From another planet comes the Invisible Invaders!
How can you stop what you don’t see?
The dead will destroy all the living!
The living dead threaten all life on earth!
I know, Invisible Invaders? you say. Aliens, you must be joking. Certainly, Tommy, anything Romero-esque would be post 1968 and here you have a review for Fright Fest: Zombies with a film released back in 1959. What gives? Well, I’ll tell you. Yes, the rules still apply, though truth be told this one does kinda skirt the line a bit. The reason I wanted to include Invisible Invaders is due to the ambiance of the film and how obscure it has become in recent years despite its obviously forgotten importance to the history of zombie lore. As per the “rules” and as per the formula of Romero films, the zombies or ghouls or walking dead are not living persons controlled through magic or voodoo, though I do enjoy that variation, it doesn’t quite fit within the spectrum of Romeroism. The rule is simple enough, a person dies, they get up and attack the living, that living person dies and they get up and attack the living, etc. etc. Continue Reading
Greetings folks! Ladies and gentlemen. Boys and girls. As we begin this new year it is my great pleasure to announce the start of a brand new “In Review” series. Creature Features…beloved by many, loathed by some, irrefutable masterpieces that tell a tale of where the world is during each era of release. From the nuclear wastelands of Hiroshima in Godzilla and the radiated test sights in Them! to the hideous shadows in swamps and space fiends coming to terrorize quiet small town America in Critters and Swamp Thing to the worlds of mad science and mythology to humanoids and mutations, Creature Feature films have been at every turn in pop culture. Spanning decades, here at Machine Mean, thanks to our mob of talented and twisted guest writers, will bring to you beginning this Thursday and running until December, on every Thursday a Creature Feature in Review. Set your clocks and mark your calendars.
The fun begins this Thursday on Jan 5, 2017.
Follow the series on Twitter at #MonsterThursday
For the past nine months, my weekends have had the added benefit of screening a new Universal Monster movie on Saturday or sometimes Sunday nights, from Frankenstein to The Wolf Man and all the lesser known sequels and House specials. The majority of which I had not previously seen. They were new and largely unknown to me. And of those unknowns, yes a few were just god-awful, but for the most part, the majority were intriguing, a few breathtakingly mesmerizing, and fewer still, though odd and unusual, they held a certain charm about them. When watching movies with 86 years of separation between then and now, you’re bound to find conflicts with storytelling and filmmaking that go against how you understand them. Things were done differently then. People held different beliefs and ideology than today. Different cultures and even customs. Some of those things are pleasant reminders of a simpler time, the way dialogue was crafted with care and chivalry, poetic in its own right. And there were also aspects that were uncomfortable to watch, such as sexism and discrimination towards women and those of African or even Asian descent. Remembering the historical context of the films can help relieve some of the conflicts we feel with those nostalgic glitches.
When Dracula released in February of 1931, the world was in a state of flux. The economic depression (known as The Great Depression) was setting root in not just America, but all over the world. In Germany, the first pangs of the rise of Nazism was felt. Though defeated by a majority win, in just two years time the elected German president, Hindenburg, will elect Adolf Hitler as chancellor . Eugenics was a pop science in which the sterilization of unfit parents and the “euthanasia” of “the defective” and “useless eaters” is making the rounds, not just in Nazi Germany, but also on the shores of the United States. In 1935, the Nuremberg Laws are passed (the first major steps in annihilation and extermination of European Jewry, ie, The Final Solution). In 1936, the Spanish Civil War begins. In 1937, the Rape of Nanjing, which is basically the systematic rape, torture, and murder of more than 300,000 Chinese civilians by Japanese soldiers as they invade China. 1939, Germany invades Poland, and by December 7th, 1941, the Day that will Live in Infamy, the once “civilized” world is thrown back into global conflict. These were uncertain times, to say the least. And we have to keep in mind that this was the backdrop during the production of the majority of the Universal Monster movies. Intentional or not, history shapes and continues to do so.
Every decade, every generation has had a take on the original Universal monsters. Thru the 1950s, into the 60s, 70s, 1980s, 90s, 2000s, and even today, those pillar stories are still being told. And that is a part of what we’ll discuss here today. Those movies we call remakes, the hits of those and the blunders, as well as what waits in store for those of, let’s say, my daughter’s generation. What will the monsters look like tomorrow? This is roughly about 60 years of film history, so we will not tackle each and every monster movie, but rather a survey of each decade. Savvy? Let us begin.
When the last of the Universal monsters, The Creature Walks Among Us (1956), aired, a new generation of monsters was born. The 1950s was a strange era, filled with mutated creatures and aliens from other worlds. Big hits during this decade included Invasion of the Body Snatchers, The Thing from Another World, Godzilla, Forbidden Planet, and Them! (just to name a few). The classic Universal monsters faded into obscurity in America, becoming cult-B movies for those brave enough to venture into the movie theaters with duel Herman Cohen produced flicks, I Was a Teenage Werewolf and I Was a Teenage Frankenstein and the return of Boris Karloff in Frankenstein 1970, a mashup of classic Universal and atomic age science. While the monsters went B in America, they seem to thrive across the pond in the UK as major productions. Universal monsters were reborn in Hammer Production films and a great majority of these are still some of the best monster movies on the market, even by today’s standards. Movies, such as The Curse of Frankenstein, Horror of Dracula, and The Mummy captivated a new generation of monster lovers. The Mummy (1959) starring both Christopher Lee and Peter Cushing, I found was especially good and horrific compared to the original Universal films which were not beloved by many.
Trends from the 1950s continue on into the 1960s. The majority of monsters are the creations of mad science or invaders from other worlds. Godzilla and Mothra being some of the most popular monsters during this era, and other very unique monster created by a couple of rogue filmmakers in Pittsburg, Night of the Living Dead (1968). But that doesn’t mean the classics Universal monsters had died away, there some… Hammer Productions continued with The Evil of Frankenstein, Frankenstein Created Woman, Frankenstein Must Be Destroyed, The Brides of Dracula, Dracula: Prince of Darkness, Dracula Has Risen from the Grave, The Curse of the Mummy’s Tomb, and The Mummy’s Shroud, and NOT FORGETTING the best of the best, The Curse of the Werewolf (1961). In the United States, two classic Universal monsters were melded with the new age craze with the release of Atomic Age Vampire (1960) and Frankenstein Meets the Space Monster (1965) and super low-budget flick Frankenstein Conquers the World (1965). Leaving only one major production, a made for children stop-motion animated musical comedy titled Mad Monster Party? (1967) starring Boris Karloff in his last appearance in any of the classic Universal Monster movies as the voice of Victor Frankenstein.
