The Earth Dies Screaming

I watched this movie late on cable and enjoyed every minute. It had all the ingredients of a classic B Movie. Aliens,Zombies,Quaint english village,Survivors of an environmental disaster,Hapless females,and dodgy acting. You have to love the old B Movies to really enjoy this film.

A low-budget film directed efficiently by British horror master Terence Fisher. The cheesy special effects and the poor aliens design don't ruin in any moment this very attractive science-fiction movie. Although the first part of the film is higher up of its last thirty minutes, the movie keeps the interest until the ending. Atmospherical shots, a conventional plot line ( a group of survivors of an environment disaster fight for their lives against an alien invasion )supported by a convincing script and fine actors direction. Not so fine as other science-fiction titles by Fisher himself as " The night of the big heat " or "Island of terror "it contains some splendid, very creative moments like the astoundin gopening credits where we assist to a chain of strange and apparently disconnected accidents ( including a train derailment ): a lesson of cinematographic economy and atmospheric invention worthy of this subversive and very talented director .

A warm-up by director Fisher for his "Island of Terror"(66) and "Night of the Big Heat"(67), this is a template for alien invasion pictures: there's a small group of survivors (in rural England) and marauding invaders, here in the form of slow-moving robots. Since the invaders never do move beyond a slow walk, they never seem to pose a serious threat unless you happen to run right up to them (which one of the characters does indeed do). Then they zap you with a touch of their cold hand and you eventually turn into a controlled zombie. It sounds a bit silly, but the film manages to convey an eeriness to the whole setting. Maybe because it's in black & white, it also reminded me a bit of "Night of the Living Dead"(68). The sense of isolation and the threat are very similar.

What sets this above other sci-fi films of the fifties & sixties is the lack of clunky, melodramatic dialog. The intent by the filmmakers and actors is that this is really happening. The survivors are an average group of citizens, caught in a traumatic situation. None of them are prepared or trained for something like this. There's always that one troublemaker in the group, of course, brandishing a revolver and behaving like an ass. But the story needs that extra tension to make it more interesting. It's low budget, but they didn't really need a lot of money to show empty streets or just several bodies littering the landscape. This one, though, really begs to be remade with a decent budget, as a full throttle invasion story. A similar Americanized version was the earlier "Target Earth"(1954).

Damn, you simply have got to love these glorious paranoiac Sci-Fi/horror productions of the 60's. Not only because they have the most appealing sounding titles in cinema, but also because they don't ever waste a single moment of playtime and come straight to the confronting point. "The Earth Dies Screaming" opens with a frightening series of disastrous accidents, like a train crash, multiple car crashes, a plane crash and ordinary people dropping dead in the streets. I know we have seen this before in other movies (like "Day of the Triffids" or "Village of the Damned"), but it remains thrilling to observe. Hundreds, thousands, millions of casualties and not a single word of dialog has even been spoken yet! I realize it's an often abused expression but … they really don't make movies like these anymore nowadays! On with the story, a small group of survivors painfully come to realize alien robots targeted the entire earth's population for extermination, and nearly succeeded as well. The menace of prowling aliens is constant and needless to say the stressful situation also causes conflicts and hatred between the few remaining survivors. The concept loses quite a bit of its fantastic impact once the enemy has been identified and declared invincible, but the escalating interactions between the protagonists sustain the tension more than enough to keep you close to the screen. The always-reliable director Terence Fisher adds even more flair to an already astonishing film and never once loses his grip on the subject matter. "The Earth Dies Screaming" isn't the most startling Sci-Fi slash Horror highlight of that period, but it's undoubtedly a masterful achievement and one of the films that helped to define a cinematic era.

