20 Million Miles to Earth – Movie review and tribute


Part of the “Keep Watching the Skies” Blogathon from Cinematic Frontier – Click on logo at right to see more entries of 50’s sci-fi classics!


20 Million Miles to Earth

directed by Nathan H. Juranscience-fiction-movies-of-the-1950s-blogathon-04
produced by Charles Schneer
Special effects by Ray Harryhausen

William Hopper
Joan Taylor
Frank Puglia


A US rocket returning from Venus crashes near a fishing village in Italy. Before it sinks beneath the waters depths, a young boy finds a strange figure encased in a gelatinous egg. He trades it to a zoologist and the next day it hatches an amazing little creature. However, this is the 1950’s so rest assured it won’t be ‘little’ for long; it will grow to monstrous proportions. It’s a testament to the amazing work of Ray Harryhausen that the directors of his films are mostly forgotten, but his name and his work lives on. He created a unique creature for this film, part reptilian, part humanoid and part alien, taken from its natural habitat to fend for itself in a strange new world.

Stop-motion animation from Harryhausen (as well as Willis O’Brien) was not Claymation. They did not use clay. They used a metal armature with movable joints, like a skeleton. It was then covered with foam and latex rubber enabling it to hold detail and fixed markings while maintaining flexibility for lifelike movement. For mammals the artists would add hair. You couldn’t get such good detail and movement with clay. Some stop-motion animation involved clay, (Gumby) and others involved wooden puppets (Rankin Bass holiday specials). However, Ymir was made with the aforementioned20-million-miles-to-earth-pic-1 rubber layers and molds over skeletal design. Another big aspect to the magic of stop-motion monster films (one that it shares with Toho’s suitmation effects) is the building of miniature sets. You will see actors running down the street on location, then the monster chasing them on that same street. However, that same street is a miniature version in a studio for which the stop-motion filming can be conducted upon.

Ymir’s humanoid expressions manipulated by the talented and patient hands of Harryhausen, gave the creature empathy. We see shock, disappointment, anger, fear, desperation, all within the reactions of the beast; wide eyes, roars, hand and arm gestures, posture, all used to communicate without words. Because of this, most who see the film feel sad for Ymir’s demise, cringing at the sound of gun shots that bring him down. Ymir’s fight with a zoo elephant brought a special realism to the film and a sense of scale. Ray’s self-drawn storyboards choreographed a tense battle that intercut real elephant footage with his own recreation of the huge mammal.  This was perhaps the greatest creature battle since Kong fought the T. Rex some 25 years previous. Shadows of Ymir will show up in later Harryhausen 20-million-miles-to-earth-postercreatures, the body is similar to his Cyclops in The 7th Voyage of Sinbad and his face is similar to the Kraken from Clash of the Titans. The wonderful long tail seems like a prerequisite for the snake-like Medusa. As with most 50s sci-fi/horror, there is a sub-plot following a budding romance concerning, Colonel Robert Calder, the only survivor from the space mission, and the zoologist’ s daughter, Marisa, played by the lovely Joan Taylor.

Charles Schneer was a good friend to Harryhausen and an advocate for his fine craft, working with him on nearly a dozen films. This was Ray’s fourth film depicting giant monsters rampaging through cities. The first was his work under his mentor, Willis O’Brien in Mighty Joe Young. Following that was Beast from 20,000 Fathoms, and It Came from Beneath the Sea. Ray and Charles Schneer would move into fantasy adventure films after this, depicting mythological figures in his Sinbad films and other tales of ancient lore.

To younger generations, stop-motion FX doesn’t seem so real. That was part of the charm for our generation. We knew there was an art involved with making these beasts come to life. These FX artists didn’t just copy motions and images from real animals and put it into the creature’s digital repertoire. They infused the model’s movements with their own personality and mannerisms. It’s like the difference between a digital photo of a human face and the Mona Lisa. The Mona Lisa isn’t perfect and that’s what makes her so. That’s what gives her soul and personality. You can sense Ray’s soul and personality through these films, the creator, the adventurer, the craftsman, and the boy with wide eyed wonder at endless possibilities.




They recently digitally colorized the film and it looks like they did a decent enough job. However, I still prefer to watch it in b&w, the way Ray made it.

Once again, be sure to check out the Keep Watching The Skies Blogathon for more 50’s movie classics!

Parlor of Horror’s ‘Creature Feature’ reviews


Attack of the Monsters AKA: Gamera vs Guiron – movie review

This will be my last GAMERA film review for a while. I thought I could get them all in over the summer but there’s too many. I’m gonna take a break and start again next summer…

Gamera vs Guiron - pic 14

Attack of the Monsters AKA:  Gamera vs Guiron (1969)

Director: Noriaki Yuasa

Dinosaurs and Spaceships and Turtles, oh my! And, the original KNIFEHEAD

This is the 5th movie in the Gamera Franchise. Three children witness the landing of a flying saucer in a nearby park. In the morning they go into the park and find the flying saucer unattended. Gamera vs Guiron - aka Attack of the Monsters

Sooooo, the two boys take it for a ride. It goes off on its own. Just when it seems the ship and the boys will be ripped apart by a meteor, GAMERA arrives to deflect the meteor, saving the children. The spaceship loses Gamera and lands on a planet, Terra. It’s like Disneyland only violent; cannibal girls, monsters, lazer beams. The kids see Space Gyaos attacking a city and Guiron, the original Knife-head monster, defending it. In one particular bloody scene, Gyaos shoots his lazer beam at Guiron and he deflects it off of his ‘blade’ back at Gyaos cutting off the winged beasts leg just below the knee. Ultra violent but it’s okay because the blood is blue. It seems like if they use blue blood they can get away with anything including impaling Gamera through the body with kitchen knives.

The big fight between the monsters is like a slo-mo wrestling match with a lot of blue blood. Guiron has stars that flick off the side of his head. When Gamera gets his face all cut up he falls to the bottom of the sea and goes into shock.

Yo, these space girls are cute as hell but total beotches. They gonna do some brain salad surgery on the boys. Wait, not yet… “We’ll eat their brains after we fix the ship.” (Actual quote from the film.)

Anyways, Gamera gets rejuvenated, beats Guiron on the grid iron and flys the scouts back to earth as planet Terra explodes. GAMERA saves the day!


Dig the groovy 60’s space costumes!


Gamera, The Giant Monster (1965)

Gamera vs Buragon (1966)

Gamera vs Gyaos (1967)

Gamera vs Viras (1968)

Gamera vs Guiron (1969)

Parlor of Horror – Creature Feature reviews


Gamera vs Viras (1968) – movie review

gamera vs viras - pic 16

Gamera vs Viras (1968)

Aka: Destroy all Planets

Directed by Kenji Yuasa


This is some great kitsch 60s Sci-fi. We see an alien spaceship, a circle of connected honey-bee orbs enter earth’ s vicinity and a computer inside begins to speak. It lists similarities to their planet and the orders for immediate takeover of the Earth. Suddenly a giant flying turtle shows up smashing half the ship and sending the remaining piece back into space in flames. Gamera is protecting the earth from enemies.

This is the first Gamera film directly aimed/made for 6-10 year-old boys as we are immediately introduced to the stars of the film, two boy scouts Masao and Jim. There’s no semblance of any kind of adult sci-fi theme or storyline. We follow them as they commandeer a Yellow Submarine (60s coincidence? Think not) and the scientists and military follow their every whim, need and command.gamera_vs_viras_1968

The boys find Gamera underwater, trapped in a bubble. It seems the alien ship is back and are researching Gamera’ s past. We get recycled footage from all the first three Gamera films. We get the entire Gamera -Barugon battle followed by a good portion of the Gamera v Gyaos city battle and end battle. Over a half hour of reused battle footage is here folks! Did they make a new movie somewhere in here? The aliens take the boys hostage to control Gamera and make him protect the spaceship.

Gamera gets the command…GAMERA DESTROY TOKYO and he does with more reused footage in b&w no less… and with a color space ship following close behind. Gotta’ laugh.