Hammer Productions continued to flourish with classic monster films such as The Horror of Frankenstein, Frankenstein, and the Monster from Hell, Taste the Blood of Dracula, Scars of Dracula, Dracula A.D. 1972, The Satanic Rites of Dracula, The Legend of the 7 Golden Vampires, and Blood from the Mummy’s Tomb. During this decade we’re introduced to a few well known B-Italian (and German and French included) classic monster movies with Dracula Vs. Frankenstein (starring Lon Chaney in his last reprisal in a “Universal” monster film), The Werewolf Versus The Vampire Women, Frankenstein’s Castle of Freaks, and the very strange Flesh for Frankenstein (aka Andy Warhol’s Frankenstein). Now, for classic Universal monsters in the United States, the 1970s gave birth to a very interesting phase called Blaxploitation. In 1972, on the eve of Blaxploitation, we’re blessed with the likes of Blacula, the tale of an African prince (William Marshall) is turned into a vampire by Count Dracula (Charles McCauley). Sealed in a coffin for several lifetimes, “Blacula” reawakens in 1970’s Los Angeles. Leaving a trail of bloodless victims in his wake. And Blacula returns in 1973 with Scream Blacula Scream. Some other noteworthy Blaxploitation-classic-Universal-monster films include 1974’s Blackenstein and Ganja & Hess.
BUT THAT’S NOT ALL!!!
In 1974, Mel Brooks produced and directed one of the greats spoofs set within the classic Universal monsters lexicon…Young Frankenstein, starring the late great Gene Wilder, Peter Boyle, Teri Gar, and Marty Feldman (to name a few). Though I am a rabid fan of both Hammer and Blaxploitation films, my love for this era falls directly on Young Frankenstein. The film was absolutely respectful of the roots of Frankenstein and even used what remained of the original set. Not to mention was wonderfully written, directed, and acted. Less not forgetting a few other honorable mentions, Werewolves on Wheels, The Boy who Cried Werewolf, Werewolf Woman, and Legend of the Werewolf are all wonderfully gritty and fun to watch.
It’s really hard to hate the 1980s, especially regarding the volumes of horror movies produced during this VHS era. So many monster films and the birth of a new sub-genre, The Slasher, and the reclassification of Universal tropes, whereas the Gillman from the Creature from the Black Lagoon, became Swamp Thing and Toxic Avenger. One of the more obvious “Universal” carry-overs would be Jerry Warren’s Frankenstein Island, starring John Carradine, one of the last surviving members from the original Universal Monster films. But what made this era really great were three films that took the concepts developed by the traditional Universal tropes and created something new from the old.The Howling, An American Werewolf in London and Silver Bullet took what The Wolf Man did in 1941 and set it in a more reality-toned story if you can believe that. The rules of werewolfism became more complex and reminded audiences how fun these kinds of movies can be if done properly. Now…I’d be a horrible film historian/fan if I failed to mention the one single most recognizable “Universal” heavy monster movie from the 1980s. That’s right folks, I’m talking The Monster Squad (1987). This movie took every 80s cliche and every classic Universal Monster cliche, boiled it in a stew and served it with nard pudding. You either love it or you hate, and if you hate you’re probably too terrified to say so, considering how many damn people love this movie!
Looking back on the 90s is like looking through a kaleidoscope. There were so much realism and so much snark the 90s is often really hard to separate diamonds from the squares regarding monster flicks. The 90s gave us more creature features, not necessarily mutated or atomic…just…creatures. And as far as the use of classic “Universal” monster tropes, we have two different extremes. On one end, we get Frankenhooker (1990), a raunchy B-movie where a New Jersey mad doctor (James Lorinz) rebuilds his girlfriend (Patty Mullen) with body parts from exploded hookers. And not forgetting (though I wish I could) Mel Brooks directed Dracula: Dead and Loving It. But on the other extreme, we get these melodrama films such as Mary Shelley’s Frankenstein and Bram Stoker’s Dracula (1992), both of which did their best to follow the source material that inspired the original Universal Monsters. In the middle of all this dueling complexity, we have at least one movie that keeps to both melodramatic and B-ish action, one of my person favorites from this decade, NO, not Monster Mash, I’m talking 1998’s comic to film flick, Blade starring Wesley Snipes, Kris Kristoffer, and Stephen Dorff.
And I guess I’d be amiss if I did not mention one of the first more modern remakes directly linked to the Universal Monster classics. In 1999, The Mummy released starring (then loved now somewhat shunned) Brendan Fraser, Rachel Weisz, John Hannah, Arnold Vosloo, Oded Fehr, and America’s favorite weirdo Kevin J. O’Connor. The remake followed most of the basic tenets of the original Mummy while kicking up the action. I remember actually being really impressed with the film and truth be told…I had seen this one before screening the original. Unfortunately, it suffers from what most 1990s movies suffer from, the crappy use of CGI. But overall, The Mummy is still a fun romp on a late night.
(Shhhh…if we’re quiet and don’t make any sudden movements, no one will mention 1997’s An American Werewolf in Paris…)
The 2000s were not entirely unkind to Universal Monster tropes. Strange…but not unkind. Universal Studios themselves had put out a what should have been a return or at least a nod to the classic hey-day with Van Helsing (2004)…and while they did capture the feeling of watching a Universal Monster flick, the story itself and odd choices with effects and the horribly outdated CGI dropped the bottom out on this movie. It’s amazing how much of a turd Van Helsing is, and it could have been so much more, a virtual House of Dracula, giving audiences werewolves and vampires and hunchbacks and even Frankenstein’s creature but instead filmmakers ignored the lore and added strange new rules that didn’t make sense, making a complete mess of a movie.
The decade was not without some gems. I thought Dog Soldiers (2002) was both brilliant and horrifying. There was also Ginger Snaps (2000) and Ginger Snaps II which were both smart. And, though not a lot of folks liked this one, I thought it was fun and an awesome throwback to the classic vibe of Universal Monsters, 2004’s Wes Craven directed Cursed starring Christina Ricci, Jesse Eisenberg, and Joshua Jackson. Another fan favorite during this decade was action-thriller Underworld (2003), starring the very leather-clad Kate Beckinsale and the always magnetic Bill Nighy. Underworld has developed into a series franchise, putting audiences into a world of vampires versus werewolves. The sequel Underworld: Rise of the Lycans released back in 2009. All of which all fun and entertaining, though very obviously films in a post-Matrix world with all that leather and gun-play. Another vampire hit, for me at least, was 30 Days of Night (2007) which shed the “it’s fun to be a vampire” motif and actually allowed them to be monsters. And while sequels are not always a favorite subject matter, we cannot discount Blade II (2002), this round being directed by then up and coming monster director Guillermo del Toro… And be honest here, who doesn’t love a movie with Ron Pearlman in it? But let’s stop there. No need mentioning Blade: Trinity…ugh!
