Jurassic Joke: THE LOST WORLD (20th Century Fox 1960)

Sir Arthur Conan Doyle’s adventure novel THE LOST WORLD was first filmed in 1925 with special effects by the legendary Willis O’Brien  . O’Brien gets a technical credit in Irwin Allen’s 1960 remake, but his wizardry is nowhere to be found, replaced with dolled-up lizards and iguanas designed to frighten absolutely no one. This one’s strictly for the Saturday matinee kiddie crowd, and though it boasts a high profile cast, it’s ultimately disappointing.

Genre fans will appreciate the presence of The Invisible Man himself, Claude Rains , in the role of expedition leader Professor Challenger. The 71 year old Rains is full of ham here, playing to the balcony, and still managing to command the screen with his sheer talent. Challenger claims to have discovered “live dinosaurs” in the remote Amazon rainforest, a claim scoffed at by the scientific community, especially rival Professor Summerlee (the equally hammy Richard Hayden). The crusty Challenger asks for volunteers to accompany him on a return journey, and we meet the rest of the cast: Michael Rennie as big-game hunter Lord Roxton, David Hedison as intrepid reporter Ed Malone, Jill St. John as Roxton’s girl Jennifer Holmes (complete with a teacup poodle), and Ray Strickland as her younger brother David.

The crew fly to South America, where guide Manuel Gomez (Fernando Lamas) and his partner Costa (Jay Novello) will take them by chopper to the unchartered plateau deep in the wild. We get some breathtaking shots of the Amazonian jungle along the way (presumably by DP Winton Hoch ) before landing, where a giant lizard destroys the helicopter, stranding the expedition. The monsters they encounter are a sorry lot indeed, just blown-up reptiles and (in one scene) a goofy superimposed green spider. I mean, the studio sprung for Cinemascope and DeLuxe Color, and they give us el cheapo special effects! Not to mention they had Willis Freakin’ O’Brien on the payroll!

There’s a love triangle between Rennie, St. John, and Hedison that fails, mostly due to the sexist script by Allen and Charles Bennett. The dialog’s on a par with Allen’s sci-fi shows like LOST IN SPACE, dumbed down to children’s level. Lamas tries to bring some panache to his role, as Gomez holds a dark secret, but he too is doomed by the script. There’s a subplot about the lost city of El Dorado that didn’t amount to much. In fact, the film as a whole doesn’t amount to more than a semi-pleasant diversion.

THE LOST WORLD could’ve been much better, but is sunk by the crummy special effects and ludicrous script. You’d be better off watching the 1925 silent, and you can, if you’re interested. It’s in public domain, so instead of me babbling on about how lousy the newer version is, here’s 1925’s THE LOST WORLD in its entirety:

 

I Am Legend: THE OMEGA MAN (Warner Brothers 1971)

When I was a lad of 13, back in the Stone Age, I saw THE OMEGA MAN on the big screen during it’s first run. I remember thinking it was real cool, with Charlton Heston mowing down a bunch of mutant bad guys with his sub-machine gun, some funny one-liners, and a few semi-naked scenes with Rosalind Cash. What more could an adolescent kid ask for in a movie? Now that I’m (ahem!) slightly older, I recently re-watched the film, wondering just how well, if at all, it would hold up.

I’m happy to report THE OMEGA MAN, despite some flaws in logic, stands the test of time as a post-apocalyptic sci-fi action/adventure, with a touch of Gothic horror thrown in. The film is the second of three based on Richard Matheson’s novel I AM LEGEND, the first written by Matheson himself (under the pseudonym Logan Swanson) as THE LAST MAN ON EARTH, a 1964 Italian production starring Vincent Price. The third and most recent was titled I AM LEGEND (2007) starring Will Smith. Each version brings it’s own unique take on the basic story; I’ve seen all three, and enjoyed them equally, disproving the theory held by some critics that all remakes are automatically bad.

Charlton Heston was in his sci-fi heyday at this point in his career. He’d starred in the mega-hit PLANET OF THE APES and iys sequel, and soon would headline SOYLENT GREEN. Heston was big box-office, and his presence in these films gave them more prestige than other genre entries of the era. Chuck makes a good protagonist, ex-Army immunologist Robert Neville, whether cruising down the deserted streets of LA listening to a smooth jazz version of “Theme from A Summer Place” on his 8-track, sitting in an empty theater watching WOODSTOCK for the umpteenth time, hunting down and battling those aforementioned mutants, or making history by have an interracial love affair with co-star Rosalind Cash, who could’ve very easily filled Pam Grier’s boots in any of her 70’s Blaxploitation flicks.

