It Came from Outer Space (Jack Arnold, 1953).
Famous for their influential horror movies of the 1930, by the 1950s Universal Studios focus had shifted to a different kind of monster movie. Informed by increasing fear of nuclear war and the threat of Communism, seminal sci-fi movies such as This Island Earth (Joseph Newman, 1955) and The Incredible Shrinking Man (Jack Arnold, 1957) helped ligitimise the genre from its previous associated with comicbook serials and kid's Saturday Morning Pictures. The template for these serious minded, paranoia soaked sci-fi features was set with the first and most influential of the series, It Came from Outer Space.
Amateur astronomer John Putnam (Richard Carlson) is the only witness to a spacecraft crash on the outskirts of the small desert town of Sand Rock, Arizona. When his fellow townsfolk start acting suspiciously he expects alien influence. Convincing his girl Ellen (Barbara Rush) and cynical local sheriff (Charles Drake), a posse is assembled to flush out the intruders. Certain that the intelligent aliens are benign and pose no threat, John must keep the angry mob at bay while essential repairs are made to the damaged craft. Failure to do so risks the life of his captured pals.
Amateur astronomer John Putnam (Richard Carlson) is the only witness to a spacecraft crash on the outskirts of the small desert town of Sand Rock, Arizona. When his fellow townsfolk start acting suspiciously he expects alien influence. Convincing his girl Ellen (Barbara Rush) and cynical local sheriff (Charles Drake), a posse is assembled to flush out the intruders. Certain that the intelligent aliens are benign and pose no threat, John must keep the angry mob at bay while essential repairs are made to the damaged craft. Failure to do so risks the life of his captured pals.
Based on an unpublished story by sci-fi maestro Ray Bradbury, It Came from Outer Space is, on the surface, a film about alien invasion. Yet, as with much of the sci-fi of its era, the movie serves as an analogy for the very real post-War fear of Communist infiltration. While acknowledging Bradbury with a story credit, the sole screenplay credit is attributed to Harry Essex. However, it is widely rumoured that he did little more than retype Bradbury’s original treatment, adding FADE IN/FADE OUT where necessary. While this may be an unfair assessment of Essex's contribution it cannot be ignored that the themes and particularly the poetic prose are very much evocative of Bradbury's writing.
Originally, the alien in its non-human form was to remain unseen. Universal's insistence that the creature appear on camera resulted in some hasty reshoots. In truth, the myopic monster looks a little homemade but this does little to detract from the overall quality of the visual effects; particularly the initial crashlanding which sees the meteor-like craft hurtle at speed toward the audience. Shot and originally exhibited in 3D, the movie is surprisingly light on things being lobbed at the screen, so works just fine when viewed flat. Clifford Stine's beautiful black and white cinematography perfectly captures the eerie isolation of the desert surrounds, giving the impression of a barren alien landscape.
Director Jack Arnold was a master at this sort of thing. In the hands of a lesser director it may easily have ended up B-movie sci-fi schlock. However, Arnold delivers an intelligent comment on the political and social mores of 1950's America; at its heart a plea for the acceptance of others. He elicits fine performances from a not exactly starry cast, as the drama unfolds with tension mounting pace. The action is drenched in an innovative and influential theremin rich soundtrack which adds to the eerie ambience.
Although the Communism analogy may be lost on modern audiences, It Came from Outer Space is still an excellent, atmospheric sci fi classic that holds its own against more elaborate sci-fi shockers. If it seems a little cliched at times, this is only because it spawned so many imitations. In its own right the movie is a 50's monster masterpiece and a groundbreaking, original piece of popular cinema.
Originally, the alien in its non-human form was to remain unseen. Universal's insistence that the creature appear on camera resulted in some hasty reshoots. In truth, the myopic monster looks a little homemade but this does little to detract from the overall quality of the visual effects; particularly the initial crashlanding which sees the meteor-like craft hurtle at speed toward the audience. Shot and originally exhibited in 3D, the movie is surprisingly light on things being lobbed at the screen, so works just fine when viewed flat. Clifford Stine's beautiful black and white cinematography perfectly captures the eerie isolation of the desert surrounds, giving the impression of a barren alien landscape.
Director Jack Arnold was a master at this sort of thing. In the hands of a lesser director it may easily have ended up B-movie sci-fi schlock. However, Arnold delivers an intelligent comment on the political and social mores of 1950's America; at its heart a plea for the acceptance of others. He elicits fine performances from a not exactly starry cast, as the drama unfolds with tension mounting pace. The action is drenched in an innovative and influential theremin rich soundtrack which adds to the eerie ambience.
Although the Communism analogy may be lost on modern audiences, It Came from Outer Space is still an excellent, atmospheric sci fi classic that holds its own against more elaborate sci-fi shockers. If it seems a little cliched at times, this is only because it spawned so many imitations. In its own right the movie is a 50's monster masterpiece and a groundbreaking, original piece of popular cinema.
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