the human elements of space travel have become a bone of contention not only with Prof Nordstrom, but also with leading CIFC scientist, Dr Ralph Harrison. After intervening in an experimental centrifuge test of an astronaut candidate’s ability to withstand G force acceleration, Dr. Harrison recently submitted his resignation to the CIFC commissioner, declaring that he would not be party to condoning such unsafe human performance tests.

Dr Harrison in a recent interview stated that he wouldn’t “stand by and see manslaughter become a part of the Flight Commission’s policy” and that he would rather “resign than see human beings become guinea pigs.”

As a way of providing a potential solution to the dilemma, both Dr Harrison and Prof Nordstrom decided to team up to complete work on the project of constructing a robot to replace humans on spacecraft.

According to Professor Nordstrom, “it is ill-advised to use human beings on the basis of guess work. It is essential that we observe and know the conditions prevalent in outer space before we send them up there to face any number of unknown hazards.”

This science editor, along with various others from among our nation’s esteemed science journalists, were invited to attend a demonstration and unveiling of Nordstrom’s robot at his secluded and secure Los Angeles residence. The electronic security measures and elaborate security checks he had in place needed to be seen to be believed!






At the long anticipated unveiling, the metallic “monster” that stood impassively before us suddenly came to “life” with glowing eyes and movement of its limbs like the awakening of an electronic Frankenstein’s monster.

According to Nordstrom, this remote-controlled, electronic simulation of a man is endowed with synthetic sentience and extra-sensory perception (ESP), enabling it to distinguish between constructive and destructive emotions of others and to react to emotional stimuli appropriately.

Professor Nordstrom went onto explain that Tobor is “already a sentient being” possessing a “synthetic instinct” and a sense of “self-preservation.”






After demonstrations involving Nordstrom’s daughter, Janice and one of our slightly embarrassed colleagues interacting with Tobor, it became quite apparent that the robot could be controlled by ESP, that it is sentient and that it can react to emotion!

At that stage, both Harrison and Nordstrom hoped to perfect its long-range communication system and intended that the robot named “Tobor” would eventually travel into space, thereby obviating the need for human beings to face the dangers of interstellar flight.

Disturbingly, it was later determined there were too many people at the demonstration as 12 people were initially invited but 13 actually attended. The implications of this development were at once apparent since Tobor could easily be reprogrammed as a weapon with destructive patterns.

One can only imagine what our nation’s enemies could do if they had the capability to produce thousands of Tobors. As Janice Roberts has been reported as saying about such a prospect, “what a terrifying thought!”

At the time Dr Harrison and Professor Nordstrom managed to develop a new communication device to telepathically control Tobor, a group of Soviet spies triggered an alarm at Nordstrom’s residence by gaining access to its compound by means of a special extending ladder to get over the electric fence on the north boundary. Their aim was obviously to break in and steal the newly developed technology to be used by their Communist masters’ for their own nefarious purposes.

Fortunately, Professor Nordstrom used new security measures to spring a trap for the intruders involving such things as night time “infra-vision” and automated intruder alarms, as well as a series of light and sound effects causing the spies to believe that they were under attack and to beat a hasty retreat.

Soon after this incident, our young hero, Brian (“Gadge”) received an invitation to a science show First Flight to Mars at the planetarium in Los Angeles. Accompanied by his grandfather, they arrived at the planetarium only to realize that no one else was there. It turned out that the spies used the invitation as a ruse to kidnap Nordstrom’s grandson and use the boy to gain access to Tobor and the new technology’s secrets by threatening that they would hurt Brian if Nordstrom did not tell them the secrets of the formula for the extra sensory perception method.

At the time of the kidnapping a presentation was to have been given to military personnel. As Brian and Professor Nordstrom were an hour late returning, concerns for their welfare began to mount.

It turned out that the spies did not take account of Professor Nordstrom’s cunning and intelligence.

“I had managed to trick the spies into placing my newly developed telepathic transfer device on my head, convincing them it was merely a hearing aid. By means of triggering a new transmitter concealed inside a pen, I was able to activate Tobor and allow the robot to come to our rescue,” Professor Nordstrom explained.

Amazingly Tobor set about his rescue attempt by stealing a jeep, closely followed in hot pursuit by Dr Harrison!

