The Giant Gila Monster is a 1959 hot rod/monster/science fiction film, directed by Ray Kellogg and produced by Ken Curtis. This low-budget B-movie starred Don Sullivan, a veteran of several low budget monster and zombie films, and Lisa Simone, the French contestant for Miss Universe of 1957, as well as comic relief Shug Fisher and KLIF disc jockey Ken Knox. The effects included a live Mexican beaded lizard (not an actual Gila monster) filmed on a scaled-down model landscape. The movie is considered a cult classic.
Night of the Living Dead is a 1968 American independent horror film written, directed, photographed and edited by George A. Romero, co-written by John Russo, and starring Duane Jones and Judith O'Dea. The story follows seven people who are trapped in a rural farmhouse in western Pennsylvania, which is besieged by a large and growing group of "living dead" monsters. The film was completed on a $114,000 budget and shot outside Pittsburgh, where it had its theatrical premiere on October 1, 1968. The film grossed $12 million domestically and $18 million internationally, earning over 250 times its budget. Night of the Living Dead has been regarded as a cult classic by film scholars and critics.
Mr. Sardonicus is a 1961 horror film produced and directed by William Castle. It tells the story of Sardonicus, a man whose face becomes frozen in a horrifying grin while robbing his father's grave to obtain a winning lottery ticket. Castle cited the film in his memoir as one of his favorites to produce. The film was based on a short story called "Sardonicus" that was originally published in Playboy. Castle purchased the rights and hired its author, Ray Russell, to write the screenplay. To achieve Sardonicus's terrible grin, Rolfe was subjected to five separate facial appliance fittings. He could not physically stand to wear the piece for more than an hour at a time. As a result, the full makeup is only shown in a few scenes, with Rolfe instead wearing a mask over his face for most of the running time. Castle, with his reputation as the "king of gimmicks" to market his films, built the marketing for the film around the idea of the two possible endings. Near the end of the film, audiences were given the opportunity to participate in the "Punishment Poll". Each movie patron was given a glow-in-the-dark card featuring a hand with the thumb out. At the appropriate time, they voted by holding up the card with either the thumb up or down as to whether Sardonicus would live or die. The "poll" scene, as presented in the film, is hosted by Castle himself. He is shown pretending to address the audience, jovially egging them on to choose punishment, and "tallying" the poll results with no break in continuity as the "punishment" ending is pronounced the winner. Castle, in his autobiography Step Right Up! I'm Gonna Scare the Pants Off America, claimed the idea for two different endings came from the Columbia Pictures' dissatisfaction with the downbeat ending of the original story and script, so "I would have two endings, Columbia's and mine, and let the audience decide for themselves the fate of Mr. Sardonicus." The alternate "merciful" ending purportedly showed Sardonicus being cured and surviving (although co-star Dalton claims no such ending was ever shot). Given that no one researcher was unable to locate any cut of the film which included the "merciful" ending, the suggestion of alternative endings itself appears to have been an elaborate conceit on the part of Castle in service of the "gimmick". Castle claimed in his book, "Invariably, the audience's verdict was thumbs down... Contrary to some opinions (just in case the audience voted for mercy) we had the other ending. But it was rarely, if ever, used." The consensus among film historians, however, appears to be that no other endings were ever filmed. The "punishment" ending occupies only three minutes of film after the "poll", and was the ending of the original Russell short story. There are reports that a separate version of the "poll" was produced for drive-ins, in which patrons were asked to flash their cars' headlights to vote. A similar variation was filmed for the drive-in market for Castle's The Tingler, but to date no evidence for any variation of Mr. Sardonicus has come to light.
The Time Machine (also known promotionally as H. G. Wells' The Time Machine) is a 1960 American science fiction film, produced and directed by George Pal, that stars Rod Taylor, Yvette Mimieux, and Alan Young. The film was based on the 1895 novella of the same name by H. G. Wells that was influential on the development of science fiction. An inventor in Victorian England constructs a machine that enables him to travel into the distant future; once there, he discovers that mankind's descendants have divided into two species, the passive, childlike, and vegetarian Eloi and the underground-dwelling Morlocks, who feed on the Eloi. George Pal, who had made the first film version of Wells' The War of the Worlds (1953), always intended to make a sequel to The Time Machine, but he died before it could be produced; the end of Time Machine: The Journey Back functions as a sequel of sorts. In 1985, elements of this film were incorporated into the documentary The Fantasy Film Worlds of George Pal. The Time Machine received an Oscar for its time-lapse photographic effects, which show the world changing rapidly as the time traveler journeys into the future. George Pal was already known for his pioneering work with stop-motion animation, having been nominated almost yearly for an Oscar during the 1940s. Unable to sell Hollywood on the concept of the film, he found the studio (where he had filmed Tom Thumb) open to his proposal. The name of the film's main character (alluded to in dialogue only as "George") connects him both with George Pal and with the story's original science fiction writer H. G. (George) Wells. The name "H. George Wells" can be seen on a brass plaque on the time machine. Pal originally considered casting a middle-aged British actor like David Niven or James Mason as George. He later changed his mind and selected the younger Australian actor Rod Taylor to give the character a more athletic, idealistic dimension. It was Taylor's first lead role in a feature film. Art director Bill Ferrari designed the time machine. Recognized today as a classic film property, Ferrari's machine suggested a sled made up of a large clockwork rotating disk. The disk rotated at various speeds to indicate movement through time, evoking both a spinning clock and a solar disk. In a meta-concept touch, a brass plate on the time machine's instrument display panel identified its inventor as "H. George Wells", though the Time Traveler is only, otherwise, referred to as "George" in the film. The charm of a fantastic technology (time travel), wrapped in the archaic guise of brass, rivets, Art nouveau arabesques, and crystal mechanisms, was one of influences on the later emergence of the steampunk genre. With a budget of under $1 million, the film could not be shot in London, where the plot sets the story. Thus, the live-action scenes were filmed from May 25 to June 30, 1959, in Culver City, California, with the backgrounds often filled in by virtue of matte paintings & models. Some of the costumes and set were re-used from Forbidden Planet (1956) such as the nuclear war air raid officer uniform which was the C-57-D crew uniform and the large acrylic sphere in the talking rings room, a prop from the C-57-D's control bridge.
