Strange New World: George Pal’s THE TIME MACHINE (MGM 1960)

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George Pal (1908-1980) made movies full of wonder and imagination. The Hungarian born Pal got his start in film by creating “Puppetoons”, stop-motion animated shorts that delighted audiences in the 1930s and 40s (my personal favorites are JOHN HENRY and TUBBY THE TUBA). Some of these featured the character Jasper, a stereotyped black child always getting in some sort of trouble. Pal saw Jasper as closer in spirit to Huckleberry Finn than Stepin Fetchit, but by 1949 he  abandoned the “Puppetoons” altogether to concentrate on producing features, beginning with THE GREAT RUPERT, a Christmas fantasy starring Jimmy Durante. Pal produced a string of sci-fi hits in the early 50s (DESTINATION MOON, WHEN WORLDS COLLIDE, WAR OF THE WORLDS, CONQUEST OF SPACE), and began directing his films with 1958’s “tom thumb”. Having had his biggest success with the H.G. Wells adaptation WAR OF THE WORLDS, Pal produced and directed another Wells classic, the sci-fi/fantasy masterpiece THE TIME MACHINE.

Four men have gathered at George Wells’ house in London to meet for dinner, but the host is late. His housekeeper Mrs. Watchett hasn’t seen him in five days, but soon George comes bursting in, looking extremely disheveled. The four friends are startled as George relates what happened to him since they last met on New Year’s Eve 1899…

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On that day, George tried explaining his theory of travelling through the Fourth Dimension, through time itself. He demonstrated using a model of a Time Machine, which vanishes before their very eyes! The men are skeptical, believing it to be some magician’s trick, but George is adamant about his theory. When they depart, he goes into his workshop, where sits a full-sized machine. George begins experimenting, slowly at first, and stops in 1917, where he meets friend Filby’s son, who says his dad was killed in WWI. Going forward, he lands in 1940, at the height of the Nazi blitzkrieg. He travels to 1966, and lands in the midst of a nuclear holocaust. George then hits the full throttle, and crash lands in the strange new world of year 802,701.

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George is amazed by the lush paradise, with “natural splendor beyond compare”. Soon he discovers other humans, all very blonde and very young. One of them, a stunning young girl, is drowning in a nearby river, while the rest still by idly. George jumps in and rescues her, and finds out her name is Weena, and they are called the Eloi. It seems the Eloi have no government, no laws, and no motivation to do anything but lounge around all day (the original slacker generation!!). But all is not what it seems, as George finds out the Eloi are controlled by a fearsome underground race called the Morlocks. These brutish, blue skinned mutants breed the Eloi like cattle, then when they’re matured lure them into their cavern to become dinner for the cannibalistic Morlocks. The Morlocks have also stolen George’s Time Machine, and now he’s trapped in a world he never made!

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Australian actor Rod Taylor had his first leading role as George, and became a star because of it. Taylor would go on to headline Alfred Hitchcock’s THE BIRDS, then went on to a series of action films like DARK OF THE SUN, THE HELL WITH HEROES, DARKER THAN AMBER, THE TRAIN ROBBERS (with John Wayne), and THE DEADLY TRACKERS. Taylor’s last film appearance before his death in January 2015 was as Winston Churchill in Quentin Tarantino’s INGLORIOUS BASTERDS. Costar Yvette Mimieux was only 18 when she made THE TIME MACHINE. The pretty young star was featured in WHERE THE BOYS ARE, TOYS IN THE ATTIC, and PICASSO SUMMER. Never a big star, Mimieux is remembered for the 70s exploitation drama JACKSON COUNTY JAIL, and TV movie HIT LADY, which she wrote. Alan Young, who plays Filby and his son, is known to baby boomers as Wilbur Post, owner of TV’s talking horse MR. ED, and to a later generation as the voice of Uncle Scrooge McDuck. Sebastian Cabot, Whit Bissell, and Doris Lloyd also offer strong support.

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The special effects by Gene Warren and Wah Chang won the Oscar that year, though they’re a bit crude today. William Tuttle’s makeup on the Morlocks, based on Pal’s design, is quite a fright to behold, with their long fangs, blue skin, and glowing eyes. The wonderfully dramatic score by Russell Green is one of the best in all of sci-fi. George Pal’s  THE TIME MACHINE is a sci-fi/fantasy treat guaranteed to please even the most jaded viewer, packed with adventure, humor, and enchantment, and it’s a must-see for kids of all ages.

