El gigante de otro mundo

I have always more or less considered Ruchard Cunha's films as lousy horror films; well, maybe I was a bit tough with him. Now I watch this film again, of course that's not Jack Arnold nor Nathan Juran at their peak in that sci-fi domain, but it remains worth watching. It is fun and totally in the fifties fashion concerning the science fiction genre. It evokes here the Indians and their legends and of course the damages that the White civilization made to the Natives culture. I am surprised that there were not more movies about this scheme. There were actually, and better than this one. MANITOU for instance.

A series of animal deaths and other disasters hits a rural town. When humans start dying, a local, bewigged, stock native known, not-so-lovingly, as "Injun Joe" speaks of omens and portents. The townsfolk are... unimpressed. The sheriff is flummoxed by it all.

When archaeologist, Dr. Frederick Cleveland (the ubiquitous Morris Ankrum) and his daughter, Janet (Sally Fraser) come to town, they draw the sheriff's suspicion. Especially, since they happen to know a loner, named Wayne Brooks (Ed Kemmer).

Cleveland just happens to be searching for evidence of an ancient, sadistic, towering conquistador known as Vargas, The Devil Giant.

Coincidence? Hmmm.

Cheeeze-tacular, pseudo-scientific claptrap sets up the idea that the old behemoth could possibly have been reanimated. While Cleveland and Brooks search for artifacts, Janet makes lunch, brews coffee, and cleans up the camp!

Aaaah, the 1950's!

After what feels like a century, Vargas finally makes his appearance, but nothing much takes place. The obligatory romance blooms between Janet and Brooks. More locals are eliminated. Will the sheriff ever believe the truth? Will Janet ever brew the perfect pot of coffee? Will "Injun Joe" ever get a better hairpiece?

Cheddar doesn't get much chunkier than GIANT FROM THE UNKNOWN! Highly entertaining hooey!

P.S.- Janet also makes sandwiches...

RATING: *1/2 out of ****

Director Cunha's first of four drive-in "horror classics" is merely typical, and not a big deal. It's about a trio of expeditionists unearthing an infamous 6' 6" Spanish Conquistador who promptly picks up his axe and stalks around the woods for a while.

Ed Kemmer makes a likeable leading man, and Sally Fraser is the standard helpless heroine. Morris Ankrum seems hesitant to deliver his lines, and the film is sprinkled with enough silly acting to make it endurable for a single viewing.

The film falls short with the title character; a helmeted tall man with dirt and mud on his face just doesn't terrify me. It's one of the last makeups done by genius artist Jack Pierce (famous for his timeless Wolf Man and Frankenstein designs for Universal), and not one of his best efforts. The giant does little during the time he's onscreen, and is disappointing.

The best film director Cunha made in the genre - and required viewing for any fifties monster fan - is FRANKENSTEIN'S DAUGHTER.

Way way back in my childhood years (well okay, maybe not THAT far back!) I remember seeing this movie many times on the late late show. I was attracted to this film originally because I had previously seen THE AMAZING COLOSSAL MAN and ATTACK OF THE FIFTY FOOT WOMAN and I expected something more. When I say the giant of the title was just a little bit taller than the rest of the cast I was disappointed at first but the spell of this movie quickly won me over. I mean, how can you not like a movie that has former B western star Bob Steele as the no-nonsense sheriff of a small mountain town?

Ed Kemmer (EARTH VS THE SPIDER), Morris Ankrum (INVADERS FROM MARS among many others) and Sally Fraser (WAR OF THE COLOSSAL BEAST) are searching a mountain area with the foreboding name of Devil's Crag in the hopes of finding proof that a legendary renegade Conquistador named Vargas really did exist ("A man of unusual size and strength . . .a depraved degenerate of a man."). To their amazement they discover that he still does exist after some 400 years. Preserved by chemicals in the soil (so Morris informs us) he is revived by a bolt of lightning. Vargas (Buddy Baer, brother of prizefighter Max Baer and uncle of Max "Jethro Bodine" Baer Jr.) is no gentle giant though. At first he just slaughters cattle but then he graduates to people! His attack on mountain girl Joline Brand hints that a brutal sexual assault preceded her murder and he leaves local "crazy guy" Indian Joe hanging from a hook! The scientists join the sheriff and his posse to hunt down and destroy the giant but either he is too tough to be brought down by bullets or that is one really good suit of armour he is wearing. So can the mountain folk win out over the rampaging giant? Well luckily this film is now on DVD so you can find out without having to stay up until 2 in the morning like I did when I was a kid.

The makeup for Buddy Baer was done by Jack Pierce, who created such memorable scary faces as the Frankenstein Monster, I'm-Ho-Tep, Kharis and the Wolfman. It was directed by Richard Cunha who gave us 3 other memorable late night classics: MISSILE TO THE MOON, SHE DEMONS and the unforgettable FRANKENSTEIN'S DAUGHTER.

Giant from the Unknown (1958) is rather a cheap and pedestrian sci fi film with an absurd premise, lots of "stuff" happening, rather unconvincing acting, somewhat dull dialogue and a largely unimpressive "monster' character. Still, it must be said that it's perfect viewing fare for a rainy afternoon!

As far as film monsters go, Vargas seems to be pretty lame. One could say that he is a monster in a moral rather than in a scary physical sense. He is described as being depraved and brutal and has remained so even after three and a half centuries of suspended animation.

The film does suffer from continuity and subplot development problems. For instance, we are never quite sure why Parker and Wayne don't like each other. What is the history behind their animosity? They just seem to detest the sight of each other.

Giant from the Unknown does contain moments of good pacing, and combines some effective creation of eerie atmosphere, and black and white cinematography. In addition, the 77 minute running time doesn't allow the film to drag too much and Albert Glasser's orchestral score is quite solid and powerful.