The Mole People

Mole Keeper

The Mole People
USA 1956
Directed by Virgil W. Vogel
Universal/101 Films
Dual Edition 
Blu Ray Zone B/DVD Region 2

Warning: Yeah, this one has a bit of an ending spoiler.

Okay, so The Mole People is not exactly the best of the Universal atomic age monster movies, for sure but, for all its faults, I still find it a lot more watchable than Tarantula (reviewed here), it has to be said. It is quite a sluggish movie, however and, certainly does nothing to hook the audience from the start. After the familiar Universal logo comes up, we are presented with Dr. Frank C. Baxter appearing as... Dr. Frank C. Baxter, in a bizarre attempt to fool the audience that he’s a real expert on what he’s talking about. And he talks and talks and talks. Audiences are treated to around four and a half minutes of him telling us of various theories put forward over the centuries, using illustrations on a board, consisting of speculation about what lays beneath the Earth’s surface. Frankly, I would imagine he’s already lost half his audience fairly quickly and half of the drive-in customers would have possibly turned around and driven out again. 

For those that stayed, we are then treated to some opening titles which are quite well done, with the various bits of typography rising from the foreground rim of a steaming crater, presumably implying some volcanic activity. Then we join the three main male protagonists of the movie... Dr. Roger Bently (played by the sturdy block of wood that is John Agar), Dr. Jud Bellamin (played by Hugh Beaumont) and Professor Etienne Lafarge (played by the always watchable Nestor Paiva). The three of them, with various colleagues and diggers, are in Mesopotamia trying to find out what happened to the Chero dynasty. As luck would have it, they find a tablet which points to a snowy mountain. They climb it and find the ruins of a Sumerian temple but, one of their number is swallowed by the earth, opening a long shaft beneath the surface of the mountain. They follow their now dead colleague down and discover a race of Sumerian albinos who have been living beneath the Earth for years. How they’re albinos I don’t know... they have black hair and white painted faces which tend to make everyone look like Data from Star Trek The Next Generation. The sumerians also employ a bunch of mole monsters to do the digging for their mushroom food. 

Anyway, the doctors convince the antagonistic Sumerians, by way of their torch (the Sumerian’s are sensitive to strong light) that they are ambassadors to their God, explaining away Nestor Paiva’s death at the hands of a mole monster as him being summoned back to heaven. But the king and especially the high priest are unsure and it’s a race against time as to whether they can find their way back to the surface world before tensions become murderous for them. The high priest is played by none other than Alan Napier who, ten years later, would play the role he is probably best remembered for these days, as Alfred the Butler opposite Adam West’s Bruce Wayne in the Batman TV show. Meanwhile, the female love interest for John Agar appears in the form of Cynthia Patrick as Adad. She is given to Agar as she is different from all the others, not being born an albino. Things get a bit vague here I think.

And, it’s not a bad film but certainly not a pacey one for sure. We have to wait for almost half an hour of the 77 minute running time, for example, before we even catch sight of a mole monster. Now, it has to be said the many mole monster costumes and masks aren’t really anything to write home about in terms of convincing anyone that these are genuine living organisms, as opposed to just various men in monster suits but, it also has to be said, I do like the design of the monsters and they are a bit iconic (enough that they’ve been reproduced as various Universal monster themed action figures over the years). The make up design is credited, as a lot of these movies, to Bud Westmore but, yeah, whether it actually was Westmore who did these or one of his underlings well, I couldn’t tell you. I certainly don’t take it on trust (see Mallory O’Meara’s fantastic book, The Lady From The Black Lagoon, which I reviewed here for more information on the notorious Westmore). 

Actually, the monsters are pretty much everything here, as a lot of the first half an hour is various stock footage from previous films mixed in with close ups of actors dressed similarly, as the three original protagonists climb the mountain etc. Another bit of padding comes along when an ‘albino’ girl does a long and less than sexy slave dance to fill out the time. This film doesn’t really have an awful lot going for it when you put it down on paper but there are a few other things of interest asides from the monsters. 

