El vampiro atómico

This has a very impressive opening hook that I can remember from childhood . A sentry stands guard at an American air force base in Canada where he hears strange noises followed by a man's screams . He leaves his post to go running in to the woods and finds a man's body and the expression on the body's face says that he's died a terrible and unnatural death

From the outset FIEND WITHOUT A FACE bludgeons the audience in to letting it know that the setting for this film is Canada . There's absolutely no geographical reason for this because being a British film it could easily be set in an American air force base in the UK but since all the locals are either very dumb or very cowardly that would be unpatriotic . In many ways this film is similar to the later British film FIRST MAN INTO SPACE which also starred Marshall Thompson and disguised itself as an American movie . The major difference is that FIEND is enjoyable nonsense whilst FIRST MAN is banal nonsense

The narrative itself is very silly and much of the premise is ripped off from the classic FORBIDDEN PLANET . Like so many films from the era radiation gets blamed for everything . But where as films like THEM has an internal logic as to giant ants stalking the countryside here it fails to make any sense . The fiends themselves are brought to life via telekinses and radiation from a nearby nuclear power plant but surely the fiends would need access to the radiation ? Unless there's been a leak at the power plant ala Chernobyl how on earth can they get radiation ? Clumsy thinking on the part of the screenwriter

What stops this ruining the film is the director Arthur Crabtree . He's a director who started off as a cinematographer and the way the movie is lit is very impressive . Notice the right amount of lighting and shadow in key scenes . There is some obvious day for night filming but this isn't enough to ruin the audiences enjoyment and the scene where the two hunters split up only to go missing is very effective . Despite ripping off an aspect of FORBIDDEN PLANET the attacks by the invisible fiends do have a genuine impact to them . When they are finally revealed you might them somewhat laughable and obviously created via stop frame animation but you'd need a heart of stone not to be caught up in all the fun

And FIEND WITHOUT A FACE is a lot of fun . Okay no one is claiming it's a great movie but as far as science fiction B movies go this is a film I enjoyed very much watching one Friday night many years ago . It's also one of these movies Hollywood is rumoured to be remaking every few years but to be honest it's fine as it is

Fiend has everything that a 50's Sci-Fi movie should have; a really square hero that saves the day, a beautiful female lead that falls for him, atomic power misused, and an invisible monster that sucks the brains out of its victums.

It is the stop motion animation at the end when the monster(s) become visible that really makes this film work. Without the animation by Peter Neilson and Ruppell this would be just another 50's atomic caution tale.

A US military installation has been set up in Canada for some special tests and experiments of an atomic nature. People begin to die from the surrounding countryside by having their brains and spinal chords sucked out by what lead actor Marshall Thompson calls "mental vampires." Thompson, quickly flirting with the sister of one of the dead men, does his usual adequate job playing detective trying to prove that the new base is not responsible for the deaths. It seems that someone or something is siphoning atomic power. Without ruining the who behind the what, Fiend Without a face is a pleasant, interesting excursion into 50's sci-fi. The fiends turn out to be brains that pulse and scrape the ground with long spinal chords attached. This film has a low budget but manages to scare up a few thrills. The acting is mediocre at best. The fiend creation are somewhat novel. Although much of the film is lacking in suspense, the finale is a good payback.

Okay, so the first hour of this 74-minute non-epic is padded to

the gills with seemingly silly dialogue, off-kilter acting, and

budgetless set design. I would argue that there is more than

meets the eye in the film's script, though, to the degree that it is a

surprisingly intelligent, supernatural take the atomic age. A highly

enjoyable hour which provides more than mere camp appeal. But - wow - that last 15 minutes! You can see everything from

THE TINGLER, to NIGHT OF THE LIVING DEAD, to ERASERHEAD,

to EVIL DEAD being born in the film's glorious finale! After being

blown away by the film's (beautifully animated and frankly

disturbing) ending, I watched the film again, and admired how the

the seemingly thin first hour actually builds quite ingeniously to the

climax. I was also impressed with the tasteful application of gore

at the end (which could be generically attributed to the film's British

sensibility), giving it both a shocking and alluring quality. The more I think about this supposed schlocky B-film, the more

I appreciate it. Sometimes mainstream critics such as Mr. Maltin

miss the boat, and this is precisely one of those times.

A fringe scientist involved with mind over matter experiments unwittingly unleashes a horde of horrible, invisible, brain-sucking

whatchamacallits in this 1958 thriller that isn't nearly as bad as it sounds. Although Canadian sci-fi films are usually an oxymoron, this one is at least entertaining, even though it makes use of the standard fifties cause celebre: atomic radiation. As a payoff for the audience, we finally get to see the "fiends" when the power from the conveniently nearby nuclear reactor is cranked up to reveal them as. . .brains. With brain stems. And antennae. And some surprisingly good stop-motion animation. Marshall Thompson, that staple of fifties B movies, does yeoman duty in this film by not only starring in it, but actually taking over the reins of director when the "real" director Arthur Crabtree showed up on Day 1 and refused to direct! It seems that Crabtree angrily told the producers "I don't do monster movies" and walked off the set, whereupon Thompson, to his credit, stepped up to the plate. Crabtree came back, a few days later, and the rest, as they say, is history.

All in all, "Fiend without a Face" may not be in the same league as, say, "The Beast from 20,000 Fathoms", but it's not really all that bad, either. Make a big bowl of popcorn, or get some decent pizza, and enjoy.