“The spies become frustrated with my delaying tactics and decided to torture Gadge to convince me to cooperate. Unfortunately they discovered that I was using the pen as a transmitter and so they destroyed the device.” Professor Nordstrom said.

When asked about what happened to Tobor after the transmitter was destroyed, Dr Harrison informed us that Brian was close enough for Tobor to be able to develop a telepathic connection. Reactivated, Tobor attacked the spies and prevented their ring leader escaping by car by ripping his car’s hood away and disabling the wiring.

At the time of writing this special report, I would like to take the opportunity on behalf of a grateful nation to wish Tobor God’s speed as he takes the controls of the space rocket that will prove to be an important small step paving the way for mankind’s eventual giant leap into the final frontier.





Points Of Interest:



Tobor the Great is a small budget film with minimal special effects. It is pitched at mainly younger viewers while maintaining entertainment value for older audiences. Lee Sholem’s direction maintains the film’s story at a steady pace and the acting is solid and genuine.

Tobor's design was the creation of Robert Kinoshita, who was a film and TV effects man and prop designer. He was also responsible for the design of Robby the Robot in Forbidden Planet (1956), as well as the B9 environmental control “robot” (“Warning! Warning! Will Robinson!”) in the 1960s Lost In Space sci-fi series.





The character of Tobor the robot comes across as being an implacable, mysterious, potentially dangerous but oddly human-like being. Tobor, like the robot Gort from The Day The Earth Stood Still (1951), does not speak. Unlike Gort, he does have the ability to sense human thoughts and emotions and he can move around with greater agility. The sense of a human being wearing a robot costume is somewhat counteracted when Professor Nordstrom opens up Tobor's chest to reveal his inner workings to a group of reporters at Tobor’s unveiling.

The film did quite correctly highlight the negative and dangerous aspects to space travel. The history of the space program is unfortunately punctuated by tragic events including the three Apollo crew members who perished in a fire in a capsule during a test on the pad, the close call of the Apollo 13 mission, the loss of two space shuttle crews and the tragic deaths of cosmonauts throughout the former Soviet space program.

Such disastrous events, however, have not stopped the willingness and desire of human beings to venture into space and the unknown. Rather, it seems to have been the huge expense involved with launching people into space that has placed a brake on manned space missions. As an alternative we have tended to rely more on unmanned robotic craft and vehicles to make the unknown known to us, thereby helping to pave the way for possible future manned missions. Perhaps one of our future orbiters or rovers could be called Tobor?

Consider the premise of a robot that is able to think and display and respond to emotion. A character such as Tobor raises all sorts of questions and dilemmas that we will have to contend with as our technology becomes endowed with artificial intelligence and is increasingly integrated into all aspects of our lives.

What rights would a technological / artificial being have if it is accepted that it is sentient: Namely, that it is self-aware; that it can progress beyond its programming; is able to act in an autonomous manner; can make independent (moral?) decisions and choices; has the capacity to interact with people and its environment; can replicate itself; posseses a sense of self-preservation and so on? Should such a being merely exist to serve the needs of human beings like some kind of a slave?

A sentient robot, infra vision, talking grandfather clocks, ESP communication. Such visions of a world of technological advancement has moved beyond the realm of science fiction. It is fast becoming a fact of life for all of us and will be the “new normal” for those growing up in that brave new world. Fridges that order the food you need; whole lives contained in mobile devices; cars that tell us how to get to places, park for us and one day soon drive for us; using the power of the mind to control devices around the home; computer technology integrated into our clothing and accessories; more and more technology augmenting and monitoring our physiology; technology ultimately directing the direction of our evolution. Science fiction may point the way but is often easily outpaced by reality!





As technology permeates our civilisation, is only right to question aspects of its application and be mindful of its dangers and negative consequences. Hints surrounding society’s concerns and fears of new technology occur in the film, Tobor The Great. For instance, at one point Brian finds Tobor’s controller and manages to operate the robot. However, things go wrong when Tobor advances menacingly on the terrified boy. As Brian continues to manipulate the controller to deactivate Tobor, the robot begins to run amok throughout Nordstrom’s residence by going on its own redecorating spree. Although Brain does manage to regain control of Tobor, the disturbing possibility does remain that technology could and probably will act beyond our ability to exercise control over it and that it can act in ways that are detrimental to our welfare and very survival.