The Fly is a 1958 American science fiction-horror film produced and directed by Kurt Neumann and starring David Hedison, Patricia Owens, Vincent Price and Herbert Marshall. The screenplay by James Clavell was based on the 1957 short story of the same name by George Langelaan. The film tells the story of a scientist who is transformed into a grotesque creature after a common house fly enters unseen into a molecular transporter he is experimenting with, resulting in his atoms being combined with those of the insect, producing a human-fly hybrid. The film was released in CinemaScope with Color by Deluxe. It was followed by two black-and-white sequels, Return of the Fly (1959) and Curse of the Fly (1965). The original film was remade in 1986 by director David Cronenberg. Producer-director Kurt Neumann discovered the story in Playboy magazine. He showed it to Robert L. Lippert. The film would be made by Lippert's outfit but was released as an "official" Fox film, not under the less prestigious Regal banner. Lippert hired James Clavell to adapt George Langelaan's short story on the strength of a previous sci-fi spec script at RKO which had never been produced. It would become Clavell's first filmed screenplay. Harry Spalding recalled the script was "the best first draft I ever saw, it needed very little work." The adaptation remained largely faithful to Langelaan's story, apart from moving its setting from France to Canada, and crafting a happier ending by eliminating a suicide. Lippert tried to cast Michael Rennie and Rick Jason in the role of André Delambre, before settling on then mostly-unknown David Hedison (billed as "Al Hedison" on-screen.) Hedison's "Fly" costume featured a twenty-pound fly's head, about which he said: "Trying to act in it was like trying to play the piano with boxing gloves on". Hedison was never happy with the makeup, but Makeup Director Ben Nye Sr. remained very positive about his work, writing years later that despite doing many subsequent science fiction films, "I never did anything as sophisticated or original as The Fly". Years later, Vincent Price recalled the cast finding some levity during the filming: "We were playing this kind of philosophical scene, and every time that little voice [of the fly] would say ‘Help me! Help me!’ we would just scream with laughter. It was terrible. It took us about 20 takes to finally get it". Sources vary as to the budget, with one source giving it as $350,000, another as $325,000 and others as high as $495,000. The shoot lasted 18 days in total. Lippert said the budget was $480,000. It was photographed in trademarked CinemaScope with Color by Deluxe. A $28,000 laboratory set was constructed from army surplus equipment. The Fly was released in July 1958. Producer-director Kurt Neumann died only a few weeks after its premier, never realizing he had made the biggest hit of his career.
Spider Baby is a 1967 black horror comedy film, written and directed by Jack Hill. It stars Lon Chaney, Jr. as Bruno, the chauffeur and caretaker of three orphaned siblings who suffer from "Merrye Syndrome", a genetic condition starting in early puberty that causes them to regress mentally, socially and physically. Carol Ohmart, Quinn Redeker, Beverly Washburn, Jill Banner, Sid Haig, Mary Mitchel, Karl Schanzer and Mantan Moreland also star. The film was released to relative obscurity, but eventually achieved cult status and a 100% rating on Rotten Tomatoes aggregate review site. The location chosen was the (now historic) Smith Estate in the Highland Park neighborhood of Los Angeles. The film was shot between August and September 1964. However, due to the original producer's bankruptcy, the film was not released until December 24, 1967. Spider Baby suffered from poor marketing as well as a series of title changes, being billed alternatively as The Liver Eaters, Attack of the Liver Eaters, Cannibal Orgy, and The Maddest Story Ever Told. Although these alternate titles have little or no relation to the plot, the latter two appear in the lyrics of the title song sung by Chaney: "This cannibal orgy is strange to behold in the maddest story ever told." The opening titles of the film also dub it Spider Baby or, The Maddest Story Ever Told. The cinematographer was Alfred Taylor, who had previously worked on the film The Atomic Brain. The entire production cost about $65,000, and took only 12 days to shoot in black and white. Plot: Three children of the Merrye family live in a decaying rural mansion with their protector and chauffeur, Bruno (Chaney). The children suffer from "Merrye Syndrome", a genetic affliction unique to members of their family, which causes them to mentally, socially and physically regress down the evolutionary ladder, starting in late childhood. Two distant relatives arrive with their lawyer and his secretary in order to examine and claim the property as rightful heirs. Bruno's shaky control over the children deteriorates; murder, chaos and insanity ensue.
Fiend Without a Face is a 1958 independently made British black-and-white science fiction-horror film drama. It was produced by John Croydon and Richard Gordon, directed by Arthur Crabtree, and stars Marshall Thompson, Kynaston Reeves, Michael Balfour and Kim Parker. The film was released in the UK by Eros Films; in the US it was released as a double feature with The Haunted Strangler. Fiend Without a Face tells the story of mysterious deaths at the hands of a mentally created invisible life form that feeds on atomic power and then steals human brains and spinal columns to use as bodies in order to multiply its numbers. The screenplay by Herbert J. Leder was based upon Amelia Reynolds Long's 1930 short story "The Thought Monster", originally published in the March 1930 issue of Weird Tales magazine. Noted science fiction personality, collector, and literary agent Forrest J Ackerman represented mystery and science fiction pulp writer Long and brokered the sale of her story "The Thought Monster" to the film's producers. Screenwriter Leder was originally set to direct the film, but being American, was unable to obtain a British work permit in time, so Crabtree replaced him as director. Thompson later said that when the director showed up on the first day of shooting and looked at the script, Crabtree claimed it was not the film he had been hired to direct, as he did not do "monster" films. After a heated argument with the producers, Crabtree left the set and did not show up for several days. In the interim, Thompson himself directed the film. Fiend Without a Face was made entirely in England. Its Canadian setting was chosen because it would appeal to both American and British Commonwealth movie audiences, while still being easy to replicate using the English shooting locations. U. S. Air Force stock aviation footage was also used to establish the military base setting and to pad out the film's meager running time. The producers used primarily expatriate American and Canadian actors working in the United Kingdom, plus a few British actors dubbed by Americans. The film's visible brain creatures were created using stop-motion animation, an unusual practice for such a low-budget science fiction thriller of this era. The director of these effects sequences was Florenz Von Nordoff, while the actual stop-motion was done in Munich by Nordhoff's partner, German special effects artist K. L. Ruppel. Peter Neilson headed up the British practical effects crew. During July 1958, Fiend Without a Face first opened in the United States at the Rialto Theatre in New York City's Theater District. The film's producers placed an outdoor, front-of-the-house exhibit near the sidewalk that showcased a "living and breathing Fiend" in a steel-barred glass display case. It periodically moved its spinal cord tail, startling onlookers, and also made menacing sounds with the help of a concealed electrical device. The crowds that gathered to watch the caged Fiend grew so large that NYC police finally ordered the display case removed because it was creating a public disturbance. Five months later, Fiend Without a Face created a public uproar after its British premiere at the Ritz Theatre in Leicester Square in London's West End. The British Board of Film Censors had demanded a number of cuts before its release and finally granted the film an "X" certificate, but newspaper critics were still aghast at its horrifying special effects. Questions were actually raised in Parliament as to why British censors had allowed Fiend Without a Face to be released, notably: "What is the British film industry thinking by trying to beat Hollywood at its own game of overdosing on blood and gore".
