Movie Review: Dinosaurus! (1960)

Today’s movie review is about an odd little 1960 film. At first glance, it’s a typical kid’s adventure film mixed with some horror elements. On the other hand, it’s a pile of tired clichés with many depressing and dark moments. It’s an odd little movie, and it’s worth a look.  It’s not part of my childhood, but it certainly was for a lot of people.  This is the Jack Harris-Irvin Yeaworth collaboration Dinosaurus! (the exclamation point is theirs). Thankfully there is a rifftrax for this film, so I’ve added their best jokes when appropriate. 

Movie Review: Gorgo 1961

I’ve featured the first two of Eugène Lourié’s “Sea Monster” films, so it’s time to talk about the last and most spectacular of them. It’s the one with the biggest budget, but surprisingly the most kid-friendly of them. While not a stop motion film, it made up for it with one of the most elaborate suitimation monsters and sets. Ladies and gentlemen, I give you 1961’s British kaiju epic Gorgo.

Gorgo was not only third and last of Lourie’s directorial efforts, but also the last and third time a dinosaur wrecked London.  The transition from stop-motion to suitimation didn’t phase Lourie’s eye for art, but it was a sign of the times. While King Kong’s re-release and the Beast From 20,000 Fathoms ignited Ray Harryhausen’s career, their progeny Godzilla’s success showed that it could be done with a smaller budget with the right kind of effects team and director.

Movie Review: Behemoth the Sea Monster/The Giant Behemoth

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. 

Jurassic World review

“Boy, do I hate being right all the time!”-Ian Malcolm

For years I’ve wondered why dinosaurs aren’t popular anymore. They’re second fiddle again like always. The Renaissance is over, and the Wars of Religion have begun. Paleontology’s still small and uncool, science itself is forgotten in an anti-intellectual atmosphere, hardly anyone goes to museums for the collections anymore. Maybe I’m cynical. Maybe it’s just my bipolar psychology getting to me again.  I had hope for a while. Then I saw Jurassic World.

Exciting news about Jurassic World and its newfound paleontological accuracy

Ladies and gentlemen, I’ve been privileged with no less than four fossil finds that came out just in time!  To see the significance, we’ll have to go back 20 years.  You see, in 1993, the film Jurassic Park came out. Michael Crichton’s book featured Velociraptor, and he based his depiction on Deinonychus. Spielberg, wanting something even more intimidating, increased the size of his raptors. The scientific community scoffed at this obvious error, but found themselves dumbfounded when, as the film came out, Utah Paleontologist James Kirkland found a dromaeosaur of that impressive size! Utahraptor brought Hollywood’s Raptor come to life! 

So, it is with great joy that I reveal that similar things have happened this year, coinciding with this summer’s release of Jurassic World!  Yes, once again, life has imitated art! Turns out that the writers of this film were prescient, thanks to their rigorous dedication to scientific accuracy. The papers are not published yet, so I can’t say the discoverers, but I can describe the names and bones found!