The Space Children

What can you say about a film that features Uncle Fester, Mr. Drysdale, the Professor, Mark McCain and the re-occurring "ornery lady" (Peggy Webber) featured in so many episodes of Dragnet? Well... I really enjoyed it! Russell Johnson is great as a mean, drunken, stepfather and, in a departure from her many roles on Dragnet, Peggy Webber's character is very personable. I think the picture is a great commentary on the type of science fiction that was popular after Sputnik but before the US manned space missions. Is it a "good" movie? Probably not. Is it enjoyable? It was to me! Reminded me of the typical Saturday afternoon movies I enjoyed as a child on TV during the 60s. Had I seen none of those types of movies, my commentary would probably be less favorable. It's not the acting, directing, production quality or even the plot of this picture that I liked - it's merely the nostalgic effect it has. This means, it's not a picture for everyone. It's a short film, so there's little to lose in watching it, which I'll probably do again someday!

I have yet to see this movie un-mstied but would love to as I think it's a pretty damn good movie. This is one of the rare cases of mst3k being way off the mark in choosing this movie. Don't get me wrong, I loved the episode and their were some great riffs but I couldn't help but think that this movie was not nearly as bad as Mike, Crow and Tom (or any of these reviewers here) made it out to be. I will admit thought that on first watching it I did feel that the kids were being somewhat (but not completely) controlled by the alien but on repeated viewings it does appear that that is certainly not the case. I really need to see the unedited, un-mstied version, this is a b-movie classic in my humble opinion.

Leave it to the director of several excellent 1950s sci-fi flicks to take a no-budget plot and turn it into one of the best and most intelligent Cold War melodramas of the period. CHILDREN concerns a brain-like alien blob that teleports to Earth with the purpose of stopping the American military from launching a nuclear weapon into orbit. To do so, it enlists the aid of several children residing on base. For reasons best known to the script writers, the blob keeps growing in size, until it is the size of a tank. The acting is at least of TV quality, the production solid. No big names in the cast, but pay attention to the actress playing little Edie. This actress dropped out of Hollywood early on, which is a shame since one can see her potential here. For old-time TV buffs, watch for Uncle Fester, the Professor (minus Maryann) and the McCain kid.

This was director Arnold’s penultimate of seven horror/sci-fi outings from the same decade and, in retrospect, the least of them. Its focus on children (the title itself is ambiguous – since the kids don’t come from space but rather are ‘possessed’ by aliens into sabotaging a rocket-launching station!) draws parallels to later genre classics such as VILLAGE OF THE DAMNED (1960) and the unrelated THESE ARE THE DAMNED (1963): like the former, the children here are able to influence the actions of their elders and, as in the latter, much of it takes place against a backdrop of remote cavernous surroundings. As for the alien itself, it’s nothing more substantial (or imaginative) than a growing, glowing glob!

Being just 68 minutes long, this undeniably earnest film can’t hope to fulfill its aspiration of being a profound anti-nuclear parable; for one thing, the characters are mere stereotypes – an average American couple with their modest dreams and dilemmas, a bubbly yet cagey neighbor (played by Jackie Coogan, of Chaplin’s THE KID [1921] and TV’s THE ADDAMS FAMILY fame!), another’s a drunken boor who mistreats one of the boys and his mother, plus the requisite number of dedicated but callous scientists and military personnel. Actually, I was wondering all through the picture why the alien didn’t simply possess one of the parents or scientists – surely his attempts at persuading colleagues to halt the missile project would have had greater chance of success, since the children’s clandestine activities merely irritate the hell out of the people at the base engaged in such a secretive operation! That said, unexplained events that occur – such as the driver of a fuel truck losing control of his vehicle or nominal hero Adam Williams losing his voice and the faculty to write when trying to divulge the presence of the alien to his superiors! – come across as creepier when caused by innocent-looking children and, besides, their presence near the test site is more likely to be overlooked than rouse suspicion of any foul play.

In the end, the film is tolerable (the print, then, seemed to be culled from a TV screening – since the picture fades in and out every once in a while, sometimes even in mid-sequence, where the publicity spots may have been inserted – with a good deal of hiss on the soundtrack!) but rather uninspired and, what’s more, is defeated by the low-budget. Though genre expert Arnold had proved time and again what he was capable of doing, it suffers especially in comparison with the two DAMNED films mentioned above or even a third such title, CHILDREN OF THE DAMNED (1964)…which I actually need to re-evaluate myself, but recall being an underrated achievement on my sole viewing of it so far.

Somewhere on the California coast, midway between San Francisco and Los Angeles, a small group of scientists, engineers and technicians working in a secured base are preparing to test-launch a six-stage rocket carrying a satellite with a nuclear warhead: The Thunderer. The satellite is designed to be an immediate-response strike against enemy aggression, anywhere in the world. It is supposed that other nations are preparing similar satellites and weapons....

Unbeknownst to the powers that be, other minds have reason to want to see the project fail, and utilize an unsuspected resource to carry out their plans...

This small but effective little sci-fi tale is long on atmosphere, novel in viewpoint and execution, and well worth a couple of viewings for fans of the '50's sci-fi genre.

More than a few familiar cast members, and an impressive band of juvenile performers, under Jack Arnold's sure and spare directorial hand, give this a fresh and simple feel, and don't spend a lot of time hammering home its message (rare for the immediate post-Sputnik years).