THE OMEGA MAN was the first time I became aware of actor Anthony Zerbe as Mattias, leader of the mutant cult known as The Family. The biological plague has caused them to become nocturnal, albino-skinned creatures of the night, and Zerbe gives a truly chilling performance. Since then Zerbe’s become one of my favorite character actors, gracing us with his talent in THE LIFE AND TIMES OF JUDGE ROY BEAN, PAPILLION, FAREWELL MY LOVELY, ROOSTER COGBURN, KISS MEETS THE PHANTOM OF THE PARK, THE DEAD ZONE, numerous TV movies and mini-series, and a regular role on David Janssen’s private eye series HARRY O. Zerbe was in both sequels to THE MATRIX and recently in AMERICAN HUSTLE. Other cast members include Lincoln Kilpatrick , Paul Koslo, Eric Laneuville, and Monika Henreid (daughter of Paul) as one of the cult.

Yes, THE OMEGA MAN is an artifact of its time, like any film. It does hold up well though, and is still an entertaining take on Matheson’s story. Actually, you really can’t go wrong with any of the three versions out there, but for a good dose of 70’s apocalyptic action, go with THE OMEGA MAN.

Green Cheese? No, it’s THE GREEN SLIME (MGM 1969)

We all love a good cheese-fest every now and then, right? Well, THE GREEN SLIME delivers the limburger by the rocket-load, with its rock bottom special effects, silly looking monsters, overwrought dialog, and a cool heavy-metalish theme song (Who was that singer belting out the tune? More on that later!). This MGM/Toei Studios mashup was made with a Japanese crew and American cast, with an Italian pedigree, no less.

An asteroid codenamed ‘Flora’ is hurtling toward a collision course with Earth, and Comm. Jack Rankin is sent to space station Gamma-3 with orders to blow the thing to smithereens. Gamma-3’s Commander, Vince Elliott, holds a longtime grudge against Rankin, and his fiancé Dr. Lisa Benson just happens to be Rankin’s ex. I smell a love triangle brewing! Rankin, Elliott, and other crew members blast off to the asteroid to plant explosives, but there’s this Blob-like, pulsating ooze around gripping their escape vehicles (ominous music plays whenever the slime is shown in close-up!). One of the men wants to bring some of the stuff back, but Rankin smashes his dreams (and the sample), and they barely escape with their lives.

However, a splash of the slime gets on one of their spacesuits and makes it back to the station, and that’s when the fun really begins! The Green Slime gets loose and starts killing people. The stuff feeds on ‘energy’ and reproduces at an alarming rate, creating horrible monsters… well, they’re not so horrible, just midgets in rubber monster suits. Kinda cute, in their own monsterous way. The one-red-eyed, tentacled lil’ demons (that make dolphin-like noises) begin to take over the station, killing everyone in their path by electrocuting them. Can the Green Slime be stopped???

Well, of course it can, but only by evacuating Gamma-3 and blowing the whole thing to kingdom come! This movie is derivative as hell, cobbling pieces of everything from Hawks’ THE THING to IT! THE TERROR FROM BEYOND SPACE , but it does have an endearing goofiness about it that makes it fun for sci-fi fans. Something not many people know (I sure didn’t) is THE GREEN SLIME is an unofficial sequel to Antonio Margheretti’s (aka Anthony Dawson) Italian Gamma-1 movies (WILD WILD PLANET, WAR OF THE PLANETS, etc). The special effects here are even cheezier though, if you can imagine.

Star Robert Horton looks like he’d much rather be home on the range in TV’s WAGON TRAIN than stuck in his space suit. Maybe that’s why his character Rankin is such a prick! Costar Richard Jaeckel (Elliott) seems frustrated having to play second banana once again, though he does get to redeem himself at the conclusion. Luciannna Paluzzi (Lisa) is beautiful, but can’t muster up any emotion for her one-dimensional role. The rest of the cast is a bunch of American actors who were probably on vacation and decided to pick up a quick paycheck. Hey, even actors gotta eat!