 

 

 

 

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Hunger Games: Charlton Heston in SOYLENT GREEN (MGM 1973)

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Oscar winning actor Charlton Heston (BEN-HUR) ventured into the realm of dystopian science-fiction in the late 60s/early 70s with a quartet of films. He starred in the 1968 blockbuster PLANET OF THE APES and its 1970 sequel BENEATH THE PLANET OF THE APES, then a 1971 adaptation of Richard Matheson’s I AM LEGEND titled THE OMEGA MAN. The last of these was 1973’s SOYLENT GREEN, a grim look at an overpopulated, polluted future world (set in 2020!) where food is scarce, the climate has changed dramatically, and the rich minority controls everything. (Geez, sound familiar?)

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Heston plays NYC Police Detective Thorn, investigating the murder of powerful, rich industrialist William Simonson (Joseph Cotten in a cameo), who lives in Central Park West, a complex for wealthy males that comes complete with a woman as part of the “furniture” (Leigh Taylor-Young). The killing looks like a robbery attempt gone bad, but Thorn suspects foul play, and has his eye on Simonson’s bodyguard Tab (a rather paunchy Chuck “THE RIFLEMAN” Connors).

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Thorn is assisted by his roommate, the elderly crime book researcher Sol Roth. Edward G. Robinson is Sol, in what was his last film role. Robinson was Hollywood’s OG, having starred in 1931’s LITTLE CAESAR, the movie that kicked off the gangster cycle. His acting chops hadn’t diminished one bit, and Robinson gives us a touching swan song as a man who longs for the days when the world was livable, showing his disgust at the “tasteless, odorless crud” the Soylent Corporation manufactures to feed the masses. The scene where Thorn brings home some plundered “real food” (beef, apples, and a bottle of bourbon) is priceless as we watch the old man’s spirit lift savoring the meal.

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The powers that be put the kibosh on Thorn’s investigation, having him reassigned to “riot duty”, riding herd over the rabble as Soylent Green is put up for rationing. An assassin tries to gun him down, meeting a gruesome death under one of the front-end loaders used to control the rowdy peasants. Thorn keeps digging into the murder despite pressure from his boss (Brock Peters), as does Sol. The elderly former professor goes to The Exchange, bringing along the reference books Thorn obtained from the Soylent Oceanographic Survey. They come to a grim conclusion, and Sol cannot bear to live with the truth. He checks into Home, an assisted death facility, and Thorn arrives just before Sol expires. Sol shares the horrible secret of Soylent Green, begging Thorn to prove it to the world. The death scene is poignant, as Sol drinks from a poisoned cup, then lays down while bathed in orange light, images of nature before him, classical music gently taking him away. Edward G. Robinson, an actor’s actor to the last, died of terminal cancer twelve days after filming this scene.

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I’m about to SPOIL THE ENDING so if you haven’t seen SOYLENT GREEN, keep scrolling. Most of you film fans out there already know, and even those who’ve never seen the movie have heard people imitating Heston’s famous last words: “It’s people…Soylent Green is people!” I’m a huge admirer of Heston, not just for his many great performances, but for always staying true to himself. Charlton Heston was King of the Epics (THE TEN COMMANDMENTS, THE AGONY AND THE ECSTASY), starred in Orson Welles’ classic noir TOUCH OF EVIL, and made great Westerns like WILL PENNY and THE MOUNTAIN MEN. A liberal politically early in his life, Heston campaigned for Adlai Stevenson, marched with Martin Luther King, and was president of his union, The Screen Actor’s Guild. When he felt the Democratic Party had abandoned their principles, Heston switched to the Republicans, supporting his old friend Ronald Reagan. He served as president of the NRA, making that famous speech about taking our guns away “when you pry them from my cold, dead hands”. It’s not hip to be Heston fan nowadays, but I don’t really care. He served his country in WW2, and stood up proudly for his convictions. Besides, any actor who can do Shakespeare and share a stage with Dame Edna Everage can’t be all bad. Charlton Heston, American icon, died of complications from Alzheimer’s disease in 2008.

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Other cast members include Whit Bissell, Paula Kelly, Dick Van Patten, and Celia Lovsky. Miss Lovsky was once married to Peter Lorre, and as an actress is perhaps best known to sci-fi fans as Vulcan leader T’Pau in the “Amok Time” episode of STAR TREK. Director Richard Fleischer, son of animation pioneer Max (Popeye, Betty Boop), had an uneven career, batting slightly over .500, with more hits (20,000 LEAGUES UNDER THE SEA, FANTASTIC VOYAGE, THE BOSTON STRANGLER) than misses (1967’S DOCTOR DOOLITTLE, the abominable MANDINGO, 1980’S THE JAZZ SINGER with Neil Diamond). SOYLENT GREEN is solidly in the hit column, with themes that are still relevant today, and a wonderful farewell performance from Edward G. Robinson.

