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IT CAME FROM OUTER SPACE (Jack Arnold, 1953).
IT CAME FROM OUTER SPACE (Jack Arnold, 1953).
Famous for their influential horror movies of the 1930, by the 1950s Universal Studios focus had shifted to a different kind of monster movie, informed by increasing fear of nuclear war and the threat of Communism. The template for these serious minded, paranoia soaked sci-fi features was set with the first and most influential of the series, It Came from Outer Space.
Amateur astronomer John Putnam (Richard Carlson) is the only witness to a spacecraft crash on the outskirts of the small desert town of Sand Rock, Arizona. When his fellow townsfolk start acting suspiciously he expects alien influence. Convincing his girl Ellen (Barbara Rush) and cynical local sheriff (Charles Drake), a posse is assembled to flush out the intruders. Certain that the intelligent aliens are benign and pose no threat, John must keep the angry mob at bay while essential repairs are made to the damaged craft. Failure to do so risks the life of his captured pals.
Based on an unpublished story by sci-fi maestro Ray Bradbury, It Came from Outer Space is, on the surface, a film about alien invasion. Yet, as with much of the sci-fi of its era, the movie serves as an analogy for the very real post-War fear of Communist infiltration.
Shot and originally exhibited in 3D, the movie is surprisingly light on things being lobbed at the screen, so works just fine when viewed flat. Clifford Stine's beautiful black and white cinematography perfectly captures the eerie isolation of the desert surrounds, giving the impression of a barren alien landscape.
Director Jack Arnold delivers an intelligent comment on the political and social mores of 1950's America; at its heart a plea for the acceptance of others. He elicits fine performances from a not exactly starry cast, as the drama unfolds with tension mounting pace, drenched in an innovative and influential theremin rich soundtrack.
If it seems a little cliched at time, this is only because it spawned so many imitations. In its own right It Came from Outer Space is a 50's monster masterpiece and a groundbreaking, original piece of popular cinema.
For a longer, more in-depth review of IT CAME FROM OUTER SPACE visit my blog JINGLE BONES MOVIE TIME! Link below:
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BEYOND TOMORROW aka BEYOND CHRISTMAS (Dir: A Edward Sutherland, 1940).
My quest for obscure vintage Christmas movies has arrived at Beyond Tomorrow, a curious little movie with a somewhat convoluted plot.
A trio of wealthy businessmen (Harry Carey, C Aubrey Smith and Charles Winninger) play matchmaker to a teacher (Jean Parker) and a misplaced cowboy (Richard Carlson). When the three are tragically killed in a plane crash they return as ghosts to watch over the couple whom they have left a significant inheritance.
Beyond Tomorrow is one of a handful of Hollywood movies of the era to deal with themes of spirituality and guardian angels; notable examples include Here Comes Mr Jordan (Alexander Hall, 1941) and It's a Wonderful Life (Frank Capra, 1946). Unfortunately this movie is nowhere near the caliber of those classics.
Although relatively short, at roughly 80 minutes, I found it a chore to watch. It's early scenes, centered around the holiday season are easily its best. However the film soon descends into hollow sentimentality and mawkishness, with Adele Comandini's screenplay lacking the dramatic strength to overcome the corny and frankly odd premise. The 'B' movie is also lacking star talent, although Richard Carlson later would make an impression in Universal's late period monster flick Creature from the Black Lagoon (Jack Arnold, 1954). A bigger name would certainly have lent the movie a little more cache but, to be honest, I think it would do little to help either the pedestrian script or A Edward Sutherland's workmanlike direction.
I also feel this movie was slightly miss sold, as only its first third is festive. In a shameless yuletide cash grab the movie has latterly been marketed as Beyond Christmas. Cynical though this may be, the title is actually more accurate as much of the feature does, indeed, take place after Christmas!
I am a sucker for a decent Christmas film and Golden Age Hollywood is my favourite era of filmmaking, but this turkey of a movie did nothing for me. By all means worth a watch for the curious. Just don't expect it to fill you with Christmas joy.
