Who Wins When Earth vs. The Flying Saucers (1956)?
Dig Those Rock and Roll Records as a Giveaway!
Aliens arrive this time not to make nice or
promote peace, but to knock over Washington
landmarks and colonize Earth. Can Hugh Marlowe stop them? A best reason to
watch is Ray Harryhausen'ssaucer models; they do all but dance in mid-air
combat with our puny defenses. I wondered to the end how we'd defeat this
force, and was frankly not assured we had, judging by crude and
truck-transported rays aimed willy-nilly at better-equipped invaders. Kids were
right to be shook up by sci-fi, as overcoming of Martians seemed more dumb luck
on our part than superior planning/intellect. Are there fewer claimed saucer sightings
now than in the 50's, or do we just hear less about them? These aliens might
better have stayed aboard ship, as it's a letdown seeing them emerge in
outfits more evocative of Columbia
serials from the 40's. Still, it's Harryhausen's show, and there's plethora of
his stuff, not just doled out highlights as in other and cheaper sci-fi's he
worked on. Did big success of It Came From Beneath The Seaput more budget
at RH disposal? Earth vs. The Flying Saucers certainly got trade support, ads
being varied and plentiful. Domestic rentals would equal It Came From Beneath
The Sea with $1.1 million, Earth's invasion being among most lucrative of
budget sci-fi's from a latter half of the 50's.
Saw this at one of our drive-ins when I was five or six the night before we were leaving for D.C. to visit a less-than-impressive aunt and uncle. Needless to say, was terrified and didn't want to go as long as the saucers were still there, even though a week at my aunt and uncle's could wreck move havoc than the space invaders.
It may have had a better budget than its predecessor for Harryhausen, but I remember reading that he had to animate the disaster scenes (e.g., the Washington Monument crumbling) because they wouldn't pay for a stop-motion camera to shoot models crumbling in slo-mo.
Ray recalled having to painstakingly animate each brick and bit of debris in the scene where the saucer hit the monument. I read somewhere that Sam Katzman wanted Harryhausen to do the FX for "The Giant Claw," but apparently his price had gone up (or he had already hooked up with Charlie Schneer), so Sam settled for the cheap, ludicrous puppet that was the film's monster.
3 Comments:
Saw this at one of our drive-ins when I was five or six the night before we were leaving for D.C. to visit a less-than-impressive aunt and uncle. Needless to say, was terrified and didn't want to go as long as the saucers were still there, even though a week at my aunt and uncle's could wreck move havoc than the space invaders.
It may have had a better budget than its predecessor for Harryhausen, but I remember reading that he had to animate the disaster scenes (e.g., the Washington Monument crumbling) because they wouldn't pay for a stop-motion camera to shoot models crumbling in slo-mo.
Ray recalled having to painstakingly animate each brick and bit of debris in the scene where the saucer hit the monument.
I read somewhere that Sam Katzman wanted Harryhausen to do the FX for "The Giant Claw," but apparently his price had gone up (or he had already hooked up with Charlie Schneer), so Sam settled for the cheap, ludicrous puppet that was the film's monster.
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