Later on, while performing a series of increasingly complex navigation exercises including a simulated meteor shower, Tobor seems to require the use of a straight jacket as he apparently suffers a mechanical version of a nervous breakdown. Tobor is then shut down to allow its circuits to cool. Could a machine that is critical to human beings one day face a series of decisions or a dilemma which it is unable to resolve, can only resolve in a machine-logic manner or for which it is not programmed to handle? In such a situation, could it suffer its own version of a mental or psychological meltdown with disastrous consequences for society? Could the decisions that it does make or the actions it does execute cause harm to humanity? Could technology one day be imbued with a sense or ethics and morality or even the power of intuition and foresight to aid its decision-making processes and judgements?





Yes, be hopeful….but be cautious lest our technological Tobors are made too much in our own image!









©Chris Christopoulos 2014

Monday, 24 February 2014

Target Earth (1954)

B-Grade sci-fi meets gangster movie meets pulp fiction



Directed by Sherman A. Rose
Produced by Herman Cohen
Written by Paul W. Fairman, James H. Nicholson, Wyott Ordung, William Raynor
Music by Paul Dunlap
Cinematography: Guy Roe
Editing by Sherman A. Rose
Distributed by Allied Artists Pictures Corporation
Running time: 75 minutes
Budget: $100,000


Cast


Kathleen Crowley (Nora King)
Richard Denning (Frank Brooks)
Virginia Grey (Vicki Harris)
Richard Reeves (Jim Wilson)
Robert Roark (Davis, the Killer)
Whit Bissell (Tom, Chief research scientist)
Arthur Space (Lt. General Wood)
Steve Pendleton (Colonel)
Mort Marshall (Charles Otis)




Storyline


A large city in the US is almost completely evacuated as an advanced force of robots, conjectured to be from the planet Venus, invade and attack. Nora King and Frank Brooks, are among the few who have been overlooked during the mass evacuation. Together with two others they meet, Vicki Harris and Jim Wilson, they face not only the danger from the Venusian robots, but also new dangers in the form of Davis, a psychopathic killer, as well as potential death from “friendly fire.”




Trailer








Spoilers follow below:


The Story


During the opening credits of the film, Target Earth, we find ourselves gradually freefalling through the immensity of space toward the planet Earth. We then zero in on a single city and are finally drawn into a nondescript single room of a rooming house.


Room


The camera focusses on a clock that reads 1.30 and it must be PM since even though the room appears to be in semi-darkness, it is daytime beyond the drawn window blind. The camera then pans to a mirror in which we see the reflection of a woman asleep in her underclothing. We are then given a close-up of a bottle of Dr Andrews sleeping tablets lying opened next to her.

By purely visual means, the audience is invited to mentally join the dots, ask questions and ponder the possible reasons behind this lady’s obvious suicide attempt.

The character, Nora King recovers consciousness and soon discovers that her building has no electricity or water upon which modern civilisation depends for its existence. She is greeted only by an unnerving silence and a view of a streetscape devoid of the human heart and soul that is the lifeblood of any urban setting.

Some people like Nora might wish to die alone, but to live and to be alone-that is something else! How unnerved she must have felt knocking on doors and calling out “Mrs Gordon!” and “Where is everybody?” only to be met by the silent response of total human absence.


Street





As Nora descends to the street, the sense of tension and suspense is heightened by the accompanying percussive music score. Visually, Nora becomes a mere isolated, scurrying diminutive figure scuttling ant-like hither and thither along the deserted city streets with their looming and impassive architecture.






After walking for several blocks, Nora encounters no sign of life anywhere in the city. It is the sign of death that brings the stab of panic and fear to her (and the audience) as Nora stumbles upon a woman's dead body in a doorway whose lifeless death-stare causes her to suddenly and shockingly back into a stranger who seems to have materialized out of nowhere.






We soon learn that this stranger who so suddenly appeared behind Nora is Frank Brooks who tells her that, after he arrived in the city from Detroit the night before, he was robbed, “slugged and dumped in an alley.” He had managed to revive only a few minutes earlier.






As Frank and Nora walk to the city centre, they try to figure out what has happened to the city’s inhabitants. By a process of elimination, they determine that it was probably not the result of a nuclear bomb or germ warfare. As to their own presence in the city, Frank uses the analogy of a sack of sugar to explain it whereby some of the gains seem to always stick to the sack.

