INTRODUCTION
ABOVE: The Lost World (1925) & Metropolis (1927)
The precursors to the science fiction films of the 1950’s continue to influence film-makers today. From 1925 and 1927, The Lost World based on Arthur Conan Doyle’s novel and Fritz Lang’s Metropolis respectively; one a silent masterpiece that carries the same basic truth as the Hunger Games that is still relevant today! The Lost World still echoes in the Jurassic Park films. With the advent of sound, the genre thrived. In the early thirties, horror films were big box office.
ABOVE: Frankenstein (1931), The Invisible Man (1933) and The Bride of Frankenstein (1935) all directed by James Whale.
In 1931 and 1933 and 1935 appeared three of James Whale’s Universal horror classics: Frankenstein, The Invisible Man, and his greatest achievement, The Bride of Frankenstein. Frankenstein and The Bride of Frankenstein are based loosely on Mary Shelley’s book about science gone wrong in the first mad scientist story. Of course, playing God is not an acceptable pastime as the good doctor learns as his experiment is chased across the countryside. This tale of hubris was continued in The Bride of Frankenstein as the good doctor is once more lured into the insane pursuit of creating life by the spectacularly mad Dr. Pretorius, stunningly portrayed by Ernest Thesiger. The Invisible Man is driven daft by the potion that gave him his invisibility. Science gone wrong again in this film version of the H.G. Wells novel.
Then in 1936 Flash Gordon hit the screens in a 13 episode serial with Buster Crabbe in tights and the beautiful Jean Rogers as his constant companion, and was an immediate hit. It seems that audiences were ready for some positive science fiction. An heroic space adventurer that fought evil proved a winning formula as well as the pattern for much of the science fiction to come in the 1950’s and beyond.
Jean Rogers & Buster Crabbe in Flash Gordon (1936)
The success not only spawned a second Flash Gordon serial but was followed by a Buck Rogers serial also starring Buster Crabbe. And, in the far far away future it would give rise to a Rebellion against an Empire that would strike back again and again and again.
1940 brought to the screen, Doctor Cyclops which starred Albert Dekker. Audiences were thrilled by the Technicolor and oversized props that made a man seem like a monster. It brings to mind Dr. Pretorius’ little people from The Bride of Frankenstein while taking on an entirely new dark dimension all its own while foreshadowing Richard Matheson’s novel, The Shrinking Man.
It also influenced the 1968 TV show, Land of the Giants that seems to be its direct descendent. Land of the Giants starred Gary Conway, Heather Young, Kurt Kasznar, and Deanna Lund. Guest stars included: John Carradine, Broderick Crawford, Alan Hale Jr., Bruce Dern, Yvonne Craig, Ron Howard, and Sam Elliott just to mention a few. The show ran from 1968 to 1970.
Two more science fiction related serials came out before the end of the decade, Batman in 1943 and in 1949, Superman. Both heroes would show up on the small screen within the next two decades.
In the Superman serial, Superman was played by Kirk Alyn and Lois Lane by Noel Neill, who would reprise the role in the hit television series Adventures of Superman with George Reeves as Superman which ran from 1952 to 1958. The caped crusader would have to wait until 1966 to see himself and Robin the boy wonder in the light of the flickering TV. Batman was played by Adam West and Robin by Burt Ward. Batman ran until 1968 and was absurdly campy but had the most impressive guest star list of the 60’s.
ABOVE: Joan Collins, Vincent Price & Michael Rennie in Batman (1966)
Everyone wanted to be on this hip, tongue in cheek show including: Burgess Meredith, Frank Gorshin, Vincent Price, Carolyn Jones, Glynis Johns, Bruce Lee, Sammy Davis Jr., Terri Garr, Ida Lupino, Rob Reiner, Michael Fox, Steve Allen, Art Carney, Liberace, Joan Collins, Jill St. John, and Michael Rennie–and speaking of Michael Rennie that brings us to our first classic 50’s science fiction film, The Day the Earth Stood Still.
PART ONE
The Day the Earth Stood Still (1951) 20th Century Fox
Directed by Robert Wise.
Screenplay by Edmund H. North based on a story by Harry Bates.
Music by Bernard Herrmann.
CAST: Michael Rennie (Klaatu/John Carpenter), Patricia Neal (Helen Benson), Hugh Marlow (Tome Stevens), Same Jaffe (Professor Jacob Barnhardt), Billy Gray (Bobby Benson), Frances Bavier (Mrs. Barley), Lock Martin (Gort).
Rated G / 92 minutes.
This first of the classic 50’s science fiction films skillfully addresses the two growing fears of Americans of the 1950’s, nuclear war and flying saucers. The idea was relatively simple, but the emotions drawn were extremely complex due to the unanswerable unknowns and the growing paranoia of the time. Director Robert Wise (The Haunting, West Side Story, Star Trek: the Motion Picture) took advantage of the unknowns and brought the entire story down to earth by having the alien viewed through the eyes of a child.
From the eerie opening strains of Bernard Herrmann’s brilliant score (for which he employed the use of two Theremins, an early electronic instrument), and the appearance of the unsettling title, viewers knew that they were in for something special.
