rating:
company: Columbia and
Clover Productions
year: 1956
runtime: 83′
country: United States
director: Fred F. Sears
cast: Hugh Marlowe, Joan Taylor,
Donald Curtis, Morris Ankrum,
John Zaremba, Thomas Browne Henry,
Grandon Rhodes, Larry J. Blake
writers: Bernad Gordan, Curt Siodmak
and George Worthing Yates
cinematography: Fred Jackman Jr.
music: Mischa Bakaleinikoff
visual effects: Ray Harryhausen
disc company: Sony Pictures Home Entertainment
release date: October 7th, 2008
retail price: $107.95
(Blu-ray only available as part of The
Ray Harryhausen Collection 4-film set)
disc details: region free / dual layer BD50
video: 1080p / 1.85:1 / b/w + colorized
audio: Dolby TrueHD 5.1 surround (English)
Dolby Digital 2.0 mono (French)
subtitles: English, English SDH, Spanish,
Portuguese, French, Hindi, Arabic, Japanese
(Portuguese, French, Spanish, Japanese
for supplemental content)
special features: audio commentary with
Ray Harryhausen, Remembering Earth vs. The
Flying Saucers featurette, The Hollywood Blacklist
and Bernard Gordon featurette, Original screenplay
credits, Interview with Joan Taylor, photo galleries,
Colorization demo, Sneak peak of Flying Saucers
vs. The Earth comic book, trailers (It Came From
Beneath the Sea, 20 Million Miles to Earth,
The 7th Voyage of Sinbad)
order this film from Amazon.com:
2-disc SD DVD | 4-disc Blu-ray Collection

Plot: Earth is attacked by a fleet of flying saucers from a disintegrated solar system.

The second collaborative effort between producer Charles H. Schneer, still under contract to Sam Katzman and here working under his Clover Productions banner, and visual effects artist Ray Harryhausen is another formulaic science fiction programmer elevated to near-classic status by its labor-intensive effects production.  The picture was another big success for Columbia and Sam Katzman, who released it on a double bill with the even cheaper The Werewolf (a memorably grim horror noir from director Fred F. Sears).  Earth vs. The Flying Saucers would be Schneer’s final film as a Katzman underling, and 1957 would see the release of his first two independently produced efforts – Hellcats of the Navy starring Arthur Franz and Ronald Reagan and the genre classic 20 Million Miles to Earth.

Earth vs. The Flying Saucers is well-paced if utterly derivative, and follows newlyweds Dr. Russell Marvin (Hugh Marlowe, the Judas of The Day the Earth Stood Still) and secretary Carol (Joan Taylor, 20 Million Miles to Earth).  Both are employed in the Air Force’s top-secret Operation Sky-hook satellite program, which has encountered an odd problem.  None of the satellites are staying in orbit as they should, all having mysteriously crashed back to Earth shortly after their launch.  A few strange encounters and a full-on ray gun attack later, the culprits in the odd disappearances are revealed: a civilization from a dead solar system has set its sights on the planet Earth, which they hope to conquer through the shear obviousness of their technological superiority alone.  Dr. Marvin and his fellow Earthlings are understandably displeased with the invader’s imperialist intentions, and rush to perfect a new anti-saucer weapon before time runs out.

The screenplay by Curt Siodmak, George Worthing Yates and blacklisted writer Bernard Gordon (Hellcats of the Navy, Day of the Triffids, Krakatoa: East of Java – the authors name, originally listed as Raymond T. Marcus, has been restored in the opening credits of Sony’s latest release of this film) is a mish-mash of original and judiciously absorbed ideas from previous efforts strung together with a little drama and a lot of military hearings and scientific exposition.  The notion of intellectually superior and physically frail extraterrestrials invading the less-advanced Earth dates back to Wells’ 1898 novel The War of the Worlds, while several moments throughout – a General (Morris Ankrum, of course) commenting on the electronic screens protecting the invaders, an examination of some of their optical equipment – are culled from George Pal’s big-budget 1953 adaptation of the same.

A misunderstanding that leads to the death of the alien’s first Earth delegate harkens to Wise’s 1951 classic The Day the Earth Stood Still, as does a mid-picture show of force by the invaders, who cut all manner of Earthly communication in preparation for their final attack.  Then there are the interiors of the saucers themselves, the extraterrestrials’ pontifications of the vast speeds at which they travel, and even the closing lines (“. . . such a nice world.  I’m glad it’s still here.”), all of which are rather reminiscent of Universal’s color spectacle This Island Earth from the previous year.  Derivative as it may be, the film has proven to be quite inspirational as well.  Toho’s Monster Zero follows the same basic plot elements right down to the truck-mounted anti-saucer rays, and Tim Burton’s Mars Attacks! makes too many direct homages to it for me to even begin to list them here.