Journey to the Center of the Earth (also called Jules Verne's Journey to the Center of the Earth) is a 1959 adventure film adapted by Charles Brackett from the novel of the same name by Jules Verne. Journey to the Center of the Earth was directed by Henry Levin and stars James Mason, Pat Boone and Arlene Dahl. Journey to the Center of the Earth was nominated for three Academy Awards: for Best Art Direction-Set Decoration (Lyle R. Wheeler, Franz Bachelin, Herman A. Blumenthal, Walter M. Scott, Joseph Kish), for Best Effects, Special Effects, and for Best Sound (Carlton W. Faulkner). It won a second place Golden Laurel award for Top Action Drama in 1960. The script was written by Walter Reisch. Pat Boone was the first star announced. He says he was reluctant to make the film because it was science fiction, even after Fox promised to add some songs. It was only when they offered him 15% of the profits that he agreed at the urging of his management. He said, "Later on, I was very glad I did it, because it was fun to do, it had some good music and it became a very successful film." The role of the professor was meant to be played by Clifton Webb. Webb was replaced at the last minute by James Mason, who had previously appeared in an earlier adaptation of a Jules Verne work, 20,000 Leagues Under the Sea (1954). Some of the underground sequences for Journey to the Center of the Earth were filmed at Carlsbad Caverns National Park. Other shooting locations included Amboy Crater and Sequit Point, California, as well as Edinburgh, Scotland. Principal photography took place from late June to mid-September 1959. Originally, Life magazine editor and science writer Lincoln Barnett was to write the screenplay and later acted as one of the technical advisers on the film. The giant Dimetrodon depicted at the center of the Earth action sequence were actually rhinoceros iguanas with large, glued-on make-up appliances added to their backs. The giant chameleon seen later in the ruins of Atlantis scene was actually a painted Tegu lizard.
The Haunting is a 1963 British horror film directed and produced by Robert Wise and adapted by Nelson Gidding from the 1959 novel The Haunting of Hill House by Shirley Jackson. It stars Julie Harris, Claire Bloom, Richard Johnson, and Russ Tamblyn. The film depicts the experiences of a small group of people invited by a paranormal investigator to investigate a purportedly haunted house. Screenwriter Gidding, who had worked with director Wise on the 1958 film I Want to Live!, began a six-month write of the script after reading the book, which Wise had given to him. He perceived the book to be more about mental breakdown than ghosts, and although he was informed after meeting author Shirley Jackson that it was very much a supernatural novel, elements of mental breakdown were introduced into the film. The film was shot on a budget of US$1.05 million, with exteriors and the grounds shot at Ettington Park (now the Ettington Park Hotel) in the village of Ettington, Warwickshire. Julie Harris was cast by Wise who found her ideal for the psychologically fragile Eleanor, though during production she suffered from depression and had an uneasy relationship with her co-stars. The interior sets were by Elliot Scott, credited by Wise as instrumental in the making of The Haunting. They were designed to be brightly lit, with no dark corners or recesses, and decorated in a Rococo style; all the rooms had ceilings to create a claustrophobic effect on film. Numerous devices and tricks were used in the filming. Wise used a 30mm anamorphic, wide-angle lens Panavision camera that was not technically ready for use and caused distortions. It was only given to Wise on condition that he sign a memorandum in which he acknowledged that the lens was imperfect. Wise and cinematographer Davis Boulton planned sequences that kept the camera moving, utilizing low-angle takes, and incorporating unusual pans and tracking shots. Upon release on 18 September 1963, the film performed moderately at the box office and was well received, although the plot was widely criticized for being incoherent. Today it has achieved cult status and is considered by many to be one of the best horror films in cinematic history, and one of the most unsettling. In 2010, The Guardian newspaper ranked it as the 13th-best horror film of all time. Director Martin Scorsese has placed The Haunting first on his list of the 11 scariest horror films of all time.
Forbidden Planet is a 1956 American science fiction film produced by Nicholas Nayfack, directed by Fred M. Wilcox that stars Walter Pidgeon, Anne Francis, and Leslie Nielsen. Shot in Eastmancolor and CinemaScope, it is considered one of the great science fiction films of the 1950s, and a precursor of contemporary science fiction cinema. The characters and isolated setting have been compared to those in William Shakespeare's The Tempest, and the plot contains certain analogues to the play.
Forbidden Planet pioneered several aspects of science fiction cinema. It was the first science fiction film to depict humans traveling in a faster-than-light starship of their own creation. It was also the first to be set entirely on another planet in interstellar space, far away from Earth. The Robby the Robot character is one of the first film robots that was more than just a mechanical "tin can" on legs; Robby displays a distinct personality and is an integral supporting character in the film. Outside science fiction, the film was groundbreaking as the first of any genre to use an entirely electronic musical score, courtesy of Bebe and Louis Barron. Forbidden Planet's effects team was nominated for the Academy Award for Best Visual Effects at the 29th Academy Awards. In 2013, the picture was entered into the Library of Congress' National Film Registry, being deemed "culturally, historically, or aesthetically significant". The screenplay by Irving Block and Allen Adler, written in 1952, was originally titled Fatal Planet. The later screenplay draft by Cyril Hume renamed the film Forbidden Planet, because this was believed to have greater box-office appeal. Block and Adler's drama took place in the year 1976 on the planet Mercury. An Earth expedition headed by John Grant is sent to the planet to retrieve Dr. Adams and his daughter Dorianne, who have been stranded there for twenty years. From then on, its plot is roughly the same as that of the completed film, though Grant is able to rescue both Adams and his daughter and escape the invisible monster stalking them. The film sets for Forbidden Planet were constructed and were designed by Cedric Gibbons and Arthur Lonergan. The film was shot entirely indoors, with all the Altair IV exterior scenes simulated using sets, visual effects, and matte paintings. A full-size mock-up of roughly three-quarters of the starship was built to suggest its full width of 170 ft (51 m). The ship was surrounded by a huge, painted cyclorama featuring the desert landscape of Altair IV; this one set took up all of the available space in one of the Culver City sound stages. Principal photography took place from April 18 to late May 1955. Later, many costume and prop items were reused in several different episodes of the television series The Twilight Zone, most of which were filmed by Rod Serling's Cayuga Productions at the MGM studio in Culver City, including Robby the Robot, the various C-57D models, the full-scale mockup of the base of the ship (which featured in the episode To Serve Man), the blaster pistols and rifles, crew uniforms and special effects shots. At a cost of roughly $125,000, Robby the Robot was very expensive for a film prop at this time - it represented almost 7% of the film's $1.9 million budget and equates to at least $1 million in 2017. Both the electrically controlled passenger vehicle driven by Robby and the truck/tractor-crane off-loaded from the starship were also constructed specially for this film. Robby later starred in the science fiction film The Invisible Boy and appeared in many TV series and films; like the C-57D, Robby (and his passenger vehicle) appeared in various episodes of CBS's The Twilight Zone, usually slightly modified for each appearance. The animated sequences of Forbidden Planet, especially the attack of the monster, were created by the veteran animator Joshua Meador. According to a "Behind the Scenes" featurette on the film's DVD, a close look at the creature shows it to have a small goatee beard, suggesting its connection to Dr. Morbius, the only character with this physical feature. Unusually, the scene in which the Id Monster is finally revealed during its attack on the Earth ship was not created using traditional cel animation. Instead, Meador simply sketched each frame of the entire sequence in black pencil on white paper; each page was then photographed in high contrast, so that only the major details remained visible. These images were then photographically reversed into negative and the resulting white line images were then tinted red, creating the effect of the Id Monster's body remaining largely invisible, with only its major outlines illuminated by the energy from the force-field and blaster beams.
