60's British Horror Part Twelve

GORGO

(1961)

Dir - Eugène Lourié

Overall: MEH

 

Though it unfortunately hits the inevitable wall that all over-sized, reptilian, "monsters run-amok" properties do, (namely military firepower doing absolutely nothing to slow it down as it destroys endless amounts of real estate), Gorgo is better than many of its kind in a few respects.  An American/British/Irish co-production helmed by Eugène Lourié, (a man whose entire directorial theatrical film career was in giant monster movies), it features exceptional model work and the suitmation is significantly helped by utilizing slow motion to give the title creature more weight in its lumbering movements.  Gorgo's look is clearly stylized after Godzilla, but the addition of dark, glowing red eyes and a bulbous neck makes for an imposing beast all the same.  Story-wise, it has the usual motifs of man being punished for trying to control nature.  In this case, that entails capturing what they initially do not realize is merely a baby Gorgo and then parading it as a circus attraction before the comparatively towering adult version ignores all of the destructive power that human advancement has to throw at it and gets its offspring back to live happily ever after off the coast of Ireland.  There is ultimately not enough present here to elevate it above so many other films of its kind, (particularly from the sub-genre's home-base of Japan), but for those forgiving of more of the same, this Caucasian entry delivers the goods just fine.

 

THE PROJECTED MAN

(1966)

Dir - Ian Curteis/Jon Croydon

Overall: MEH

 

The only theatrical film from director Ian Curteis, (though he was replaced midway through by producer Jon Croydon), The Projected Man has above average production values for a B-movie, but it is still a meandering affair.  The script was initially done by Hollywood writer Frank Quattrocchi, reworked later by Peter Bryan and John C. Cooper with the location switching from American to London.  Heavily padded to the point of persistent boredom, the entire first half is nothing more than a series of lab experiments and genuine banter between scientists, plus some underdeveloped blackmail scheme amongst the bad guys.  Once Bryant Haliday inevitably transforms into the title monster and loses his sanity while gaining a deformed, Harvey Dent-worthy appearance as well as instant, flammable electrocution powers towards whatever he touches, the plot still regularly detours into more characters standing around and talking about what is happening.  Though it is hardly exciting enough to work, the makeup effects are gnarly and Stanley Pavey's cinematography is professional as well as periodically atmospheric.

 

THE TERRORNAUTS

(1967)

Dir - Montgomery Tully

Overall: MEH

 

Amicus Productions continued their brief foray into science fiction after two big screen Doctor Who adaptations with the laughably cornball The Terrornauts.  Based on Murray Leinster's 1960 novel The Wailing Asteroid, it consistently looks as if it was made on a budget consisting of loose change, becoming more hilariously embarrassing as it goes on.  The first half is unfortunately monotonous and drags along with scientists in wood-paneled rooms and in front of rickety equipment at a radio telescope site who mostly just argue with their crotchety boss.  When the setting switches gears to outer space and everybody puts on rubber bath caps with wires sticking out of them so that they can telepathically communicate with alien technology in order to blow up other aliens in green makeup, the barrage of cheap looking scenery and anti-special effects become a hoot to behold.  The miniature space ships, rear projection, set design, and costumes are all fully lit as to negate any unearthly atmosphere, plus the script by John Brunner makes sure that everything stays on the light and easy side with regular, cutesy comic relief, mostly provided by a tea trolley lady and an accountant.  Thankfully though, the film also has plenty of unintentional humor to go around.