When I was a kid, Ted Turner’s Superstation WTBS ran this thing practically every week. It became as comforting as an old blanket, as familiar as my own skin.
Eventually, as an adult, I revisited the world of Japanese giant monster movies. I wrote a couple of books, gave some lectures, recorded some audio commentaries, blah blah blah. And along the way I came to recognize this film about a doomed dinosaur is basically a doomed dinosaur itself.
In so many ways it prefigured the future: Rodan boldly leaps into full color, introduces one of Toho Studio’s most enduringly popular monsters and introduces one of the studio’s most enduringly prolific movie stars (Kenji Sahara). But for all it innovates, it’s the last gasp of what was then a dying way of making giant monster flicks. This approach to storytelling was almost instantly rendered obsolete.
So, in case you haven’t heard, there’s this movie called Phase IV. It’s a 1970s apocalyptic sci-fi thriller about killer super-intelligent ants, and it was directed by Saul Bass of all people. And instead of special effects, the killer ants are played by real ants, filmed in close-up by National Geographic photographer Ken Middleham.
Either that is enough to make you drop everything and go see it (or go see it again) immediately, or you’re one of those people whose tastes make no sense to me.
But the thing is, as deliriously entertaining as Phase IV is, it’s a singular creation that could only have existed when it did, and couldn’t be (re)made today. And therein lies this week’s story…
Posted by Richard Harland Smith on September 5, 2014
I’ve been grooving to the soundtrack to Arnold Laven’s THE MONSTER THAT CHALLENGED THE WORLD (1957) for about 24 hours now (there was some sleep jumbled up in there, but not a whole lot), which was released by Monstrous Movie Music back in 2011. (It should come as no surprise at this juncture that it takes me a while to get to around to new things.) Heinz Roemheld’s full-bodied cues (orchestrated by Herschel Burke Gilbert) for this mollusk-on-the-loose classic are reliably immortal, full of blood and thunder (and slime), and making pioneering use of backmasking ten years before The Beatles got all the girls for doing the same thing. There’s lots of choice misterioso in the mix and moody string work, some of which might remind the older Monsterkids among us of Roemheld’s score for THE MOLE PEOPLE (1956). Anyway, Monstrous Movie Music has done an incredible job of assembling all of Romheld’s cues and providing context for each of them, deconstructing the composition and execution to give the curious a fuller appreciation of the work that went into this project, which I first saw as an impressionable lad of, oh, 10 or 11 or 12, when it was shown at my local drive-in on a triple bill with THE VAMPIRE (1957) and THE RETURN OF DRACULA (1957)– all projected in green, so that they could be sold to us rubes as color movies. I love the track titles that disc producers David Schecter and Kathleen Mayne have provided for our enjoyment, such as “Death by Fright,” and “Mollusk Mood Music” and “Slime.” But one track in particular caught my eye: “Scarf Found.” And it got me to thinking. (Cue flashback music.) [...MORE]
Posted by David Kalat on December 22, 2012
If you are reading this, then the world didn’t end. I never put any stock in that whole Mayan calendar silliness–if I had, I wouldn’t have spent any time writing this. And so it is with absolute confidence in the continuation of the world that I am writing this, marking the non-pocalypse by paying tribute to some of my favorite end-of-the-world movies.
Let’s start by noting that in most cases, what we really mean by end of the world movies are not movies about the literal destruction of the planet. Every once in a while you get a Beneath the Planet of the Apes, where the world is actually blown to smithereens, but those are the exceptions. The real point is to explore the end of the world as we know it, that is, the end of civilization.
In my mind, you can divide these movies into three sub-categories, and I’ll offer an example of each.
Posted by David Kalat on October 27, 2012
By sheer coincidence, in one of those warpings of reality that make people believe in Fate or powers greater than themselves, I happened to see Alfred Hitchcock’s Shadow of a Doubt for the very first time just a few days after seeing The Return of Dracula. And to quote Robert Frost, “that has made all the difference in the world.”
