One of the most interesting filmmakers when it comes to
dinosaurs was Eugène Lourié. A Franco-Ukranian who fled the country after
making the anti-Revolutionary film The Black Crows, he revived his career in France as an artist
for the film industry, acting as production designer for directors Jean Renoir
and Rene Clair, and art designer for Rene Sti, Georges Marret, Jean de Limur,
Marcel L’Herbier, Georges Lacombe, and fellow exile Viktor Tourjansky. As a
director from 1953-61, he dabbled in American television, the high concept
sci-fi film Colossus of New York, and three films about prehistoric sea monsters. After his brief directorial stint, he
returned to art direction, this time in Hollywood, doing such films as The
Battle of the Bulge, Crack of the World, Confessions of an Opium Eater, and
more TV work. His interest in special effects led him to work in the
spectacular Krakatoa, East of Java. He retired after 1980’s Bronco Billy, and
his only speaking role was as a doctor in the 1983 erotic thriller Breathless.
He died in LA in 1991.
His first, best, and most successful of the three Sea
Monster films was The Beast from 20,000 Fathoms. I’ve already discussed it but
needless to say, his excellent eye combined with amazing effects by the master
Ray Harryhausen to make a blockbuster. Godzilla was born of both the Beast and
King Kong (the favorite film of both Harryhausen and his Toho counterpart Eiji
Tsuburaya), proving to be just as successful as his parents. Both Godzilla and
his Beastly progenitor proved to be decisive for Lourie’s next films.
The epic producer Ted Lloyd partnered up with
thriller-focused David Diamond with Lourie to make a new science fiction epic.
The rising interest in science fiction about atomic radiation prompted writers
Allen Adler (who also wrote Forbidden Planet) and the obscure playright Robert
Abel to consider making a film about an
amorphous bloblike being resembling a flying, glowing ball of light, that
ravaged London with horrifying radiation. However, the distributors Eros Films
and Allied Artists knew of Lourie’s dinosaur blockbuster, of course, and the
1956 Godzilla was an international smash as well. So, they insisted to change
it to the more visually interesting, kid-friendly, ever popular dinosaur.
So, Lourie, in tandem with the blacklisted writer Daniel
James who had helped him write Beast From 20,000 Fathoms, turned the alien ball
into a prehistoric monster. Lourie suggested the unemployed effects
revolutionary Willis O’Brien to do the beast, the producers chose Jack Rabin
(this also happened in the production of O’Brien’s brainchild The Beast of
Hollow Mountain), but Jack Rabin in turn hired O’Brien as supervisor. Since his
old apprentice Harryhausen had gone off to his own career, O’Bie had his
current apprentice Pete Peterson (Who had helped him with Black Scorpion and
worked alongside both O’Brien and Harryhausen in Mighty Joe Young). Matting and
optics was provided by the prolific Louis DeWitt and Irving Block, partners
with Rabin, and Phil Kellerson provided miniatures of London and the
countryside.
The story begins with a gently rocking shot of the north
Atlantic, an echoy narrator quoting the first line of Job 40:15 (the rest of
the passage, talking about a river-living herbivore probably corresponding to a
hippopotamus or elephant, is naturally omitted) before the credits open. David
Diamond gets the first name, with Gene Evans, Andre Morell and John Turner as
the top billed cast. Lourie is given sole screenwriting and directing credits,
interestingly. Stock nuclear explosion footage leads to a pretentious monologue
on the real and relevant issue of the dangers of radiation by the main
character, Professor Steve Carns. He’s played by Gene Evans, real life war hero
and Hollywood and TV’s prolific tough-as-nail officer, mixing in professorial
intellect with the stereotypical American gung-ho bravado as he sets up the
premise of the movie. He concludes with “Gentlemen, we are witnessing a
biological chain reaction; a geometrical progression of deadly menace!”.
While
this seems uncommonly thoughtful for the time (many on both sides of the pond
treated and to some extent still treat nuclear weapons and power very
casually), the bombast undermines him faster than Al Gore reading out
environmental science. I believe the only black person in the movie is seen as
part of the international symposium here.
While he is razzed by an unnamed scientist played by South African TV
star Leonard Sachs, he is appreciated by the other main character Professor
James Bickford, played by Andre Morrell, a prolific English stage and film
actor who supported Jack Hawkins in both Bridge on the River Kwai and Ben Hur.
We then cut from London to Cornwall, where fisherman Tom
Trevathan and his daughter Jean pick up unexpected dead fish. Jean leaves her
father briefly, and he is killed by a bright blow as he stands on the shore.
Tom is played by the character actor Henri Vidon, and Jean is played by the
top-billed actress Leigh Madison, who had just finished her only starring role
in the heist film The Pleasure Lovers. Looking into pub for her father, she
recruits her boyfriend, the smirking barfly John(played by another prolific
character actor John Turner). They find Tom dying on the beach from severe burn
wounds, identifying his attacker simply as “behemoth”. After Tom’s funeral,
Jean and John return to the beach and find hundreds of dead fish washed ashore,
along with glowing shining goop that burns Tom’s hand when he tries to touch
it.
Hearing the news, Carns recruits Bickford, who is curious
enough to check out the weird incident. The heroes talk with John and other
Cornish residents, who report fish dieoff before John takes them to Dr. Morris,
who in turn exposits on Tom’s mortal injuries and reveals John’s burned hand.
As John, Jean, and the Cornish watch, Carns and Bickford find no trace of
residual radiation. We never see the
Cornish again, despite seemingly setting up Jean and John as protagonists;
instead the scientists head back to London where Carns jumps to the conclusion
that the radiation is associated with a living animal.
Bickford takes Carns to Dr Ned Lee (actor unidentified) and
his radiology lab where Carns examines flounder (which is another thoughtful,
scientific bit) and has them radioauthographed. One caught off Plymouth shows
heavy radiation, leading Carns to Plymouth to investigate. With an equally
fearless captain, they brave a storm and sight the diving head of a sea dragon
(or rather a stiff but thankfully brief and well-shot prop head). Bickford wires him immediately of a ship
sinking- Carns inspects the wreckage the following day and concludes a giant
radioactive sea beast. Pickford has to concede when he reveals that the glowing
glob that burned John was radioactive vomit from said sea beast. They tell
their findings to Admiral Summers (played by another prolific character actor,
Australian Lloyd Lamble), who actually takes them seriously enough to call the
Royal Navy to keep their eyes open.
This all seems rather leisurely, from the report of the
death to the RN’s vague proceedings, and only now does it seem the plot
actually begins. NATO (represented by stock footage and radio broadcasts)
sweeps the sea with radar. Finally the monster comes on land, reducing a farm
family to ash with a brief closeup of the head overlaid with the glowing
circles.
In true Godzilla fashion, it leaves a stereotypical
footprint that invokes sauropod and theropod feet without matching either in
the slightest. Carnes and Vickford finally meet Professor Sampson of the
Natural History Museum, who identifies it as a Paleosaurus (the name having
been used in the 1800s for indeterminate teeth belonging to sauropodomorphs,
phytosaurs, and other archosaurs).
Jabbering and mugging furiously with quivering lip and eye bulging, he
estimates it to be 200 feet long, shows concept art to describe the animal, and
declares-“Oh, it's heading for the Thames. They always made for the freshwater
rivers to die. That's where their skeletons have been found - some irresistible
instinct to die in the shallows that gave them birth. You know, all my life I
hoped this would happen. Ever since childhood I expected it. I knew these
creatures were alive somewhere, but I had no proof, scientific proof, and I had
to keep it to myself, or my colleagues would have all laughed at me. See, no
form of life ceases abruptly, and all those reports of sea serpents - well,
what can they be?... The tall, graceful neck of paleosaurus. He can stay
underneath the surface for an age, and now he comes to the top.”
“I suppose you know it’s also electric?” he exposits;
somehow knowing that despite muscles, let alone electric ones, never been
imprinted in any Triassic rock. This electric ability is explained by Carnes as
how the monster projects its radiation on demand. Bickford and Carns race back
to the admiralty to tell Summers “first block off the Thames”. Being a military
figure in a monster movie, he draws the line here and offers vague promises
instead of sending a squadron to patrol the mouth. Stock footage establishes
radar is ineffectual as Sampson takes a helicopter to investigate. No sooner
than he sees the glowing outline of the animal than it releases more glowing
circles that blows up the chopper.
After another stock footage interlude, we cut to ferries
across the Thames, focusing on one identified as leaving from approach S.E. 18.
We see the natural monster victims-a happy young couple and a girl with her
doll- as the cuts establish the crossing. In about a minute with additional
quick cuts of reactions, the ferry rolling and pitching, and a very cheap
looking dragon puppet, the Behemoth capsizes it.
More montages show the news spreading of the attack, and
soldiers meticulously evacuating the populace.
We return to our heroes discussing how to kill the animal, with the navy
suggesting bombing and Bickford nixing the idea on the basis of the radioactive
debris contaminating the city, even ruling flamethrowers out as the smoke could
be irradiated. Instead, “suppose we
introduce, say, 10 centigrams of pure radium into this disintegrating mass” as
to overload the radiation. Of course the possibility of this causing another
atomic explosion isn’t discussed, as it’s a pretty lazy copy of the
Rhedosaurus-killing radioactive bullet.
“Couldn’t we fill up a shell with radium, say, anti-tank?” an officer
suggests (hilariously this would prove quite effective against the prehistoric
dragon Reptilicus). Bickford nixes that, too, saying they can’t risk missing
the 200 foot long BEHEMOTH. “You know, a
torpedo would be an ideal solution” muses Carns. “No, that’s a really dumb idea
since you’re even more likely to miss”, muses myself and the audience. No one points out the ridiculousness of
torpedos being more accurate against a giant moving animal than an anti-tank
shell, so we just cut to shots establishing the city in terror, focusing on the
docks
.More awful shots of the puppet neck finally give way to the
monster landing in all its animated glory. It wrecks cranes and storms into the
streets. Unfortunately the camera insists on keeping low to the ground and
focusing on panicking crowds. The same street and its panic is intercut with
extremely awkward closeups of the monster. The same car is stepped on several
times. Very impressive shots of the monster in the street are intercut with
generic crowds running and extreme closeups of the moving animated head with
the buildings projected behind it. Hilariously,
one group stops to gawk at the monster, and the Royal Army’s resistance is a
single squad with some light machine guns. Both these are burned with the
glowing overlay circles and a shot of a drawing of their charred corpses. The
rampage abruptly cuts to Bickford FINALLY putting on a radiation suit and
visiting completely welders working on the torpedo.
The next scene is the
best in the film; framed by distant city lights, the dark silhouetted Behemoth
lumbers towards the camera past a power plant, getting zapped by electrical
towers, then smashing them in Godzilla fashion, dragging one past the camera.
While derivative of the same scene in Godzilla,
the lighting makes the dragon shape look striking and menacing, and the
wide shot finally gives a sense of hugeness so lacking with other shots. This and the next monster scene are the only
ones that that come close to Lourie’s constant dramatic framing of the imposing
Beast From 20,000 fathoms. More shots show London burning and a generator exploding
as the Beast walks along the riverfront. You can make out what might be
Westminster but it’s poorly established. Still, the lighting and the framing
again finally put the monster to spectacular use, especially as spotlights
illuminate the Behemoth grabbing a starting car and throwing it into the
Thames. The rampage abruptly ends as
Behemoth rears up impressively before crashing through a motor bridge. It’s not
even the tower bridge like O’Bie’s original Lost World.
We cut back to the scientists finally welding the torpedo.
Remember how pointless it was for Nesbitt to join the sniper in Beast from
20,000 Fathoms? This takes it a step further with the entirely redundant Carnes
acting as navigator in a two-man sub.
The film even seems to lampshade this
“Just tell me where to steer and when to pull the trigger”
jokes the captain
“I’ll certainly try” chuckles Carnes.
The Behemoth is finally seen swimming in stop-motion, an
impressive effect that Godzilla would not see until 1999 and again very
reminiscent of a similarly inventive scene in Beast from 20,000 Fathoms. Aside
from a nondramatic bump, the mission is successful and the monster abruptly
explodes. Somehow this doesn’t nuke the completely unprotected and leaky sub
and the Thames itself.
In the best non-monster scene in the film, Carnes and
Bickford settle into their car when the radio reports of dead fish appearing on
the Atlantic coast of the US, prompting a grimace.
You may notice I’m a lot more detailed in this review than
in Beast. Well, it’s simply because you should fast forward through the
thoughtful but very slow-paced film and focus on the very brief stop motion.
Unlike Gorgo or Beast From 20,000 Fathoms, it’s rather clunky. As much as I
like scientists taking the lead in films, these old gents may be likeable but
man are they dull. The cast is just minimalist, and the action extremely brief.
You could tell this is the cheapest of Lourie’s films, sadly, and even the
mighty O’bie and Peterson had to work for one week on a shed table for the animation
with what looks like a very stiff, unexpressive model where you can visibly see
the stitching of the rubber alligator skin. The monster just lacks the pathos of the
Rhedosaurs despite having a similar, dragonlike design.
I rate it 58 out of 100-while the pacing is tedious, it’s
very careful. The science wavers from predictably sloppy (the paleontology
especially) to rather thoughtful and accurate (the effects on marine life and
how it is measured). The cast is fine but extremely minimal-the young Cornish
couple is dumped entirely and no woman is seen again for more than a single
scene at a time. The paleontologist is played for laughs rather than pathos,
rather annoyingly. The monster scenes are brief and often poorly shot, but with
a few standouts worth watching. I’d rent this movie, not buy it. And don’t worry, I’ll get to Gorgo soon
enough!
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