The Tingler is a 1959 American horror/thriller film produced and directed by William Castle. It is the third of five collaborations between Castle and writer Robb White, and stars Vincent Price, Darryl Hickman, Patricia Cutts, Pamela Lincoln, Philip Coolidge, and Judith Evelyn. The film tells the story of a scientist who discovers a parasite in human beings, called a "tingler", which feeds on fear. The creature earned its name by making the spine of its host "tingle" when the host is frightened. In line with other Castle horror films, including Macabre (1958) and House on Haunted Hill (1959), Castle used gimmicks to sell the film. The Tingler remains most well known for a gimmick called "Percepto!", a vibrating device in some theater chairs which activated with the onscreen action. The Tingler received mixed reviews and is generally considered a camp cult classic. William Castle opened the film with an on-screen warning to the audience:
"I am William Castle, the director of the motion picture you are about to see. I feel obligated to warn you that some of the sensations—some of the physical reactions which the actors on the screen will feel—will also be experienced, for the first time in motion picture history, by certain members of this audience. I say 'certain members' because some people are more sensitive to these mysterious electronic impulses than others. These unfortunate, sensitive people will at times feel a strange, tingling sensation; other people will feel it less strongly. But don't be alarmed—you can protect yourself. At any time you are conscious of a tingling sensation, you may obtain immediate relief by screaming. Don't be embarrassed about opening your mouth and letting rip with all you've got, because the person in the seat right next to you will probably be screaming too. And remember—a scream at the right time may save your life."
The financial success of House on Haunted Hill was reason enough for Columbia to produce The Tingler. Price was on board again, with Hickman playing his assistant and newcomer Lincoln playing his sister-in-law. Cutts played Price's unfaithful wife Isabel. Castle convinced Hickman, who was Lincoln's real-life fiancé, to join the cast as her fiancé in the film. At first Hickman declined, but agreed after Castle convinced him it would help Lincoln's career. According to Hickman, Castle did such a good job of convincing him it would help Lincoln that he worked for no salary. Hickman, who was 5'10", was required to wear lifts for the scenes with 6'4" Vincent Price to offset the disparity of their heights. Evelyn was hired at the request of Price, who had worked with her on Broadway. She also received attention in another prominent "non-speaking role" as the suicidal "Miss Lonelyhearts" in Hitchcock's Rear Window (1954). Dal McKennon, the projectionist (uncredited in the film), had a successful career as the voice of many screen and TV characters, including "Buzz Buzzard" in the Woody Woodpecker cartoons and "Gumby" in the TV clay animation series. Jack Dusick, make-up artist for The Tingler, was the father of singer/actress Michele Lee. White, the story author, was partly inspired by his encounter with a centipede while living in the British Virgin Islands. White had experimented with LSD at UCLA after hearing about it from Aldous Huxley and decided to work it into the script. It is the first depiction of LSD use in a major motion picture. At the time, the drug was legal. The title of the book that Vincent Price's character reads before taking LSD—Fright Effects Induced by Injection of Lysergic Acid LSD25—is printed on the back of the book, not the front. This was done for a better shot of the expositional title of the book, explaining the effects of LSD to the audience. The Tingler was Price's second and final film with Castle and the fifth performance that would ultimately brand him as "The Master of Menace". The movie playing in the theater when the tingler escapes was the 1921 silent film Tol'able David. To enhance the climax even more, Castle hired fake "screamers and fainters" planted in the audience. There were fake nurses stationed in the foyer and an ambulance outside of the theater. The "fainters" would be carried out on a gurney and whisked away in the ambulance, to return for the next showing.