Immediately, they find that an object moving at 4,000 miles per hour has entered the earth’s atmosphere. Newsrooms around the world are reporting on the progress of this unidentified flying object as ordinary people watch and wait in growing suspense.
Then come shots of Washington, DC’s well known monuments and the saucer flies over the White house to finally land on a ball field with the Washington Monument in the background. Ball players and spectators flee from the field as the craft slowly hovers down and lands. The symbolism is strong as anticipation grows and the police and the military mobilize.
This straight forward story of an alien arriving on earth to ask for a conference of all of the world’s leaders is a moral tale of the growing pride and foolishness of man’s progress. The government reacts to the craft’s landing with fear and surrounds the ship with a heavily armed infantry. A newsman attempts to calm the population as the suspense mounts two hours after the ship has landed, pointing out that the military has taken every precaution, and as he speaks, something begins to happen. A platform emerges from the ship where there is no door; the ship opens and a space suited alien appears. He advises that he has come in peace and bears no ill will, but as he reaches to remove something from his glittering suit and draws a device that he holds out toward the crowd. The reaction of the soldiers is to draw more weapons. When he activates it and a small antenna ring opens, a shot is fired at the alien that takes him down. Director Robert Wise’s focus on all of the armament trained on the ship points to the heart of the matter.
At this moment, Gort (Lock Martin) appears. Gort is a large, featureless robot. The robot’s visor lifts and a beam is fired toward the military surrounding the ship; the guns and tanks vanish as the laser strike them, but the soldiers are unharmed.
Klaatu is taken to the hospital where he is cared for and meets the secretary to the President of the United States, Mr. Harley (Frank Conroy). He advises that he must explain his mission to all of the heads of state of all the countries of earth at once. The response from the White House is that it is not practical because of the world’s politics. Klaatu assures Mr. Harley that there will be dire consequences for the planet if such a meeting is not arranged. The earth’s development of atomic weapons has made it a danger that the alien’s world cannot ignore.
ABOVE: Michael Rennie (Klaatu), & Frank Conroy (Mr. Harley).
Making no progress with the emissary from the President of the United States, Klaatu escapes the hospital. He finds the rooming house where he makes contact with the planets true representatives in the form of Helen Benson (Patricia Neal) and her son Bobby (Billy Gray). He and Bobby become fast friends, and when his mother wants to go on a date with her boyfriend, Klaatu offers to spend the day with Bobby. He tells her that he’d hoped Bobby could show him around the city.
ABOVE: Klaatu (Michael Rennie) and Bobby Benson (Billy Gray).
Eventually, this will lead Klaatu to Dr. Barnhardt (Sam Jaffe), a renowned scientist, but first he learns more about the potential of earthlings as he visits Arlington cemetery and the grave of Bobby’s father along with other sites of the capitol city. The boy is fascinated by the arrival of the alien. He is thrilled to have this mysterious new guest in the boarding house to share the experience. The excitement is almost too much for him as things begin happening around him with incredible speed. His mundane life is over as thoughts of space men fill his head.
ABOVE: Michael Rennie, Patricia Neal, & Billy Gray.
He’s in for some adventure and so is his mom, and so much more than either of them bargained for! It is the bond that forms between Bobby and his mother and Klaatu that finally save the planet. The petty squabbles and sociopathic behavior of the world’s governments aside, Klaatu sees hope in the child and his mother. Robert Wise created a film ahead of its time as well as very much of its time, a cautionary tale that has gone unheeded. The film is still unsurpassed, and takes on a new significance when viewed in the wake of the current fall of reason.
MORE ABOUT THE SCORE
For the score that is as much a classic as the film itself, Bernard Herrmann used two Theremins (one bass one treble) along with: harps, pianos, electronic organs, brass, and percussion.
The opening theme from Herrmann’s score was used in the pilot of Irwin Allen’s 1965 TV series Lost in Space as well as in various episodes of Voyage to the Bottom of the Sea (1964-68).
DIALOGUE HIGHLIGHTS
Bobby: I like you Mr. Carpenter, you’re a real screw ball!
Klaatu (at the Lincoln Monument): Those are great words. He must have been a great man!
Klaatu (At Arlington Cemetery): Well, they have cemeteries, but not like this one. You see, they don’t have any wars.
Bobby Benson: Gee, that’s a good idea.
“Klaatu barada nikto“ is one of the best known commands in science fiction. If you are unfamiliar, you really need to see the film right now.
CONFESSIONS, FACTS, & JUST PLAIN IRONY
Patricia Neal later admitted that she found it hard to keep a straight face when giving her lines. She thought it was just another trashy flying saucer picture, and she didn’t realize she was in a classic in the making.
Danny Elfman was inspired to become a composer by Bernard Herrmann’s score for The Day the Earth Stood Still.
Although Sam Jaffe was already under contract to play Professor Barnhardt the studio was going to fire him due to the prevalent political witch hunts. Julian Blaustein (producer) convinced Darryl F. Zanuck not to let Jaffe go, but it was the last Hollywood film Jaffe was in until the late 50’s.
NEXT: Part Two
THE THING (1951)