One is a comment from one of the male heros when they are caught in a snowy avalanche and he remarks that sitting there in the middle of the avalanche is still safer than crossing Times Square. So, wow, Times Square must have had a bit of a reputation even in the 1950s, it would seem. 

Another interesting moment of genuine horror (for those days) is when three slave girls are sacrificed to the ‘Light Of Ishtar’... aka put in a room which lets in the bright sun from an opening above. Being as they are sensitive to light, when the dead bodies of the three girls are brought out of the room, they are burned black and flaky all over and it’s kinda interesting to see this strong an image as they are carted off in a 1950s Universal monster movie, to be honest. Earlier in the film, the director even tries a ‘fake out’ jump scare but, to be honest, it doesn’t really work. He does give it a good go though. 

One last thing of note is that, in the original cut presented to the studio, Bently and Bellamin escape with Bently’s new middle earth girlfriend Adad and, originally Bently and Adad were supposed to go off hand in hand, living happily every after. This doesn’t happen in the final release print however. In a bizarre twist, just as they get back to the ruined temple above ground, there is a small ground tremor and a big column falls on Adad, crushing her to death. Apparently, this reshoot took place at the insistence of the studio because, even though Adad is clearly not an albino and is just a normal looking person, the powers that be didn’t like the idea that this was still promoting an interracial relationship... so they nipped that in the bud by dropping a column on her. 

And there you go, that’s The Mole People. It’s not the film I remembered it being and it’s certainly a bit ploddy but, if you are a fan of these 1950s B-movie monster flicks then you should still have a good time with this one, especially when, in another moment which defies audience expectations, the mole monsters rise up to overthrow their oppressors and help the heroes escape. Yep, did not see that one coming for a while into the plot, it has to be said. So The Mole People does have a lot of interesting moments, for sure. Whether you think they add up to be something more than the sum of their parts though, is up to you.

Tarantula

Firefox VS Spider

Tarantula
USA 1955
Directed by Jack Arnold
Universal/101 Films 
Blu Ray Zone B/DVD Region 2

Warning: Small, eight legged spoilers coming your way. 

“I’d say you were the biggest liar since Baron Munchhausen”
quote from Tarantula

Well Tarantula is a film I wasn’t that impressed with when I first saw it, although I absolutely adore 1950s, atomic age B-movies and... revisiting it now on a very good Blu Ray transfer put out by 101 Films as part of a dual edition (yeah, some companies are still putting both the Blu Ray and DVD in the same set combinations)... I’d have to say I’m still not all that swayed over by it. Jack Arnold was an absolute master of these kinds of films with things like the first two Creature From The Black Lagoon films, The Incredible Shrinking Man and, even uncredited work on the classic This Island Earth. This one falls fairly flat though, especially when you compare it to, say, the absolute masterpiece that was THEM! (reviewed by me here). It does have a couple of things going for it though...

One is that some (but not quite all) of the special effects and make up effects in this one are handled pretty well, for the most part. The other thing is that the script does nothing to make light of the ridiculous plot (although the make up in one scene may well make you laugh) and the actors are all very good at projecting a certain amount of gravitas around the story. These actors include monster movie regular John Agar as the perpetually smiley, heroic Dr. Matt Hastings, Leo G. Carrol as the resident mad scientist Prof. Gerald Deemer and the sensuous Mara Corday as the professor’s new work experience student (as we’d express it these days) and love interest for Agar, Stephanie 'Steve' Clayton (who would go on to play a few supporting roles for her friend Clint Eastwood in The Gauntlet, Sudden Impact, Pink Cadillac and The Rookie but, I’m getting ahead of myself... I’ll get to Clint in a little while). 

