La morte viene dal pianeta Aytin

The budgets of WILD WILD PLANET(1965) and WAR OF THE PLANETS(1966) ran out in this follow up to those films, using props and situations created in them. This one is earthbound and lacks the terrificly gaudy miniature future-scapes of the last two outings. And lacks the stars(Tony Russel, who actually has screen *presence* in the previous two).

Has a terrific opening score that playable several times, but the whole thing seems terribly set-bound, and small sets at that. But overall recalls to us a time of film-making long gone.

Fun stuff.

There is a mysterious warming of the ice cap. An outpost in the Himalayas is attacked by unknown forces. An expedition is sent to investigate. There is also a local legend of the abominable snowman. There is a truth to that legend but it lies in outer space.

This is bad futurism, bad sci-fi, and bad Italian B-movie. It is campy and that is a little fun. It is interesting to see bad futurism out of 60's Italy. Otherwise, it's a lot of bad.

For hard core completists only. "Bad" is not a strong enough term. Dull, ham-fisted, tedious. Not entertaining and no fun. It's just awful, honestly. It's a chore slogging through this movie hoping that it gets better at some point. It doesn't. The characters are not likable and the dialog is dreadful.

Antonio Margheriti's THE SNOW DEVILS was probably the first of his GAMMA ONE films to be made though the last released in English and remains the most unique of the four movies ... though it may not necessarily be the most impressive of the efforts. My favorite is PLANET ON THE PROWL (or WAR BETWEEN THE PLANETS), with its emphasis on military jargon and space action. SNOW DEVILS is for the most part an Earth-bound adventure but is another example of Margheriti's fascination with hostilities existing not so much between the races inhabiting the cosmos, but battles between the actual stellar bodies themselves.

Some of the GAMMA ONE films are amongst the best pre-"2001: A Space Odyssey" science fiction from the 1960s but all are essentially potboilers with ready-made elements that are reused from film to film in the same way that Spaghetti Westerns were made. In spite of the release dates assigned by the IMDb (no offense!) the films were all made *simultaneously* in 1964 using the same sets, stock casts, musical cues, technical crew and basic story premise ideas. This has resulted in some confusion not only of the dates of execution/release, but in precisely which order they should be viewed when considered as a "series". After all, any story arc needs a beginning and an ending, you can't have four narrative arcs in a single story line existing simultaneously simply because it's impractical to watch four movies at the same time. You'd need four TV sets either stacked up 2 on top of each other or arranged around you in a square, with the viewer seated in a revolving chair. The question would then be which screen do you look at for any given moment? Which aptly illustrates the absurdity of the idea.

So where in the series do you start? My answer is with THE SNOW DEVILS, since it is the most unique of the four examples that exist in English (the other three being PLANET ON THE PROWL, WILD WILD PLANET and THE DEADLY DIAFONOIDS, amongst other alternate titles for each of them). My thesis on why begins with the look of the film: It does not have the polished sheen of the other three films and is literally the most "down to earth" and thusly lowest budgeted of the three. It's musical score by Angelo Francesco Lavagnino (who provided the scores for all four films) is the most unique & memorable: The scores for the other three films are more interchangeable and in fact recycled from movie to movie, though the energetic theme for SNOW DEVILS is only heard in SNOW DEVILS. We never hear that memorable refrain again in any of the three other movies, though some of the more incidental musical fills do pop up again (as well as the proto-Loungey pop song used during a lighter moment at a summer resort during the beginning of the film).

The space technology props are also more spare & "klunky" looking, picking up what may have been left over from 1962's BATTLE OF THE WORLDS and suggesting that Margheriti's skills in production design evolved as the series progressed (with PLANET ON THE PROWL being the most "realistic" looking, the goofy spacewalk scenes notwithstanding). SNOW DEVILS also has somewhat different costuming than the later efforts, suggesting to me at least that Margheriti's wardrobe department copped whatever pre-existing costumes they could get their hands on that looked futuristic, resulting in a kind of mismatched hodgepodge where the other three films are more unified in how the characters dressed. Star Giacomo Rossi Stuart's hair also changes between SNOW DEVILS and PLANET ON THE PROWL (he does not appear in the other 2 films). Here he is more of a coiffed blond though by PROWL it got darker & redder and had a more military look to the styling. Here he looks like he just wandered onto the set from romantic comedy where his hair was dyed blond. His Commander Rod Jackson is also somewhat less gruff & formal than in PROWL, where his barking of orders & dressing down of pretty female subordinate officers is one of the film's guilty pleasures. Jack Stuart would have made a fantastic air force officer.

One other aspect of the film that suggests to me that it was the first one executed is that of all the four GAMMA ONE movies, this is the one to which time has been the least kind. The Snow Devil monsters themselves come off as somewhat less than intimidating, the set design has more in common with classic Flash Gordon than Stanley Kubrick, and the emphasis on Earth bound set & location work makes the film feel more like a throwback to the 1950s than a vision of things to come. But since there is no specific documentation of just which order Margheriti himself had in mind when making them any such conjecture is mere speculation. I've asked his son, producer/director Edoardo Margheriti, for advice on this and his own reply was somewhat ambiguous, confirming that all four were made at the same time but that there is no specific order in which they are to be viewed since they all had different release dates in different regions or as different language versions. Just because this one was released later than the others does not mean it was finished last, nor does this mean that the others were completed after it. And since they were essentially disposable B-grade movies usually shown on a double bill with something else like it the release schedule was arbitrary based on the needs of the distributors.

Confused? GOOD. I have been puzzling over this conundrum of which order in which to view the GAMMA ONE films for about four years now and am delighted to pass the brain-twister on. Figure this one out with a formula proof to back it up and I will buy you an orange.

7/10.

The fourth entry in Italy's "Gamma One" spaghetti sci-fi series does have a rather amusing story. When a weather station in the Himalayas is attacked, and its employees killed, intrepid space captain Rod Jackson (Giacomo Rossi Stuart) is dispatched to find out what happened. In the company of his faithful sidekick Frank Pulasky (Goffredo Unger), a guide (Wilbert Bradley), and assorted porters, they venture into the mountains, and encounter the title culprits: the yetis of legend, who just so happen to be aliens!

Series director Antonio Margheriti (who also co-wrote the screenplay) has some fun with the far out premise - for a while. While "Snow Devils" isn't as engaging as earlier entries, it's still goofy enough to work, with villains who helpfully give the audience and the heroes all the exposition that they could need. While it will strike its viewers as being cheap and cheesy (the Snow Devils are pretty tacky looking), it's this "quality" that makes the movie moderately charming. The performances are adequate from all concerned, and the ladies - Ombretta Colli, Halina Zalewska - are lovely. Enzo Fiermonte once again essays the role of the steadfast General Norton.

The problem is that Margheriti can't steer the story towards an effective finale. Things actually get too slow and too quiet instead of building up the tension and excitement. But at least we eventually get rewarded with a couple of explosions.

This movie does offer a reasonable amount of fun, even if it's not altogether satisfying.

Followed by an unofficial series entry, the notorious "The Green Slime".

Six out of 10.