Kinji Fukasaku’s direction leaves much to be desired, in fact it’s pretty non-exsistant. He saw better days with 2000’s BATTLE ROYALE. THE GREEN SLIME is a Saturday Matinee flick that knows it, so I can’t really deride it too much. It just is what it is. As for that theme song, the singer belting out that proto-metal tune was Rick Lancelotti. Who, you may well ask? Lancelotti, also known as Rick Lancelot, was a minor 60’s figure who sang covers on TV’s SHINDIG, sang vocals for the kiddie show THE BANANA SPLITS, and worked briefly with rock maestro Frank Zappa. So now you know more about THE GREEN SLIME then you probably ever wanted (or needed) to! You’re welcome!

METEOR is a Crashing Bore (AIP 1979)

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American-International Pictures had gotten pretty fancy-schmancy by the late 70’s. The studio was leaving their exploitation roots behind and branching out to bigger budgeted films like FORCE TEN FROM NAVARONE, LOVE AT FIRST BITE, and THE AMITYVILLE HORROR, with bigger name stars for marquee allure. Toward the end of 1979 they released METEOR, a $16 million dollar, star-studded, special-effects laden, sci-fi/ disaster film spectacle that bombed at the box-office and contributed to the company’s demise.

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Coming at the tail end of the disaster cycle, METEOR is formulaic as hell. Take a group of well-known stars (Sean Connery, Natalie Wood Karl Malden Brian Keith , Martin Landau, Henry Fonda ), give them a disastrous menace to combat (in this case a five-mile wide meteor hurtling toward Earth), add some conflict (US/USSR Cold War relations), and some scenes of destruction, and voila! instant disaster movie! Unfortunately, by 1979 audiences had already grown tired of the formula and its various permutations, leaving METEOR to crumble like so much space dust.

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A brief summary: former NASA scientist Paul Bradley (Connery), creator of America’s secret nuclear missile defense satellite Hercules, is plucked from his yacht race and brought back into service by ex-boss Harry Sherwood (Malden). A wayward comet has struck the asteroid belt, and now the aforementioned five-mile-wide meteor (nicknamed Orpheus) threatens good ol’ Mother Earth. The President (Fonda) holds a televised speech admitting they have the nuclear satellite, and asks for Russia’s cooperation, knowing they too have one (code name Peter The Great). The Ruskies send scientist Dr. Dubov (Keith) and his astrophysicist interpreter Tatiana (Wood) to help, much to the chagrin of commie-hating General Adlan (Landau). Now that the two superpowers have joined together, can they put aside their differences and turn their respective missiles at Orpheus instead of each other in time to avert a global catastrophe?

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It’s not exciting as it may sound. Connery looks bored, Malden and Landau overact, and Fonda’s obviously only there for the paycheck. Only Keith and Wood seem engaged in the material, though Trevor Howard does okay in his tiny role as a British astronomer. Besides the big names, there are other, lesser Familiar Faces in lesser roles: Joseph Campanella, Richard Dysart, Bibi Besch, Sybil Danning, Gregory Gaye, Clyde Kusatsu, newscaster Clete Roberts, and Uncle Walt’s nephew Roy Disney (wait… how’d he get in here??). They even got THE POSEIDON ADVENTURE’s Ronald Neame to direct, hoping to capture some of that movie’s popularity. Didn’t work- the new film was nowhere near that early disaster classic in terms of character development, script, or excitement.

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The special effects scenes are good, not great. There’s a tsunami in Hong Kong, an avalanche in the Swiss Alps, and a meteor fragment that destroys a large swath of New York City. There are some unintentionally funny moments, like watching Connery and Malden slog through a muddy flood in a subway tunnel, Malden’s comb-over flopping down his shoulder. We get ominous music every time Orpheus appears onscreen, kind of like when “Bruce” shows up in JAWS. It’s all silly and overwrought, and by the next year AIP founder Samuel Arkoff, his big-budget gambles all gone sour, sold the company to Filmways, which was later bought out by Orion, which in turn was sold to MGM, who now own the rights to the AIP catalog. Old Sam should’ve stuck with beach parties and monster movies.

The Roots of STAR WARS (20th Century Fox 1977)

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It had to happen sooner or later so, with the new ROGUE ONE: A STAR WARS STORY being released tomorrow, I figure now is a good time to take a look at one of the biggest films of the 1970’s, STAR WARS (retitled A NEW HOPE for you revisionists, but to me it’s still just STAR WARS). I’m pretty sure everyone reading this post is familiar with the story, so rather than rehash the plot, I’m just going to dive right into some points of interest for classic film fans.