Posted by Pablo Kjolseth on August 26, 2012
In my last post I provided a look behind the curtain for the first five weeks of film programming for my fall film calendar. This week we look at the remaining 24 titles that round out the schedule. It features everything from classics such as Vertigo to the state premiere of the latest uncompromising and visually arresting film by Bruno Dumont, Outside Satan (a scene of which is pictured above). [...MORE]
Posted by Pablo Kjolseth on July 15, 2012
Bruce Kawin is a widely published scholar, film historian, and poet. As Professor of English and Film at the University of Colorado at Boulder, he has influenced many careers. Some 25 years ago, Dayton Taylor, the producer of Habit (1995) and Wendigo (2001), got the idea for his three-dimensional imaging Timetrack® camera system while learning about Eadweard Muybridge in Kawin’s class. (In 1877 Muybridge captured continuous motion of a horse by setting up twenty-four cameras in a row along a racing track.) More recently, both Derek Cianfrance, director of Blue Valentine (2010) and Drew Goddard, director of Cabin in the Woods (2011), have cited him as an influence. In the interest of full-disclosure, I should mention that I took my fair share of classes from Kawin and later did a stint as his T.A. and projectionist, and he played a pivotal role in my path toward cinema literacy. Kawin had a reputation among the students as being a demanding teacher. Kawin was not afraid to flunk people who did not show up or do the assigned work, thus he has had his fair share of detractors. Kawin’s encyclopedic knowledge and keen attention to detail could be daunting to students used to fudging their answers. In his class, if you spelled Gregg Toland’s name with only one “g,” or only knew him as the cinematographer of Citizen Kane (1941) without being able to link him to Mad Love (1935), your grade would suffer. For Kawin, history and connections are both important. It is also one of many reasons why serious lovers of the horror genre have reason to rejoice, because here now is a book that fuses Kawin’s keen intellect and attention to detail with his passion for monster movies. [...MORE]
Posted by David Kalat on July 7, 2012
J-Horror don’t get no respect. The long-haired ghosts have become a cliché to be ridiculed, and the tragedy of it is that the audiences perhaps best attuned to appreciate what J-Horror had to offer in its heyday are those least inclined to give it a chance. I know—I speak from experience. My love affair with J-Horror began, as all the best movie love affairs do, with opposition.
Posted by David Kalat on June 2, 2012
I’m holding in my hands an absolutely marvelous Blu-Ray edition of the terrific British sci-fi chiller The Asphyx, and I can say unequivocally that you need to own this. Among other things it represents one of the residual gifts to movie lovers from the late Don Krim, who set this Blu-Ray in motion before his untimely passing, and if he thought so highly of you to make this movie available in such a delicious form, then you should repay the compliment. But the main reason I’m talking about it this week is because I had nothing whatsoever to do with this Blu-Ray, which gets right everything I screwed up when I produced the 1997 DVD version of The Asphyx. This week’s post is a cautionary tale about what I did wrong, and why.
(I have no conflict of interest here—I no longer hold a stake in The Asphyx in any way. Even if you were to foolishly abstain from Kino’s exemplary release and instead seek out one of the overpriced out of print copies of my DVD on eBay, I wouldn’t get any of that money. My connection to this movie was severed long ago.)
Posted by Pablo Kjolseth on May 6, 2012
Quatermass creator and screenwriter Nigel Kneale (1922 – 2006) has his roots in the Isle of Man, a small patch of over 200 square miles in size that is located between Great Britain and Ireland. Megalithic monuments that heralded a new development in human technology began to appear on the Isle of Man during the Neolithic Age. At present, the island is the center for various competing private space travel companies that are vying for a thirty million dollar Google Lunar X Prize, organized by the X Prize Foundation. “X” marks the spot, and in this case it’s where reality and space travel intersect, bringing us back to Nigel Kneale and The Quatermass Xperiment (U.S. title: The Creeping Unknown), which was the first feature film to introduce his beloved alien-battling character of Professor Bernard Quatermass of the British Experimental Rocket Group. [...MORE]
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