Quatermass 2

The Quatermass Xperiment had been a major success for Hammer upon its release in 1955, becoming the company's biggest grossing film up to that time. Moving quickly to capitalise, Hammer Film Productions put together the elements for the sequel, Quatermass 2 (AKA Enemy From Space). Val Guest once again directs and co writes with Quatermass creator Nigel Kneale, Brian Donlevy returns as the irrepressible professor Quatermass, James Bernard scores and Anthony Hinds is again on production duties. Joining Donlevy in the cast are John Longden, Sid James, Bryan Forbes, William Franklyn & Vera Day. The plot sees Quatermass investigating meteorites that have been falling at Winnerden Flats. Whilst up in the Winnerden Valley, Quatermass and his colleague, Marsh, discover a huge power plant complex that looks suspiciously like the model Quatermass has been working on as part of a potential colonisation of the Moon. When Marsh is burnt by one of the meteorites, guards appear from nowhere and take him away down in the valley. Just what is going on at this strange plant? Quartermass intends to find out, but Winnerden has many secrets, secrets that could spell doom for mankind.

A sequel that is at least the equal of its predecessor, Quatermass 2 deals in politico paranoia and chilly alien invasion hysteria. Similar to Don Siegel's excellent Invasion Of The Body Snatchers from the previous year, the film doesn't rely on shlonky shocks to make its heart beat. There's much sci-fi discussion and jobs-worth like characters that are easy to follow, but all serve a purpose as Winnerden's secret starts to show its cards. As Quatermass' trail leads to the higher echelons of power, the paranoiac feel of the piece really kicks in, with the mood greatly enhanced by Gerald Gibbs' monochrome photography and Guest's imaginative use of hand held cameras for certain scenes. The effects work is clever and does its job, while the cast work hard to make the effective story work. Tho the film made good money it was overshadowed by the huge success of Hammer's release of The Curse Of Frankenstein the same year, while the film wasn't given much promotional help from Kneale who was very critical of the finished product. With much of his scorn directed towards Donlevy who he always felt was wrong for the role of the intrepid boffin. With that in mind, it's perhaps unsurprising to find the film still today is very divisive among critics and sci-fi fans alike. So you take your chance then. Personally I think it's one of the best sci-fi movies to have come out of Britian. As was the first film, and as was Quatermass And The Pit from 1967. Pretty great trilogy actually. 8/10

This was one of the first of its kind; a subtlety scary vision of a secret alien takeover. X-FILES may owe a debt to this low-budget, but nevertheless effective film of the powers-that-be who are conspiring with the invaders, and one lone, determined scientist who accidentally uncovers the sinister plot.

QUATERMASS II (U.S. title: ENEMY FROM SPACE) was produced before INVASION OF THE BODY SNATCHERS, the film it is often compared to, due to their thematic similarities (loss of identity, social oppression, dangers of conformity, and blind allegiance to a greatly questionable, authoritarian power). However, it was released in the U.S. shortly after BODY SNATCHERS, probably making it look like a copycat to some.

Superb writer Nigel Kneale (excellent script, highly original for its time, derived from the earlier BBC serial) was known to strongly despise Brian Donleavy's gruff performance as the lead character. Kneale did not like the fact that Donleavy presented the character as a cold, methodical misanthrope who treats his colleagues like expendable underlings. He will probably want to boil me in oil for saying this, but I felt that presenting the lead character as morally ambivalent and ethically questionable jettisoned the standard 50's scientist/hero sterotype (for once he is not nice and charming). It also added a further degree of tension to the well-plotted story. In many ways, his alienated character is somewhat alien; perhaps that's the only true way to resist social pressures and conditioning. The allegory here is strong.

As the story opens, Quatermass is driving one night on a remote country road. He is furious that the stodgy Whitehall bureaucrats rejected his funding request for a proposed moon colonization project. A speeding car nearly hits him head-on as it runs off the road. The shaken passengers are a frightened woman and her boyfriend, who is in a crazed state, and has a strange black mark on his face.

Quatermass returns to his isolated lab, where radar reveals to his assistants that many small meteor particles (at least that's what they assume they are) have descended over a rural village known as Wynerton Flats.

