7 FACES OF DR LAO (Dir: George Pal, 1964).

7 FACES OF DR LAO (Dir: George Pal, 1964).

George Pal first came to prominence in the 1930s with his series of animated Puppetoons shorts. Switching to live action, first as producer and then director he was responsible for a series of special effects heavy sci-fi and fantasy films, including The War of the Worlds (Byron Haskin, 1953) and The Time Machine (Pal, 1960) which are now rightly deemed classics of their genres. His 5th and final feature as directed was 1964’s 7 Faces of Dr Lao, based upon Charles G Finney’s 1935 novel The Circus of Dr Lao.

Tony Randall stars as the titular Lao, an aged (7322 years!) Chinese gent and owner of a fantastical, magical travelling circus. When the circus stops at the dusty Arizona town of Abalone the townsfolk are taught some valuable life lessons from the highly unconventional exhibits include the mythical soothsayer Apollonius, Merlin the Magician, Pan the God of Love and the fabled Gorgon Medusa. All of whom are portrayed by Randall in a truly mesmerising performance. Aided by some outstanding make-up from William Tuttle who rightly won the Academy Award for his efforts.

Some would rightly question the casting of white American Tony Randall as the Chinese Lao. Yet while the performance does exhibit elements of racial stereotyping it is not malicious. Right or wrong, such casting was perfectly acceptable in the era the movie was made and it would be unfair to castigate it for being out of step with more enlightened viewpoints more than 50 years after release.

7 Faces of Dr Lao is an unusual movie; mixing elements of the western genre with gently moralistic Bradbury-esq fantasy, it is probably fair to say it is a little bit of an acquired taste. If you are a fan of Pal then this movie needs no recommendation. For others, a philosophical fantasy aimed at family audiences might be a hard sell. However, it’s status as one of Pal’s lesser known features is entirely unwarranted. The excellent performances, top quality make-up and effects and feverish, almost surrealist atmosphere of the movie make for a heady mix. In my opinion 7 Faces of Dr Lao is one of the finest fantasies ever committed to celluloid.

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Movie number 61: The Feminine Touch aka The Gentle Touch (Pat Jackson, 1956). A late period Ealing drama, variously retitled The Gentle Touch and A Lamp is Heavy in international markets; The Feminine Touch follows a group of student nurses as they embark on careers with the greatest of British post-war institutions, the NHS.

Unusually for an Ealing Studios production, the main protagonists are female. The narrative focuses largely on nurses Susan Richards (Belinda Lee) and Pat Martin (Delphi Lawrence) through initial training, exams and their inevitable romantic liaisons with doctors.

Told in the pseudo-documentary style often favoured by Ealing, the sense of realism is all slightly undone by the impossibly glamorous nurses who look every inch 1950s starlets and not hardworking medics.

Occasionally the movie threatens to deliver a worthwhile statement on gender inequality, such as addressing the injustice of female nurses having to quit their job when married. However, this important issue is undermined by the pat suggestion that by supporting their doctor husbands they will still be performing a valuable service to the medical profession!

While the idea of movie projecting a positive image of women in the workplace is to be applauded, its ultimate message seems to reinforce the notion that it is a man’s world and a woman’s place within it is to make her hubby happy. Such was the word in 1956. Indeed, even in a film about women top billing is given to man, co-star George Baker.

The Feminine Touch was to be director Pat Jackson’s only film for Ealing. This is probably no loss to Ealing. Where their earlier movies were often seen as promoting socialism and progressiveness, The Feminine Touch seems to be content with looking backwards rather than forwards. As entertainment it is pleasant enough, albeit slightly dull and hopelessly dated. As a tribute to NHS nurses it fails miserably a group of women who deserved so much more recognition than a middling, routine drama.

Movie number 59: The Neptune Factor aka The Neptune Disaster (Daniel Petrie, 1973). Bearing an uncanny resemblance to Hanna-Barbera’s 1972 animated tv series Sealab 2020, The Neptune Factor is a underwater adventure with an all star(ish) cast.

Subsurface research base Oceanlab is hit by an undersea earthquake, damaging the lab and leaving crew members stranded. Project head Walter Pidgeon enlists the help of submarine captain Ben Gazzara and chief diver Ernest Borgnine along with scientist Yvette Mimieux to survey for damage and rescue any survivors. However, the Oceanlab now lies at the bottom of an ocean trench and all manner of menacing sea creatures stand (swim?) between it and the rescue team.

Although partly filmed in the sea off Nova Scotia and in the Caribbean, it would appear that most of the trick photography was achieved in a studio; the effects are a mix of obvious model work and blown up footage of marine life. Edited in such a way that it is never completely convincing that men and monsters inhabit the same plane, as such, any sense of excitement that these sequences should have generated is lost.