Viras speaks and he sounds like a Spanish guy with a thick moustache in a Western Movie.  He decapitates all the alien people, Pretty brutal for a kids flick and they all turn to squid. Viras absorbs them until he’s giant and the final battle may begin….finally. Ooh, an underwater battle. Queue up some exciting action hero music. Damn, Viras knifed that turtle like a burger on a grill, blue blood everywhere! But in the end Gamera comes out on top and wins the day for the boys and saves earth once again.

Needless to say, if you’re not 6 – 10 years old (or had at least seen this film at that age and want some nostalgia), you’re probably not going to like this flick.

gamera vs viras - pic 6

Cool stuff: Blinky light alien eyes, cool. Love that films wanted to portray the depth of clouds around the earth. Love that the aliens are wearing Chinese laundry uniforms from the 60s. Love the retro-60’s space designs and colors. My mom had lamps and furniture that looked like these spaceships in our house when I was a kid.


Gamera vs Gyaos (1967) – movie review

Gamera vs Gyaos - pic 14

Gamera vs Gyaos (1967)

Daiei Studios

Aka: Return of the Giant Monsters


This is a nice clean print of the film that makes it enjoyable to watch. In Gamera vs Gyaos we have not much more than the set up for three FX heavy battles between the monsters. There’s some storyline to move the plot forward about highway construction through native people’s land which causes Gyaos to wake in a secret cave. The monster soon has a taste for blood and attacks the city. It shoots a laser beam from its mouth that makes precision cuts through everything it hits. I enjoyed watching a sequence of jets being cut to ribbons by the laser ray. It looks totally fake but I was Gamera_vs_gyaos - posteramused. Gamera saves a young boy from Gyaos early in the film and brings him to an amusement park on his back where he can be taken down by the Ferris wheel. The boy becomes the main star of the film….advising the scientists and military of what actions they should take against the monsters.


When I had seen this in my youth, it was around the time that I noticed a difference in these monster films from the Toho films. Toho had a little bit more attention to detail for its sets and the monsters/costumes/designs were based more in reality (dinosaurs, insects, Dragons) than the Gamera films and the Ultraman series. The Gamera monsters took on a more fantasy look to them with sharp ridges and space-like angles. The light-up eyes and glowing head parts added to the fantasy element, not looking like anything in reality. However, for an eight or ten year old boy, they were no less exciting, filling lazy summer afternoons with monster action.


If you’re a fan of old style kaiju, nostalgic for these old films or just want to see what it was all about this is a good film to check out for its high quality.



Gamera vs Gyaos - pic 12

Gamera vs Buragon (1966) – movie review

Gamera vs Barugon aka War of the Monsters - pic 12

Gamera vs Buragon (1966)

Daiei Studios – aka: War of the Monsters (1966)


In Gamera’ s second film we get a recap from the original up to when the scientists had sent the big angry turtle into space in a rocket. The space capsule is immediately hit by a meteor and Gamera returns to earth in color,  attacking Korobi hydro-electric dam. Then Gamera heads to a distant volcano and isn’t seen for another 40 minutes…really? Wtf?

We get a story about a band of reckless treasure hunters in the So. Pacific that invade a sacred cave, steal a sacred opal and bring a curse upon mankind. That curse is the dreadful monster Buragon. warofmonstersThe evil leader of these hunters will not listen to reason, he wants riches only. Only he can save the world from its terrible, awful fate and rigged system…(oops! sorry got carried away there). Oh, and that opal, it wasn’t a rock, it was a rock lobster! I mean it was the egg from which Barugon hatches. The little guy is a cute son-na-bitch.

The big drawback in suitmation FX is usually four-legged Kaiju, but they do a fairly good job here at this lizardry wizardry, even providing the creature with a long battering ram tongue. The monster’s huge phallic  tongue spews white frost on everything. Then the beast’s backbone horns light up and shoot an electric rainbow decimating all of Japan’s military missiles. They explode in premature evacuation, never leaving the launch pad. I know weird, right? Luckily Gamera sees the backside rainbow and rushes to the scene to defend mankind’s missiles.