Also in the cast, as the sherif of the small town of Desert Rock and friend to Agar’s Hastings, is Nestor Paiva. Regular readers may remember Paiva as the boat captain in both Creature From The Black Lagoon (reviewed here) and Revenge Of The Creature (reviewed here)... and also for his role in The Falcon In Mexico (reviewed here). I almost didn’t recognise him at first because, although he was born in California, I always associate him with playing roles with a strong, sometimes Mexican accent and, also, his almost bald head here is prominently displayed, rather than covered with a hat. Hearing him speak perfect American English was a bit of a shock, to be honest. 

The film opens quite starkly and effectively. A camera pans around the bleak desert landscape until it fixes on a man wandering through and then collapsing. He dies but by then we can see he has deformed features. This is because, as we later find out, the serum Professor Deemer is working on to make animals grow to giant sizes in order to solve the world’s food shortage problems, causes an unnaturally quick manifestation of the rare disease acromegaly when injected into a human. Acromegaly, is of course, the famous rare condition contracted by famous character actor Rondo Hatton, which pushes the bones and muscles around the face to give everything a warped look (something which gave him good work in various villainous roles in his short, painful life... the Rondo Awards are named after him).  

Anyway, the professor buries another of his initially willing human victims, after being attacked by him and... the laboratory is partially burned down. What he doesn’t realise is that, while he was rendered unconscious in the fight, the dying human lab rat injected him with the formula as well... not to mention the fact that the professor’s already unnaturally huge tarantula has escaped and, of course, it roams the desert killing cattle, horses and humans until everybody can put two and two together... mostly as a not bad special effect superimposition of a real tarantula interacting with miniature sets and being projected against real life actors in some sequences. I think there’s probably some puppet work here too but, in regards to the big spider’s many on screen appearances, the puppetry is kept to a minimum.

So that’s the set up and, it’s not a terrible film to be sure (fourth biggest box office hit of the year) but, I have to say, the storyline and lack of any real twists and turns leaves me a little cold when compared to other movies like this. However, some of the make up effects, such as when Leo G. Carrol first shows signs of acromegaly, are put together extremely well. Alas, on the last time you see him, just before he is injected with venom by the tarantula so it can eat him, the make up is so over the top that he appears to have one eyeball that has melted all the way down the side of his face. If this sounds silly, it is.

What also sounds silly but, really isn’t, is the way the live footage of a real tarantula is scaled up and inserted into the shots. This kind of approach rarely looks good but, in Tarantula, Jack Arnold just about gets away with it... it looks quite acceptable and decent. I say almost because, on one tell tale shot where the big guy is one again clambering over a small mountain, some of its legs disappear behind the sky so, you can definitely see where the live action and the miniature were badly lined up, in that instance. 

And, big spoiler here, the Tarantula is finally put down in the final reel by a jet fighter pilot firing rockets or napalm or some such. The close up shots of the pilots eyes (pretty much the only thing visible of his face) combined with his voice, made me sit up straight. I looked it up and this is, indeed, the second uncredited screen role in a Jack Arnold film for a young Clint Eastwood, seen here piloting a jet long before his stint in Firefox. And, of course, this film’s leading lady would, as I said earlier, play a supporting part in four of Clint’s movies too. I wonder if this film is the first time they met... or even if they did meet as, I don’t think Clint shares a screen with anyone in this film... just sits in the cockpit, talking into his radio. 

And that’s me pretty much done with the quite entertaining but, really not great, Tarantula. The score is a mix of original and old rerecorded and tracked in pieces, from the sound of it... the opening Universal logo was the tip off for me on that front, which begins with the same opening bars as Creature From The Black Lagoon. It’s all quite effective though and very much of its time. Let’s face it, though, while Tarantula may not have the thrills and spills of certain other, more thoughtful atomic age monster movies, it’s still quite watchable and, if you have a hankering for spending time with this kind of thing (and who doesn’t?), then you’ll certainly want to be adding Tarantula to your list, if you’ve not seen it before. 