And as for the best of the 2000s decade, my hat goes off to Let the Right One In (2008), a Swedish “romantic” horror film directed by Tomas Alfredson, based on the 2004 novel of the same title by John Ajvide Lindqvist about a bullied 12-year-old boy named “Oskar (Kåre Hedebrant) living with his mother in suburban Sweden, meets his new neighbor, the mysterious and moody Eli (Lina Leandersson), they strike up a friendship. Initially reserved they slowly form a close bond, but it soon becomes apparent that she is no ordinary young girl. Eventually, Eli shares her dark, macabre secret with Oskar, revealing her connection to a string of bloody local murders.” Let the Right One In was one of those “unknowns,” coming right out of left field. It was a slow burn, but so atmospheric and moody and dark…it gives me the chills just thinking about the movie.
Here we are…roughly 70 years of film history. And with just six (nearly 7) years into the new decade, it seems as if those classic Universal monster tropes are making an epic comeback. Or at least, that’s the vibe I’m getting. Let’s start things off here with my favorite, the 2010 direct remake of the original 1941 The Wolf Man, with a star-studded cast including Benicio del Toro, Sir Anthony Hopkins, Hugo Weaving, and David Schofield to name a few. Now, I’m not saying the movie didn’t have some flaws. The fight scene between Hopkins and Toro is…well…a little odd, but for the majority of the film, the effects and even added CGI wasn’t too shabby. Considering the original is my preferred archetype regarding werewolf stories, I pretty much fell head over heels for this one. And wait, there’s more! Not only did we get a directly linked werewolf movie, but it looks as if the indie film community was filling in where Hollywood failed to capitalize. Consider this fan-favourite and truly underrated horror flick, Late Phases (2014), about a secluded retirement community plagued by mysterious and deadly attacks until a grizzled blind war veteran moves in, rallies the residents, and discovers a beast is behind the killings. Another unrated flick and extremely well done, Stake Land (2010) gives the classic vampire trope a plague-like treatment.
2013’s Wer was another surprise, giving lycanism a hereditary twist and 2012’s Werewolf: The Beast Among Us wasn’t too shabby for a largely unknown action thriller. And 2013’s Frankenstein’s Army was just bizarre enough to be entertaining. A Girl Walks Home Alone at Night (2014) was a smart and surprise hit among monster fans, where residents of a worn-down Iranian city encounter a skateboarding vampire (Sheila Vand) who preys on men who disrespect women. And I thought Abraham Lincoln: Vampire Hunter (2012) was good for a late night screening.
Now…because I’m a dad (totally using this as an excuse), I have to mention one of my top favorites thus far for this decade before moving on to anything else. Hotel Transylvania (2012) was absolutely brilliant. Fun. Funny. And full of classic monster tropes. The story goes, “When monsters want to get away from it all, they go to Count Dracula’s (Adam Sandler) Hotel Transylvania, a lavish resort where they can be themselves without humans around to bother them. On one special weekend, Dracula invites creatures like the Invisible Man, the Mummy, and others to celebrate the 118th birthday of his daughter, Mavis (Selena Gomez). However, an unforeseen complication unfolds when an ordinary human unwittingly crashes the party and falls in love with Mavis.” Say what you will, but I love this movie!
As for the duds…though I still haven’t screened this one, I’ve heard that the steady-cam take on the Mummy monster trope The Pyramid (2014) was not very good. The concept sounded interesting…maybe I’ll give this one a go before passing final judgment. The same for Dracula: Untold (2014), I just haven’t gotten around to watching it, but I’ve heard that it was decently entertaining. And I still haven’t caught up with We Are The Night (2010) or Byzantium (2012), both of which follow a more feminine-centric story trope. One dud that I did actually watch was comic-book based I, Frankenstein (2014). “Two centuries after Dr. Frankenstein assembles and reanimates his creature, Adam (Aaron Eckhart) is still living. He becomes embroiled in a war between two immortal races: gargoyles, the traditional protectors of mankind, and evil demons. Since Adam is neither human nor demon, gargoyle Queen Leonore (Miranda Otto) and demon Prince Naberius (Bill Nighy) each want him for their own purposes. It is up to Adam to discover his inner humanity and the reason for his continued existence.” The movie could have been so much more but casting pretty-boy Eckhart as the monster…well…it seemed to reek of trying too much to be like Underworld to have any real chance of being its own movie. The concept was fun and the addition to the Frankenstein lore…so, at least it had that going for it.
Also on my to watch list: What We Do in the Shadows (2015), and Freaks of Nature (2015). It just seems, part of my problem is that there are so many classic films to choice from my tastes typically shy away back to the 1970s or 80s. That’s not to say the 2010s have nothing to offer, just look at the list above and you’ll find more than one blockbuster worthy of your time. And the year is not even over yet. A think, largely, everyone has their own tastes for horror, and this is especially true for those of the classic Universal Monster breed. My biggest disappointment is the lackluster treatment of my favorite Universal Monster, The Mummy. While the 1999 remake did a rather bang-up job, that’s been…what, 17 years now? I have to wonder what the aversion is. I’m assuming it’s because the Mummy is not a “fan favorite.” Vampires and werewolves sell movie tickets, is that it? You put a screenwriter who loves the trope, some solid practical effects, and a director who knows what they’re doing, and I guarantee you a great film will be made.
And now…a peek into the FUTURE….
As you’ve no doubt heard, Universal Studios will be reviving from their vaults, the return of the classic Universal Monsters in a new series that will eventually tie together all our beloved baddies. This news has been generating for about two years now and it looks as if they’re finally getting the ball rolling. The first monster up for theatric return will be The Mummy, with a June 2017 release date, and starring none other than Tom “Top Gun” Cruise. It feels fortuitous that my favorite Universal monster will be up first in this new rival. The Wolf Man is said to be next, with a 2018 release date and rumors of Dwayne “The Rock” Johnson taking on the lead role. Scarlett Johansson is rumored to be on Universal’s radar for the led in The Creature from the Black Lagoon. Angelina Jolie for Bride of Frankenstein. Johnny Depp for The Invisible Man. And supposedly, Dracula: Untold‘s end sequence opens the door for what all these remakes will be leading towards. At first, I had my reservations. Some of the descriptions for what the producers wanted sounded un-horror and un-betrothed to what the originals were. But it seems those rumors were just that, rumors. As more information has released, the more excited and cautiously optimistic I’ve become. If you’ve tuned into any of the reviews in this series, you’ve no doubt noted how much of a fan I am of the classic Universal Monster. And by-Geroge, I’m glad they’ve finally decided to bring them back to their full glory.
Thomas S. Flowers is the published author of several character driven stories of dark fiction. He resides in Houston, Texas, with his wife and daughter. He is published with The Sinister Horror Company’s horror anthology The Black Room Manuscripts. His debut novel,Reinheit, is published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein and Lanmò His new paranormal series, The Subdue Books, including both Dwelling and Emerging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston Clear Lake with a BA in History. He blogs here at machinemean[dot]org, where he does author interviews and reviews on a wide range of strange yet oddly related topics.
