Creature Double Feature 4: RODAN (Toho 1957) and MOTHRA (Toho 1961)

Let’s begin “Halloween Havoc!” season a day early by taking a trip to the Land of the Rising Sun for a pair of kaiju eiga films from Japan’s Toho Studios. Both were directed by GODZILLA’s Godfather Ishiro Honda, have special effects from Eiji Tsuurya, and feature the late Haru Nakajima donning the rubber monster suits. But the similarities end there, for while RODAN is a genuinely scary piece of giant monster terror, MOTHRA is a delightfully bizarre change-of-pace fantasy that began Toho’s turn toward more kid-friendly fare.

RODAN was filmed in 1956, and released in America a year later by DCA (the folks who brought you PLAN 9 FROM OUTER SPACE! ) under the aegis of The King Brothers . There’s more A-Bomb testing in the South Pacific, as Americanized stock footage tells us before the movie proper begins. Miners digging deep into the Earth’s crust are trapped by flooding, and a dead man looking like he’s been “slaughtered like an animal”, his face frozen in horror, has been discovered. Officials are baffled until the appearance of… a GIANT PREHISTORIC BUG! The bug is tracked down into the mineshaft, where security finds a whole mess of the nasty creatures. Their bullets can’t stop them (of course not!), when suddenly an earthquake causes a cave-in.

Reports of a UFO spotted around the East puzzle authorities, too, until we learn this earthquake has led to the hatching of Rodan , a giant pterodactyl. Scientists determine Rodan is a 20 million year old flying reptile weighing 100 tons, with a wingspan of 500 feet! Rodan’s great wings cause hurricane-like destruction, toppling buildings and wrecking trains, and panic in the streets. Not only that, turns out there’s two of the massive monsters, and Japan’s military might proves once again ineffective against the fearsome monstrosities. After scenes of the deadly duo’s rampaging carnage, the military comes up with a bold but dangerous plan – bombard the beasts in their volcano hideaway and let nature take its course.

The local citizens are evacuated and the military unleashes its biggest weapons, erupting the volcano and ending in fiery doom for the Rodans. The movie is a blast (pun intended), and Honda keeps things taut and terrifying throughout. Among the dubbed voices you’ll immediately recognize Paul Frees in a couple roles and veteran Keye Luke doing some narration. Allegedly, STAR TREK’s George Takei also did some dubbing. RODAN is one of Toho’s scariest, definitely not for kids. Our next feature is a different story.

MOTHRA (in Toho-Scope!) is pure adventure-fantasy, which seems to have “borrowed” heavily from KING KONG. I watched the original (subtitled) Japanese version, and it was a revelation, a charming take on the genre complete with comedy and musical interludes between the destruction. A typhoon causes a Japanese ship to sink, and some survivors are found on Infant Island, used for atomic testing by the Rolisican government. Don’t worry of you’ve never heard of Rolisica; it’s entirely fictional! Anyway, those survivors show no signs of radiation poisoning, and a joint expedition by Japan and Rolisica is formed, including Rolisican explorer Nelson, Japanese linguist Chinjo, and others… but no reporters allowed! This doesn’t stop intrepid newshawk Zen “Bulldog” Fukuda (played by comedian Frankie Sakai) from stowing away onboard disguised as a cabin boy!

The expedition discovers a lush green jungle valley, and the curious Chinjo stumbles upon a clearing filled with colorful flora straight out of ALICE IN WONDERLAND. He also stumbles upon The Fairies, twin foot-high girls played by Japanese singing sensations The Peanuts (Emi and Yumi Ito). Meanie Nelson tries to snatch them, when the expedition is surrounded by menacing island natives, forcing him to reconsider. But later, when the expedition is finished, Nelson and his thugs return to Infant Island, kill the natives, and kidnap the girls, exploiting them as the main attraction at a Tokyo theater a la KONG’s Carl Denham.