Going out there with his colleague, Marsh, they first discover his moon project, fully constructed, and some small, mysterious rocks. As Marsh examines one, it emits an eerie gas and pops in his face, leaving the weird black mark. Strange soldiers arrive, behaving like aloof zombies, abduct Marsh, strong-arm Quatermass in the typical fascist tradition, and order him to leave. (There may be one flaw here: Why didn't the "soldiers" either abduct or kill Quatermass, instead of letting him go, so he can inform?)

Naturally the authorities all have tight lips about the secret activities at Wynerton Flats, but Quatermass manages to convince a few officials to go out there with him. A government aid (with that strange black mark on his wrist) conducts a formal tour of the plant, where everything seems to be normal. Not so. The small group is indoctrinated by the zombies (who resemble Nazis), but Quatermass manages to escape.

(This scene truly exposes Donleavy's ruthless side: He and a woman are taken into a large dome, but Quatermass flees, leaving the woman behind, without any concern for her fate. Hell, he doesn't even abide by the old fifties hero tradition by risking his life to save the distressed damsel. In many ways Quatermass was an ahead-of-his-time anti-hero. I always felt that this added a disquieting strength to the drama and the severity of the dire situation, but I guess that Kneale will still vehemently disagree).

I'll stop here, but don't worry, the worse is still to come. The sense of growing unease and mounting terror (strong qualities of your finer British Science Fiction at that time) escalates. Be patient, for it does carefully build into a total state of alarm, as Quatermass and the local angered citizens challenge the invaders (who have taken over most of the government and military officials) to a brutal showdown. There is something highly menacing in those domes.

This impressive film is true Science Fiction at its best. It thrills without pandering and is thoughtful to the point of disturbing. You can't trust anyone. Its social and political implications are definitely troubling. This is not for your Lucas and Spielberg crowd, for we're not talking about commercial catering to eight-year-olds. Val Guest directs in a cold, cynical Kubrickian manner, accentuating the high degree of paranoia, and the picture's black & white photography conveys a bleak, creepy mood. (Sorry, no pretty pictures here). The intriguing story takes on true nightmarish proportions.

The few effects won't win any CGI awards (don't forget, computers weren't around then) but the briefly glimpsed monster (in the gothic Lovecraft tradition) is quite sickening. After all, it can manipulate man's dirty politics, you can't get more reprehensible than that.

From the late sixties to the late eighties this film was unavailable to the public, and it was feared to be permanently lost, but it later was released on video and shown occasionally on the Science Fiction Channel. Many notable Science Fiction and Horror authors (I believe that Harlan Ellison and Stephen King were among them) have championed this small, but remarkable early Hammer production. This is the film that many others have "borrowed from." Just a polite way of saying RIPPED-OFF!

For those seeking an intelligent challenge, check it out.

I first saw this film once when I was about five or six years old on TV. Because the film had location shooting at an oil refinery, for years I was always reminded of this film when ever I drove past one, wondering if something sinister was going on inside those tanks. However, soon after I first saw this film, QUATERMASS 2 (or ENEMY FROM SPACE-as it was called here in the USA), was pulled from distribution for various legal reasons, and this film was for years impossible to view. Then the film was released from its legal limbo in the mid eighties and I purchased a video copy as soon as it came out.

Unlike so many hard to view films that have been promoted as "a long lost classic", that often turn out not to live up to their reputations when finally viewed again*, QUATERMASS 2 truly deserves its reputation as a rediscovered lost classic. It is one of the best British science fictions films from the fifties.

The films acting and direction are uniformly good. The black and white photography is excellent and the film has an excellent musical score (although sometimes the music is a bit too loud.) The scene where the giant aliens burst from the domes is one of my favorite scenes in a fantastic film. Its like something out of a nightmare: the dome begins to crack, like a giant egg, and emerging from is not a cute little chick, but a hideous malignancy. The gloomy dark gray lighting enhance this scene. However, the aliens that emerge, while gross and repulsive looking when viewed for the first time, begin to look a tad bit silly after repeated viewings.

Perhaps one of the most interesting thing about this film when viewed today, is the films story has many similarities to the "Area 51" mythology. In the film there is government owned plant where everything is top secret, it gets unlimited tax payer funding, but no one in the government dare asks whats going on. This sounds lot like what we are told about the so-called "Area 51." I'm surprised " psycho/social reductionists" like Curtis "Watch The Skies" Peebles overlooked this film. Then again, maybe we are lucky they have.

