Blu Ray Review: Edgar Ulmer Sci-Fi Collection
Having written a book-length overview on William Beaudine, I am naturally inclined to appreciate the low-budget B movie filmmakers who managed to achieve some impressive cinema despite limited funds. One of my favorite directors under this category is Edgar G. Ulmer, and Kino Lorber has released three of his sci-fi films in a new blu ray set.
Ulmer might be best known for the 1945 cult classic Detour, or perhaps the classic horror film The Black Cat (1934). A noted filmmaker of poverty row product, Ulmer described himself as “the Frank Capra of PRC” and once told Peter Bogdanovich, "I really am looking for absolution for all the things I had to do for money's sake." Ulmer directed many genuinely interesting B-level melodramas, and often had a discernible noir element as part of his structure. This can even be found in the comparatively few science-fiction films he made in the 50s and 60s as his career was gradually concluding.
The following films are all part of Kino’s collection:
THE MAN FROM PLANET X (1951)
This is perhaps the best film in the set, a compelling noir-like sci-fi in which a mysterious planet is moving toward the earth and will closely pass our planet, resulting in an observational study by scientists. A rocket ship is discovered with an alien from that planet on board. The alien has the power to control the minds of earthlings, but responds positively to the friendly scientists. When a power hungry scientist tries to violently force information from the alien, he responds negatively and kidnaps and controls several people, resulting in the military to take action. The cast, including Robert Clarke, Margaret Field, and William Schallert, respond effectively to the script, while Ulmer bathes the film in fog and darkness to hide the indoor shooting on cheap sets. Made for a paltry $51,000, The Man From Planet X managed to gross over a million dollars, and helped usher in the sci-fi movie popularity of the 1950s, along with The Day The Earth Stood Still and The Thing. While both Billy Curtis and Pat Goldin have been credited as the alien, neither has been confirmed and nobody really knows who played the role. Actress Field (Sally Field’s mother) recalls only that he frequently complained about his low pay (the film’s star, Robert Clarke, was only paid $350 per week).
BEYOND THE TIME BARRIER (1960)
Shot in 1959 and released in 1960, this widescreen low budget sci-fi features an experimental space flight that lands an army captain in a remote citadel in the year 2024. He is among other Americans captured in similar situations over the years 1973 and 1994 after a blast of cosmic rays destroyed earth in 1971. Of course, when watching this movie two years away from the futuristic time it is set, it’s notable that those who made it never imagined the film would be readily accessible on that late date. Lead actor Robert Clarke is also the film’s producer, and it was his decision to hire Edgar G. Ulmer, having been pleased with his work on The Man From Planet X nearly ten years earlier. Darlene Tomkins makes her film debut as a pretty deaf mute who befriends the army Captain. Ulmer’s direction is most impressive with his succession of shots, going from low angle to high, from long to medium, with a distinct rhythm. A well-crafted low budget indie sci-fi, with distribution picked up on American International when the production company went bankrupt.
THE AMAZING TRANSPARENT MAN (1960)
A crazy ex-military major plans to create an army of invisible men from a forces a scientist to perfect a formula he has created by holding his daughter hostage. The ingredients are rare and under government guard, so he enlists the aid of a criminal to help his scheme. James Griffith, who usually played affable sorts in small roles, is quite good as the wacked-out major, while Douglas Kennedy is great as the thuggish criminal who becomes the title character. Ulmer manages to balance the inevitable humorous moments so that they never distract from the narrative or disrupt the rhythm. His use of a hand-held camera for some tracking shots is a neat touch, especially when the invisible thug commits a bank robbery. The special effects are reasonably good, as indicated when the formula begins to wear off during the robbery and the crook’s image starts to reveal itself (just a head, just his hands, etc). Ulmer’s establishing shots, and his ability to make use of some desolate location shots with the widescreen image, are most impressive. The ending's choice to break the fourth wall is inspired.
Each of the films in this set benefit from commentary tracks from various fans and historians, including Edgar G. Ulmer’s daughter. Each film is quick and compact, running breezily from an hour to 75 minutes, with no wasted footage. While the films do not represent the majority of Ulmer’s work, which was in melodrama, these sci-fi efforts are a good example of the director’s approach to unusual material and his ability to create good productions out of a threadbare budgets with his creative skill as a filmmaker.
The blu ray is available here: Ulmer Sci Fi