Review #849: 'The Atomic Submarine' (1959)

Following a series of attacks on cargo ships and, most notably, nuclear submarine's, the Pentagon send their best ship, The Tigershark, to investigate. On board is Lieutenant Commander 'Reef' Holloway (Arthur Franz) and noted scientist Sir Ian Hunt (Tom Conway), who after examining the previous incidents and eye-witness statements, soon form the belief that they are dealing with some kind of underwater alien craft. Holloway's attack-first-ask-questions-later approach puts him at loggerheads with young pacifist Dr. Neilson, Jr. (Brett Halsey), the son of a revered scientist. They soon discover their speedy enemy, and Holloway finds himself confronted by a one-eyed monster intent on world domination.

There is a lot to criticise about The Atomic Submarine, regardless of the obvious budget limitations and drive-in aspirations. Sci-fi movies from the 1950's and 60's manufacture most of their charm from bad special effects and clunky dialogue, but The Atomic Submarine looks particularly ropey, with miniature toys and a fish-bowl filling-in for apparently state-of-the-art aquatic engineering and the great blue yonder. The first two-thirds of the film is extremely talky, which would be fine if not for the characters being little more than B-movie archetypes, either puffing their chest with patriotic defiance or providing some light comic relief.

Yet the climax, which sees a lot of the crew massacred by the drooling extra-terrestrial (voiced by John Hilliard), proves worth the wait. It's certainly formulaic, but it's full of wobbly, retro sets and a genuinely creepy score by Alexander Laszlo, key aspects in what makes these films so fun to watch. The face-off between Holloway and the spaceman also contains some unintentionally hilarious dialogue. "At last Commander, we meet as your people say... face to face!" says the alien. "That's a face?" Holloway replies. The Atomic Submarine is immediately forgettable, best watched late at night when you feel like you're the only person left awake in the world, but this effortlessly likeable fluff.


Directed by: Spencer Gordon Bennet
Starring: Arthur Franz, Dick Foran, Brett Halsey, Tom Conway, Bob Steele
Country: USA

Rating: ***

Tom Gillespie

Review #706: 'Beyond a Reasonable Doubt' (1956)

Fritz Lang's last American film before he returned to Germany, Beyond a Reasonable Doubt suffers from the director's clear lack of interest. Lang was reportedly dismayed by the lack of visual creativity allowed by American producers (which was also clear in his penultimate American noir, While the City Sleeps (1956)), and so shortly after returned to his homeland to make the visually lavish double-bill Tiger of Bengal and The Indian Tomb (1959), dubbed the 'Indian Epic'. Beyond a Reasonable Doubt, an intriguing little noir starring Dana Andrews, is by no means a bad film, but is clearly the work of a man handicapped by the system and a film that is pessimistic in its execution.

Tom (Andrews), a novelist in search of inspiration for his second book, is approached by his newspaper publisher father-in-law Austin Spencer (Sidney Blackmer) to help aide his opposition of state capital punishment. The plan is to plant circumstantial evidence of Tom's fake involvement in the recent unsolved murder of nightclub stripper Patty Gray. Naturally, during the trial, an incident prevents Austin from delivering the evidence and testimony that will prove Tom's innocence, so Tom's disgruntled fiancée Susan (Joan Fontaine) races against time to prevent Tom getting executed on Death Row.

Lang had already exposed the fragility of the justice system in his German masterpiece M (1931), and Beyond a Reasonable Doubt begins in suitably grim fashion with the silent execution of an inmate. The plot is a great idea (to think what Hitchcock would have made of it) but the execution is plain and predictable. Although Andrews' performance is solid and the movie sometimes threatens to push the boundaries set by the censors at the time, it simply goes through the motions until a twist reveal in the last 15 minutes livens things up a bit. You most likely won't see it coming, but it ends the film with plenty of plot-holes to pick at and left me scratching my head at exactly what point the movie was trying to make. A rather flat end to a solid period of film noir for the German master.


Directed by: Fritz Lang
Starring: Dana Andrews, Joan Fontaine, Sidney Blackmer, Arthur Franz
Country: USA

Rating: ***

Tom Gillespie

Review #311: 'Invaders from Mars' (1953)

It has been well documented that 1950's science fiction was a reflection of the fears of Communist infiltration of the American way: political difference was something (and still is) that creates gung-ho attitudes towards outside elements - something that the USofA is incapable of accepting, just look at the travesty of the Vietnam war. Invaders from Mars is no different to this trend of political allegory - and was also another way for film makers to make statements about the country that they were living in; through the use of allegory, and using the very visually stunning and populist genre of science fiction.

Young David MacLean (generic 1950's freckly kid, Jimmy Hunt), witnesses what he believes to be a flying saucer land underground at the back of his home. On reporting this to his father, George (Leif Erickson) he decides to investigate the area. What transpires is that people are being sucked into a hole in the sand, and implanted with mind control devices. So, the minds of the local population slowly become slaves to the "martian" ideals, and a bid to stop the production of the atom bomb, which is being developed in the local area. David, being of sound scientific processes, notices the difference in behaviour in his parents, and tries to warn the townsfolk. The nuclear family is destroyed by the alien infiltration, which is precisely what the American people/government believed would occur if Communist ideologies were to get to the American people.

William Cameron Menzies was a production/art director on such classics as Gone with the Wind (1939), and also had uncredited director duties on The Thief of Bagdad (1940), and Duel in the Sun (1946). His eye for detail within the frame is highly evident in this classic of '50's sci-fi. Considering this was a B-movie, that had an incredibly low budget, the visuals of the film, whilst often simple, are absolutely triumphant. OK, so the "martian" silly green furry costumes are laughable, but this does not hinder the enjoyment of the piece, and I hold it in high regard, along with other classics of the decade, such as The War of the Worlds (1953), The Day the Earth Stood Still (1951), and Invasion of the Body Snatchers (1956).


Directed by: William Cameron Menzies
Starring: Helena Carter, Arthur Franz, Jimmy Hunt, Leif Erickson
Country: USA

Rating: ****

Marc Ivamy