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Narrator: For centuries, the prayers of Mexico’s peasants have been their only shield against the devastating furies that have wrecked their homes and destroyed their lives. And so today, again they kneel, terrified and helpless, as a new volcano is created by the mysterious and rebellious forces of nature. The Earth has split a thousand times. Whole acres of rich farmlands have cracked and dropped from sight. And millions of tons of molten lava are roaring down the slopes, in a quake recorded on the seismograph of the University of Mexico as the most violent of modern times. To the benighted citizenry of this remote countryside, the most alarming aspect of the phenomenon is the fact that its unabated hourly growth is without precedence, having reached a towering height of nine thousand feet within a few days. And with each added foot, it spreads its evil onslaught into a wider circumference. But what is now most feared is that rescue work will be severely hampered by the hazardous inaccessibility of the terrain.
As we enter into The Black Scorpion, we’re greeted with the above narration, giving no clues to the future horror in which we will soon behold. The premise is basic, and strangely different from a majority of sci-fi movies during this very Cold era. A volcano erupts in a little hamlet near Mexico City and the local villagers and animals, mostly cattle, are vanishing. The corpses that have been found are inflected with a strange wound and a puzzling poison, biological, natural, and otherworldly, found within their bloodstream.
As the story progresses, American geologist Hank Scott, played by well-known sci-fi actor Richard Denning (who looks a hell-of-a-lot like Kenneth Tobey from The Thing from Another World), and his local partner Dr. Artur Ramos (Carlos Rivas), travel to the sight of the temperamental volcano to conduct research and investigate why the sleeping giant has decided to wake. Their investigations lead them into an odd series of findings that eventually reveal the true source of the disappearances of locals and cattle. On their initial venture, they stumble upon a small pueblo that has been completely decimated. They find only one survivor, an infant. The only other person the duo happen upon is the missing constable, eyes frozen in terror and an eerie puncture wound on the back of his neck.
Team Hank then travel to San Lorenzo, which seems nearly overrun with panicked villagers who believe the disappearances and the destruction of their homes are the cause of a demon bull. Hank and Artur seem un-phased by the frenzy or by Major Cosio’s pleading for them to remain in San Lorenzo, not for the safety of the scientists, but so that if something were to happen to them, the Mexican army would not be forced to waste their time in a rescue mission instead of working where they are needed more, with the scared and frightened villagers. Hank simply laughs and continues on with his expedition, which to me seemed odd. They haven’t specified if he was there to investigate the vanishing people and cattle, only that they were there to survey and study the volcano.
Well, this wouldn’t be a quasi-American 1950s sci-fi movie without at least one damsel in distress. For this role were are given the lovely Sunset Boulevard showgirl, Playboy Playmate (1958) Mara Corday who plays cattle ranch owner Teresa Alvarez. No stranger to cult sci-fi movies, Mara has been in a few well known classics, including Tarantula, The Giant Claw, and a number of spaghetti westerns, such as, A Day of Fury and The Man from Bitter Ridge, to name a few. Teresa is thrown from her white horse and as one might expect, Hank comes to her rescue. The two seem to fall in love at first sight (barf) and are invited back to her ranch for…well, more than tea I imagine. Before venturing off, Dr. Artur discovers a strange volcanic rock and takes it back with them to the ranch.
At this point, if you’re watching the film, you might be wondering, where are the giant bugs? And I would agree with you because this is what I was gripping about when I screened the movie late last night. Everything thus far has been “setup, setup, setup,” with little to no release. We’re given a little tease at the beginning, an eerie ringing off screen, but nothing satiable. Don’t worry. The movie is about to pick up the pace.
At the ranch, while Hank and Teresa nauseously flirt, Dr. Artur, after splitting open the rock, discovers what he originally thought to be a fossilized scorpion, is actually alive and scurrying about on the pool table. Here we can almost feel the mood of the film change, slightly. How can a scorpion survive being encapsulated in a rock inside a volcano? It doesn’t make sense. It breaks the laws of nature as we know it. Soon after, Teresa makes contact with her phone repair men who are suddenly attacked by the true villains of all these bizarre disappearances of people and cattle. Giant black scorpions strike and kill the repair men. Special effects guru Willis O’Brien, who created the stop-motion effects for the original King Kong, gave his talents to the creature of these creatures. And let me say, here and now, without his work, this movie would have absolutely flopped.
Well, for many reasons actually. The script was the oddest mod podge of traditional ‘50s sci-fi (think Atomic-age, mad science), western, horror, and a mix (rip off) of Them! and The Creature from the Black Lagoon. Most of the acting was great, but there were cringe worthy moments when you’re going, “Did they really just say that?” Case in point, when Hank and Artur are with a local laboratory scientist, Dr. Velazco, the very “mad” looking fellow asks his assistant for alcohol, distilled water, salt solution, and tequila before conducting his experiment on the poison he found in the blood system of one of the found victims of the scorpions. Hank asks, “Well, the alcohol, the distilled water, the salt solution – I can understand that, but what’s the tequila for?” And, right on cue, the good doctor says, “Well, in your country I believe they call it a coffee break” (enter drum roll here).
The mood of the movie is hard to place. Something strange is going on in the story. People are being horrifyingly eaten alive by giant freaking scorpions. Whole towns are vanishing. Cattle are being devoured. And when you see the scorpions on screen, it is insanely terrifying. O’Brien really did a phenomenal job. Stop-motion has a certain qualia about it that get under my skin, especially when used with horror. But the cast seem nonchalant about it all. Hank and Artur venture into the subterranean realm of these beasts, discovering a variety of forgotten species, a very Jules Verne Journey to the Center of the Earth type place, made up mostly of only insects, making it even creepier. But still, these scientists don’t seem all that scared. They’re cool. Too cool.
The ending was even more scandalous. After discovering that the all the creatures were not destroyed with the cave-in, they watch as the “granddaddy” scorpion straight up murders the smaller scorpions, making him king scorpion, as if he wasn’t already. The witty humans lure the uber-giant scorpion into an arena, away from civilians. While the Mexican army batters the beast with tanks and gunfire, Hank manages to finish it off by using an electric cable attached to a spear, of which he somehow was able to thrust into the scorpion’s throat, it’s only vulnerable spot. Finally, electrocuted, the monster is slain.
As the scorpion lays there, smoldering, Hank begins to walk away. Artur and Velasco beacons him to stop so that they can conduct research on the creature. And, I shit you not, in more or less words, Hank takes the voluptuous Teresa across her hips and smiles, “I’ve got my own research to do,” or something like that, and the two rush away for what we assume to be…well…you know, while the remaining cast and crew grin in that stupid way people did back in the day when something funny was said.
