Midnite Movies - Tumblr Posts
DR GOLDFOOT AND THE BIKINI MACHINE (Dir: Norman Taurog, 1965).
A kooky 1960s teen-comedy-cum-spy-spoof from Hollywood’s greatest purveyors of exploitation, American International Pictures (AIP).
The titular Dr Goldfoot (Vincent Price) has invented a machine for turning out lethal bikini clad robots with which he plans to ensnare the world's wealthiest men, acquire their assets and bump them off, eventually seeking world domination. Stumbling upon the plan are bumbling undercover agent Craig Gamble (Frankie Avalon) and playboy Todd Armstrong (Dwayne Hickman), both unwittingly smitten with humanoid Diane (Susan Hart). The pair face some Edgar Allen Poe worthy tortures as they attempt to infiltrate Goldfoot's lair and bust up his operation.
While not an official entry in AIP's Beach Party series, the movie is something of an offshoot of, or cousin to, the beach movies; taking its cues from both the beach and Bond.
In a non-singing role the talented Frankie Avalon gives the impression of being a much better actor than Hollywood allowed. As his partner in crime-busting Dwayne Hickman, while lacking Frankie’s charisma, makes for a perfectly amiable leading man. The magnificent Vincent Price, meanwhile, happily leaves subtlety in his dressing room and hams it up a treat as the infamous Dr G.
It’s all very silly and the humour is very broad and incredibly juvenile. Yet, despite what its title may suggest, it’s all pretty innocent stuff. No movie entitled Dr Goldfoot and the Bikini Machine was ever going to be a plea for feminism but neither is it as rampant with outdated sexism as you might expect. Director Norman Taurog keeps things moving at a rapid pace, with enough whimsical humour and general good vibes as to make it entertaining eye candy, if little else.
At time when increasing civil unrest and the Vietnam War were encroaching on teenagers real lives, it is easy to see why escapist fluff such as this was popular. It is a fun time capsule of a more innocent era - at least in teen movies. Fans of beach movies, Bond and 1960s kitsch should find much to enjoy.
For a longer, more in-depth review of DR GOLDFOOT AND THE BIKINI MACHINE visit my blog JINGLE BONES MOVIE TIME! Link below.
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. 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.
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.
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 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, drenched in an innovative and influential theremin rich soundtrack.
If it seems a little cliched at time, this is only because it spawned so many imitations. In its own right It Came from Outer Space is a 50's monster masterpiece and a groundbreaking, original piece of popular cinema.
For a longer, more in-depth review of IT CAME FROM OUTER SPACE visit my blog JINGLE BONES MOVIE TIME! Link below:
SHOCKTOBER! Day 1: THE BEAST FROM 20,000 FATHOMS (Dir: Eugène Lourié, 1953).
This sci-fi classic from the heyday of the monster movies marked the cinematic pairing of fantasy titans and lifelong friends, author Ray Bradbury and stop-motion animator Ray Harryhausen.
Based upon Bradbury's short story The Fog Horn, The Beast from 20,000 Fathoms tells of the mighty Rhedosaurus, a 200 foot, disease-ridden, carnivorous dinosaur frozen in suspended animation for millions of years and unwittingly thawed by an experimental Arctic atomic explosion, Awakened from his frosty slumber, old Rhed proceeds south to North America's east coast and the warmer waters of the Atlantic. En route to New York he overturns a fishing boat and destroys an innocent lighthouse, before rocking up in the Big Apple to wreck havoc in the city, culminating in an awesome Coney Island showdown between monster and military.
Read the full review on my blog JINGLE BONES MOVIE TIME. Link below.
SHOCKTOBER! Day 2: HOUSE (Dir: Steve Miner, 1985).
From Sean S Cunningham, producer/director of Friday the 13th (1980) and Steve Miner, director of Friday the 13th Part II (1981) comes House, a shocker of a markedly lighter tone than the slasher movies for which either was known.
Promoted as a comedy horror, House stars William Katt as horror author Roger Cobb (presumably modeled after Stephen King) a Vietnam vet who is mourning the recent suicide of a beloved aunt and the mysterious disappearance of his young son. Both events are somehow connected to the creepy house which his aunt has left to Cobb in her will. Retreating to his aunt's abode to write a biographical novel based upon his wartime experiences, he is haunted by all manner of apparitions, included that of comrade Big Ben (Richard Moll) who died in Vietnam. Naturally folks think Cobb is crazy. Enlisting the help of amiable neighbour Harold (George Wendt), Cobb battles to overcome both inner-demons and the curse of the house of horrors.
Read the full review on my blog JINGLE BONES MOVIE TIME. Link below.
SHOCKTOBER Day 4: THE BLACK SCORPION (Dir: Edward Ludwig, 1957).
Swapping atomic ants for subterranean scorpions and the Los Angeles sewers for the caverns of the Mexico desert, The Black Scorpion shamelessly hitches a ride on the coattails of monster movie masterpiece Them! (Gordon Douglas, 1954).
An undistinguished B-movie cast of little charisma cannot help but be overshadowed by the giant scorpions rampaging the southern portion of North America. The second hand plot finds the enormous arachnids chowing down on the San Lorenzo locals. Luckily some US scientists are on hand to make sure the pesky critters do not hop the border. Yup, the plot really is as lazy as my description of it.
Read the full review on my blog JINGLE BONES MOVIE TIME. Link below.
ATTACK OF THE 50 FOOT WOMAN (Dir: Nathan Hertz, 1958).
Proto-feminist text or trash classic? As much as some film historians claim it’s the former, I think sci-fi/horror Attack of the 50 Foot Woman is probably the later; a cheap and cheerful exploitation film aimed squarely at the drive-in, double feature market.
After arguing with her two-timing husband, heiress and owner of the world's most expensive diamond Nancy Archer (Alison Hayes) has a run in with an extra-terrestrial satellite, inexplicably inhabited by a 30 foot bald-headed behemoth (Michael Ross, doubling as Tony the bartender). Radiation exposure results in Nancy growing to a whopping 50 feet in height. Meanwhile husband Harry (William Hudson) takes the opportunity to steal her diamond and ensconce with fancy-lady Honey (Yvette Vickers). Soon the police are on their tail as, more worryingly, is Nancy who wants her diamond and her man back!
Read the full review on my blog JINGLE BONES MOVIE TIME. Link below.
THE GIANT BEHEMOTH aka BEHEMOTH THE SEA MONSTER (Dir: Eugène Lourié, 1959).
Taking inspiration from The Beast from 20,000 Fathoms (Eugène Lourié, 1953) and Godzilla (Ishiro Honda, 1954), The Giant Behemoth is 1950s monster movie mayhem on a minuscule budget.
In a classic 'when atomic testing turns bad' scenario, a pre-historic Palaeosaurus comes ashore on the Cornish coast, threatening the lives of marine life and crusty old fishermen. Not content with terrorising townsfolk in the West Country, the rampaging radioactive reptile heads to London. What is a bored behemoth to do in the big city but riot? If only the meddling military don't stand in his way...
Read the full review on my blog JINGLE BONES MOVIE TIME. Link below.