*Japanese with English Subtitles* Goke, Body Snatcher from Hell (吸血鬼ゴケミドロ Kyuketsuki Gokemidoro) (lit. Vampire Gokemidoro) is a 1968 Japanese science fiction horror film directed by Hajime Sato. Plot: The pilot receives a radio message about a bomb threat against the plane. Co-pilot Sugisaka checks the passengers' bags for the bomb, which are cleared apart from one man who had no bag. Stewardess Kuzumi opens an unaccompanied suitcase under a bench, finding a rifle. The man pulls a gun on Sugisaka and orders the pilot to fly to Okinawa. He shoots out the plane's transistor radio just as it was breaking the news about a UFO over Japan with Japanese and US Air Force fighters in pursuit. A luminous streaks past overhead, knocking out the airplane's control and causing an engine fire to erupt. The airplane crashes on an uncharted deserted isle. Only a handful of people survive the crash: Sugisaka; Kuzumi; Mrs. Neal, an American widow; Senator Mano of the Constitutional Democratic Party; weapons exporter Tokiyasu and his wife Noriko; psychiatrist Momotake; space biologist Professor Sagai; and the young man who called in the bomb threat. The hijacker suddenly sits up, grabs Kuzumi and escapes into the jungle, encountering the spaceship. Kuzumi hides, but the hijacker steps into a clearing. A dark blob oozes towards the hijacker, whose forehead is split wide open, causing Kuzumi to scream and pass out. Sugisaka finds the unconscious Kizumi and carries her back to the plane. Dr. Momotake later hypnotizes her to recount the events in the jungle. The teenager who called in the bomb threat attacks Dr Momotake, who falls off the cliff into the hijacker who then kills him by draining his blood. As the survivors discuss finding water, a knock at the door is heard. Sugisaka opens it to find the hijacker lying on the ground with a big scar on his forehead. The survivors carry the hijacker inside and dress his wound. Tokiyasu then uses the rifle to force everyone out of the plane and locks himself safely inside, with the hijacker. Right after, Tokiyasu's screams are heard and the door swings open. Everyone rushes inside to find Tokiyasu dead, drained of all blood. The hijacker appears and carries Noriko off to the spaceship. At sunrise, Noriko is seen standing on a ridge. She speaks, but with the voice of the alien, the Gokemidoro. It is revealed that the Gokemidoro has invaded the earth, intending to eradicate the human race. Noriko then plunges off the ridge, shriveling into a cadaver. The passengers argue about whether extraterrestrials would invade the earth. Professor Sagai theorizes that the hijacker was turned into a vampire. Mano challenges them to prove there are vampires, causing the others to plan to sacrifice someone to the Goke. The survivors shove the teenager outside as the hijacker slowly advances towards him.. The teenager pulls out the bomb he's been hiding and threatens to blow up the plane unless they let him back in. They do not and the teenager triggers the bomb, killing himself and blowing a large opening in the airplane, wounding Professor Sagai. Mano runs off with Mrs. Neal. When the hijacker catches up with them, Mano pushes Mrs. Neal to the hijacker to save himself. Neal shoots several times but misses. The hijacker kills her. Mano escapes back to the plane with the hijacker behind. The remaining survivors leaves the plane to help Mano, but he runs past them, locking the plane door behind him. While Mano watches from inside the plane, Sugisaka tosses a bucket of airplane fuel at the hijacker, then sets him on fire. The Gokemidoro crawls out of the burning hijacker, creeps in the plane and enters Professor Sagai's forehead. Sagai drains Mano, then turns to Sugisaka and Kuzumi, who escapes. Sagai follows until he is swept off a hill by a landslide. Sugisaka and Kuzumi keeps running while Sagai goes back to the spaceship. Once there, the Gokemidoro crawls out, reducing Saiga to dust. Sugisaka and Kuzumi reaches a highway, finding every human in the cars and the city dead. The Gokemidoro informs them that no one will be spared. In the epilogue, Sugisaka and Kuzumi are wandering on rocky terrain. In orbit around Earth a whole fleet of Gokemidoro spaceships awaits. Goke, Body Snatcher from Hell was released in Japan on 14 August 1968. It was released by Shochiku Films of America in the United States in 1969. When released to television and home video, the film was titled Body Snatcher From Hell. Other titles for the film include Goke the Vampire.
This Island Earth is a 1955 American science fiction film, produced by William Alland, directed by Joseph M. Newman and Jack Arnold, that stars Jeff Morrow, Faith Domergue and Rex Reason. It is based on the eponymous 1952 novel by Raymond F. Jones, which was originally published in the magazine Thrilling Wonder Stories as three related novelettes: "The Alien Machine" in the June 1949 issue, "The Shroud of Secrecy" in December 1949, and "The Greater Conflict" in February 1950. The film was released in 1955 as a double feature with Abbott and Costello Meet the Mummy. Upon initial release, the film was praised by critics, who cited the special effects, well-written script, and eye-popping Technicolor prints as being its major assets. Principal photography for This Island Earth took place from January 30 to March 22, 1954. Location work took place at Mt. Wilson, California. Most of the Metaluna sequence was directed by Jack Arnold; the front office was apparently dissatisfied with the footage Newman shot and had it redone by Arnold, who unlike Newman had several sci-fi films already under his belt. Most of the sound effects, the ship, the interociter, etc. are simply recordings of radio teletype transmissions picked up on a short wave radio played at various speeds. In a magazine article, the special effects department admitted that the "mutant" costume originally had legs that matched the upper body but they had so much trouble making the legs look and work properly they were forced by studio deadline to simply have the mutant wear a pair of trousers. Posters of the movie show the mutant as it was supposed to appear.
*French with English Subtitles* Eyes Without a Face (French: Les Yeux sans visage) is a 1960 horror film adaptation of Jean Redon's novel, directed by Georges Franju, and starring Pierre Brasseur and Alida Valli. Brasseur plays a plastic surgeon who is determined to perform a face transplant on his daughter, who was disfigured in an auto crash. During the film's production, consideration was given to the standards of European censors by setting the right tone, minimizing gore and eliminating the mad scientist character. Although the film passed through the European censors, the film's release in Europe caused controversy nevertheless. Critical reaction ranged from praise to disgust. The film received an American debut in an edited and dubbed form in 1962 under the title of The Horror Chamber of Dr. Faustus. In the United States, Faustus was released as a double feature with The Manster. The film's initial critical reception was not overtly positive, but subsequent theatrical and home video re-releases improved its reputation. Modern critics praise the film today for its poetic nature as well as being a notable influence on other filmmakers. In the late 1950s, British horror films such as The Curse of Frankenstein (1957) and Horror of Dracula (1958) were popular with French filmgoers. At the time, similar modern horror films had not been attempted by French film makers until producer Jules Borkon decided to tap into the horror market. Borkon bought the rights to the Redon novel and offered the directorial role to one of the founders of Cinémathèque Française, Franju, who was directing his first non-documentary feature La Tête contre les murs (1958). Franju had grown up during the French silent-film era when filmmakers such as Georges Méliès and Louis Feuillade were making fantastique-themed films, and he relished the opportunity to contribute to the genre. Franju felt the story was not a horror film; rather, he described his vision of the film as one of "anguish... it's a quieter mood than horror... more internal, more penetrating. It's horror in homeopathic doses."
Planet of the Apes is a 1968 American science fiction film directed by Franklin J. Schaffner. It stars Charlton Heston, Roddy McDowall, Kim Hunter, Maurice Evans, James Whitmore, James Daly and Linda Harrison. The screenplay by Michael Wilson and Rod Serling was loosely based on the 1963 French novel La Planète des Singes by Pierre Boulle. Jerry Goldsmith composed the groundbreaking avant-garde score. It was the first in a series of five films made between 1968 and 1973, all produced by Arthur P. Jacobs. The film tells the story of an astronaut crew who crash-lands on a strange planet in the distant future. Although the planet appears desolate at first, the surviving crew members stumble upon a society in which apes have evolved into creatures with human-like intelligence and speech. The apes have assumed the role of the dominant species and humans are mute creatures wearing animal skins. The script was originally written by Rod Serling, but underwent many rewrites before filming eventually began. Directors J. Lee Thompson and Blake Edwards were approached, but the film's producer Arthur P. Jacobs, upon the recommendation of Charlton Heston, chose Franklin J. Schaffner to direct the film. Schaffner's changes included an ape society less advanced—and therefore less expensive to depict—than that of the original novel. Filming took place between May 21 and August 10, 1967, in California, Utah and Arizona, with desert sequences shot in and around Lake Powell, Glen Canyon National Recreation Area. The film's final "closed" cost was $5.8 million. The film was released on February 8, 1968, in the United States and was a commercial success, earning a lifetime domestic gross of $32.6 million. The film was groundbreaking for its prosthetic makeup techniques by artist John Chambers and was well received by critics and audiences, launching a film franchise, including four sequels, as well as a short-lived television show, animated series, comic books, and various merchandising. In particular, Roddy McDowall had a long-running relationship with the Apes series, appearing in four of the original five films (absent, apart from a brief voiceover, from the second film of the series, Beneath the Planet of the Apes, in which he was replaced by David Watson in the role of Cornelius), and also in the television series. The original series was followed by Tim Burton's remake Planet of the Apes in 2001 and the reboot Rise of the Planet of the Apes in 2011. Also in 2001, Planet of the Apes was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Psycho is a 1960 American psychological horror film directed and produced by Alfred Hitchcock, and written by Joseph Stefano. It stars Anthony Perkins, Janet Leigh, John Gavin, Vera Miles, and Martin Balsam, and was based on the 1959 novel of the same name by Robert Bloch. The film centers on an encounter between a secretary, Marion Crane (Leigh), who ends up at a secluded motel after stealing money from her employer, and the motel's owner-manager, Norman Bates (Perkins), and its aftermath. Psycho was seen as a departure from Hitchcock's previous film North by Northwest, having been filmed on a low budget, in black-and-white, and by a television crew. The film initially received mixed reviews, but outstanding box-office returns prompted reconsideration which led to overwhelming critical acclaim and four Academy Award nominations, including Best Supporting Actress for Leigh and Best Director for Hitchcock. Psycho is now considered one of Hitchcock's best films and praised as a major work of cinematic art by international film critics and scholars. Often ranked among the greatest films of all time, it set a new level of acceptability for violence, deviant behavior and sexuality in American films, and is widely considered to be the earliest example of the slasher film genre. After Hitchcock's death in 1980, they began producing follow-ups: three sequels, a remake, a made-for-television spin-off, and a prequel television series, set in the 2010s. In 1992, the Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. Psycho is based on Robert Bloch's 1959 novel of the same name, which was loosely inspired by the case of convicted Wisconsin murderer and grave robber Ed Gein. Both Gein (who lived just 40 miles from Bloch) and the story's protagonist, Norman Bates, were solitary murderers in isolated rural locations. Each had deceased, domineering mothers, had sealed off a room in their home as a shrine to her, and dressed in women's clothes. However, unlike Bates, Gein is not strictly considered a serial killer, having been charged with murder only twice.
2001: A Space Odyssey is a 1968 epic science fiction film produced and directed by Stanley Kubrick. The screenplay was written by Kubrick and Arthur C. Clarke, and was inspired by Clarke's short story "The Sentinel". A novel also called 2001: A Space Odyssey, written concurrently with the screenplay, was published soon after the film was released. The film, which follows a voyage to Jupiter with the sentient computer HAL after the discovery of a mysterious black monolith affecting human evolution, deals with themes of existentialism, human evolution, technology, artificial intelligence, and the possibility of extraterrestrial life. The film is noted for its scientifically accurate depiction of spaceflight, pioneering special effects, and ambiguous imagery. Sound and dialogue are used sparingly and often in place of traditional cinematic and narrative techniques. The soundtrack incorporates a number of pieces of classical music, among them Also sprach Zarathustra by Richard Strauss, The Blue Danube by Johann Strauss II, and works by Aram Khachaturian and György Ligeti.
Rosemary's Baby is a 1968 American psychological horror film with supernatural horror elements written and directed by Roman Polanski, based on Rosemary's Baby by Ira Levin. The cast features Mia Farrow, John Cassavetes, Ruth Gordon, Sidney Blackmer, Maurice Evans, Ralph Bellamy, Angela Dorian, Clay Tanner, and, in his feature film debut, Charles Grodin. The film chronicles the story of a pregnant woman who suspects that an evil cult wants to take her baby for use in their rituals. Rosemary's Baby deals with themes related to paranoia, women's liberation, Christianity (Catholicism), and Satanists. The film earned almost universal acclaim from film critics and won numerous nominations and awards. In 2014, the film was selected for preservation in the National Film Registry by the Library of Congress, being deemed "culturally, historically, or aesthetically significant."
Barbarella is a 1968 science fiction film directed by Roger Vadim, based on the comic series of the same name by Jean-Claude Forest. The film stars Jane Fonda as Barbarella, a space-traveler and representative of the United Earth government sent to find scientist Durand Durand, who has created a weapon that could destroy humanity. As a director who expressed an interest in comics and science fiction, Vadim was hired to direct Barbarella after producer Dino De Laurentiis purchased the film rights to the comic series. Vadim attempted to cast several actors in the title role (including Virna Lisi, Brigitte Bardot, and Sophia Loren) before choosing his then-wife, Fonda. A friend of Vadim's, Terry Southern, wrote the initial screenplay, which changed considerably during filming and led to seven other writers credited in the final release, including Vadim and Forest. The film began shooting immediately following the completion of another De Laurentiis comic adaptation, Danger: Diabolik, with both films sharing several cast and crew members. The film was particularly popular in the United Kingdom, where it was the year's second-highest-grossing film. Contemporary film critics praised Barbarella's visuals and cinematography, but found its storyline weak after the first few scenes. Although several attempts at sequels, remakes, and other adaptations have been planned, none have entered production.
Cat-Women of the Moon is an independently made 1953 American black-and-white 3D science fiction film, produced by Jack Rabin and Al Zimbalist, directed by Arthur Hilton, that stars Sonny Tufts, Victor Jory, and Marie Windsor. The film was released by Astor Pictures. Notably, the musical score was composed by Academy Award-winner Elmer Bernstein, though his last name is misspelled as "Bernstien" in the opening credits. An original two-projector, polarized 3D-format showing of Cat-Women of the Moon was featured at the first 3D Film Expo at Hollywood's Grauman's Egyptian Theatre in September 2003, and also at the "3-D at the Castro" film festival, at the historic Castro Theatre in San Francisco, on October 17, 2006. The 1995 Englewood Entertainment VHS video release was in the red-and-blue anaglyph 3D format. Since 2007 The L. A. Connection improvisational comedy troupe regularly screens the film in its live "Dub-a-vision" performances. Cat-Women of the Moon was used as the title of two programs about sex in science fiction broadcast on BBC Radio 4 in August and September 2011. They were presented by the writer Sarah Hall, and produced in Manchester by Nicola Swords; they featured a number of British writers including Iain M. Banks, China Miéville, and Nicola Griffith. Cat-Women of the Moon was remade five years later as Missile to the Moon (1958), *available here* https://www.bitchute.com/video/qKrNVCOxpPSU/ which was also released by Astor Pictures. The film was the inspiration for performer Pat Benatar to change her appearance for one Halloween, which assisted in her acquiring a record deal. Cat-Women of the Moon inspired several songs on Shakespears Sister's second album Hormonally Yours, among them their UK #1 hit "Stay". The opening track of Is It Man or Astroman uses the opening narration from the film prior to the start of the song Taxidermist Surf. Rifftrax, which overlays humorous commentary over films, used Bridget Nelson and Mary Jo Pehl to riff Cat-Women of the Moon, the first long-form film to be riffed by the pair.
The Neanderthal Man is a 1953 American black-and-white science fiction film produced independently by Aubrey Wisberg and Jack Pollexfen, as Global Productions Inc., from their own original screenplay. It starred Robert Shayne, Richard Crane and Joyce Terry, was directed by E. A. Dupont. Beverly Garland, in a supporting role, appears here in her first feature film under her new stage name (previously she went by the name of Beverly Campbell and made her screen debut as a supporting actor in the 1949 film noir classic, D.O.A.) The film's working title was Madagascar. Production began in early December 1952 at Eagle-Lion Studios in Los Angeles. The film was released in the USA on 19 June 1953 and in Spain and Brazil at unknown dates. Three minutes was trimmed from its running time when it opened in the UK, reducing time from 78 minutes to 75 minutes. Stuntman Wally Rose was the man in the Neanderthal Man mask, not Robert Shayne.
The Beast from 20,000 Fathoms is a 1953 American black-and-white science fiction monster film, produced by Jack Dietz and Hal E. Chester, directed by Eugène Lourié, that stars Paul Christian, Paula Raymond, Cecil Kellaway, and Kenneth Tobey. The film's stop-motion animation special effects are by Ray Harryhausen. Its screenplay is based on Ray Bradbury's short story The Fog Horn, specifically the scene where a lighthouse is destroyed by the title character. The storyline concerns a fictional dinosaur, the Rhedosaurus, which is released from its frozen, hibernating state by an atomic bomb test in the Arctic Circle. The beast begins to wreak a path of destruction as it travels southward, eventually arriving at its ancient spawning grounds, which includes New York City. The Beast from 20,000 Fathoms was one of the first atomic monster movies which helped inspire a generation of creature features. The Beast from 20,000 Fathoms had a production budget of $200,000. It earned $2.25 million at the North American box office during its first year of release and ended up grossing more than $5 million. Original prints of Beast were sepia toned.The film was announced in the trades as The Monster from Beneath the Sea. During preproduction, it was brought to Dietz and Chester's attention by Ray Harryhausen that Ray Bradbury had written a short story called The Beast from 20,000 Fathoms that was just published by The Saturday Evening Post in 1951 (it was later anthologized under the title "The Fog Horn"). This story was about a marine based prehistoric dinosaur that destroys a lighthouse. A similar sequence appeared in the draft of the script for The Monster from Beneath the Sea. The producers, who wished to share Bradbury's reputation and popularity, promptly bought the rights to his story and changed the film's title to match the title of the story. Bradbury's name was used extensively in the promotional campaign and a credit that read "Suggested by the Saturday Evening Post Story by Ray Bradbury" was added to the credits. The original music score was composed by Michel Michelet, but when the studio purchased the film they had a new score written by David Buttolph. Ray Harryhausen had been hoping that his film music hero Max Steiner would be able to write the music, as Steiner had written the landmark score for King Kong, and Steiner was under contract with Warner Bros. at the time. Unfortunately for Harryhausen, Steiner had too many commitments to allow him to score the film, but fortunately for film music fans, Buttolph composed one of his most memorable and powerful scores, setting much of the tone for giant monster music of the 1950s. Some early pre-production conceptual sketches of the Beast showed that at one point it was to have a shelled head and at another point was to have a beak. Creature effects were assigned to Ray Harryhausen, who had been working with Willis O'Brien, the man who created King Kong, for years. The monster of the film looks nothing like the Brontosaurus-type creature of the short story. The creature in the film is instead some kind of Tyrannosaurus rex-type prehistoric predator (though it was quadrupedal, unlike any real carnivorous dinosaur, and more closely resembled a rauisuchian). A drawing of the creature was published along with the story in The Saturday Evening Post. At one point, there were plans to have the Beast snort flames, but this idea was dropped before production began due to budget restrictions. However, the concept was still used for the film poster artwork. Later, the Beast's nuclear flame breath would be the inspiration for the original Japanese film Gojira (1954, Godzilla). In a scene attempting to identify the Rhedosaurus, Professor Tom Nesbitt rifles through dinosaur drawings by Charles R. Knight, a man whom Harryhausen claims as an inspiration. The dinosaur skeleton in the museum sequence is artificial; it was obtained from storage at RKO Pictures where it had been constructed for their classic comedy Bringing Up Baby (1938). The climactic roller coaster live action scenes were filmed on location at The Pike in Long Beach, California and featured the Cyclone Racer entrance ramp, ticket booth, loading platform, and views of the structure from the beach. Split-matte, in-camera special effects by Harryhausen effectively combined the live action of the actors and the roller coaster background footage from The Pike parking lot with the stop-motion animation of the Beast destroying a shooting miniature of the coaster.
Beginning of the End is a 1957 independently made American black-and-white science fiction giant insects film, produced and directed by Bert I. Gordon. It stars Peter Graves, Peggie Castle, and Morris Ankrum. The film's storyline concerns an agricultural scientist (Graves) who has successfully grown gigantic vegetables using radiation. Unfortunately, the vegetables are eaten by locusts (the swarming phase of short-horned grasshoppers), which quickly grow to a gigantic size and attack the nearby city of Chicago. Beginning of the End is generally known for its "atrocious" special effects and is considered to be one of the most poorly written and acted science fiction films of the 1950s. Films with a science fiction theme were an uncommon but well-established genre of motion picture long before the 1950s. By one film historian's count, the "modern" era of science fiction film began in 1951 with the release of The Day the Earth Stood Still and When Worlds Collide. In 1952, King Kong was re-released theatrically. King Kong proved immensely popular, holding its own against new releases such as Cecil B. DeMille's The Greatest Show on Earth (which later won the Academy Award for Best Picture). King Kong earned $2 million to $3 million (estimates vary) that year, roughly double the box office gross of its initial release and making the re-release very highly profitable for RKO Pictures. In response to the success of King Kong, many film studios rushed science fiction-themed films into production. The following year saw the release of four highly influential motion pictures: The Beast from 20,000 Fathoms, It Came from Outer Space, Invaders from Mars, and The War of the Worlds. The financial success of The Beast from 20,000 Fathoms, sparked an interest in giant monster films and in 1954. released another very profitable monster film, Them! With the success of these two films, giant insect pictures became a distinct subgenre of science fiction films in the 1950s. In September 1956, AB-PT (sometimes also called "Am-Par") announced the formation of a movie studio, and revealed a slate of six films a year in January 1957. The studio's focus was on low-budget features which it could place in its theatres in the Northeast and South. AB-PT hoped to expand to a yearly slate of 20 pictures, and signed a distribution deal with Republic Pictures to get them into theatres. Beginning of the End went into production in 1956, the first of the "boom years" for science fiction films in the United States. Its production was a direct outcome of the success of Them! AB-PT announced on November 29, 1956, that it had approved production of its first film, Beginning of the End and announced on December 2, 1956, that production would begin immediately. The company said it had hired 34-year-old Bert I. Gordon to direct and produce. Gordon had gotten his start as a supervising producer for televised commercials and network TV shows, had produced his first feature film (Serpent Island) in 1954, and directed his first feature film (King Dinosaur) in 1955. The story was already set, according to press reports, with Variety claiming that Bert I. Gordon had already completed the script. Press sources noted that the studio was clearly attempting to cash-in on the science fiction movie craze. However, the final screenplay is credited to Fred Frieberger (a veteran writer of B movies) and Lester Gorn. The screen story bears a striking resemblance to the 1904 H. G. Wells novel The Food of the Gods and How It Came to Earth. (Gordon would adapt this novel twice more, once for Embassy Pictures in 1965's Village of the Giants and again for American International Pictures in 1976's The Food of the Gods.)
Earth vs. the Spider (a.k.a. The Spider and Earth vs. the Giant Spider) is an independently made 1958 American black-and-white science fiction/horror film produced and directed by Bert I. Gordon, who also wrote the story upon which the screenplay by George Worthing Yates and Laszlo Gorog was based. The film stars Ed Kemmer, June Kenney and Eugene Persson. The special effects were by Gordon and Paul Blaisdell. Earth vs. the Spider was released as a double feature in different film markets with either The Brain Eaters or The Screaming Skull. The film's original on-screen title was Earth vs. the Spider, but when The Fly (also released in 1958) became a blockbuster, the title was shortened to just The Spider on all of the advertising material. The original screen title, however, was never changed, so the film is frequently referred to by the title Earth vs. the Spider. The movie theater in which Mike works displays a film poster prominently advertising The Amazing Colossal Man, while the marquee shows that it is currently running Attack of the Puppet People, which happens to also star Kenney. Both of these films were also directed by Gordon. Attack of the Puppet People was the last film Gordon made for AIP for a number of years, with the director claiming that the studio had not paid him appropriately. However, he returned to AIP in the 1970s. Some of the cave interiors were filmed using stills from Carlsbad Caverns National Park in New Mexico, with live action scenes filmed at Bronson Caves in Griffith Park near Los Angeles. The film's budget was $100,000. Critical response for Earth vs. the Spider has been mixed. Bruce Eder from Allmovie gave the film a positive review, calling "the most consistently entertaining, if not the best of Bert I. Gordon's various size-oriented fantasy-sci-fi films". However, Eder noted that the film's special effects were dated.
Picture Mommy Dead is a 1966 American horror film directed by Bert I. Gordon and starring Don Ameche and Martha Hyer. Susan Shelley thinks her father, Edward, killed her mother, Jessica, years ago. Newly released from an asylum after 3 years, she is reunited with her father and a new stepmother, Francene, but suspicious goings-on threaten to push her over the edge. Written by Robert Sherman Starring: Don Ameche, Martha Hyer, Susan Gordon, Zsa Zsa Gabor. Gene Tierney was originally announced for a lead role and Hedy Lamarr was signed to support Ameche and Hyer. However, Lamarr was fired from the film when she collapsed during filming from nervous exhaustion. She was replaced by Gabor.
Created 2 months, 2 weeks ago.
*NOTE TO NEWCOMERS AND TO MY FRIENDS AND SUBSCRIBERS. I'LL NOT BE ON HERE MUCH FOR A WHILE. I HAVE TO FOCUS ON MY STUDIES AT SCHOOL. UNTIL THEN ENJOY SOME OF THE 200 FILMS I UPLOADED FOR ALL YOU CRAZY CLASSIC MOVIE FANS. SPACE SPOOK WILL RETURN!!!!! Here's a link to another channel that is adding movies in my absence it's called Spawn of Space Spook go on over and have a look while I'm away. https://www.bitchute.com/channel/spawn-of-space-spook-presents/ Space Spook exist in a dimension between the living and the dead. Trapped in a time splinter between Post-World War 1945 and the Summer of Love 1967. The first top secret Cosmonaut to ride a rocket beyond the Stratosphere at the beginning of 'The Space-Race'. The mission was a failure and now Space Spook bides time relaying satellite transmissions to Earth. Trying to warn humanity, through horror and science fiction films. Warn them of the Red Scare, the menace of Communism that Space Spook only escaped by being trapped in time. Knowing that a large portion of films from this era are riddled with anti-communist themes. Space Spook transmits these films hoping, praying all humanity wakes up to the horror of ........ Sadly old colour & b&w sci-fi & horrors are a lost art in the days of CGI. Grab some popcorn & enjoy some old-school classic alien/monster movies with your family & friends. Or just cozy up alone in the dark if you dare. Subscribe & stay tuned as I will be adding more movies daily. Thank you for visiting Space Spook Presents. With out YOU this transmission is just lost in time and space.