Terrore nello spazio

I saw this film in it's 1965 American release, and at the time I was not overly impressed. It was obviously made on a low budget, the dialog dubbing is bad (although far superior to some other Italian imports I have seen), the acting alternates between wooden (Barry Sullivan) and outrageously overdone (i.e., "gravity effects", the reaction of the actor who smashes the "meteor deflector", numerous fear reaction shots of crew members). Time has proven that it has become a trend setter for numerous subsequent sci-fi films (most notably Ridley Scott's "Alien" (1979)). I recently viewed it again 37 years after it's release, and the similarities to "Alien" are unmistakable. The attentions of the crews of both films are attracted by mysterious radio signals originating from an unexplored world. The horseshoe shape of the ships in POTV resembles that of the wrecked alien spacecraft in "Alien". There are similar shots of the ship's landing gear in both films. Both crews find ancient wrecked spacecraft and skeletal remains of giant aliens on the planets they land upon. There is an unknown predatory alien presence in both films. Lots of gore footage exists in both films too, although POTV unarguably started this trend (alas, is there any recent sci-fi film that does not fall to this temptation?).I cannot believe that all these similarities are coincidental, and I suspect that Dan O'Bannon must have been heavily influenced by POTV, whether he realized it or not.

The use of lighting and color are also noteworthy. POTV still looks good today due to colorful exterior scenes (forgive the somewhat clumsy use of composite shots of the crew in a few scenes set against an obviously miniature landscape). Please also forgive the overzealous use of the zoom lens, which had just been developed at the time. One big demerit in set design comes from a scene inside the wrecked alien spacecraft. A prominently-featured prop appears to be the taillight lens from a 1957 Packard, complete with the backup light lens below it. It is positioned vertically in the shot, and perhaps the set designer was hoping that Italian audiences would not recognize it. Another detractor is the almost unlimited amount of area inside the ships. No ceilings are visible, and the various compartments look as big as football fields when compared to realistic spacecraft design criteria.

I found this to be an entertaining if somewhat flawed film, certainly more enjoyable than it was when I first watched it in 1965. It deserves a vote of 6/10.

Mario Bava does it again. The crystal colours, eerie atmosphere and evocative visuals are downright dazzling and haunting in this low-budget Italian Sci-fi outing. Never have I been disappointed in these technical aspects while experiencing the master at work. Many have mentioned it and the influences / similarities to Ridley Scott's 'Alien (1979)' ultimately sticks out. Even with that in mind it does share some ideas with the body snatcher theme, but it was a cleverly done concept done in a slow grinding, but extremely engaging style. The pacing is slow, but the flashy imagery and smoothly placed camera-work was hypnotic that it helped time flow by. My only real gripe was that the script was on the stilted side, but other than that it was one of those subtlety breezy mood pieces. More often the deaths happen off-screen and it's mostly free of action, to really only hit in the dying stages in some rapid set-pieces, but it's the dreary ending that's a strike of genius. Bava's crisp direction lets the otherworldly Gothic vibe take hold and while the sterile set designs look cheap it manages to be effective in its unusually stylish looks (add in seeping fog) and this invokes brooding unease and alienation. The surrounding sound effects and music score are creepily orchestrated. As for the special effects/make-up FX for such a low-cost production, they were well executed and ideally used. The acting can be rather rough in a staged sense with a dependable Barry Sullivan heading the way. Some of the characters were hard to tell apart though. A marvellously old-fashion, but influentially chilling space expedition.

In the film PLANET OF THE VAMPIRES, there is an undeniable creeping dread, a very real sense of terror, in every scene. Despite the obvious lack of money, Bava wrung some eerie, disturbing imagery out of his sf schlock piece. Considering this is an Italian production of the mid-60s, director Bava infuses some real originality into his story, taking a 1950s crew of square-jawed astronauts and forcing them to confront the future of horror: a horde of gore-streaked zombies, an omnipresent supernatural force invading the crew's minds, and a nihilistic ending.

What is great about POTV stems from Bava, his dynamic camera, and his framing. The marooned spacecraft atop a craggy hillside, approached by rescuing astronauts, looks like a haunted house against the black-clouded sky of the planet. When the living dead begin stalking the pitted, fiery surface of the planet, intent on killing the astronauts, Bava effectively uses the new horror icons of fear: not of fear, but of zombiefication, of characters who could be us, once just human, but now horribly returned as mutilated living corpses set to kill friends and family.

PLANET OF THE VAMPIRES is exciting, arresting in places, and nuanced in small ways even by the actors involved, all of them physically fit with numerous fight scenes. Sullivan and Bengall aren't creating their

characters, but they react realistically as human beings in an increasingly hopeless situation. The final scenes, of the

astronauts attempt to escape the planet, set upon by the living dead, have a psychological edge to go along with the action, as these noble travelers overcome their fear of the planet, of the zombies, and the horrible prospect of becoming zombies themselves, in order to end the hungering menace all around them. These scenes predate the best of George Romero's DEAD films or any John Carpenter flick, where a group of survivors are whittled down to just a few, and then to one, by a wave of seemingly unstoppable supernatural force.

It should be noted that "vampires" refer to parasites, not classic monsters, and truly this is more of a "zombie" film than a "vampire" movie. The film Bava made is gory and violent for 1965 when it was released, and as interesting as it was then, it's just as interesting now to see how POTV influenced later horror-film greats, not only in theory but in execution. And it's still better than 95 percent of the recent Hollywood sf-horror films of the past decade, bar none.

This new release in the "MGM Midnight Movies" series of DVDs is an absolute must-have. The print of this 1965 classic is gorgeous, and for the first time since its theatrical release viewers can see the film in its original wide-screen format. For those who -- like me -- purchased the HBO Video version on VHS, don't worry: The original spare-but-effective electronic score has been restored, instead of the "updated" abomination that made the VHS print almost unwatchable.

Although I've never heard Dan O'Bannon acknowledge it, certain elements of this film must have been in his mind when he was working on "Alien": Two spaceships are drawn to an eerie, fog-shrouded planet by a mysterious radio signal, then snatched from orbit by an irresistible force. After crash landing, the surviving crew find themselves pitted against their own dead shipmates, resurrected by the parasitic mentalities of the planet, a dying race who must find a new home. There's even a scene where Barry Sullivan and Norma Bengell investigate an ancient, derelict alien spacecraft, complete with giant skeletons (any of this sound familiar?)

The set designs -- the cavernous interior of the spaceship and the appropriately alien fixtures of the derelict -- are some of the best you'll find in any pre-1968 science fiction film. Sullivan is suitably stoic as the warrior-scientist Captain; the supporting cast and in particular the luscious Ms. Bengell turn in remarkably understated performances, perfectly conveying dread verging on panic. While this movie may disappoint fans of director Mario Bava who are more familiar with his horror films, as a science fiction film buff I rate it a solid 7.

23 May 2008. Fourteen years after "The Planet of Vampires" (aka Demon Planet), Ridley Scott would create one of the most frightening and densely layered science fiction/horror films in history that he titled, "Alien." The strong suggestive set design and atmospheric elements from "The Planet of the Vampires" would re-appear in "Alien." Script plots from the original Star Trek television series that began its run in 1966, two years before, are nicely incorporated into this serious attempt at science fiction/horror. While obviously outdated by time, the eerie, alien sounds and visual designs are outstanding for its time. Overall, this movie stands the test of time for its power, its emotional, visceral impact on the senses and its delivery. Eight out of Ten Stars.