Okay, my tone is probably giving away more of my feeling of the film then needs warranting. And yes, mentioning again the fantastic work of special effects master Willis O’Brien, and how the scorpions on screen really were disturbing, especially that scene with the phone repair men, truly horrifying. The rest of the movie though seemed short on talent. I’m not saying it was the fault of the actors, most were really good, despite laughing to myself as it seems a habit of Hollywood to cast Anglo-American in roles that ought to belong to someone else. Also, the use of the ringing effect with the scorpions was (lets no dance around it) a total rip off of Them! Not to mention the whole idea of a prehistoric species surviving and returning to present day is very reminiscent of The Gillman movies.
The upside to all these failings eventually lead the movie to being featured on Mystery Science Theater 3000 back in the early 1990s. So…there’s that. Overall, The Black Scorpion is mildly entertaining. Not the best of what the ‘50s had to offer in sci-fi; not the worst either.
My Rating: 3/5
Thomas S. Flowers is the published author of several character driven stories of dark fiction. He resides in Houston, Texas, with his wife and daughter. He is published with The Sinister Horror Company’s horror anthology The Black Room Manuscripts. His debut novel, Reinheit, is published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein. His new series, The Subdue Series, both Dwelling and Emerging, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston Clear Lake with a BA in History. He blogs at machinemean[dot]org, where he does author interviews and reviews on a wide range of strange yet oddly related topics.
Why in the seven worlds is Universal opening its vault for the sole purpose of rebooting/rehashing its classic anthology of movie monsters? If you haven’t seen or heard the news yet, let me break it to you. You may want to sit down. Apparently Universal Studios is bringing back everyone’s favorite classic movie monsters, we’re talking Frankenstein (1931), The Wolfman (1941), Dracula (1931), The Creature from the Black Lagoon (1954), The Mummy (1932), and The Invisible Man (1933). “What’s so terrible about that?”…you may ask. Well…let’s talk about it. According to most of every article I’ve read on the subject, this rehashing has been going around the table for some time. Lots of rumor and speculation has boiled the pot into an absolute frenzy among horror nerds and bloggers, such as myself. But why are we so worked up? More movies is good movies, right? Unfortunately that is not the case. More/new movies does not necessarily mean good, as in quality. In fact, we’re more than likely to get flicks representative of 2004’s (a decade ago, if you can believe that!) telling of Van Helsing (which stared Hugh Jackman, our lovable Wolverine). Which is to say, a boring story with plenty of action. Now, I’m not personally saying Van Helsing was horrible. It was actually a fun watch. A movie you where you could unplug and allow your brain to ooze out the ear. Van Helsing was a popcorn movie, no doubt. But weren’t the original Universal monster movies more than that? Van Helsing may have been fun to watch, with all the flashing lights and bells, but it had no meaning, no purpose. The original films said something about the era in which they were made…God, I hope that doesn’t hold true for the films we’re putting out today!
Frankenstein had the subtext of a world torn apart by The Great War and reassembled in this new world order. Dracula, for me at least, dealt with xenophobia and blood mixing. Powerful stuff in the 1930’s, perhaps more nowadays if you so happen to turn on the news. The Wolfman was a classic Greek tragedy where beneath the fur and fangs, you saw the terrified glimpse of Hitler’s raise to power in Nazi Germany. Not that the Wolfman was Hitler, but rather Talbot represented European Jewry during a time of mass hysteria and persecution. A power manifested image of how people may have felt to be looked at differently.
Do you see where my concern is coming from? The classics had significant meaning and purpose. What significance or meaning will the reboots bring? Well, as it turns out, Universal is only looking at the dollar signs. With this huge insurgence with cinematic universes being explored with both Marvel and DC, Universal wants to cash in, the only issue is that they do not have anything in their stable, but the classic monsters, to bring back. And to make matters worse, the most recent rumor is that Universal executives want to cut out the horror aspect in the films and turn them into action films instead. This goes back to my Van Helsing comment. This films might end up being fun to watch, something we can unplug our brains to, but it will not have any significance. And the removal of the horror aspect makes no sense to me. The entire essence of the classics are in themselves horror. How is it even possible to do such a thing? Perhaps the executive who mentioned it or started the rumor meant that the films were going to be geared toward horror/action and not just horror in general.
To tell the truth, when I first heard the news that Universal was bringing back the classics, there was some excitement there. The most recent rehash with The Wolfman (2010) was not entirely horrible. It wasn’t the mind numbing action of Van Helsing, thank goodness. The only thing they got wrong on that one was the overuse of CGI. Hairy Hopkins would have been forgivable had the producers/director stuck with practical/traditional effects. Had they called in Rick Baker….damn…it could have been a phenomenal movie!! In my opinion, the acting in the 2010 Wolfman was on par with the 1941 original. And as far as scripts go, they retold the story without ignoring the roots. It really shows how close they came, but ultimately gave up because of poor reviews and revenue. Some may disagree with me on this one. But hey, its just my opinion.
My hope is that all these rumors are just that, rumors. Creating a cinematic universe with the original baddies of horror is not entirely awful. There are many classic crossovers in the vault to compare. The Wolfman meets Frankenstein (1943) is my personal favorite. However, if the new ventures become nothing more than another meaningless Van Helsing rendition, well… in retrospect it’ll be nothing more than another golden opportunity lost in creating something with real, lasting significant.
World War II in Europe had come to a horrible end. The ashes of homes, roads, and people covered a once lush countryside of an epoch healing within the bruised and blushing scars of WWI. Survivors faced an unimaginable future in 1945. According to historian Eric Brose, “the infrastructure of an entire continent – roads, railroad tracks, tunnels, train stations, bridges, port facilities, and airports – lay in ruins” (Brose, 267). The casualties were beyond imagination, and among the maimed and broken soldiers, the women murderously raped and rapid suicide following wars end, Europe peered into the same mirror Elie Weasel once did after the liberation of Buchenwald concentration camp, and watched the reflection of a disfigured corpse crying out for retribution, contemplation, and atonement. Europe was torn apart and reassembled according to new existential principles. In the years following 1945, Europe’s old consciousness was forced to occupy a new paradigm and marched unsteadily from post war malaise, through the Cold War and the atomic age, and terrorism. In the popular and controversial films of Post-WWII Europe, such as: The Bicycle Thief (1948), Dr. Strangelove (1964), The Lost Honor of Katharina Blum (1975), and Bend It Like Beckham (2002), and the particular history each film reveals, we will peer into the mirror ourselves and ascertain how postwar Europe’s displaced, suppressed, and reshaped reassembly was sadly unsuccessful. But we’re talking nearly sixty years of history here! How could we possibly cover so much time and so much history in is meager blog? Simple, we can’t. Instead, we’ll cover the evolution or devolution (depending on how you interpret events) in each decades most predominate historic theme.
