THE BEAST FROM 20,000 FATHOMS (1953, USA, 80m, PG) ***
Adventure, Fantasy, Horror, Sci-Fi, Thriller
dist. Warner Bros.; pr co. Jack Dietz Productions; d. Eugène Lourié; w. Lou Morheim, Fred Freiberger (based on the story “The Fog Horn” by Ray Bradbury); pr. Jack Dietz; ph. John L. Russell (B&W | 1.37:1); m. David Buttolph; ed. Bernard W. Burton; pd. Eugène Lourié; vfx. Ray Harryhausen.
cast: Paul Hubschmid (Prof. Tom Nesbitt (as Paul Christian)), Paula Raymond (Lee Hunter), Cecil Kellaway (Prof. Thurgood Elson), Kenneth Tobey (Col. Jack Evans), Donald Woods (Capt. Phil Jackson), Lee Van Cleef (Corp. Stone), Steve Brodie (Sgt. Loomis), Ross Elliott (George Ritchie), Jack Pennick (Jacob Bowman), Ray Hyke (Sgt. Willistead), Paula Hill (Miss Ryan (as Mary Hill)), Michael Fox (ER Doctor), Alvin Greenman (First Radar Man), Frank Ferguson (Dr. Morton), King Donovan (Dr. Ingersoll), Roy Engel (Maj. Evans (uncredited)), Merv Griffin (Trailer Commentator / Radio announcer in film (uncredited)), Vera Miles (Trailer Commentator (uncredited)).
The first of the “atomic monster” flicks was a long-time “dream” project of production designer-turned-director Lourie and the first solo effort of effects artist Ray Harryhausen. Researchers detonate a nuclear device near the Arctic circle unwittingly thawing a prehistoric beast frozen for millions of years. The monster heads straight for New York City leaving a trail of destruction. When military activity proves ineffective, scientist Tom Nesbitt (Hubschmid billed as Paul Christian) looks to develop a radioactive formula to neutralize the beast. This tightly edited monster tale was influential on the genre with its echoes seen in the following year’s GODZILLA amongst many others throughout the decade, despite itself being derivative of KING KONG (1933), which had been re-released to theatres the previous year. The script offers little depth, but the lead cast performances are solid, and the effects work is respectable for its age. Russell’s cinematography occasionally gives the film a documentary look, but Lourie’s camera movement is frequently static due to the demands of the effects work. The Coney Island climax is well shot however and generates excitement.
