El hombre del planeta X

One of the five sci-fi's I remember every single detail of from my earliest days as a fan. For the genre, I think it's considerably above average. The moor is nicely atmospheric. There's one of every character in the book: the good guy, the bad guy, the local sheriff, the lovely damsel, her father the old professor, etc. The scene where we're looking for the first time through the window of the ship and the visitor peeks out from the other side is easily as good as the three-fingered-hand-on-the-shoulder in War of the Worlds. Nice "character" to the visitor, for whom, like Karloff's Frankenstein, we end up feeling some empathy .

a diminuative alien arrives on Earth in what looks for all the world like an oversized Christmas tree ornament and terrorizes a sleepy little Scottish town. Ultimately, both he and his spaceship are destroyed just as Planet X whisks by the Earth. This early fifties sci-fi effort was rushed into production to capitalize on Howard Hawks' "The Thing", and looks it. How rushed? Would you believe a six day shooting schedule? Six days; that's all Mid-Century Films could afford with a budget of less than $60,000. Shot on sets leased from the Hal Roach Studios (most were originally used in the film "Joan of Arc") and with less-than-convincing backdrops, this film somehow manages to capture a moody atmosphere that's perfect for the genre. Add to this an eerie score, and you can just overlook the genuinely hilarious alien. Everything about this creature screams "CHEAP!!!", from the obvious duct tape around the mouthpiece to the control valve on his backpack that looks like it was stolen from Alice Kramden's sink. What optical effects there are are nicely rendered by Jack Glass, and most of the performances are okay, especially that of Roy Engel, who plays Constable Tommy with an accent that would make James Doohan envious. Margaret Field plays Enid, Professor Eliot's daughter and the (we guess) love interest for Robert Clarke, the American reporter. We used the modifier "we guess" because there's no chemistry between the two, despite Clarke's repeated - and obvious - advances. A good deal of the dialogue is pretty strained, as well. Example: Prof. Eliot says to the two: "Let us concentrate on this remarkable object" and:"Ssshh! The scale is delicate; it responds to a breath upon it." Does anybody talk like this? Nobody we know. In spite of all this, plus the fact that the terror is somewhat forced and just why the alien's spaceship comes equipped with a hypnotic ray is never explained, believe it or not, "The Man from Planet X" isn't really a bad film, just a cheap one, and Robert Schallert fans can add a star. Try it; believe us, you COULD do worse!

The Man from Planet X, as an early 50's space invader movie, isn't among the best of that type and scarcely lives up to the hype it got at the time. It has most of the familiar elements common to sci-fi invader movies of the day: a strange ship landing from another planet (reminds you of a diving bell); a hostile alien (reminds you of a diver); a kindly old scientist; a devious assistant bent on personal gain; an attractive young lady; a handsome reporter; a headstrong police inspector; the usual enslaved villagers and the troops called in near the end to confront the ship. The atmosphere on the foggy Scottish moors masks the poor set quality. The alien communicates through musical sounds, an idea that was used much later in Close Encounters of the Third Kind. Overall, the movie is murky, uneventful and predictable. Despite its mediocrity, it is important from a historical perspective, as it was among the initial entries to the sci-fi wave to follow.

A shoestring budgetter directed by Edgar Ulmer. One of the first (if not the first) alien invasion films. The little alien, a child-like being with a big, solemn face, is known to Scottish villagers as 'the bogey' and strikes mortal terror into their hearts with his HypnoRay, a laserlike beam which reduces them to easily programmable zomboids. His motives are unclear throughout the film until a hypnoidal Dr. Mears 'spills the beans' near its end. Strong points: eerie atmosphere, production design; moody 'film noir' photography, engaging music score and interesting story. Weak points: muddled script(more plotholes than a Stephen King cemetry); stilted dialogue and wooden acting. Recommended only for diehard 1950s sci-fi fans(like myself)- this film is both a joy and a disappointment.

If this film had come out in the mid-50's, it could be dismissed as another low-budget, silly outer space invasion movie. However this movie appears to have been the first of such space invasion movies. It opened in March of 1951. Later that year came the openings of "The Thing from Another Planet" and "The Day the Earth Stood Still." Two other 1951 films, "When Worlds Collide" and "Superman and the Mole Men" have some space invader elements, but don't quite qualify for the genre.

The fact that it was shot in six days on a budget of $43,000 makes it more amazing. Compare that to "The Thing From Another World" ($1.6 million) or the "The Day The Earth Stood Still" ($1.2 million). While none of the technical aspects come near those two movies, the movie does have an interesting style and look that foreshadows the 1953 classic "Invaders From Mars" and even has elements from "Invasino of the Body Snatchers".

The movie is a little ambiguous about whether we are dealing with unfriendly (a la "The Thing")or friendly aliens (a la "The Day"). It seems a bit schizophrenic here with an alien that can be scary in one scene and downright adorable in another. Not having any prior such movies to really go by, the writers seem unsure in which direction to go.

Robert Clark is fine in the lead as a newspaper reporter. Margaret Field (Sally Field's mother) is good as the female love interest. William Schallert (Uncle Martin or Papo on "The Patty Duke Show) stands out as a surprisingly creepy scientific assistant.

What really carries the film is Edgar Ulmer's energetic direction. Ulmer ("Black Cat" "The Strange Woman" and "Detour")always keeps the viewer on their toes, inserting off-beat and unexpected material in nearly every scene.

It is a must for film history buffs and others will find it engagingly silly.