The beginning in the end…1945:
In the autumn of 1944, Käthe Kollwitz, a preeminent German sculptress who had attempted to convey the bitterness and helplessness felt during the post war years following World War I, lamented regarding the resurgent bestial realities of the new age when she said, “I am dying in this faith [in humanity]. People will have to work hard for that new state of things, but they will achieve it” (Brose, 266.) Kollwitz held out, despite the unimaginable devastation, “the life of the world might move forward” (266), that somehow the dignities of the individual could be elevated above the authority of the state, that people would avoid mechanized-obedience and become ethical, moral creatures, concerned with the suffering of others. However, in the chaotic aftermath of World War II, the political landscape darkened once again and old motifs, such as: Nazism and Fascism will prove hard to eradicate. According to historian Eric Brose, with communism sweeping into Eastern Europe uninvited, “Understanding reality and coping with life’s dilemmas became even more difficult as the Grand Alliance came apart along ideological seams and the far more frightening image of atomic Armageddon appeared on the horizon” (Brose, 267). In the midst of the atom, Europe picked the pieces of her crumbled and fractured landscape.
In the aftermath of 1945, as displaced people huddled together in Red Cross camps, dreaming for the return of normalcy, Europe struggled in understanding the causality of WWII and the Holocaust. In doing so, Europe reassembled according to new existential philosophical principles in the growing shadow of countless mass graves and post war malaise. According to Brose, philosophers and the great thinkers of the post war age, such as Jean-Paul Sartre and Martin Heidegger, struggled to understand the “authentic state of being.” Basically, these thinkers were motivated in answering the question of war, why it happened, again, and why the Holocaust happened in a modern society by understanding the reality of a hostile and threatening world and the complexity of human problems and moral dilemmas. These “existentialists” urged that “individuals controlled their own density by the choices they made” (Brose, 268). The pursuit is understandable, but the determinations, I think, are harder to grasp, especially for those of us who never experienced Europe at war, and the generations that did are rapidly fading from memory. To help future generations understand the determinations those existentialist thinkers were searching for we can look at the films of the era these dilemmas were actually being grappled with, which is the struggle between existentialism and the pessimistic and optimistic qualia of human nature. In films, such as, The Bicycle Thief (1948), audiences confronted the existentialist understanding of á priori morality, the existence of a self-evident moral, law-abiding society where certain values are taken seriously (Goldstein, 489), juxtaposed with the grim images of grisly, ruined lives; thus becoming an issue between morality verses reality.
Furthermore, consider the evolving relationship between father and son in The Bicycle Thief, during which the father obsesses to find his stolen bicycle, an important symbol of individuality during an era of overcrowded cities. In the pursuit to regain his independence, the father’s relationship with his son changes drastically throughout each episode. Before the bicycle was stolen, when the father’s individuality was intact, smiles abounded, the mood was carefree and light, and there was purpose despite the apparent dirtiness of the city and the chaotic state of employment. With the bicycle, the family dynamic seems normal and fluid; when the bicycle is stolen, and when the father loses his chaotic pursuit, outnumbered by the thieves, outnumbered by the protective neighborhood, outnumbered by an unsympathetic police presence, outnumbered by the disassembled bicycle parts at the market, the same family dynamic and their dreams for a better life become swallowed whole into the faceless sea of the crowd. The Bicycle Thief tares apart and reassembles existential principles in the reality that the individual cannot overcome the larger nature of society where in desperate situations people will act accordingly to desperation. A society in which individuality as become faceless in the overcrowded cities; where the human connection with each other has become twisted and malformed.
The loss of individuality and community were at the epicenter during Europe’s progression toward reconstruction. It was the ambiguous care of refugees in displacement camps, where Jewish and non-Jewish survivors, laborers, and German nationalists who fled the Red Army in Eastern Europe, who converged together in a cesspool of disillusionment and desperation, and although Allied forces worked diligently to provide the necessities of life for the uprooted souls that numbered in the millions, who had “no alternative but to remain day after day” (Perry, 273), the remnant of “death, physical injury, loss of human dignity, and material destruction left most Europeans bereft of energy for anything other than piecing their lives back together” (Perry, 269). It was during this period when Germany faced criminal and moral guilt for justification and/or rationalization regarding the commission of the Final Solution and other atrocities of war as simple acts of patriotism (Brose, 274). This is the backdrop where the precarious geopolitical differences between the Soviet Union and the United States collided. When Hitler’s crumbing house finally fell in the early spring hours of May 1945, as German High Command, General Alfred Jodl, surrendered unconditionally, the need arose within the Allied ranks to push German political, diplomatic, military, and industrial leaders toward a nationwide effort of denazification, disarmament, and democratization. According to historian Brose, the first step in this program was to “somehow [deal with] Nazi War criminals [and] to set a postwar example of rule of law” (Brose, 282). However, despite all the overall agreement to bring justice to Nazi leadership for “war crimes,” and “crimes against humanity,” the continuity of chaos proved divisive between the United States and the Soviets. While the Americans wanted an international law against future acts of aggression, which had already been established in the Kellogg-Briand Pact of 1928, the Soviets hesitated to condemn aggression as an initiation of war (as their own government was born from “aggressive liberation” during the Bolshevik Revolution in 1917).
Nevertheless, the Nuremberg Trials began in November 1945. The first docket showcased twenty-two Nazis considered to be “top level defendants,” including: Hermann Goering, Alfred Jodl, Wilhelm Keitel, Julius Streicher, and Joachim von Ribbentrop (Brose, 283). Among the cohorts there remained an empty seat reserved for Martin Bormann, head of the Nazi Party Chancellery and Hitler’s private sectary. Bormann made an excellent candidate for the first round of executions for his part as a major player in the collaboration of the mass murder of millions; however, Bormann had been mysteriously disappeared after his May 1945 escape from the Fuhrerbunker in his attempt to evade the approaching Red Army. The Bormann myth has been queerly popular in the decades following the Nuremberg Trials. Told like a monster story, various and conflicting sightings across the globe were reported, adding to a strange and abundant fascination with the at-large war criminal motif. At-large Nazi fascination reflects, in a way, an innate desire to separate oneself from the actions of perpetrators. As if to say, the monster is out there in the unknown, an unordinary entity, and as such, controlled by an unordinary fate. However, in the late 1990’s, scientists tested and confirmed the DNA of skeletal remains discovered at the bottom of a mass grave in Berlin in 1972. It was Martin Bormann, who committed suicide mere hours after leaving the Fuhrerbunker, unable to escape the chaotic streets of a crumbling Berlin; a banal and uninteresting demise for such a wildly popular myth. In the end, the Nuremberg Trials witnessed the execution of 486 Nazi perpetrators, a majority of which was hanged.