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First off, the movie was originally imagined as a loving homage to serials like FLASH GORDON and BUCK ROGERS. Writer/director George Lucas originally intended to remake FLASH, but couldn’t obtain the rights, so he created his own space opera universe, cobbling bits and pieces from Edgar Rice Burroughs, Joseph Campbell, The Bible, and other sources, including the movies he grew up with and admired. There’s a definite John Ford feel to much of STAR WARS, especially THE LOST PATROL  (the droids trekking across Tattoonie) and THE SEARCHERS (Luke discovering the fate of his aunt and uncle). I’d swear Ford himself was calling some of the shots, the composition is that close. Being a huge Ford fan myself, I’m always pleased when someone decides to “borrow” from the old master!

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Sergio Leone  also gets some love, during some of the action scenes and use of close-ups. Another Italian director who doesn’t get mentioned when STAR WARS influences are cited is Antonio Margheretti, whose 60’s low-budget sci-fi lunacies sprang to mind as I rewatched the movie. And everyone should be aware of the influence Japanese director Akira Kurosawa has on this film. I do know the scene where a man’s arm is cut off by light sabre, and again where Han Solo is offered “Two thousand now, plus fifteen when we reach Alderaan” are direct references to Kurosawa’s classic YOJIMBO.

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I’ve not seen Kurosawa’s THE HIDDEN FORTRESS, so I can’t comment on the correlation between the characters in that film and the banter between CP3O and R2D2. I can say with some certainty the two loveable droids have a direct lineage to classic comedy duo Laurel and Hardy , with a dash of Abbott and Costello for good measure. CP is obviously modeled after Rotwang’s creation Maria in Fritz Lang’s METROPOLIS, while R2 resembles nothing less than a sentient vacuum cleaner! R2 does have a moment when he gets zapped by Jawas that brought to mind FORBIDDEN PLANET (which itself was a heavy influence on another space opera franchise- STAR TREK !).

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The evil Lord Darth Vader was so malevolent it took two actors to portray him! Well, not really, the truth is physical presence Dave Prowse’s heavily accented voice didn’t fit the character. Lucas wanted Orson Welles to provide Vader’s ominous tones, but went instead with James Earl Jones, who does a superb job. Prowse had once played the Frankenstein Monster alongside Peter Cushing in FRANKENSTEIN AND THE MONSTER FROM HELL, and the two are reunited here as the great Mr. Cushing plays equally evil Gran Moff Tarkin. I couldn’t help but wonder what the film would’ve been like if Lucas had chosen Christopher Lee to portray Vader, and gave us fans another chance to watch Hammer Film’s two greatest icons together!

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The light sabre duel between Vader and Obi-Wan Kenobi (Sir Alec Guinness) is no doubt inspired by the grand final battle between Errol Flynn and Basil Rathbone in THE ADVENTURES OF ROBIN HOOD . Sir Alec himself thought the movie was a lot of “rubbish”, but lends a dignified presence to the proceedings. Some of the films he made with British director David Lean, mainly LAWRENCE OF ARABIA, cast a large shadow over the look of STAR WARS. War films as a whole play a part in influencing the movie, as Cinematographer Gilbert Taylor was behind the camera for THE DAM BUSTERS, the attack on the Death Star was pretty much lifted from 633 SQUADRON, and THE GUNS OF NAVARONE has also been cited as an influence.

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I could go on and on, but you get the picture. As much as STAR WARS has influenced a generation of filmmakers, the original itself has its own roots firmly in the cinema of the past. There’s the James Bond-ish battles between the Stormtroopers and the Rebels, the old “walls-closing-in” gag, the opening shot recalling 2001, the CASABLANCA like bar scene, the cocky Han Solo echoing both Kirk Douglas and Burt Lancaster… and I’m not 100% certain, but when Leia calls Chewbacca a “walking carpet”, is that a reference to THE CREEPING TERROR?? Only George Lucas knows for sure!! Lucas took the futuristic visual aesthetic of his THX-1138 , combined it with the full-blooded teen angst of AMERICAN GRAFFITI and his love of film, and gave us an adventure that’s truly stood the test of time. So when you all rush out to see ROGUE ONE tomorrow night, remember without classic films past, there is no STAR WARS. And maybe, just maybe, this little post will persuade a few of you to revisit some of those thrilling films of yesteryear, made long ago, in a studio far, far way…

Flight of Fancy: Vincent Price in MASTER OF THE WORLD (AIP 1961)

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MATSER OF THE WORLD is AIP’s answer to Disney’s 20,000 LEAGUES UNDER THE SEA . Both are based on the works of Jules Verne, and involve fanatical protagonists commanding futuristic ships (an airship in this case). The difference is in budget, as studio honchos Samuel Z. Arkoff and James Nicholson didn’t have the financial means to compete with the mighty Walt Disney. They did have Vincent Price though, and within their monetary constraints came up with an entertaining mini-epic enhanced by another solid Richard Matheson script.

