La bestia de la montaña

OK. So it wasn't Jurassic park. It was a Western with some great graphics and a wonderful T. Rex eating up some cattle and cowboys in Mexico. Hats off to fellow Bakersfieldean, Guy Madison, on the downside of his career in the gloaming of the Hickock days. And, don't forget that Pattie Medina was always worth the price of admission. Story? Yep. Monster emerges from mountain, eats cattle, vaqueros and cowboy kicks its tail. The action was great and fun. And, like I said before, Patricia Medina was lovely. Check it out.

When it came to dinosaur special effects in the 1950s, absolutely no one came close to Ray Harryhausen, and The Beast From 20,000 Fathoms still reigns as the classic of that time. Others who dared try and compete were lucky to come in a distant second, but that didn't mean there wasn't a fun quality to their films. The Beast From Hollow Mountain is one of those minor league yet highly enjoyable attempts to combine the two favorite elements of 12 to 15 year old boys when we went to the movies back in the mid-fifties: cowboys and dinosaurs. We knew Guy Madison well from his long run Wild Bill Hickock TV series, which had precious little to do with the real life of that historic character but was plenty of fun all the same. Here, he's a range rider who discovers that his cattle are disappearing. Could it be outlaws? No, the title creature, who attacks Madison, a cute little Mexican kid, the gorgeous Patricia Medina, and a whole host of vaqueros. There is (as was the case back then) precious little dinosaur footage, for the way they kept costs down back then was to 'tease' you with distant growls, but avoid showing you the real thing for as long as possible. After about an hour of this, you got maybe fifteen minutes of actual footage with the creature (who has the weirdest, wildest tongue of any dinosaur in movie history) chasing after Guy and friends with the swiftness of a professional track star. And it's a good thing they keep him offscreen, because he's at best semi-convincing when you do see him. That doesn't make this brightly colored film and less fun to watch. And the way in which Madison gets the thing at the end is a real lulu.

I saw The Beast of Hollow Mountain in the theatre when I was nine. I slept under my bed for weeks. I just knew that T. Rex was going to walk up to 504 5th Avenue West and look in my second storey window and consider me a tender morsel. The world has changed considerably since this movie was in theatres. While it was just as primitive as described by the other reviewers here, this little boy had the be-Jesus scared out of him. I call that good film-making.

Back in the 1950s, the big family weekend outing would be the drive-in movies. "It came from beneath the Sea", "The Alligator People", "Earth vs the Flyimg Saucers", "1984", "The Dam Busters", "The Four Skulls of Jonathan Drake", "Love Slaves of the Amazons", etc. and (when I was 8 or 9) "The Beast from Hollow Mountain". I finally caught it again on DVR on TCM Thur 27 Jun 2013. For what is billed as the first Cinemascope and Color dinosaur movie, "Beast" has rough goodness.

And it is better than I remember. Surprised me. The dinosaur effects are some what better than "Dinosaurus!" 1960 (apparently the reviewers panning the FX have not seen "Dinosaurus!"), but it is not as good as what Willis O'Brien and Ray Harryhausen did together in Irwin Allen's "Animal World" 1956. I think the "Beast..." FX were billed as RegiScope animation in depth.

I have read that Willis O'Brien's "cowboys and dinosaurs" idea had been kicking around since before his "Mighty Joe Young" another movie where O'Brien and Harryhausen worked together. And after O'Brien's death, Harryhausen decided to make his mentor's unmade pet project as "The Valley of Gwangi".

The dinosaur in "Beast..." appears late and the conflict between the gringo rancher Ryan from Texas and the Mexican rancher Enrique, and the growing romance between Ryan and Sarita, Enrique's betrothed, occupies the first two thirds or three fourths of the movie. Mysterious deaths of cattle are attributed to rustlers and the ranchers' rivalry. But after the steer-chomping Beast makes his appearance, he has lotsa screen time in the last part of the film. (OK, I concede the tongue gets to be a bit much in some scenes. Looks to me like the tongue was rotoscoped onto the sequences shot with replacement animation.)

What has stayed with me from seeing this film over fifty years ago, is the scene where Sarita and the kid Panchito are besieged in a cabin by the Beast. That was scary then, and is still is a moment (or that may be my nostalgia acting up again).

"The Beast of Hollow Mountain" would likely have more appeal for any viewer who first saw it at a young and impressionable age. If you're seeing it for the first time as an adult, like this viewer, you may well still find it to be fairly charming, an interesting combination of the monster movie and Western genres. The beast of the title, a dinosaur, doesn't show up until 3/4 of the way into the movie, and until then we get a likable enough human drama with a touch of mystery and mysticism: just WHO, or WHAT, is responsible for the disappearances of cattle in Mexico?

One of those eager to find out is American rancher Jimmy Ryan (amiable Guy Madison, often to be seen with a smile on his face). In the meantime, Jimmy finds employment for local drunk Pancho (Pascual Garcia Pena) and loves the sweet Sarita (lovely Patricia Medina), although she's agreed to marry another man, Enrique Rios (Eduardo Noriega), a rival of Jimmy's in more way than one, and a constant thorn in his side.

Co-director Edward Nassour does the decent stop motion animation in this reasonably entertaining little diversion; the concept originated with the legendary stop motion specialist Willis O'Brien of "King Kong" fame. The colourful CinemaScope photography is quite gorgeous, giving us an eyeful of all of the flavour of the Mexican locations; there's a lot to take in. The script by Robert Hill is dialogue heavy so less patient viewers may fidget a little while waiting for the dinosaur to show up. But things do get pretty exciting once it does.

Madison and Medina are highly engaging leads, and the supporting cast features some fine performers. Julio Villarreal has a solid presence as friendly old Don Pedro, but Noriega captures the lions' share of the attention playing a man who turns out to be a real piece of work. The audience will be primed and ready to see this human antagonist get his comeuppance.

This Mexican-American production is fun stuff - nothing great, but very easy to take while it lasts and it doesn't overstay its welcome at a running time of 80 minutes.

Seven out of 10.