The Atomic Age and Cold War Malaise 1950’s-60’s:
The Cold War had effectually swung in from the gallows of Nazi perpetrators, ushering in a new paradigm with the old consciousness torn out from the nerve steam of Fascist ideology, grinded and reassembled into a grotesque machination of something that once was. There is no other movie that recants this strange new creature other than Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb (1964). Considered by many film historians and critics to be Stanly Kubrick’s best work, Dr. Strangelove provokes “laughter through tears” in a nightmare comedy designed to stir a response toward nuclear strategy and weapons (Maland, 190). According to historian Charles Maland, the “American consensus to which Dr. Strangelove responds was rooted in the late 1930’s and in the war years [when] Americans began to feel more threated by the rise of foreign totalitarianism” (Maland, 190). The paradigm of fear was solidified after the Axis defeat during WWII and the “economic prosperity fostered by the war [effort]” (Maland, 191). Dr. Strangelove shows us a world unaware of this continued paradigm dominating the American “social and political life through the early 1960’s” (191) using dark comedy in a dramatic world that no longer made sense. Kubrick describes making Dr. Strangelove during an interview in 1970, he stated:
“It occurred to me I was approaching the project in the wrong way. The only way to tell the story was as a black comedy, or better, a nightmare comedy, where the thing you laugh at most are really the heart of the paradoxical postures that make a nuclear war possible” (Maland, 196-197).
According to Maland, Dr. Strangelove utilizes nightmare comedy as a method of satire to expose four dimensions of the Cold War consensus: “anti-Communist paranoia, the culture’s inability to realize the enormity of nuclear war, various nuclear strategies, and the blind faith modern man places in technological progress” (Maland, 198).
The comedic use for illustrating technological mishaps of a nation can be somewhat disturbing, if not entirely revealing. Consider the scene in Dr. Strangelove where the distraught American President Muffley attempts to call Soviet leader Kissov and the back and forth parodical small talk is mixed in with talk of a renegade American B-52 inbound for the Soviet Union to unload its cargo, the bomb. According to Maland, Dr. Strangelove challenges the fundamental assumption of the fear paradigm, where the nearsighted nationality “[and] human death instinct leads man first to create machines, then to use them for destroying human life” (Maland, 205). Kubrick prods a contemplative stance on technological marvels: has technological means surpassed the bounds of human rationality and morality? Though Dr. Strangelove does not suggest that Soviet leaders are any better, it does, however, suggest that perhaps “no nation-state has a monopoly on foolishness and that the backstage strategies of military and political leaders are simply exercises in paranoia” (Maland, 206). But what does this say of Dr. Strangelove himself, the man who the film is named after? Dr. Strangelove doesn’t say much during the movie, not until the end at least, but his character is carefully crafted and shaped to represent the grotesque surviving mannequin of fascism. When Dr. Strangelove speaks his poorly hidden German accent comes through and becomes more obvious the closer the bomb is to being launched. Dr. Strangelove’s broken and crippled body moves sporadically in quick violent jerks as he attempts to contain something bubbling within. And when the bomb becomes inevitable, Dr. Strangelove bolts his arm upward, eerily reminiscent of the Sieg Heil (German hail to victory) salute.
The character Dr. Strangelove represents the monster once thought destroyed, a fascist creature devoid of feeling, horribly cold, and calculating (Maland, 202-203); the film Dr. Strangelove gives voice to Käthe Kollwitz’s 1944 lament, that though people would have to work hard, a better state can be achieved. Kubrick’s astonishing work, Dr. Strangelove, evokes her passion for a resurgence of social justice and social awareness in a society that has embraced, if not utterly conformed to the paranoia enabled by the House Un-American Activities Committee, McCarthyism, and the growing discontent of the late 1950’s, a decade plagued by othering, a symptom indicative to the historical context that spawned, according to historian Konrad Klejsa, “[the] impulse which led to the decision to start developing an atomic bomb [in the first place]” (Klejsa, 438). However, Kubrick also begs the question: do people want to work to achieve a better state or what is the better state? By 1968, it was becoming apparent that denazification could not shake the old ghost of National Socialism. The voices of those maimed by the machinations of war were becoming extinguished in the great wind of militant indifference toward world destruction, the bomb, nuclear holocaust. This disconnection really shows the disenchantment and horrible calamity of the era.
Europe’s Uncertainty during the 1970’s:
The Lost Honor of Katharina Blum: Or How Violence Develops and Where It Can Lead, is the story of a young woman who is scrutinized and harassed by police and tabloid (sleaze) press after she spends the night with a suspected terrorist. Film historian Jack Zipes begs the question regarding the political reality and repression in the Federal Republic of Germany (Bunderrepublik) during the 1970′s using both the film and novelization of The Lost Honor of Katharina Blum. Zipes first illuminates the reality in which these two depictions are attempting to criticize. According to Zipes, the reality of theBunderrepublik of 1972-75 is “on one level the entire history of the student movement or extra-parliamentary opposition [which] provides the subject matter of the novel and film” (Zipes, 75). Basically, the history these two forms of the same story attempt to bring to light depictions of social political attitudes and conditions regarding the late 1960’s and early 1970’s with the SPD uber-conservative government (75). The political situation in Germany seems to be volatile during this period, especially due to the actions of a few militant terrorists, the Baader-Meinhof Group, aka the infamous RAF. Because of the actions of the few, according to Zipes, the conservative forces of the German state and mass media made it appear as if the entirety of the “Left,” the progressive forces of the Bunderrepublik were associated with terrorism. An incredible swing on the American-esk McCarthy pendulum, ushering never-ending witch-hunt bonfires stacked with the stench of 800,000 progresses and reformers who were no longer fit the state’s “legitimate” government program (76).
According to historian Zipes, Heinrich Böll’s writings are concerned with gross human rights violations and origins of violence (77). The novelization of the story, The Lost Honor of Katharina Blum, for better or worse, urges for the reformation of mass media, of the press, radio, and TV. Considering Zipes interpretation of the novel, a strange dual world emerges where the fictional narrative is more truthful than the non-fictional reports carried out by the corrupted mass media. Though, according to Zipes, Böll does not create a perfect explanation of the “socio-political dynamic of violence in the Bunderrepublik” (78); however, it nevertheless a straightforward participatory revelation of a moralist’s case for political resistance (79). In Volker Schlöndorff’s film adaptation of Böll’s novel, Zipes mentions a more distinguishable focus on a cohesive left movement that was nearly nonexistent in the novel (81). According to Zipes, director Schlöndorff “focuses [his film] on the power relations in the case of Katharina Blum in order to facilitate the viewer’s comprehension of how the police and mass media conspire to victimize private citizens” (81). Basically, where Böll focused on the power in the use of words, Schlöndorff gives greater attention to the unfolding of human drama in the interpersonal relationships of his characters. And while the film is somewhat of a bore, the character development and the unshackling of Katharina toward the end is an important conceptualization of the possible effects of extreme othering and incredible swings on the pendulum.