But the twins have the power of telepathy, and use their singing talents to summon the great god Mothra to rescue them. Mothra hatches from her big blue egg (yes, Mothra’s a she), and the immense caterpillar swims her way to Japan. Nelson refuses to give up his miniature meal tickets, and the relentless Mothra crumbles everything in her path before building a cocoon around the Tokyo Tower. Japan and Rolisica team to blast said cocoon with atomic heat rays, which results in the creeping caterpillar emerging as a full-grown giant (and very colorful!) moth! Mothra makes a beeline (or is it mothline) for Rolisica’s capitol, New Kirk City to free the twins, which in turn leads to a strange and wonderful happy ending for all. Except Nelson, of course.

Honda’s direction here is much lighter in tone, and I enjoyed Sakai’s performance as the reporter Fukuda. The Ito Twins also appear in this film’s sequel, GODZILLA VS. THE THING, in which “The Thing” is none other than mighty Mothra! Their singing is a delight (though I didn’t understand a word of it, not being fluent in Japanese), and the score by composer Yuji Koseki is my all-time Toho favorite. RODAN and MOTHRA would make a perfect ‘Creature Double Feature’ for your upcoming ‘Halloween Havoc!’ party.

Speaking of ‘Halloween Havoc!’, it officially kicks off tomorrow with a titanic trio of classic horror stars sending up Edgar Allan Poe! In the meantime, enjoy these links to other posts in the ‘Creature Double Feature’ series:

Advertisements

Creature Double Feature 3: THE MONSTER THAT CHALLENGED THE WORLD (UA 1957) & THE GIANT CLAW (Columbia 1957)

Welcome to another exciting edition of Creature Double Feature, a fond look back at the type of weird and wonderful monster movies that used to be broadcast Saturday afternoons on Boston’s WLVI-TV 56. Today we’ve got twin terrors from 1957, one beneath the sea, the other above the skies. Let’s dive right in with THE MONSTER THAT CHALLENGED THE WORLD, a soggy saga starring former cowboy star Tim Holt and a monstrous giant sea slug!

An earthquake has released the beast in California’s Salton Sea, and when a Navy parachutist and a rescue crew goes missing, Commander “Twill” Twillinger (Holt) investigates. A mysterious, sticky white goo is found on board (no “money shot” cracks, please!), and a sample is taken to the lab of Dr. Rogers (Hans Conreid). Rogers analyzes the substance, a “simple marine secretion” (again, no wisecracks!), later discovered to be radioactive.

Rogers’ secretary Gail (Audrey Dalton) and Twill get off on the wrong foot, so you know their destined to fall in love. That’s just the way it goes in these films. Anyway, Twill and the local sheriff (Gordon Jones, THE ABBOTT & COSTELLO SHOW’s Mike the Cop) pay a visit to the coroner, who tells them the bodies have been “drained of blood and water”, then offers them a sandwich from his cold-storage unit (they politely decline!). Meanwhile, the beaches have been temporarily closed, but some foolish young lovers decide to take a swim, and of course become the monster’s next victims.

Twill decides to “investigate the bottom of the sea”, and some fine underwater photography finds the divers discovering some giant six-foot eggs! One large egg is hauled up by net, pissing Mama Monster off, and she goes on the offensive. Dr. Rogers does his analyzation thing, and proclaims the giant slug is a descendant of none other than the legendary Kraken! A local historian named Lewis Clark Dobbs, played by marvelous Milton Parsons , finds a map of underground waterways, and the Navy blows up the nest. But that egg in the lab hatches thanks to Gail’s daughter Sandy, and terrorizes the girls until Twill arrives, brandishing a fire extinguisher and a steam hose to subdue the menacing mollusk long enough for the forces of good to shoot it down in a hail of bullets.

Holt had been off the screen five years before this film, and he’s looking a little paunchy, but still makes a believable hero. The actor was typecast as a ‘B’ cowboy, rarely getting his chance to show his acting chops (except in THE MAGNIFICENT AMBERSONS and TREASURE OF THE SIERRA MADRE). The rest of the cast is fine, and I enjoyed the bit by horror vet Parsons (is his character’s name an homage to TREASURE’S Fred C. Dobbs? Only screenwriter Pat Fielder knows for sure!). The monster itself is more cute and cuddly rather than creepy, but on the whole the movie’s an okay if by-the-book entry in the giant monster sweepstakes. Director Arnold Laven and producers Arthur Gardner and Jules Levy later had greater success as the team behind TV’s THE RIFLEMAN and THE BIG VALLEY.