Despite which, I feel it would be unfair to label the movie a total wreck. The earthquake scenes are impressive and Ernest Borgnine is always worth watching. As a whole, I did enjoy it but found parts of it rather dull, largely due to Daniel Petrie’s uninspired direction and a Jack DeWitt script which is short on thrills. This, more than anything, proves to be the movie’s undoing.

In an attempt to cash in on the then current craze for disaster movies the film was retitled The Neptune Disaster in some territories. However, it feels much closer to schlocky 70’s sci-fi than to the disaster genre. Sadly, The Neptune Factor is one of those movies where the poster art is more impressive than the actual movie; an ambitious underwater sci-fi ultimately waterlogged by a pedestrian screenplay and average special effects.

ATLANTIS: THE LOST CONTINENT (George Pal, 1961).

Special effects maestro turned director George Pal followed his acclaimed adaptation of H G Wells' The Time Machine (1960) with the mythical fable Atlantis: The Lost Continent.

Out sailing with his father, Greek fisherman Demetrios (Anthony Hall) rescues the shipwrecked Atlantean Princess Antilla (Joyce Taylor). On returning the Princess to the mythical kingdom, Demetrios is imprisoned and forced into slave labour. It turns out the technologically superior Atlantiaeans are a sadistic lot, inflicting punishments on their captives such as turning them into man-beast hybrids. Demetrios rebels, attempting to win the affection of the princess in the process. He then must free the other slaves and exit Atlantis before its inevitable demise.

After the excellent Time Machine, Atlantis: The Lost Continent was seen as something of a disappointment. Actually, the movie is a fun and pretty wild ride but lacks the gravitas of earlier Pal classics such as The War of the Worlds (Byron Haskin, 1953) tom thumb (Pal, 1958) and, as mentioned, The Time Machine.

It features some impressive visual effects, most notably during the empire’s spectacular fall which serves as the movie’s climax. The cast is made up of faces largely unfamiliar to modern audiences, save for maybe John Dall as baddie Zaren and Edward Platt as the sympathetic High Priest Azar. While the performers do a proficient enough job they do get a little lost among the spectacle.

With influences of Jules Verne-esq sci-fi and the then popular sword and sandal movies, Atlantis: The Lost Continent has a somewhat uneasy footing in both genres. As a special effects laden sci-fi adventure it pales in comparison to superior epics Journey to the Center of the Earth (Henry Levin, 1959) and Jason and the Argonauts (Don Chaffey, 1963).

Yet, I have a lot of affection for the movie. If you are fan of George Pal you will definitely enjoy this. Ultimately it is little more than matinee fluff, but it’s matinee fluff on a grand scale.

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DR NO (Terance Young, 1962).

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The film that launched the longest running franchise in movie history. Sean Connery stars as Ian Fleming’s James Bond 007 in this adaptation of the sixth novel in the series.

Investigating the disappearance of fellow MI6 operatives, Bond heads to Jamaica and is soon on the trail of the titular Dr No, an underground dwelling, Nemo-esq scientific genius with plans to wreck the US space programme. Fist fights, shoot-outs and car chases ensue!

In many respects, Dr No is Bond in its purest form. Before the over reliance on gadgets, before the campy, double entendre laden humour, before the over the top action set pieces. Connery is perfect in the role: suave yet cool, a lover and a fighter. He is surrounded by a classy supporting cast. As Island girl Honey Ryder, Ursula Andress set the standard for Bond girls, emerging like Venus from the ocean in a two-piece swimsuit and creating one of the most iconic images of the entire series. Jack Lord and John Kitzmiller make appealing allies for Bond, while Bernard Lee and Lois Maxwell make their first appearances as Bond’s MI6 boss M and his flirtatious secretary Miss Moneypenny, respectively.

Director Terance Young never lets the pace flag. Dr No is one of the shorter Bonds but Young never wastes a second as he delivers a gripping, intelligent thriller.

Rewatching the movie almost 60 years after release it is fascinating to see how much of what we associate with the series is already present. Refinements were made to the formula over the coming films but I don’t think this series opener was ever bettered. Equalled maybe, but it has a certain economic, raw, unpolished appeal that box office success and bloated budgets would not allow for in the future. Six decades on this is still a fantastic piece of popular cinema. Intelligent in a way action movies rarely are today, shot through with streak of sardonic humour. If you are only familiar with later entries than this original classic should really be next on your Bond viewing list!

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Dr No (1962)

Dr No (Terance Young, 1962) The film that launched the longest running franchise in movie history and made a star of Sean Connery