The Earth Dies Screaming starts as something of a misnomer: budget limitations mean we only see the disaster's main effects within a very localised area of Northern England. As for the screaming, there's no human sound heard until 8 minutes into the film. Like many of the small cycle of English invasion films made at this time, Fisher's is small scale, almost domestic in setting, implying a catastrophe at a personal level just as much as on a national one. In contrast to those produced in America, English invasion movies were often less grandiose and paranoid, relying more on alien intrusions into more realistic, even humdrum worlds, places where the ordinary is ever present. Like the cult Devil Girl from Mars (1954) substantial scenes of TEDS take place in the comforting atmosphere of a pub or nearby where, it seems, British folk naturally congregate for comfort and safety: think of Shaun of the Dead's last refuge Director Fisher is most known for the series of Gothic horrors which have most occupied critical attention. His SF work has been readily dismissed as a genre in which he had little interest. TEDS was the first of a trilogy for the appositely named Planet Productions company, the others being Night of the Big Heat (1966) and Island of Terror (1967). All three feature alien invasion and a small group of people trying to fend off the intruders. Negative responses to these works perhaps stem from the fact that, often, the people are more interesting than the monsters and junk science on display, and the films lack the vibrancy of his horror work.

At the heart of TEDS are three relationships: that between Quinn Taggart (a splendidly caddish Dennis Price) and Peggy (Virgina Field); the often drunk Otis (Thorley Walters) and his party friend Violet (Vanda Godsell), as well as the young couple Mel (David Spenser) with the pregnant Lorna (Anna Palk). Independent of this group is Jeff Nolan, played by the film's sole American actor. Producer Lippert had a successful formula of adding transatlantic appeal to films by stocking them with token imported talent. Here Willard Packer fits the bill. Packer is the man taking charge of events, organising the survivors, and figuring it out – right down to where the alien's transmitter can be found. He can be seen, in his mild way, as a typical 'Quatermass' figure: a technically competent individual taking charge to protect British society from intrusion. While no pure scientist, Nolan still has enough know-how to quickly grasp what has happened, how the invasion can be thwarted and to take decisive action. By the end of the film, he wins the right to a relationship of his own.

Critics such as Peter Hutchings in 'We're All Martians Now' (British Science Fiction Cinema (Routledge, 1999)) have identified such influential figures as typically being a 'boffin-like protector of a society which seems incapable of protecting itself'. At the same time, through the imported novelty of his presence, Nolan is a reminder of British insularity. At time many of these films appeared British society was still relatively isolated, but under pressure from new pressures and changes, both international and local. Only the cynical Taggart has a competing world-view in the film that's as strong as Nolan's. For Taggart the new global conflict is over. Worse, "whoever did it has won… its every man for himself" - fatalistic sentiments in stark contrast to the famous spirit of the blitz, striking to many of those watching then. The punishment for his criminality and selfishness will be the loss of his tenuous relationship with Peggy and, ultimately his humanity, part of the alien zombie army.

The biggest social change in Fisher's film is obvious – a successful first strike against British society, together with silver-clad aliens walking the streets, zombie workforce in support. Blank-eyed and as slow-moving as their masters, these zombies are among the most effective elements in the film. They must have been rather a novelty to contemporary audiences. I can't, off-hand, think of an earlier representation of the creatures in British cinema before this (Hammer's Plague of the Zombies appeared two years later, but even so is set in the past). They provide one of the highlights of the film – a scene when Peggy is pursued, then trapped breathlessly in a bedroom closet, when Fisher makes use of a very dramatic close up to add terror.

In contrast to the unsuccessful efforts of the un-dead to find a female, Nolan succeeds in gradually establishing a relationship and, one presumes, goes on to a successful romance. His success against the invader acts as a catalyst. By the end of the film he is entitled to reintegrate back in society. There's a parallel to be found between the zombie's painfully slow pursuit search and unnerving, soulless staring at the closet in which Peggy hides to another scene where Nolan had looked on, affectionately, as she pottered over small things in the pub's kitchen. The difference between humanity and the alien, the film suggests, is that the former can bring value and sentiment to what it sees and so, once again, the British invasion variant gravitates naturally to the domestic.

TEDS is further helped by a very effective score by Elizabeth Lutyens, as well as some crisp, atmospheric cinematography by Arthur Lavis, especially effective when shooting on village location. These are elements that help to make it my favourite out of Fisher's small group of SF movies, a feeling which even the over-acting of Walters can't dissipate. It 's also blessed with a dramatic pre-title sequence - a world wrecked by sudden accident, recalling the night before Day of the Triffids, as well as an eerie sense of a familiar landscape made empty, a horror-fantasy tradition which persists right down to such British films as 28 Days Later. Fisher's film may be short, cheap, and with a disappointingly flat denouement, but its modest pleasures easily invite revival.