We have a nice long tug-o-war battle between the monsters and the military’s scientific weapons until Barugon’s Rainbow is shot back up his own ass by a giant mirror, and he’s then killed by water…we must not be in Kansas anymore…Gamera wins the day by unfreezing, beating Buragon and dragging him into the bay. It’s a nice action-packed, old fashioned Kaiju battle at the end, the kind of scene I relished as a young lad.

Gamera vs Barugon aka War of the Monsters - pic 4

Gamera, The Giant Monster (1965) – movie review

gamera giant monster - 08

Gamera, The Giant Monster (1965)

Daiei Studios

A nuclear blast in the arctic wakes a mythological turtle from its frozen depths. It attacks power plants absorbing the energy released by their explosions. We follow a group of scientists as they try and devise ways to combat this ferocious enemy. We also follow the story of young Toshio, who  loves and collects turtles. He lets a turtle go back into the wild on the same night Gamera attacks the nearby lighthouse. When Toshio looses his grip on the upper landing of the building, Gamera seems to be somehow aware of his kind treatment to his brethren and saves him from falling to his gamera-the-giant-monster-shout-factorydeath. When Gamera attacks Tokyo, the boy tries to go talk to him but is stopped by workers at the fuel plant.

There is a great amount of destruction in this film as Gamera smashes buildings in Tokyo, power plants, and the airport. In the end Toshio is happy the scientists devise a plan that doesn’t destroy the creature, but instead sends it into outer space.

Shout Factory did a marvelous job with the DVD including a documentary interviews featurette in the special features and a great Gamera booklet in the case that features the story of Gamera and a detailed diagram of the beasts biology, showing the fuel sacs that enable it to fly, absorb and breath fire, and to turn raw energy into biological food. From the doc we learn that Gamera was filmed in B&W because of its budget restrictions. In order to build the massive sets to compete with Godzilla, the money had to be saved in other areas. Daiei Studios took a big chance filming without colour when it was by then the industry standard. The b&w works well for the film, masking some of the costume and set flaws as well as giving the feel of the original Japanese Kaiju.

Although this first feature is set up as a classic sci-fi film, the connection between Gamera and young Toshio garnered a loyal following from children throughout the world. Daiei Studios seized on this youth popularity aiming it’s future films more to children and having great success with it.

Gamera - the giant monster - pic 6

Gamera is the one of the oldest/longest running popular franchises only behind Godzilla, James Bond and the British “Carry-on” comedies.  The new planned film for 2016/17 would be the 14th film in the franchise. Daiei Motion Picture Company and now is currently owned by Kadokawa pictures.

Gamera - the giant monster - diagram

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Dinosaurs in movies overview and link list on Parlor of Horror (includes giant monsters)

Creature Features revisited – More Giant Monsters

Creature Features revisited – More Giant Monsters

A look back at the golden age of sci-fi, the 1950‘s. Our subject today… More giant monsters!
Attack of the Crab Monsters, The Giant Gila Monster, Tarantula, Earth vs the Spider

Attack of the Crab Monsters (1957)

attack-of-the-crabs-monster-movie-poster attack of the crab monsters - pic 9
A group of scientists investigate the effects of radiation on a Pacific Island near the Bikini Island Nuclear experiments. They are attacked by a couple of giant crabs that also have gained intelligence and psychic powers. They have telepathy and they absorb the knowledge of the victims they eat. One by one the group are killed in horrible attacks which leave them headless. The last three scientists communicate with the female crab and learn of her plan to reach the mainland, have her babies and devour all of mankind.
Roger Corman told writer, Charles B. Griffith, that he wanted this film to be experimental and have every scene to have action or suspense. The film was quite successful, costing only 70k but making over one million dollars. While it doesn’t have the best Giant creature effects to stand up to other films of the time, it makes up for it by using close-up shots and movement of the camera. This keeps the flaws of the creature design obscured. If you had talked to teens that saw this in the theatres, they would have told you this film was frightening. I think the main reason for that was the beheaded victims and discovering that the crabs were eating the heads. That was very gruesome for the 1950s
Russell Johnson as, Hank, spends his time while stuck on the island trying to fix the radio so they can call for help. Many years later he plays the Professor on Gilligan’s Island who, while stuck on the island, spends his time fixing the radio so they can call for help.