The Falcon In Mexico

Mexican Graffiti

The Falcon In Mexico
USA 1944
Directed by William Berke
RKO/Warner Archive
DVD Region 1

Well The Falcon In Mexico is certainly a strange entry in this film series, make no mistake. Despite the last movie, The Falcon Out West (reviewed here), having an ending on the usual pseudo-cliffhanger where Tom Lawrence, alias The Falcon (as played by Tom Conway) is hooked into another adventure and it looking like it could well actually continue, for once, into the next movie... it’s completely ignored, once again and, this one starts off in New York. Not only that but, for literally the opening scene, it seems The Falcon is once more with a girlfriend, or possibly a fiance, to whom he has promised not getting mixed up in anymore detective shenanigans. And... bizarrely... within less than five minutes of the girlfriend’s exit from that brief moment, he suddenly becomes embroiled in a strange affair about a stolen painting and suspected by the police of murder. And so he heads to Mexico, to the hometown of the dead artist who somehow seems to be still painting ‘aged’ pictures and... well... we never hear one thing from Lawrence’s gal again. It’s like they were trying to set her up as a familiar meddlesome presence in the movies, just like the earlier Falcon films but, then decided against it after all. With no other mention of her, it seems more than a little odd that they’d bother setting the character up, no matter how briefly, in the first place.

Sandwiched in the few seconds between the exit of his ‘girlfriend’ and the entrance of a new Mexican lady who is after a specific painting, which starts off The Falcon’s newest adventure, he has a black cat cross his path. One has to wonder if this is a reference to the character Conway played in the Val Lewton produced Cat People of 1942... a character he’d just played again in a sort of sideways sequel called The Seventh Victim in 1943 (actually, I really don’t want to go near this one again yet, because the character dies in Cat People and the fact that his character is up on his feet again unscathed but still able to reference what happened in the original film with no explanation just gives me a headache... supposedly everyone was just supposed to forget his character died?).

Anyway, embroiled in adventure he is and it’s a nice little mystery involving stolen paintings, the possible ghost of a woman’s father and a plot to keep the supposedly dead artist’s work valuable for those who wish to trade and own them. It’s been a while before The Falcon has had an assistant in the movies but he kinda gets one in this when a ‘personal chauffeur’ latches onto him and becomes his companion during the film. I was pleased to see that the part of the chauffeur, Manuel, is played by none other than Nestor Paiva, in probably the closest thing to a major role I’ve seen him in. Horror fans will of course know Nestor as he went on to play the captain of the boat in both Creature From The Black Lagoon (reviewed here) and Revenge Of The Creature (reviewed here).

And it’s business as usual. An enjoyable romp with some nice moments of puzzle solving for Tom Lawrence and even Manuel has a twist to his character... and not the one I was expecting, which is a pleasant surprise. But perhaps the biggest mystery in the picture is how... at the start of the movie, when he has to suddenly break into an art gallery there and then with no knowledge that anything was going to happen to him... is The Falcon able to suddenly produce a big torch as required? Does he just carry these big, bulky objects around in his jacket pocket somehow in case it could come in handy? And wouldn’t we have noticed if he was carrying something that large under his jacket? It seems kinda strange.

However, the film is quite fun and also has some silly moments in it too. For instance, whenever people are walking down the road in Mexico (or even paddling down a lake in one memorable scene), most of the time the actors are just studio bound and walking in front of a projected, moving backdrop as they walk on a treadmill. The background looks fine but there’s something about the way they are ‘walking on the spot but moving’ that is a give away. And when a young flower seller girl catches up, sells a flower to The Falcon and then just kinda floats away on the treadmill by standing still... well, it’s fun but even more of a giveaway. However, it’s always fun to spot this kind of set up and The Falcon In Mexico is another hugely entertaining installment in the adventures of The Falcon (or The Falcon’s brother if you want to get technical about it). Another odd thing about this movie, however, is that it’s the first one in the series, I think, which eschews the lead in to another adventure for the title character. This one just ends on a shot of a plane with The Falcon inside, flying home from whence he came. Which is fine with me, the next movie in this series of films which I can barely remember (since I last saw them in the 1980s) is set in Hollywood. So, yeah, I’m looking forward to that one.