Restaurant





Almost unbelievably considering the circumstances, Frank and Nora hear music coming from inside a restaurant. Inside they find a woman, Vicki Harris, playing the piano as her male companion, Jim Wilson, mixes her a drink. Both are rather inebriated and have been “celebrating as though it’s New Year’s Eve.” How differently people react to being placed in similar circumstances!

And the choices they make! For this quartet, the choices boil down to getting out of town or staying and enjoy what’s on offer. They decide to keep on the move by supposedly visiting other night spots.


Street


When they attempt to take a car, the owner’s dead body almost falls out the open door. This is a stark reminder that even in the face of human catastrophes and calamities, objects, artefacts and places were once owned and used by living people with flesh and blood histories and stories to tell.

Suddenly, the four are interrupted by a man, Charles Otis, who explains that he was “trying to get out town, like yourselves.” He had also been checking the cars and discovered that they have all been disabled by having the distributor caps removed.

Otis also says that the area he just came from appeared to have been heavily looted. His description of what has taken place allows the audience to use their imaginations to picture the scene of destruction: the “mess”, smashed windows and so on.

The audience is again invited to use their imagination when the group witness the giant shadow (“it doesn’t look human!”) of a monstrous figure being cast on the side of a tall building. How the human mind has the capacity to create phantoms and monsters from mere shadows as the brain struggles to make sense of the unknown and unfamiliar!


Hotel Lobby





After they decide to hide in a hotel across the street, Otis finds a newspaper with the headlines: "Invasion By Mystery Army. City To Be Evacuated." The accompanying report states that “hostile forces of an unknown origin” have landed fifty miles north of the city. Terrified, Otis tries to escape but is killed in the street by a disintegrating ray, directed at him from the head of a large robot.






Intriguingly, Frank mentions that he has a desk at the “Home Office” which suggests that he is employed by the government. I’m not sure if this is the equivalent of the State Department or like the UKs Home Office which these days is responsible for immigration, security, and law and order, including the police, UK Border Agency, and the Security Service (MI5). We also have further insight into Frank’s background when he suggests that the robot invasion force is “part of an advance patrol” as per his experience in the “last war.”

Seeking a more secure hiding place, the quartet move from the hotel lobby to a suite (402 – 404) on the fourth floor.


Army command post



The discussion between a general and his colleagues paints a fuller picture as to the nature of the enemy and what has been occurring off-screen so far: They are dealing with an “enemy, the likes of which defies description,” that “the invasion was not launched by a power on this earth” and that “the consensus is that they came from Venus.”







We learn that the invaders have already destroyed an airborne division as well as twenty-four planes from bomber command.


Hotel


Back at the hotel, Nora’s observation that the invasion force “must have weapons we have never dreamed of” serves to confirm the scenario presented at the army command post. Frank’s suggestion that the enemy may be from Venus, the only planet capable of supporting life, also confirms what was suggested at the command post. (OK astronomy buffs, we know a lot more about conditions on Venus these days! So what? This is a journey into the “what if?” If you don’t like it, get off!)

As the film, Target Earth is more about character than scientific accuracy; Nora’s revelation to Frank about her suicide attempt is significant. She declares that she wouldn’t care if they dropped the H-Bomb and that she “never intended to wake up at all.” We learn that her husband was killed in a car crash and that she blamed herself for his death with the result that she felt that she didn’t have a reason to live. Now, with the current threat to humanity’s existence, everything has changed for Nora, except that it seems to be “too late to do anything about it.”

What of the other characters that have been thrown into this situation? Vicki and Jim, who have been seeing each other for ten years constantly bicker and squabble. Jim uncharacteristically offers to help Frank find food and Vicki observes that yesterday he wouldn’t have given her a seat on a bus. Jim retorts by stating, “Today the busses aren’t running anymore.” Later on Jim declares to Vicki that “if we ever get out of this dive, we’ll do all our fighting from the same corner.” It’s amazing what a crisis can do to put things into perspective and enable people to work out what really is important in life.


Army command post


The general wouldn’t be a military man if didn’t order atomic artillery and guided missiles to be readied and that’s exactly what he does. Just then he receives news that (as luck would have it) a deactivated robot has been found. This looks like a job for a team of scientists to attempt to discover what has caused the robot to become inoperative. 