It’s Meet and Greet Weekend @ Dream Big!! 12/4

Danny’s Meet and Greet Weekend is back!

Dream Big, Dream Often

4It’s Meet and Greet Weekend at Dream Big!!

Ok so here are the rules:

  1. Leave a link to your page or post in the comments of this post.
  2. Reblog this post.  It helps you, it helps me, it helps everyone!  So don’t be selfish, hit the reblog button.
  3. Edit your reblog post and add tags (i.e. reblogging, reblog, meet n greet, link party, etc.), it helps, trust me on this one.
  4. Share this post on social media.  Many of my non-blogger friends love that I put the Meet n Greet on Facebook and Twitter because they find new bloggers to follow.  This helps also, trust me.

Now that all the rules have been clearly explained get out there and meet n greet your butts off!

See ya Monday!

Danny

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Keep Watching The Skies!: THE THING FROM ANOTHER WORLD (RKO 1951)

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UFOs (Unidentified Flying Objects) were making headlines during the late 1940s/early 1950s. The sightings of UFOs in 1947 near Mt.Rainier, Washington, and Roswell, New Mexico brought about a government investigation called Project Sign, later replaced by Project Blue Book. Reports of “flying saucers” were coming in from around the globe, and no answers were in sight. Citizen’s nerves were already frazzled with the threats of “The Red Menace” and potential nuclear holocaust,  and the possibility of an invasion from outer space just added to the collective existential angst.

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Hollywood discarded its Old World horrors of Vampires, werewolves, and mummies and boarded the science fiction rocket ship. By 1951 a slew of space invaders was unleashed on box offices across the nation. That year alone studios released features THE DAY THE EARTH STOOD STILL, WHEN WORLDS COLLIDE, FLIGHT TO MARS, SUPERMAN AND THE MOLE MEN, The Man from Planet X , and the serials LOST PLANET AIRMEN and CAPTAIN VIDEO: MASTER OF THE STRATSOSPHERE. But the film that stands out as most frightening is Howard Hawks’ production of THE THING FROM ANOTHER WORLD.

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At an Air Force outpost in Alaska, Captain Pat Hendry (Kenneth Tobey) and his crew are sent to investigate a report by Polar Expedition 6 of a mysterious craft landing 48 miles east of their encampment. They fly out to the frigid wasteland, nothing but snow and cold for miles around them and, accompanied by lead scientist Dr. Carrington (Robert Cornthwait) and his fellow researchers, find a large object embedded in the ice. It’s metal is of unknown origin, radioactivity emits from it, and it’s perfectly round shape lead them to one conclusion…they’ve stumbled upon a flying saucer. Their attempt to thaw it out using a thermite bomb destroys the ship, but not it’s occupant, an eight-foot humanoid encased in ice. The crew bring the body back to examine and discover it’s still alive.

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‘The Thing’ escapes after being thawed, killing some sled dogs but losing an arm in the process. The scientists run tests and believe it’s a highly evolved species of vegetable, with the intelligence of a human. The arm on the examination table moves, and the scientists conclude ‘The Thing’ has fed on the dog’s blood, rejuvenating it. Carrington and his cohorts want to capture and communicate with it, but Hendry and his men seek to destroy it. When the alien visitor kills two scientists, hanging them upside down to drain their blood for nourishment, all but Carrington agree ‘The Thing’ must be stopped for the sake of humankind.

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The ensemble cast isn’t made up of stars, just competent actors who give fine, realistic performances despite the fantastic nature of the script by Charles Lederer (based on the short story “Who Goes There?” by sci-fi author John W. Campbell). Tobey is perhaps the best known, gaining some fame in the syndicated 50s TV show THE WHIRLYBIRDS. Margaret Sheridan represents the love interest as Nikki. Her brief film career includes playing Mike Hammer’s secretary Velda in 1953’s I, THE JURY. Other familiar faces are Dewey Martin, Eduard Franz, Ben Frommer, George Fenneman (Groucho’s sidekick on YOU BET YOUR LIFE), and voice actor Paul Frees in a rare onscreen role. And we can’t forget about ‘The Thing’ himself. If you’re reading this, you probably know it’s James Arness, brother of Peter Graves, and star of the long-running TV Western GUNSMOKE. Yep pardner, that’s Marshall Matt Dillon himself playing the bloodthirsty alien under all that makeup in one of his earliest roles.

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Christian Nyby is credited as THE THING’s director, but rumors abound that Hawks really called the shots. It’s never been proven or disproven, but there are so many Hawksian  touches in the film it’s hard to believe he didn’t direct it. Nyby was editor on four Hawks films before taking this assignment. All I can say is Howard Hawks was one of the most distinguished directors in Hollywood, responsible for classics like SCARFACE, BRINGING UP BABY, HIS GIRL FRIDAY, SERGEANT YORK, TO HAVE AND HAVE NOT, THE BIG SLEEP, and RIO BRAVO (which has a lot in common with THE THING). Christian Nyby had a mostly undistinguished career as a television director, with only four other features to his credit. I have my opinion; you can watch and judge for yourself.