QUATERMASS 2 is an excellent fifties science fiction that should be more widely shown. Like the other films in the famous "Quatermass" series, its literate, suspenseful and thrilling.

*Sometimes the films promoted as "long lost classics" aren't even lost!

The second of the Quatermass films (the first was THE QUATERMASS XPERIMENT, the "X" used to emphasise the adult X-rating the film received on its initial release) was allowed a slightly larger budget and benefited enormously from Nigel Kneale's participation in the screenplay. In this film, at least Brian Donlevy behaves a little more like Quatermass ought to, though I still don't think he was right for the part.

For my money, Quatermass should be a pipe-smoking English boffin with leather patches sewn on the elbows of his jacket. The original character was conceived as a kind of Barnes Wallis type, as portrayed by Michael Redgrave in THE DAM BUSTERS.

The movie is set in a post-war Britain that was a little panicked by the idea of nuclear weapons and even more unsettled by the knowledge that our former allies, The Soviets, had the same weapons and they were pointed at us. This was the climate that gave us Orwell's 1984 and Don Siegel's INVASION OF THE BODY SNATCHERS. Paranoia was out to get us ...

This same atmosphere lasted well into the 1960s and can also be glimpsed in TV shows like THE AVENGERS. This was the era I grew up in, so I speak from personal experience :-)

This movie is one of Hammer's better offerings of the period. Released the same year as CURSE OF FRANKENSTEIN, it more than holds its own against the other, better-known Hammer colour offerings. Indeed, it benefits from its monochrome photography, which brilliantly communicates the austerity of the years immediately following WWII.

Thoroughly recommended, this film will appeal to anyone who can get beyond the admittedly primitive 1950s special effects to be rewarded by the rich and clever story that lies beneath the slightly dodgy veneer ...

Thanks to a good friend I'm currently undergoing what sci-fi fans refer to as "the Quatermass-experience". That simply means watching the three QUATERMASS-movies in a short time period. The first one felt like a true sci-fi classic, but I honestly couldn't really tell, because I haven't seen enough of those black & white sci-fi flicks to compare it too. But I'm working on that.

After having seen QUATERMASS 2, I'm starting to get convinced that those movies really are a stellar trilogy (even though the individual stories aren't actually related). This second installment was the first British movie ever to feature a number "2" in its title, to indicate that it's a sequel. The movie itself shows a lot of similarities with the original INVASION OF THE BODY SNATCHERS (an alien organism invading earth, loss of human identity, a common higher consciousness, a global threat at hand...). But since they were produced around the same time none of the movies can be accused of stealing from each other.

Writer Nigel Kneale presents us a solid, coherent story undermined with plausible scientific facts. To put it rather simply: an organism not of this earth infects humans and even infiltrates the highest ranks of the British government. The story moves at a decent pace and never gets boring. Val Guest's directing is as good as it gets for a movie from the 50's. He clearly knew what he was doing on the set. Some minor continuity problems can be encountered (some night shots feature a few glimpses of daylight) and at least one scene seemed a bit artificially staged for convenience's sake (the one where Broadhead and Quatermass get their passes from the ministry-chap). But all that really isn't anything to complain about.

I sort of liked Brian Donlevy as Quatermass. He really feels like the prototype of an anti-hero. He's often a bit rude and really persistent. Especially that last characteristic made his character more believable. The rest of the acting was also decent, though all of the supporting roles were too small to be memorable. And I so much liked the fact that there wasn't an obligatory love-interest in the plot for Mr. Quatermass. That simply would not have worked.

There were a few details I really liked, like when Quatermass arrives in that little town in the area of Winterton Flats (or was it Willingdon Flats?). All the inhabitants work for the alien-infested factory and they have posters on the wall with slogans like "Remember: Secrets mean sealed lips" and "Talk about your job. Lose it". Another cool thing about the story was that it was actually Quatermass who designed the factory facility with the domes, which was originally to be a moon-colonization project. Only, the government stole his design and build it here on earth, for the alien organism to adapt itself. The factory was an excellent location and felt real. So were the few special effects (mainly miniatures of the domes). The 'rocket-lift-off' shots and effects looked rather silly though. I'm glad this movie was in black & white, that way, when we finally see the alien organism in all its giant glory, it looked a bit more terrifying.

So if you're curious about the history of sci-fi movies, than you just can not miss this one. Now I'm really looking forward to see QUATERMASS AND THE PIT.