The Giant Gila Monster (1959)

giant gila monster poster 1the giant gila monster - pic 4
I enjoyed the 50’s/60’s hot-rod and rock-and-bop feel of The Giant Gila Monster. Typical plot of 1950’s sci-fi without the budget of better known films of the era. Young couples in their cars go missing as the Gila Monster stomps some vehicles early in the film. The monster also causes a train wreck. It isn’t until the big dance party that the monster really makes itself known, coming out of hiding because of that crazy loud rock music. The town is saved by a guy named ‘Chase’ and his hot-rod! It’s budget film fun with a couple of good Gila Monster scenes, but it won’t win any awards for special FX. Watch for nostalgic entertainment on a day you have nothing else to do. Directed by Ray Kellogg. There’s a colorized version which doesn’t look too bad. And there’s a remake that looks SyFy style terrible.
Actress Lisa Simone was a contestant for Miss Universe in 1957.

Texas Drive-in theater owner, Gordon McLendon produced this film and The Killer Shrews as second features to the main attractions he had at his theaters.

Danzig used the font from the movie posters for his album logos.

Tarantula (1955)

Tarantula_1955tarantula 1955 pic 1
The film stars John Aagar, Mara Corday and Leo G. Carroll. A scientist secretly experimenting with a nutrient that effects the pituitary gland looses one of his specimens, a tarantula the size of a dog. The next time they see this tarantula it has grown significantly. Another scientist (John Agar) investigating the death of a biologist who had stumbled in from the desert with deformed features meets with his lovely assistant, (Mara Corday).  They discover the Giant mutant spider and work to get the situation under control before it can reach town. There’s a tense scene where the tarantula is looking through the window at Stephanie and attacks the house looking for a meal. The film has a better than average plot, story and acting, making it one of the more respected giant bug films of the time. My only dissappiontment as a kid was the Tarantula never makes it to town to cause destruction. Directed by Jack Arnold (Creature from the Black Lagoon).
Clint Eastwood has a bit part as a pilot for the jet fighters that shoot at the tarantula at the film’s end.
The tarantula is the same spider that performed in The Incredible Shriking Man.

Earth vs. The Spider (1958)

earth v the spider aka The Spider poster Earth vs the Spider (1958) - pic 8

(aka: The Spider – not to get confused with Tarantula – 1955)
A girl in high school is worried about her dad, who hasn’t come home from a road trip the night before. She convinces her boyfriend to go looking for him. These two teenage kids, Mike and Carol, they ain’t no Nancy Drew and Hardy Boys, that’s for sure. They find Carol’s Dad’s car crashed off the highway and search the area. Carol sees a cave and figures her injured Dad may have crawled into there for shelter. They fall into a big web and are nearly killed by the humongous spider. Ironically, the spider’s growl sounds pretty close to Carol’s scream with effects on it.
Naturally they tell the authorities, the authorities go into the cave, find Carol’s dead Dad and kill the spider. A professor of takes the spider to the university and has it on display for study. The staging area is in the auditorium. At night the band comes to play a gig and all the teens come to dance to the rocking sounds. And I’ll be damned, that crazy rock-n-roll music revives that damn spider! (told you that rock n roll music was bad for ya’). Screams, gasps, running… we got ourselves a monster movie! The monster terrorizes a suburban town, threatens a mom and her baby, and follows our hero‘s car back into the woods. The Authorities follow the spider back to its cave and kill it once and for all. There’s some not-so-great matt compositing for FX and in some scenes it looks like they may have used miniature buildings. It didn’t look like the real spider they used wanted to co-operate much. The film was produced, directed and written by Bert I. Gordon, who was an avid B-horror film producer of the time.
In a scene with a movie theater where Mike works at, you can see a poster for The Amazing Colossal Man in the Coming Soon display case and the Marque shows Attack of the Puppet People as now showing. Both are by Bert I. Gordon films.
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