Earth vs. The Flying Saucers bypasses the standard romantic arc that dominated so many of its predecessors, beginning with a married couple who have gotten that troublesome love-finding out of the way before the film has even begun.  Hugh Marlowe and Joan Taylor make a believable couple and solid enough foundation for the rest of the picture to rest upon, though precious little screen time is given to their relationship.  Most of the running time is devoted to military meetings (disbelieving Generals and all) and that 50s genre perspective of the scientific process, complete with the obligatory cost-cutting stock footage montages and a newsreel-style narration (perhaps It Came From Beneath the Sea‘s William Woodson again, though the IMDB lists his credit as “unconfirmed”).  Fred F. Sears does what he always did best, making the most of the meager finances and drama that was handed to him, and fills the screen with his trademark mis-en-scene, with actors stacked deep into shots and almost menacing shadows cast on the walls of mundane locations.  I’ve always been a fan of Sears’ work, visually if not substantively, but his position as one of Katzman’s most prolific work-horse would shuffle him off the mortal coil just a year later – dead of cerebral hemorrhage at the age of 44.

The film certainly did nothing to hurt Harryhausen’s budding film career, and his carefully animated flying saucers would easily usurp those from The Day the Earth Stood Still and This Island Earth to become the most iconic of the decade.  The aliens themselves, stuffed in clunky rounded suits made of “solidified electricity”, may be anemic, but the saucers in which they fly are alive brimming with menace – he can’t seem to resist giving even these inanimate machines a distinct personality.  The animation is a fine example of the classic Harryhausen style, the saucers delicately weaving back and forth, each motion counterbalanced against another to give the illusion of suspended weight.  It all works amazingly well, and count me as one of those who is amazed, even today, at the actual size of the saucer models.  Imperfections are more obvious now some 20 years since I first saw the picture, imperfect matte lines or jitteriness of elements within the frame, but many of the tricks, like the model of the capitol dome inserted above a photo plate of the rest of the building, are seamless.

I continue to find immense satisfaction in Sony’s Blu-ray Ray Harryhausen Collection, which has given me a much-needed excuse to catch up on four of the films I was raised on.  Like the previously reviewed It Came From Beneath the Sea, Sony has opted to make their Blu-ray of Earth vs. The Flyings Saucers available only as a part of their 4-disc Blu-ray collection.  As with that film, a 2-disc special edition SD DVD with the same supplemental content is individually available and has been linked to at the top of this article.

Like the other two black and white features in the Ray Harryhausen Collection, a Harryhausen-endorsed colorized version of Earth vs. The Flying Saucers has been included along with the original black and white.  While technology has obviously improved since digital colorization was introduced in the 80s, the end product still looks very much like what it is.  Some hues still look bad, and reds are rendered particularly poorly here (an American flag looks dull and pastel, while a briefly glimpsed stop sign is nearly pink).  Skin tones continue to be an issue, with one character (the military man standing next to Morris Ankrum as they gaze out of the control tower at an approaching saucer) is cast in a ghastly yellow.  In spite of the Harryhausen endorsement and the preponderance for discussion of the topic in the commentary, the black and white original is clearly the way to see the film.

Transfer-wise, this is another strong effort.  The 1080p 1.85:1 image presents with tremendous detail and beautiful contrast (see the image of Morris Ankrum’s troubled face), with a healthy layer of grain present throughout.  Damage in the original footage of this popular attraction is limited to speckling here and there, with stock shots varying from pristine to battered – just as they were when the film was released.  Harryhausen’s extensive effects work looks fantastic, only improving with the increased scrutiny the HD transfer allows for.  Audio is presented in another excellent Dolby TrueHD 5.1 surround track, and the recording sounds like it could have been made yesterday (from Columbia’s canned effects library, of course).  A Dolby Digital 2.0 monophonic French dub is available as well.  Subtitling options are extensive on this region-free disc, with additional French, Spanish, Portuguese and Japanese translations available for the supplements.

As with It Came From Beneath the Sea, supplements here are stacked.  The package begins with another fun commentary from Harryhausen, this time joined by fellow effects artists Jeffrey Okun and Ken Ralston.  Aside from the frequent “oohs” and “aahs” over how wonderful the colorization job looks, this is a great track – well worth a listen.  Next up are a series of featurettes totaling around 70 minutes, including a retrospective of the film, a piece dedicated to blacklisted writer Bernard Gordon, and an interview with co-star Joan Taylor, who seems positively delighted that she’ll be remembered for her performances in two of Harryhausen and Schneer’s effects pictures.  The original opening credits for the film, complete with the Raymond T. Marcus credit, are included here for posterity.  We get another Harryhausen inspired comic preview, this time for Flying Saucers vs. The Earth, as well as a collection of trailers and image galleries.  The trailer for this film is, again, strangely omitted, though it is available on other discs in the set.  A little bothersome is The Colorization Process, which plays a bit too much like a late-night infomercial for Legend Film’s services and is entirely skippable.

While probably the weakest of the four films available in the Ray Harryhausen Collection, Earth vs. The Flying Saucers was none-the-less influential and remains a fun, if dated, science fiction programmer.  Harryhausen’s meticulous one-man effects production makes the upgrade to HD a no-brainer, just one more reason to pick up the full collection.  Earth vs. The Flying Saucers comes recommended.

order this film from Amazon.com:
2-disc SD DVD | 4-disc Blu-ray Collection