Laboratory


The chief scientist determines that the robots are driven by electro-magnetic impulses, that they can duplicate human motion, are impervious to bullets and are “incapable of pain, fear or compassion.” Qualities expressed by later screen robotic descendants such as Cybermen, Terminators and so on.






Hotel


Back at the hotel, another character has been thrown into the mix in the form of a psychotic killer named Davis, who escaped from custody during the evacuation. He has broken into the suite and holds the group at gunpoint. He states that he “wouldn’t stand a chance alone and without a gun.” He informs Nora that he knows a way out of the city by means of a sewer and intends for her to accompany him. He also intends to use the others as decoys.



Laboratory


Science to the rescue! Hurrah! A means seems to have been discovered to destroy the lethal, beam-generating, cathode ray tube located in the robots' heads.

Hotel Lobby





As Davis is about to escape, Vicki bravely chooses to confront him, which results in him choosing to act in the only way he knows how: by shooting and killing her. Jim then attacks Davis and violently chokes him to death, which is an understandable instinctive and emotional reaction rather than a choice. Most of us would do anything to protect, defend and even avenge those who are most precious and dear to us.




Hotel Roof





The heightened tension is maintained by the sudden appearance of a robot smashing through the hotel lobby's window and its mechanical nosferatu-like pursuit of Frank, Nora and Jim up the stairs leading to the hotel's roof. With the elevation of the characters to the highest level of the hotel building as death in mechanized form looms ever closer, comes an elevation of the best of human qualities and heroic choices of the characters with Jim’s attempts to divert the robot away from Nora and Frank and his being killed by the robot's beam.





Just as the robot is about to disintegrate Frank and Nora with its beam, Army vehicles arrive on the scene. They are equipped with loudspeakers that emit a high frequency tone that can shatter the robots' cathode ray tubes and render them inoperative. By this means the roof-top robot is disabled and the good planet Earth can now rest a bit easier……until next time when the Venusians finally discover the joys of digital, LCD & LED technology! Is that a giant shadow I see on the wall across the road?





Points Of Interest




The movie, Target Earth was based on the 1953 short story, "Deadly City" by Paul W. Fairman.





Target Earth was sneakily filmed on the deserted streets of Los Angeles early one Sunday morning, without the necessary permits. The film's story, however, is based in Chicago.

I know there are those critics out there who salivate at the prospect of pointing out the film’s low budget, lack of sophisticated special effects and so on. For me the main feature of the film is its basic premise: An assorted group of people finding themselves in an abandoned city, being forced to contend with an alien menace and having to make choices that have significant personal and collective consequences.




As is well-known, only one robot was constructed and it was used for all scenes in the film, Target Earth. The robot army and alien invasion is conveyed to us as being more like an impending threat instead of an immediate in-your-face-here-come-the-explosions-and-one-damn-thing-after-another presence. With the alien robots being off screen most of the time, the threat they pose seems to work more on a psychological level which seems to mirror the nature of the fears experienced by many people at that time. Who exactly is the enemy and what kind of threat do they pose to us?



Sure, there’s a single robot that looks a bit like a lumbering washing machine with legs. Get over it! The film was made in a time long before the advent of computer generated special effects, and technology like the internet, laptops, tablets and mobile phones! Try to appreciate the film in the context of what it tried to achieve with its limited budget and that it was the 1950s, a time of fear concerning the Russians and the widespread sightings of UFO's. Add to this the fact that the film’s focus is more on character studies than on special effects which might be a priority for many of today’s audiences and critics who are used to being fed on a diet of films laden with computer generated effects, puerile non-stop action, video-game oriented presentations, threadbare story lines and hollow one-dimensional characters.




What makes this film work quite well is the sense of unease and tension that is maintained throughout most of the first half of the movie followed by the character revelations in the second half. Add to this not only the imminent threat posed to the humans by the alien invaders, but also the potential threat being posed by General Wood and the military. The group in the hotel are unaware that the city could be destroyed by tactical nuclear weapons at any moment-a fact that the audience is quite well aware of.




Descriptions of what takes place off-screen / stage; the various choices that characters make when confronted by circumstances; tension heightened by what the audience knows and the characters don’t know…….the very tools of trade used by none other than a certain Mr Shakespeare! I wonder if he would have enjoyed Target Earth?












©Chris Christopoulos 2014