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Month: October 2018

Brain From Planet Arous, The (1957)

Brain From Planet Arous, The (1957)

“You acted funny — and that way you kissed me…”

Synopsis:
When a nuclear physicist (John Agar) and his colleague (Robert Fuller) explore a sudden source of intense radiation at a cave near Mystery Mountain, Fuller is killed while Agar’s body is taken over by a nefarious disembodied alien brain named Gor. Concerned about Agar’s sudden aggressive change of character, Agar’s fiancee (Joyce Meadows) and her father (Thomas B. Henry) go to the cave to investigate, and meet a well-meaning brain named Vol who decides to inhabit their dog. Can Vol-as-dog prevent Gor-as-Agar from destroying Earth for the sake of his own ambitions?

Genres, Themes, Actors, and Directors:

  • Aliens
  • Disembodied Parts
  • John Agar Films
  • Mad Doctors and Scientists
  • Mind Control and Hypnosis
  • Nuclear Threat
  • Science Fiction
  • World Domination

Review:
Nathan Juran — a.k.a. Nathan Hertz — directed a number of Peary-listed sci-fi and fantasy films throughout the 1950s and ’60s, including Hellcats of the Navy (1957), The 7th Voyage of Sinbad (1958), Attack of the 50 Foot Woman (1958), Jack the Giant Killer (1962), and First Men in the Moon (1964). This irresistably titled flick is sure to appeal to fans of its unique sub-genre — talking disembodied parts — and/or those interested in viewing all manifestations of The Red Scare through cinematic depictions of alien mind control and possession, such as Invasion of the Body Snatchers (1956) and I Married a Monster From Outer Space (1958). On its own merits, TBFPA is ridiculous (of course) but competently enough made that it’s easy to sit through. As Agar is violently possessed by Gor, he suddenly experiences wild passion for his plucky fiancee, demented joy at his ability to take down planes through the power of his glowing eyes, and gleeful anticipation at the thought of world domination: there’s no mistaking the metaphor here of the danger humans face of being not-so-secretly taken over by nefarious forces eager to exploit our weaknesses.

Note: Juran’s work in Hollywood was multi-faceted: he won an award for Best Art Direction for How Green Was My Valley (1942) and was nominated for his work on The Razor’s Edge (1946).

Redeeming Qualities and Moments:

  • John Agar’s amusingly campy performance
  • Some clever directorial moves

Must See?
No, though it’s a hoot in its own way. Listed as a Camp Classic in the back of Peary’s book.

Links:

Dark Passage (1947)

Dark Passage (1947)

“Was I insane to pick you up on the road? Was I insane to let you stay here?”

Synopsis:
A man (Humphrey Bogart) wrongly accused of murdering his wife escapes from prison and stays with a friend (Rory Mallinson) who is soon murdered, then seeks refuge with a wealthy young woman (Lauren Bacall) whose acquaintance (Agnes Moorehead) had testified against Bogart at his trial. After undergoing appearance-altering facial surgery, Bogart — in love with Bacall yet not wanting to place her in harm’s way — goes in search of his wife’s killer, but soon finds himself blackmailed by a scheming cabbie (Tom D’Andrea).

Genres, Themes, Actors, and Directors:

  • Agnes Moorehead Films
  • Delmer Daves Films
  • Falsely Accused
  • Fugitives
  • Humphrey Bogart Films
  • Lauren Bacall Films
  • Mistaken or Hidden Identities
  • Plastic Surgery
  • Romance

Review:
Lauren Bacall and Humphrey Bogart’s third of four films together — after To Have and Have Not (1944) and The Big Sleep (1946) and before Key Largo (1948) — was this creatively filmed (the first third is shown from Bogart’s perspective, never revealing his face) but narratively disappointing thriller about a falsely accused fugitive whose luck fails him on every account except one: second-chance romance. Indeed, Bogie and Bacall’s onscreen chemistry is potent (Bacall literally has a glimmer in her eye when tearing up over him), but her character is underdeveloped and it’s challenging to believe in her enduring love for him both before and after his surgery. The obvious femme fatale in this noir is Moorehead, who refreshingly plays somewhat against type but meets a most ignoble fate during a silly and implausible plot twist. Other supporting performances are quirkily memorable as well, but most notable are the on-location settings in San Francisco, used to excellent effect — including during one harrowing scene as Bogart is presumedly leading his captor back to his hotel, but actually navigating the streets of Cisco like a pro.

Redeeming Qualities and Moments:

  • Atmospheric cinematography

  • Effective use of San Francisco locales

  • Memorable supporting players

Must See?
No, though of course Bogie and Bacall fans will want to check it out.

Links: