Oh! the Horror! – The Giant Gila Monster (1959) and The Trollenberg Terror (1958)

06 Saturday Oct 2018

Tags

Aliens, Don Sullivan, Drama, Forrest Tucker, Fred Graham, Gila monster, Horror, Hot rods, Janet Munro, Jennifer Jayne, Laurence Payne, Lisa Simone, Quentin Lawrence, Ray Kellogg, Review, Switzerland, Texas, Thriller

The Giant Gila Monster (1959) / D: Ray Kellogg / 75m

Cast: Don Sullivan, Fred Graham, Lisa Simone, Shug Fisher, Bob Thompson, Janice Stone, Ken Knox, Gay McLendon

In rural Texas, the disappearance of a teenage couple prompts the local sheriff (Graham) to enlist the help of the couple’s friends in determining if something has happened to them, or they’ve maybe eloped. Over the next few days, there are further disappearances, and increasing evidence that something strange is happening out near one particular ravine. When the couple’s car is finally found, there’s no sign of them. By now though, the sheriff and local car mechanic/hot rod enthusiast, Chase Winstead (Sullivan), have come to the conclusion that the cause of all the strange incidents might be some kind of abnormally large animal. The truth is revealed when the town drunk (Fisher) sees a giant gila monster, and it causes a train wreck. Before the sheriff can arrange for the state troopers to help kill the creature, it attacks a platter party being held a barn, an attack that prompts Chase to come up with a way of dispatching the monster once and for all…

Okay, so it’s not a gila monster, it’s a Mexican beaded lizard, and yes, the special effects involving it are shoddy and unconvincing (the trainwreck is not a highlight), but The Giant Gila Monster is definitely a cult classic. With its authentic Texan locations, mutually beneficial cooperation between its teenagers and the sheriff, unexpected rendition of The Mushroom Song by Sullivan (and twice, no less), and more hot rod inspired slang than you can shake a nerf bar at, the movie has a rudimentary charm that more than makes up for its deficiencies elsewhere. The performances are perfectly acceptable, Kellogg’s direction is simple yet effective, and the script by Jay Simms ensures that the characters (mostly) aren’t too one-dmensional. Like so many Fifties sci-fi/horrors it’s let down by the quality of its monster and the model work that surrounds it, and although this is the source of much amusement, there are sufficient good ideas present that if there had been a bigger budget, it would have meant a much more polished movie. It’s also that rare Fifties sci-fi/horror that can be watched more than once, and which remains way more superior than Gila!, the made-for-TV remake that escaped in 2012.

Rating: 6/10 – if you can ignore the low budget trappings, and the lack of any real threat from the titular creature, then The Giant Gila Monster is something of a pleasant surprise; almost gratuitously good-natured in its approach, this really isn’t a sci-fi or a horror movie, but it is more interesting to watch than the majority of its ilk.

The Trollenberg Terror (1958) / D: Quentin Lawrence / 81m

aka The Crawling Eye; Trollenberg Horror

Cast: Forrest Tucker, Laurence Payne, Jennifer Jayne, Janet Munro, Warren Mitchell, Frederick Schiller, Andrew Faulds, Stuart Saunders, Colin Douglas

Following several unexplained climbing deaths on the Swiss mountain of Trollenberg, UN investigator Alan Brooks (Tucker) travels to the observatory there in order to unravel the mystery of both the deaths and the presence of a radioactive cloud that doesn’t appear to move. On his journey he meets sisters Anne and Sarah Pilgrim (Munro, Jayne). Anne is telepathic and finds herself drawn to the mountain, cutting short their planned trip to Geneva. While at the local hotel, the trio encounter an Englishman called Philip Truscott (Payne), as well as a geologist called Dewhurst (Saunders) who is planning a trip up the mountain with a guide called Brett (Faulds). When their trip goes awry and Dewhurst is killed, Brett returns after having been lost overnight. But at the first opportunity he attempts to kill Anne, and when he’s stopped, Brooks and the rest, now assisted by observatory director Dr Crevett (Mitchell), learn that whatever is in the radioactive cloud is targeting anyone who goes onto the Trollenberg – and shows no sign of stopping…

Adapted from the 1956 UK TV series of the same name, The Trollenberg Terror is a sci-fi/horror movie that does its best on a limited budget, and though some of the model effects are particularly shoddy, its alien creature is one of the most effectively designed and realised of its time (those tentacles, though!). It’s played incredibly straight throughout, with its cast seemingly banned from raising a smile unless it’s absolutely necessary (and even then, only with written permission), and the serious nature of the aliens’ threat is emphasised at every turn. However, this doesn’t stop the movie from being enjoyable to watch – in a daft, you couldn’t make it up kind of way – and the performances, though a little po-faced at times, go a long way to selling the absurdity of it all. Lawrence, whose first feature this was, shows a knack for staging the horror elements to ensure maximum impact – the opening scene is grisly without being explicit – and though this is clearly set in Switzerland by way of a studio in Middlesex, there’s a keen sense of time and place.

Rating: 7/10 – let down by a final ten minutes that cruelly exposes its limited budget, The Trollenberg Terror is still a better than most example of late Fifties sci-fi/horror; apparently a partial inspiration for John Carpenter’s The Fog (1980), it’s a movie with some clever ideas, and one that isn’t afraid to throw a number of wild ones in there as well (zombies, anyone?).

45 Years (2015)

12 Tuesday Jan 2016

Posted by dullwood68 in Movies

≈ 4 Comments

Tags

Andrew Haigh, Anniversary party, Charlotte Rampling, David Constantine, Drama, Glacier, In Another Country, Literary adaptation, Marriage, Norfolk, Review, Switzerland, Tom Courtenay, Wedding anniversary

D: Andrew Haigh / 95m

Cast: Charlotte Rampling, Tom Courtenay, Geraldine James, Dolly Wells, David Sibley

Geoff and Kate Mercer (Courtenay, Rampling) are near to celebrating forty-five years of married life with a big party. As their party planner remarks, it’s an odd year to celebrate, but it’s because their fortieth had to be cancelled thanks to Geoff needing a heart bypass. They live outside a small village in Norfolk with their dog Max and appear to have a tranquil, reclusive existence.

On the Monday before the party, Geoff receives a letter from Switzerland that contains a surprise. Back in 1962, Geoff and his then girlfriend, Katya, were hiking through the Swiss Alps when she fell into a crevasse. Now, with the snowline having retreated due to global warming, Katya’s body has been found embedded in a glacier. The news startles Geoff, and unnerves Kate, especially when it occurs to her that it seems odd that Geoff would have been contacted. When he tells her that on occasion during their trip he and Katya pretended to be married to get a hotel room, and because of this he’s regarded as her next of kin, it further unnerves Kate.

As the week progresses and Kate spends her time organising the party, she begins to realise that Geoff is spending his time reliving memories of his time with Katya. There arre questions she wants to ask him but is afraid to. When she discovers that Geoff has been going up into the loft and looking at old slides, she also discovers something that proves shocking. Kate becomes distant from Geoff, and angry with him for what she sees as a betrayal of their own relationship, that he should want to spend so much time thinking about a woman he knew before he and Kate even met.

With the party looming ever nearer, Kate confronts Geoff over his behaviour but she can’t quite bring herself to fully explain her feelings. All she wants is for Geoff to make it look like he wants to be there. But even with his assurance that he does want to be there, and he does love her, on the day, Kate is wracked with unresolved emotions as the celebration of their life together gets under way.

Adapted from the short story In Another Country by British author David Constantine, 45 Years is a subtle, intelligent movie about perceived betrayal and the jealousy resulting from it that features tremendous performances from both Rampling and Courtenay, and confident, assured direction from Andrew Haigh. It’s a movie that relies heavily on the stillness of contemplation to explore the surprisingly strong emotions felt by its central character, Kate, and it quietly and effectively makes those emotions resonate with a power that is equally unexpected for their intensity.

Haigh, who also wrote the screenplay, postions Kate and Geoff at a point where their contentment with each other is so ingrained that it brooks no question – from us at least. But when the letter from Switzerland arrives and we see their quite different reactions to it – Geoff retreats into a world of memory and introspection, Kate sees a challenge to the comfort she’s found in their marriage – that contentment is sure to be disrupted. But where some movies might explore the ways in which both characters are affected by this kind of news, Haigh does something a little unusual: he makes Geoff a silent mourner who talks about Katya in generalities, and brings Kate’s fears and concerns to the fore.

Kate is governed by an irrational but entirely understandable need to know that Katya isn’t Geoff’s great lost love, the woman he has missed for all these years, and also that their marriage hasn’t been a case of Geoff settling for second best. She wants to know that she matters, that Geoff loves her more than he did Katya, that their marriage hasn’t been one of convenience on Geoff’s part. But she cannot find the courage to ask the question directly or with any conviction that she wants to know the answer. And by doing so she makes her situation all the worse, as her assumptions and worries about her place in Geoff’s life are amplified by her insecurities.

As Kate, Rampling is simply incredible. She gives an impressive, astonishing performance, one of contained desperation, as Kate appears to allow herself to give in to the emotions she feels in the wake of the letter’s arrival. In several scenes and shots Rampling’s features are a mask behind which you can see a swirling cauldron of emotional confusion and dismay. There’s a scene where she plays the piano, and in her playing there’s a release of emotion that is so terrible for its restrained violence; as she hits the keys each note is like a plea for exculpation of her feelings. And at the party, as Kate and Geoff dance together in what should be a joyous moment for them both – a recreation of the first dance at their wedding – Rampling’s body language tells the viewer everything they need to know about how Kate is dealing with it all.

By contrast, Courtenay is required to remain – comparatively – in the shadows. Geoff’s behaviour at the news of Katya’s discovery is largely poignant, an inadequate response given his age and his physical infirmity. Geoff looks frail throughout, and there’s always the possibility the news will prove too much for him, but Haigh is canny enough to make Geoff stronger than he seems, at least emotionally, and there’s a handsome payoff for this at the party. Courtenay is a terrific match for Rampling, his naturally far-off gaze used to good effect as someone remembering another time in their life when they were happy. When he recounts the circumstances of Katya’s death, it’s with a heartfelt sense of acknowledgment for the happiness of that time in his life. For the viewer, it’s clear that Geoff doesn’t feel his relationship with Kate is of lesser importance. Oh that Kate could feel the same way.

45 Years excels at portraying the way in which someone can so easily and quickly feel that the relationship they’ve invested so much time in can feel so false (even if it’s probably not the case; though the movie doesn’t commit itself either way). Haigh shows complete control over the material and the narrative, even in the scenes where Kate is wandering aimlessly about a nearby town and her uncertainty is clear by the random directions she takes. The action is also beautifully framed and shot by DoP Lol Crawley, and the movie revels in its autumnal colour scheme (a perfect metaphor for the characters’ time of life and expectations). It’s a rich, sometimes lyrical movie that rewards in scene after scene, and features two actors at the top of their game. And it all ends with a final shot that is devastating for the way in which it leaves the viewer to decide how, or even if, Geoff and Kate continue their marriage.

Rating: 9/10 – a moving, emotionally astute portrait of a marriage plunged into crisis by the insecurities of one partner, 45 Years is a poignant look at how easy a long-term relationship can be undermined by simple suspicion; Rampling once again shows why she’s still one of the best actresses working today, and Haigh cements his position as one of Britain’s brightest directing talents.