Moving into a new era (1990’s-2002):
The disintegration of the Soviet Union in 1994 seemed like a sunbeam cast on a dreary landscape haunted by ghosts and monsters for nearly a hundred years. However, throughout the post-WWII years, with the stream of immigrants coming into Europe, old animosities and ideologies resurfaced (Brose, 457). As the iron curtain fell over Moscow, once restricted communities were once again able to move toward the “imagined good life in the West, and labor shortages soon [followed] giving way to sluggish [economic] growth and high hovering unemployment after the 1970’s” (Brose, 457). During the 90’s, the European Union sought to make labor movement within Europe easier, whilst simultaneously making immigration stricter. In 1995, Jacques Chirac stated a common sentiment among Europeans, “France cannot accept all the wretched of the earth” (Brose, 457). In Germany, the ressentiment against “outsiders” seems even more staggering considering their contextual history, with, according to Brose, “10,037 hate crimes” committed in 1999. After a century of othering, it would seem old motifs have survived for the dawn of the 21st century.
In the film, Bend It Like Beckham (2002), director Gurinder Chadha tackles the growing issue with xenophobia in a post 9/11 world, where, according to historian Brose, terrorist attacks “ushered in a period of intense cooperation on security and defense between Europe and the United States” (Brose, 459), which in no small way exasperated tensions between migration and emigration. Throughout the film, dual characters Jess, an orthodox Sikh, and Jules, a seemingly average white female Brit, deal in similar situations that confront the complex limitations of society. Gurinder Chadha’s film, much like Kubrick’s Dr. Strangelove, also calls back to the 1944 lament of Käthe Kollwitz, as Jules and Jess challenge multicultural barriers that surround them in their place in 21st century history. The best illustration for this positive call for change can be seen in the final montage sequence in Bend It Like Beckham, after Jess’ father tells her to fight boundaries, but simultaneously is unaccepting of Jess’ love interest with couch Joe, an Irishman. Demonstrating with each boundary overcome, there are still more boundaries to cross. The final breakdown at the close of the film shows Jess and Jules “spotting” famed soccer player David Beckham at the airport, representing the resurgence of Englishism, followed by Jess’ sister’s pregnancy, representing family and tradition, and followed at the end with Jess’ father playing lacrosse with Joe. The finality of the film gives audiences the impression that there doesn’t need to be a stereotype “British,” or “American,” or “German,” culture, but that a melody of multiculturalism could work. As we look back at the close of the 20th century, we can see evidence of the failure of accepting the other; however, the 21st century is still in front of us.
The mirror Elie Weasel peered into after the liberation of the Buchenwald concentration camp, when we saw himself as this ghostly apparition, a reflection completely unfamiliar to him, his body tortured by all he suffered during the Holocaust, we too must beg the question of our own reflections and the reflections made in history. The physicality of Europe was in no small way torn asunder. But when Europe was reassembled according to new existential principles, was she born again or was she tragically the same entity forced to occupy a new paradigm, a sown monster marching rigidly from post war malaise, through the Cold War, into the atomic age, and eventually facing new forms of terrorism and xenophobia. In the popular and controversial films of Post-WWII Europe, such as: The Bicycle Thief (1948), Dr. Strangelove (1964), The Lost Honor of Katharina Blum (1975), and Bend It Like Beckham (2002), and the particular history each film reveals, we witnessed the continuity of old ideologies that originally gave birth to the maiming machines of war that gnarled a post WWI generation whose voices had been extinguished in the great wind of Russian Revolution, the complete and utter failure of the Weimar Republic, the rise and fall of the Nazis and ultimately the horrific revelation of the Holocaust. The history archived in films, such as: Battleship Potemkin (1925), M (1931), and Jud Süss (1940), along with novels like, All Quiet on the Western Front (1929), demonstrate the progression of chaos in Europe, while films like, The Bicycle Thief (1948), Dr. Strangelove (1964), The Lost Honor of Katharina Blum (1975), and Bend It Like Beckham (2002) demonstrates, sadly, how the fabric of fascism and extreme othering were simply ripped from one body and sown onto another. For the most, this was a 20th century history; what can be said of the 21st? Will the monster continue to terrorize the countryside? Or can we hold out for hope, as Käthe Kollwitz once did, and “believe, in spite of everything, that people are truly good at heart” (Anne Frank, 1944)?
Good science fiction stories will reach its audience at every level possible. What began as short story collections, beginning in the 1950’s, how sci fi entertains has spawned into something greater. From video games to 3D IMAX theaters, the evolution of our modern technological marvels has given these science fiction stories the ability to reach audiences in ways never though possible. With humble beginnings, The Day the Earth Stood Still (1951), The Thing from Another World (1951), Invaders from Mars (1953), Forbidden Planet (1956) and many more terrified and captured the imagination of adolescent baby boomers and addressed some of the cultural attitudes and fears of the day. And since then, sci fi has only grown more elaborate and celebrated.
As stated above, good science fiction reaches audiences in many ways. Some people dig the cool special effects. What began as puppetry has evolved into CGI created wonders, some good, some amazing, and to be honest, some down right horrifying! And there’s also the story itself, the characters and the things that drive the plot to final conclusion. Some come at you, some of slow cookers, and other can be as mind boggling as the special effects. And then there’s the music. However, what began just from simple beginnings with orchestras has evolved into full fledged techno symposiums. Some on the best science fiction has come with even more remarkable scores. Consider the following list of amazing sci fi soundtracks:
1. Mass Effect
You may have read this already, but Mass Effect, despite its more recent story setback with # 3, has one of the best soundtracks for a sci fi video game I’ve ever had the pleasure of listening. This simple techno score transports my minds eye to somewhere in the distant future, which is of course, the entire point of science fiction in the first place!
2. Deus Ex: Human Revolution
Besides already packing an impressive conspiratorial cyberpunk story line, Deus Ex also gives us an amazing score to boot.
3. Half Life 2
Half Life’s “Hazardous Environments” score is synopsis with the entire Valve production company. Regardless, its still an awesome score, especially in its above entirety.
Did you think I wasn’t going to mention Halo in a list composed of mostly video games? Yes, as we all know or should know, Halo has one of the more memorable soundtracks, combining a mix of techno with Gregorian chant and is one of the more guaranteed songs to be featured @ a Video Games Live concert.
Okay, to be honest, I never stepped into the massive sandbox world of EvE; however, for a game i’ve never played, it has one of the most hypnotic scores to grace my nerd ears. Almost on par with Mass Effect and that is most definitely saying something!
6. Almost Human
It might be strange to list one none video game score amongst a sea of video game soundtracks, but Almost Human has, at the moment, the best sci fi score out there. It may be unfair, as the composition comes from the collaborative genius of The Crystal Method. But be-that-as-it-may, the final credits score captures the very essence of modern science fiction so well and so perfectly, how could I not mention it? If I was to have a sci fi wet dream, this is the music i’d want to hear 24/7. Its not crazy get up and dance like retards techno, its moody techno, and it fits me perfectly!
What are some of your favorite science fiction scores? Leave your thoughts in the comments box below!