Revenge Of The Creature

The Giller Memorandum

Revenge Of The Creature
USA 1955
Directed by Jack Arnold
Universal Blu Ray Zone A

After the incredible success of Creature From The Black Lagoon in 1954 (which I reviewed here), a sequel was inevitable and director Jack Arnold returned for the gig. If you’re into your trivia, this one was released (less widely is my understanding) in 3D in selected venues and so this one counts as the very first time a 3D movie had received a sequel shot in the same process.

Now, although this was reportedly the most successful of the three Creature features in terms of box office receipts, Revenge Of The Creature is not nearly as good as the first movie and the quality does tend to go down in terms of the three pictures as they go forward (the posters on the next one in the series promised much but had a huge drawback and is the most disappointing of the series). There are almost no characters joining the returning director from the first movie in this one. We basically have the titular Gill-man, who we last saw floating into the depths of the Black Lagoon as quite possibly a lifeless corpse (played by various actors, at least one of whom was the same as in the first picture) and we have, for about the first 15 minutes but in a much larger role than he had in the first one, Nestor Paiva as Captain Lucas, who takes the two man ‘safari expedition’ into the same area that he previously encountered the creature.

The story line is not nearly as punchy as the original but actually delivers a lot more on the expectations of the original picture. That is to say, this time around it’s more or less a remake of the 1933 classic King Kong (reviewed here). So, man brings creature back to be experimented on, trained and exhibited at Florida’s Marineland (see some of my early Al Adamson reviews for more mention of Marineland) and, even though the scientists are a bit mean to it (giving electric shocks to obey the command of “No” or “Stop”), it develops a kind of fish-man equivalent of Stockholm Syndrome, escapes and then stalks the lead female scientist while she’s out having a good time with her new leading man. Of course, all comes right at the end and we’re left with a conclusion which perfectly mirrors the final shot of the last movie. That’s about all of the story I need to cover right here.

In terms of actors we have the human ‘almost-villain’, who is a much lighter character and is the one responsible for bringing back the creature to civilisation... Joe, played by John Bromfield. We also have the leading lady Helen, played by the charming Lori Nelson and the real leading man, Professor Clete, played by John Agar. These last two, even though they spend a lot of the movie trying to shock condition the creature, thus ensuring the audience are fully sympathetic to the Gill-Man’s plight, are actually pretty sympathetic characters so we can completely root for John Agar as he runs around Florida with the police in a desperate attempt to retrieve his girlfriend from the clutches of the creature.

And, it’s an okay film but, like I said, nowhere near as good as the first movie. I’m not sure if there was any new score written for this one as a lot of it seems to be tracked in from the first movie, including the use of that three note creature theme probably even more often than in the previous installment. It has a certain mood or atmosphere that the first one doesn’t have which, due to the differences in the plot and the stalking of the creature running around Florida with Helen, as he tries to stay close to a water source, takes on an almost ‘slasher film’ atmosphere to it, it seems to me. Like I said, it’s a step down but in mimicking King Kong’s idea of a monster brought to civilisation and then breaking loose, it’s not just a retread of the first one, which I guess we can be thankful for. For that matter, neither is the third in the series but... yeah, I don’t really want to say too much about the third yet. I’ll get there on another review.

Of course, by now, Millicent Patrick, who had designed the original version of the title character, had already had her career ruined by Bud Westmore and was not around to work on the picture. I think where this really falls down for Universal is in the next film where... oh yeah... not talking about that one yet. One person who is around on this is a very young, uncredited Clint Eastwood in his first movie role, as a lab technician in one scene (see pictured above). That always makes me laugh.

So, anyway, this is one short review but it’s really not the movie the first one was and, I’d not recommend seeing Revenge Of The Creature (who has no real revenge issues at all, from what I can make out) without having first watched the glorious Creature From The Black Lagoon. So definitely check out the first one if you’re thinking of watching this one at some point.