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Price stars as Captain Robur, who’s fantastic flying airship Albatross rules the skies of 1868. When his amplified voice bellows some scripture from a mountain (does this make Vinnie the Voice of God?), balloon enthusiasts Mr. Prudent, daughter Dorothy, and her fiancé Phillip Evans, along with government agent John Strock, investigate, only to be shot down by Robur’s rockets and taken prisons aboard his flying fortress.

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Robur and his crew (dressed in striped shirts ala 20,000 LEAGUES) plan to force the nations of the world to end war by bombing the crap out of any warships they fly over. This “peace through strength” tactic doesn’t go so over well with the prisoners, whose escape attempt winds up with Evans and Strock being dangled from the Albatross at high altitude. To make matters worse, there’s a budding rivalry between the two men for Dorothy’s affections.

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The fact that Strock is played by Charles Bronson   and Evans by little-known British actor David Frankham should tell you who wins in that department! Bronson’s good in an early good-guy role, especially his impassioned “honor be damned!” speech. Mary Webster, another Brit, is the object of their affections. Veteran Henry Hull overacts as bombastic munitions manufacturer Prudent, but it’s still good to see the former WEREWOLF OF LONDON onscreen again. Vito Scotti is the supposed comic relief as chef Topage, and muscleman Richard Harrison and AIP vet Wally Campo are Robur’s main crewmen.

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Vincent Price stated this was one of his favorite roles. As the Nemo-like Robur, Price tones it down and offers an intelligent portrait of a man who uses his genius to try to end the folly of war. His end soliloquy, quoting from Isaiah 2:4 (“All the nations will beat their swords into plowshares, and their spears into pruning hooks. Nation will not lift up sword against nation, and never shall they learn war anymore”) while the Albatross descends to its inevitable doom, is stirring stuff. I know, Robur’s supposed to be a madman and the nominal villain of the piece, but I found myself rooting for him more often than not.

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I couldn’t root for the not-so-special special effects of Tim Baar, Wah Chang, and Gene Warren though, but hampered by the low-budget, I guess they did their best. There’s tons of stock footage interspersed throughout the film, including an opening montage of early attempts to fly you’ve seen a hundred times. Director William Witney puts his experience with serials (CAPTAIN MARVEL, SPY SMASHER, MYSTERIOUS DR. SATAN) and B-Westerns to good use, moving things along at a brisk pace. Daniel Haller’s art direction stands out, but Les Baxter’s score is intrusive. MASTER OF THE WORLD is an uneven film, certainly not in the category of Disney’s Jules Verne classic, but an okay way to spend an hour and a half. If you shut your brain off and don’t expect too much out of it, you just might enjoy it.

Creature Double Feature 2: IT CAME FROM BENEATH THE SEA and 20 MILLION MILES TO EARTH (Columbia, 1955 & 1957)

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Let’s return to those thrilling days of yore before CGI and enter the wonder-filled world of Special Effects legend Ray Harryhausen! I’ve covered some of Harryhausen’s fantastic work before (ONE MILLION YEARS BC EARTH VS THE FLYING SAUCERS THE VALLEY OF GWANGI ), and most of you regular readers know of my affection for his stop-motion wizardry. So without further ado, let’s dive right into IT CAME FROM BENEATH THE SEA.

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An atomic submarine picks up a mysterious large object on its sonar. The sub’s hit hard, and radiation is detected in the surrounding area. The damaged sub is taken to Pearl Harbor for repairs, and a substance found on it is determined to be from a “living creature” by eminent scientist Dr. John Carter (Donald Curtis) and beautiful marine biologist Prof. Leslie Joyce (Faith Domergue ). Sub Commander Pete Matthews (Kenneth Tobey ) and Leslie immediately butt heads, which means they’re going to hook up before it’s all over. But let’s face facts, no one cares about the romantic subplot, we’re here for the monster, determined to be a gigantic octopus!

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Ocky (as I’ve taken to refer to him) has been disturbed by H-Bomb tests in the Pacific, and his radioactivity has caused the fish he usually feeds on to flee, so now Ocky is going after larger prey. He attacks a tramp steamer and eats everyone but a small raft of survivors, who confirm Leslie’s theory. The U.S. Navy goes out in full force hunting for Ocky, who eats a deputy sheriff off the coast of Oregon. The entire Pacific Coast is shut down, as Ocky makes his way to San Francisco, wreaking havoc at the Golden Gate Bridge. The fabled bridge has been wired with electricity to shock the beast, and Pete and Dr. Carter board the sub with a special jet-propelled torpedo to launch into Ocky’s brain. Meanwhile, Ocky’s on the loose in the Market Street area, causing destruction, snatching a helicopter out of the sky, and allowing the filmmakers to add plenty of shots of panicked citizens running down the streets of San Francisco!

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Army flamethrowers drive Ocky back to the sea, and our intrepid heroes launch their super-duper torpedo. But Ocky catches the sub in it’s six-armed grip- that’s right, el cheapo executive producer Sam Katzman held the budget reins so tight, it only allowed Harryhausen to animate six octopus arms! Anyway, Pete scubas out and uses a harpoon gun to shoot plastique explosives at Ocky, but isn’t successful, so Dr. Carter bravely does the deed, hitting Ocky square in his octopus eyeball and blowing his head off, making the Pacific Coast safe for surfers once again!

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Ocky’s stop-motion scenes of destruction are exciting, but there’s only so much you can do with a giant octopus. The monster in our main attraction is another story. 20 MILLION MILES TO EARTH begins with a spacecraft crash-landing off the coast of Sicily. Some brave fisherman (with bad Italian acc-a-centas) board and find two humans still alive. They pull them off before the ship sinks, and little, annoying Pepe (played by future VEGA$ co-star Bart Braverman) is sent to get help from a visiting doctor (Frank Puglia ) , but Dr. Leonardo is only a zoologist, so he sends his med student granddaughter Marisa (Joan Taylor) to attend the surviving crewmen. One dies, but Col. Bob Calder (William Hopper, PERRY MASON’s Paul Drake) demands to speak to his superiors, butting heads with Marisa in the process (and you already know what that means!). Meanwhile, enterprising Pepe finds a capsule loaded with a mysterious, jellylike substance, so he sells it to Leonardo for 200 lira (so he can buy a “Texas cowboy hat”!).

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The jelly hatches a tiny, strange-looking creature, so Leonardo and Marisa put it in a cage with plans to take it to the Rome Zoo for study. But next morning the thing has grown larger, and escapes while in transit. Annoying Pepe tells Air Force brass he sold the stuff in the capsule to Leonardo, and they track him down. Seems that spacecraft was a secret expedition to Venus, and the creature in question is a Ymir (though it’s never called that in the film).

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The Ymir wanders the countryside scaring horses and sheep, coming across some sulfur in a barn, which happens to be the Ymir’s favorite food. While snacking, Ymir is attacked by a dog… bye, bye dog! The local farmer stabs it with a pitchfork, and Ymir attacks him! This pisses off the local Commissario, who no longer wishes to cooperate with the Americans and wants Ymir dead. The Italian higher-ups give Calder one last chance to capture Ymir, and they do, using a net and zapping poor Ymir into unconsciousness with high voltage.

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Ymir (who’s now grown to gigantic proportions!) is kept sedated by electricity and studied at the Rome Zoo. The Air Force holds a press conference and allows three reporters to view the beast. When an accident short-circuits the electricity, Ymir breaks free from his bondage, and engages in a titanic battle with a zoo elephant. Ymir goes on a rampage through the streets of Rome wreaking havoc, and you guessed it, we get shots of panicked citizens fleeing for their lives! The armed forces can’t stop Ymir as it heads to the Colosseum, where bazookas finally take it down, as it hangs on for dear life before plunging to its demise.

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The Ymir is Harryhausen’s most iconic (and lifelike) creation. Like Frankenstein’s Monster and King Kong before it, the Ymir is a frightened and misunderstood creature  trapped in a world it never made. The scene where police are tracking down Ymir with dogs is reminiscent of an old Universal horror; all that’s missing are the torches and pitchforks. Ymir definitely gets the viewers to sympathize with its plight, and I felt sorry to see the poor beast persecuted to its inevitable doom.

20 MILLION MILES TO EARTH is my favorite of the two, and I consider it Harryhausen’s masterpiece. IT CAME FROM BENEATH THE SEA is fun, but the story of the Ymir still resonates, and is a certified science-fiction classic. See them both and enjoy the genius of Ray Harryhausen!