Now it’s on to THE GIANT CLAW, a much-maligned film from the King of Schlock Sam Katzman ! This one features one of the most laughable-looking monsters in genre history, a puppet resembling a giant prehistoric turkey! Shades of BLOOD FREAK ! The film follows the formula closely, with sci-fi stalwarts Jeff Morrow (THIS ISLAND EARTH, THE CREATURE WALKS AMONG US), Mara Corday (TARANTULA, THE BLACK SCORPION), Morris Ankrum (INVADERS FROM MARS, EARTH VS THE FLYING SAUCERS ), and Robert Shayne (THE NEANDERTHAL MAN , TV’s ADVENTURES OF SUPERMAN) all on board for a quick, enjoyable romp loaded with unintentional laughs.

Aeronautical engineer Mitch McAfee (Morrow) spots what he thinks is a UFO while flying the wild blue yonder in the Arctic. Mathematician Sally (Corday) scoffs, and the two are quickly at odds. You already know they hook up, right? While on reconnaissance, their plane crash lands, and they’re rescued by an actor with a terrible French-Canadian accent going by the original moniker of Pierre. McAfee and Sally recuperate at the bad-accented guy’s farm, when he hears trouble outside. Pierre is horrified by a sighting of what he thinks is La Carcagne, a mythical beast with “the face of a wolf and the body of a woman… with wings!”.

It’s really a giant turkey from outer space. The bird that is, not the movie! McAfee discovers the bird is flying in a concentric circular pattern, and Big Army Brass (sorry, wrong movie!) gives the order to shoot it down. But planes can’t stop it, “machine guns, cannons, rockets” don’t faze it. “It’s just a bird!”, screams Gen. Buskirk (Shayne), who keeps repeating “guns, cannons, rockets” like he’s shell-shocked! Scientists determine the bird is from “an anti-matter galaxy billions of light years from Earth. No other explanation is possible” because of course there’s not.

The “feathered nightmare on wings” is spotted around the globe, and Earth is in panic mode. A nest is discovered on Pierre’s farm, and McAfee and Sally shoot the egg, naturally pissing the bird off (just like our previous crustacean creature). Pierre becomes bird food, as do some dumb local teenage joyriders. There’s some scientific double-talk about “masic atoms” leading to the creation of a weapon powerful enough to breach the bird’s anti-matter shield. Meanwhile, our giant turkey monster is wreaking havoc in the Big Apple, attacking the UN building and the Empire State Building. That tremor you just felt was KING KONG rolling over in his grave! McAfee and the team commandeer an Air Force jet equipped with the new weapon, and pierce through the bird’s force field, enabling them to destroy the turkey with conventional rockets. Yay, team!

Ray Harryhausen was originally scheduled to handle the special effects, but when his price was deemed too high, the ever-frugal Katzman contracted the work to a Mexican outfit that created the silly looking bird puppet. Despite the fact that the monster is so ludicrous, I really enjoyed THE GIANT CLAW. It’s fast-moving and fun, with nary a wasted minute thanks to El Cheapo Katzman. The likable cast play their roles earnestly, and a good time is had by all. Except for the bird, of course!

Tune in next time for more madness on CREATURE DOUBLE FEATURE!

And check out previous entries in the series:

  1. THE BLACK SCORPION & THE KILLER SHREWS 
  2. IT CAME FROM BENEATH THE SEA & 20 MILLION MILES TO EARTH

 

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)

meteor1

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.

meteor2

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.

meteor3

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?

meteor4

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.

meteor5

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)

starwars1

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.

starwars2

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!

starwars3

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.

starwars4

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 !).

starwars5

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!

starwars6

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.

starwars7

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…