(thanks, horrormovieshows!)
After the successes of Godzilla and other Japanese and American giant monster movies in the 1950’s it seems that a few other countries wanted to get aboard the money train and come up with their own flicks featuring mutated reptiles or other gigantic beasts. Now, Denmark is the absolute last place I’d think of when I think “giant slimy lizard terrorizing the masses!”, but it seems that a combination of national pride and the over-eagerness of its Danish producers to make a big splash onto the scene brought the world Reptilicus … and TWO versions of it, to boot.
If you were a kid growing up in the US in the late 60’s and 70’s, this one was a staple on a few TV channels across the country, popping up either in the afternoon or evening and sometimes late at night to not scare you at all. In fact, I can recall seeing this as a kid and being baffled, then bored, then amazed at how bad and cheap the movie looked, but still watching it to the very end each time…
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For some fans of giant monster movies, Godzilla is their gold standard, but I’m a Rhedosaurus man, myself. 1953’s The Beast From 20,000 Fathoms is a smaller-scale picture when compared to Toho’s epic genre entry and it’s also not as sprawling and dynamic as King Kong in terms of impact. On the other hand, Ray Harryhausen’s work here is superb and at a mere 80 minutes, this one goes down easy and doesn’t wear out its welcome one bit.
From the moment you hear Bernard Herrmann’s outstanding main theme that sets up the thrilling adventure ahead, director Nathan Juran’s The 7th Voyage of Sinbad sets itself squarely in fantasy film history as a true classic. Of course, having Ray Harryhausen on board and in full charge of the film’s effects work at the height of his talents makes this one an absolute must-see as well as one of the best genre films ever made. It’s a perfect blending of talents by all involved and it’s probably the one film Harryhausen worked on I’ve seen the most times as have many who’ve been influenced by it over the decades. This film was yet another hit for Harryhausen and producer Charles H. Schneer and also introduced the word Dynamation into the movie lexicon (later rechristened “Super DynaMation” and later, “Dynarama”), which amusingly enough, ONLY refers to the stop motion technique the master perfected over time and became an immediate means of letting his fans know who was behind the visual effects in that latest cinematic treat they wanted to catch…
I’d only heard of this horror anthology film a few years back thanks to a friend who saw the restored final third and raved about it. Of course, I never got the chance to check that, nor the rest of this film out until recently when the movie popped up on TCM and after a sluggish first segment, had me glued to the couch taking in the assorted sights and sounds.
While it has some great creature and scenic effects, some terrifically lousy acting and ridiculous dialog plus a few plot elements nearly sink 20,000,000 Miles to Earth like the doomed spacecraft that brings the Ymir into movie monster history.
Without Ray Harryhausen’s still impressive special effects, Earth vs. The Flying Saucers would probably have been just another 1950’s “B” movie lost to the ages, only popping up on one of those cheapo compilation DVD’s you see as impulse items at some big box stores. However, thanks to those awesome saucers and some fine destruction of federal property by some rather cranky aliens, the film has been a favorite as well as an inspiration for other flicks from Independence Day to Mars Attacks! and more. The somewhat clunky acting and use of WWII stock footage don’t hurt the film one bit because they’re usually only a few minutes from one of Harryhausen’s cool animated saucers blowing the heck out of something or simply flying across the sky…
Forget about today’s overblown CG effects, many of which make modern movies worse than better. Ray’s best work was all about blending fantasy into the assorted realities of the worlds he created and transporting viewers to places and making them forget about the outside world for about an hour and a half or so.
I usually avoid sticking my nose into other people’s conversations, but I had to poke and sniff lightly into a heated debate this week about 
While the middle to late 1960’s weren’t too good for Alfred Hitchcock’s film output, his fantastic 1972 thriller, FRENZY saw the director return to fine form with a chilling blend of murder, “wrong man” plot, police procedural (of sorts) and black comedy. Between the solid casting of mostly imperfect-looking British actors, actual London locations blended perfectly with studio sets, a bit of nudity and one very unsettling (and lengthy) assault/murder scene that’s shocking but necessary to drive the plot, this is one of those films where you can feel the director’s complete confidence in himself, his cast and crew.
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