Columbia Pictures should give us all hope that we can rise above our station in life. This little Poverty Row studio, which made a name for itself producing comedy shorts in the 30s (including The Three Stooges’ most famous works) had, by the mid-50s, replaced RKO as a member of the Big Studios Club. With everything from Superman cartoons to Marlon Brando Oscar winners in their catalog, its seems only natural Columbia would try to field a giant monster movie for 1955.
You have to give them credit for going about it the right way – hiring two of Them!‘s writers and a man (now) more famous than either of ’em – the stop-motion animator behind The Beast from 20,000 Fathoms, Ray Harryhausen. If this film’s remembered for anything, it’s remembered for Harryhausen’s effects. This is the mid-point between his career-defining turn in Beast and the next year’s State of the Art showcase, Earth vs. The Flying Saucers. But Art doesn’t come cheap, so I shouldn’t be surprised all of Harryhausen’s contribution’s are crammed into the film’s last 15 minutes. I was. Unpleasantly so. But I shouldn’t have been.
It Came from Beneath the Sea fired its first warning shot right off, beginning with a Bad Movie Double Down: droning narration played over military stock footage. It’s 1955, after all, one year after the successful launch of the U.S. Navy’s first nuclear submarine, the U.S.S. Nautilus. This is meant to make the move Relevant to a distracted audience who may not give a crap about anything outside their pathetic little lives. It ends up pointing towards a theme that might’ve ameliorated the many failings of this film, had anyone cared to play that theme out. As Our Humble Narrator says,
In 1951, science fiction movies took two booster shots to the arm and entered into the public consciousness on a scale so grand that, looking back on it now, it’s like watching a dam burst in slow motion. So much so that one can easily drown in the torrent of “creature features” America produced in the 1950s. All thanks to two films that defined the boundaries of their sub-genre, enlivening hoary old tropes by dragging them, kicking and screaming, into the twentieth century.
One of those films, which we’ll consider in its own time, was The Day the Earth Stood Still. The other, released five months before, was The Thing from Another World. You can try and find a stranger pair of siblings…but I don’t really want you too. These two are all I need because they were all the genre needed at the time.
Prior to their release, science fiction was a joke, laughed at and bemoaned in turn by polite society, allowing it to become the sole province of nerds. The Thing irrevocably welded Sci-fi to Horror and saved both genres from their separate decline into self-parody and stupidity…as evidenced by another “great” film from 1951, Abbot and Costello Meet the Invisible Man. The world was six years away from Hiroshima and Nagasaki and the old monsters had lost their grip on the collective amygdilla. New monsters – in a comfortably Frankenstein-ish mode, to be sure, but still – were already moving back in the shadows, ready to pop through the first conveniently open door and take your head off with a casual swipe. Continue reading The Thing from Another World (1951)→
Reviews with swear words and sociopolitical analysis from David DeMoss