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TEH THING FROM ANOTHER WORLD inspired a remake in 1982 by John Carpenter, an admitted devotee of Hawks. The remake is excellent, but I prefer the original. The black and white cinematography by Russell Harlen makes the frozen North seem so much colder, adding to the feeling of isolation and fear. It’s a true classic of sci-fi, and movies in general. And remember, “Keep watching the skies!”

Cracked Rear Viewer Reaches a Milestone!

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Woo Hoo! In less than six months, this humble little classic film blog has gained its 100th follower! I’m honored you guys and gals like my “fresh takes on retro pop culture” enough to follow me, and help keep these movie memories alive. Special shout-out to Lisa Marie Bowman and the gang at Through the Shattered Lens for giving me the opportunity to repost my stuff at their fine website (and if you haven’t been there yet, what are you waiting for??) Thanks too, to Danny at Dream Big Dream Often for allowing me the privilege of being reblogged on his wonderful site. And thanks to all of you, dear readers, for letting me into your worlds. This blog would be nothing without its fantastic followers, so I raise my glass in a toast to you!

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Okay, so I don’t really look like Leonardo DiCaprio, but still….thank you!!

Way Out West: BLAZING SADDLES (Warner Brothers 1974)

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So last night I tried watching Seth MacFarlane’s A MILLION WAYS TO DIE IN THE WEST. At about the twenty minute mark, I came to the conclusion the film totally sucked, and deleted it from the DVR. I was still in the mood for some Western comedy though, and fortunately I had Mel Brooks’ BLAZING SADDLES in the queue and ready to roll. BLAZING SADDLES never fails to make me laugh out loud no matter how many times I watch it. Nobody does fart jokes like Mel Brooks:

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The story revolves around Cleavon Little as Bart, a black man appointed sheriff of Rock Ridge by Governor LePetomane (Google it!). This doesn’t go over well with the God-fearin’ town citizens, since Bart is black, and they’re a bunch of redneck racists. It’s all a scheme by the Gov’s crooked Attorney General Hedy Lamarr…oops, that’s HEDLEY!  You see, Hedy (err, Hedley) knows the railroad is going to go through Rock Ridge and wants to drive the townsfolk out so he can buy up all the land. No one stands by Bart’s side except The Waco Kid (Gene Wilder), formerly the fastest gun in the West, now a broken down drunkard.

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Hedy (ahem, Hedley!) sends Mongo, the meanest man in the West, to terrorize Rock Ridge and get rid of Bart. Unfortunately, Mongo has a brain the size of a pea, and is easily outwitted by Bart. So the devious Hedy (THAT’S HEDLEY!) sends his ace in the hole, German chanteuse Lily Von Schtupp to seduce him. The tables are turned when Lily finds out just how “gifted” Bart is! Finally, the most dastardly villains of the West are assembled, “an army of…rustlers, cutthroats, murderers, bounty hunters…muggers, buggerers, horse thieves, bull dykes”  to raid Rock Ridge and kill everyone in sight! The grand finale breaks the fourth wall as a wild and wooly slapstick melee ends up going through the Warner Brothers lot!

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Little is a riot as Bart, his cartoonish antics making him a black Bugs Bunny come to life. Wilder gives a sly performance as The Waco Kid, and Harvey Korman is hysterical as the fiendish Hedley Lamarr (whom everyone calls Hedy in a running joke). Western vet Slim Pickens is funny too, as Hedley’s lunkheaded henchman Taggart. Madeline Kahn does her best Marlene Dietrich impression as Lily Von Schtupp, with the pronunciation of Elmer Fudd. Her song, “I’m Tired”, is one of many highlights. Football legend Alex Karras plays the hulking Mongo as an overgrown kid, while John Hillerman, David Huddleston, George Furth, and Dom DeLuise also add to the fun.

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Mel Brooks directed and had a hand in the screenplay, as well as playing three roles (The Gov, a Yiddish speaking Indian, and one of Lily’s Prussian back-up dancers). Like any Mel Brooks comedy, there’s enough here to offend everybody:  racist humor, politically incorrect gags, sexual innuendo, slapstick tomfoolery, plus lots of Hollywood in-jokes to savor in this no-holds-barred comedy classic. When it comes to spoofing the Western genre, sorry Seth, but Make Mine Mel! I’ll give the last word to that prairie philosopher, Mongo: