Le Monstre des temps perdus

Messrs. Harryhausen and Bradbury serve up a thoroughly enjoyable dinosaur epic with a reasonable amount of thrills and typically excellent effects work by Harryhausen. It's rather heavy on plot and dialogue for a while, so the less patient of viewers may get a little restless waiting for the next good bit of dinosaur action. However, whatever pacing issues there may be are compensated for with some wonderfully iconic shots & scenes. The lighthouse sequence in particular is a gem.

Based on the Saturday Evening Post short story "The Fog Horn" by Bradbury, this tells of an atomic test in the Arctic that unleashes a ferocious rhedosaurus from its icy tomb. It goes about doing just what you'd expect any monster to do in this type of tale, making its way to NYC for the grand finale. Nuclear physicist Tom Nesbitt (Paul Hubschmid), one of the first to glimpse the monster, must convince paleontologist Thurgood Elson (Cecil Kellaway) that he wasn't hallucinating, and also enlists the services of Jack Evans (Kenneth Tobey) in hunting down and destroying this beast.

The acting is engaging across the board, with Hubschmid very likable in the lead; Paula Raymond plays his leading lady (fortunately, hints of romance that might slow down the action further are kept to a bare minimum). Intrepid Tobey is once again terrific as the kind of hero you need in such a story, and Kellaway is delightful as the old pro who is willing to put vacation plans on hold in order to participate in a historic expedition. Donald Woods, Lee Van Cleef, Jack Pennick, Frank Ferguson, King Donovan, and an uncredited James Best can be seen among the top notch supporting cast.

The exciting amusement park finale is of course the best part, with expert marksman Van Cleef and Hubschmid taking on the beast from atop a roller coaster.

Good fun overall.

Seven out of 10.

A ferocious dinosaur awakened by an Arctic atomic test terrorizes the North Atlantic and, ultimately, New York City.

When producers Dietz and Chester were negotiating with Bradbury to rewrite their screenplay, he reminded them that both works shared a similar theme of a prehistoric sea monster and a lighthouse being destroyed. The producers, who wished to share Bradbury's reputation and popularity, promptly bought the rights to his story and changed the film's title.

The film is worth watching because of the involvement of Bradbury and Ray Harryhausen, as well as having a supporting role from Lee Van Cleef. It may not be amazing, but the effects are rather good and it is a piece of 1950s science cheese that can be enjoyed if you just suspend disbelief for an hour.

Most interesting is the alleged influence this movie had on "Godzilla". This film is semi-forgotten, or at least not widely seen. But it had a dinosaur rise following an atomic blast and then destroy a city, trampling the army and electricity in its path. Sounds like Godzilla! And indeed, this was a primary influence on the Japanese monster film, which has since become one of the most culturally important films in horror / monster history. So maybe "Beast" needs to be respected just a little bit more.

Influential in many ways. Seminal to say the least. This is the first Monster to be unleashed by the awakening awesomeness of the Atomic Bomb. This is Ray Harryhausen's first solo outing (he was Willis O'Brien's (King Kong) assistant on Mighty Joe Young (1949).

It has a crisp Black and White look and is a sharply defined matte of Monster and surroundings. From the early sets on the frozen tundra, to the depths of the Ocean, to the New York City Streets, to the Amusement Park finale, this is a beautiful low-budget Film.

There are some stiff Performances and some that are lively. It pulls few punches in its depressing display of Radioactive Paranoia. Some unforgettable Highlights include the eerie Lighthouse encounter, the viciously impressive looking Dinosaur wreaking havoc between Skyscrapers, and the Roller Coaster imprisonment and execution.

Note: Will all Godzilla and Toho fans please nod, bow, and applaud.

When I was a kid,I would cry every time I saw the ending of this movie.I couldn't help feeling sorry for the monster,dying alone in a world he never knew. Ray Harryhausen was at his best when he designed the Rhedosaurus. This was a monster with a personality,and dare I say it,charm? Every little movement of the beast almost made you think you were watching an actual living creature,and not some stop motion puppet,like the awful Giant Behemoth. My favorites: the beast sniffing at the lighthouse before he knocks it down;the way he playfully bats at the wrecked car he stepped on,when he turns his back and lashes his tail at the shotgun toting cops,even the way it squints its eyes in the sun.The death scene was well done,and the music,as the flaming roller coaster collapses behind the beast's dead body,still sends a chill up my spine. The worst part of the movie was the casting,especially the male and female leads. Paul Christian's accent is almost impossible to understand at times,and his acting is wooden.Paula Raymond may seem pretty by '50's standards,but I think she has a pronounced overbite and adenoids,the way her mouth is always hanging open! Her acting was also pretty limp.Cecil Kelloway was a delight,as usual,and Ken Tobey was unusually restrained,not trying to hit on Raymond,as he seemed to do in most of his movies. The funniest line in the movie was Kelloway asking Tobey:"What makes you think there are no flying saucers?"(A dig at Tobey's role in The Thing.)Still in all,this is timeless sci-fi classic that holds up well,even today.

This film is not only a great science fiction film, but it is also one of the most influential as well. Within a few years of its release, giant monster films began to pop up from every major studio. Everything from giant ants, tarantulas, praying mantises and gila monsters began to pop up all over the place. But, perhaps its biggest influence was felt in Japan. This film is often sighted as being the main inspiration for Gojira (Godzilla). This film is defintely a classic.