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DR GOLDFOOT AND THE BIKINI MACHINE (Dir: Norman Taurog, 1965).
A kooky 1960s teen-comedy-cum-spy-spoof from Hollywood’s greatest purveyors of exploitation, American International Pictures (AIP).
The titular Dr Goldfoot (Vincent Price) has invented a machine for turning out lethal bikini clad robots with which he plans to ensnare the world's wealthiest men, acquire their assets and bump them off, eventually seeking world domination. Stumbling upon the plan are bumbling undercover agent Craig Gamble (Frankie Avalon) and playboy Todd Armstrong (Dwayne Hickman), both unwittingly smitten with humanoid Diane (Susan Hart). The pair face some Edgar Allen Poe worthy tortures as they attempt to infiltrate Goldfoot's lair and bust up his operation.
While not an official entry in AIP's Beach Party series, the movie is something of an offshoot of, or cousin to, the beach movies; taking its cues from both the beach and Bond.
In a non-singing role the talented Frankie Avalon gives the impression of being a much better actor than Hollywood allowed. As his partner in crime-busting Dwayne Hickman, while lacking Frankie’s charisma, makes for a perfectly amiable leading man. The magnificent Vincent Price, meanwhile, happily leaves subtlety in his dressing room and hams it up a treat as the infamous Dr G.
It’s all very silly and the humour is very broad and incredibly juvenile. Yet, despite what its title may suggest, it’s all pretty innocent stuff. No movie entitled Dr Goldfoot and the Bikini Machine was ever going to be a plea for feminism but neither is it as rampant with outdated sexism as you might expect. Director Norman Taurog keeps things moving at a rapid pace, with enough whimsical humour and general good vibes as to make it entertaining eye candy, if little else.
At time when increasing civil unrest and the Vietnam War were encroaching on teenagers real lives, it is easy to see why escapist fluff such as this was popular. It is a fun time capsule of a more innocent era - at least in teen movies. Fans of beach movies, Bond and 1960s kitsch should find much to enjoy.
For a longer, more in-depth review of DR GOLDFOOT AND THE BIKINI MACHINE visit my blog JINGLE BONES MOVIE TIME! Link below.
A FLINTSTONES CHRISTMAS CAROL (Dir: Joanna Romersa, 1994).
Geological puns abound, as Fred Flintstone stars as Ebonezer Scrooge against Barney Rubble’s Bob Cragic in this modern Stone Age retelling of Charles Dickens’ Christmas classic.
The Flintstones is, of course the enormously successful animated TV sitcom from Hanna-Barbera which aired for 6 seasons between 1960 and 1966. That this movie was made 30 years after the heyday of the show demonstrates the continued enduring popularity of the franchise.
Rather than a straight adaptation of Dickens’ familiar tale of festive redemption, A Flintstones Christmas Carol takes a tip from Mr Magoo’s Christmas Carol (Abe Leviton, 1962) and presents the story as a play within a story. So, running parallel to the events of the Bedrock Community Players performance of A Christmas Carol, we have the story of Fred, so engrossed in his role of Scrooge that he neglects his family duties until the lines between he and Ebonezer begin to blur.
Casting The Flintstones in the roles of Dickens’ characters is a nice idea. Not a particularly original idea, but I can see the appeal. The backstage story which runs alongside it is less engaging and the two strands work against each other to make for a somewhat choppy narrative. It isn’t a bad movie; made for US TV, the standard of animation is a shade better than normal Saturday morning fare and there is undeniable nostalgic value for those of a certain age.
Yet what is appealing in a 25 minute TV show is not quite as fun when stretched to nearly three times that length. While I enjoy The Flintstones on TV, I found A Flintstone Christmas Carol a little bit of a chore to watch come the halfway mark. Still, while it is a little disappointing in the story department, its colourful animation is above average and it does provides some mild chuckles. However, I think a straight version of the tale would have been better and can’t help but feel this somewhat of an opportunity missed. Longtime fans will probably get a kick out of the movie, but it’s not quite the ‘gay old time’ it might have been.
Visit my blog JINGLE BONES MOVIE TIME to read a longer, more in-depth review of A Flintstones Christmas Carol! Link below.
FROZEN II (Dir: Chris Buck & Jennifer Lee, 2019).
Walt Disney Animation Studios sequel to their original blockbuster Frozen (Chris Buck & Jennifer Lee, 2013).
The events of Frozen II take place roughly three years after those of Frozen. However, the movie takes us further back into Elsa and Anna's past as, through flashbacks, we see the girls' father King Agnarr of Arendelle relating the tale of their grandfather's attempt to form a treaty with a neighbouring tribe in their Enchanted Forest homeland. An ensuing battle results in grandfather's death and discord among the Forest's spirits. Years later Elsa is drawn to the forest by a mysterious voice and becomes embroiled in the ongoing conflict which is threatening the well being of both the Enchanted Forest and Queen Elsa's kingdom of Arendelle
While Frozen II bears the legend "Inspired by Hans Christian Andersen's The Snow Queen, it is nothing like the original fairytale. Neither is it particularly like the original movie, incorporating more references to Nordic myth and legend than the original Frozen.
Reuniting much of the core creative team from the first movie, co-writers and directors Chris Buck and Jennifer Lee have created a movie which never feels like a quick buck cash-in. The animation is stunning, even more so than in the original. Its forest setting and warm autumnal colour palette gives it a distinctly different feel to the cooler blues and whites of Frozen's icescapes.
In its attempt to differentiate itself from the first movie, Frozen II does seem to suffer from an overly complex narrative. There is so much going on in Frozen II that one misses the more economic and ultimately more satisfying simplicity of the original, although Buck and Lee are to be commended for not being content to just churn out the same movie.
While the story may be a little over complicated for its own good, Frozen II is still a highly impressive, enjoyable movie, much better than audiences may have been expected and continues Walt Disney Animation Studios’ excellent run of features throughout the 2010s.
Visit my blog JINGLE BONES MOVIE TIME to read a longer, more in-depth review of Frozen II! Link below.
THE CHRISTMAS COAL MINE MIRACLE (Dir: Jud Taylor, 1977).
A festive family drama made for US TV.
Set in the mining town of Caufield in 1951, The Christmas Coal Mine Miracle tells the story of coal miners trapped underground on Christmas Eve following an explosion. Centered largely around Matthew Sullivan (Mitchell Ryan), his wife Rachel (Barbara Babcock), their two daughters and prospective son-in-law Johnny (Kurt Russell).
Although claimed by some sources to be based upon a true story, the closing credits read: “The events depicted in this motion picture are fictitious although suggested by the history of mine disasters”. Which particular mine disasters are unclear. I think the movie would have more impact were it based on actual events. Instead what we have with The Christmas Coal Mine Miracle is an intriguing story, although not particularly dynamically told.
Surprisingly, considering it was made in the era when disaster movies were vogue, the focus of the film is not the explosion in the mine, but the relationships of those affected by it, particularly the women. As a result the movie suffers from being overly reliant on dialogue and a little short on action. Originally broadcast on the NBC network, it has the distinct feel of a Movie of the Week, albeit distinguished by a better than average cast. Top billing is afforded to Mitchell Ryan, but further down the cast are the more familiar names of Kurt Russell, John Carradine and Melissa Gilbert.
As earnest young man Johnny, Kurt Russell is, well, earnest. In fairness to Russell the role is not especially well fleshed out. Which is kind of an issue with every character; none are particularly well delineated and the audience never gets to know any of them well enough to be as affected by their plight as they should.
The Christmas Coal Mine Miracle is no Christmas classic. Were it a true story in the traditional sense, rather than vaguely inspired by historic mining accidents, I feel as if I would have warmed to the story a little more and have more investment in the characters. That said, if you stumble across this movie on daytime TV it is worth a look for the decent performances from its likeable cast.
Visit my blog JINGLE BONES MOVIE TIME to read a longer, more in-depth review of The Christmas Coal Mine Miracle! Link below.
