A Terra Morre Gritando

I taped The Earth Dies Screaming when Channel 4 screened it some years ago, but, unfortunately I never saw the last five or 10 minutes as the tape ran out. It hasn't been on again since nor has it been released on VHS or DVD.

Aliens have invaded the UK and killer robots are reviving dead humans as zombies and the few survivors have to try and stop them.

The thing I remember most about this movie are the scenes of the robots slowly walking through the rural village. Very eerie.

The cast includes Willard Parker, Dennis Price, Virginia Field and Hammer and sci-fi regular Thorley Walters (Frankenstein Created Woman, The People That Time Forgot).

It would be nice to see The Earth Dies Screraming again, especially the ending. Come on Channel 4 or any other channel, let's have it on again.

Rating: 3 stars out of 5.

I would call "the earth dies screaming" rural sci-fi since everything happens in an English village or in the country.And short weight too,cause the running time barely exceeds one hour.It's a low budget effort but so was "invasion of the body snatchers" .Terence Fisher's work is not in its league,by a long shot ,but its ET robots (icily impersonal)are all the more impressive since we know absolutely nothing about them.Add a good cast ,with Dennis Price as the stand out. Combining robots with living dead in ordinary places in daylight was perhaps not a very good idea on the paper,but it relatively works.Not the kind of movie you feel like watching again,but you can have a look.

The Earth Dies Screaming starts as something of a misnomer: budget limitations mean we only see the disaster's main effects within a very localised area of Northern England. As for the screaming, there's no human sound heard until 8 minutes into the film. Like many of the small cycle of English invasion films made at this time, Fisher's is small scale, almost domestic in setting, implying a catastrophe at a personal level just as much as on a national one. In contrast to those produced in America, English invasion movies were often less grandiose and paranoid, relying more on alien intrusions into more realistic, even humdrum worlds, places where the ordinary is ever present. Like the cult Devil Girl from Mars (1954) substantial scenes of TEDS take place in the comforting atmosphere of a pub or nearby where, it seems, British folk naturally congregate for comfort and safety: think of Shaun of the Dead's last refuge Director Fisher is most known for the series of Gothic horrors which have most occupied critical attention. His SF work has been readily dismissed as a genre in which he had little interest. TEDS was the first of a trilogy for the appositely named Planet Productions company, the others being Night of the Big Heat (1966) and Island of Terror (1967). All three feature alien invasion and a small group of people trying to fend off the intruders. Negative responses to these works perhaps stem from the fact that, often, the people are more interesting than the monsters and junk science on display, and the films lack the vibrancy of his horror work.

At the heart of TEDS are three relationships: that between Quinn Taggart (a splendidly caddish Dennis Price) and Peggy (Virgina Field); the often drunk Otis (Thorley Walters) and his party friend Violet (Vanda Godsell), as well as the young couple Mel (David Spenser) with the pregnant Lorna (Anna Palk). Independent of this group is Jeff Nolan, played by the film's sole American actor. Producer Lippert had a successful formula of adding transatlantic appeal to films by stocking them with token imported talent. Here Willard Packer fits the bill. Packer is the man taking charge of events, organising the survivors, and figuring it out – right down to where the alien's transmitter can be found. He can be seen, in his mild way, as a typical 'Quatermass' figure: a technically competent individual taking charge to protect British society from intrusion. While no pure scientist, Nolan still has enough know-how to quickly grasp what has happened, how the invasion can be thwarted and to take decisive action. By the end of the film, he wins the right to a relationship of his own.

Critics such as Peter Hutchings in 'We're All Martians Now' (British Science Fiction Cinema (Routledge, 1999)) have identified such influential figures as typically being a 'boffin-like protector of a society which seems incapable of protecting itself'. At the same time, through the imported novelty of his presence, Nolan is a reminder of British insularity. At time many of these films appeared British society was still relatively isolated, but under pressure from new pressures and changes, both international and local. Only the cynical Taggart has a competing world-view in the film that's as strong as Nolan's. For Taggart the new global conflict is over. Worse, "whoever did it has won… its every man for himself" - fatalistic sentiments in stark contrast to the famous spirit of the blitz, striking to many of those watching then. The punishment for his criminality and selfishness will be the loss of his tenuous relationship with Peggy and, ultimately his humanity, part of the alien zombie army.

The biggest social change in Fisher's film is obvious – a successful first strike against British society, together with silver-clad aliens walking the streets, zombie workforce in support. Blank-eyed and as slow-moving as their masters, these zombies are among the most effective elements in the film. They must have been rather a novelty to contemporary audiences. I can't, off-hand, think of an earlier representation of the creatures in British cinema before this (Hammer's Plague of the Zombies appeared two years later, but even so is set in the past). They provide one of the highlights of the film – a scene when Peggy is pursued, then trapped breathlessly in a bedroom closet, when Fisher makes use of a very dramatic close up to add terror.

In contrast to the unsuccessful efforts of the un-dead to find a female, Nolan succeeds in gradually establishing a relationship and, one presumes, goes on to a successful romance. His success against the invader acts as a catalyst. By the end of the film he is entitled to reintegrate back in society. There's a parallel to be found between the zombie's painfully slow pursuit search and unnerving, soulless staring at the closet in which Peggy hides to another scene where Nolan had looked on, affectionately, as she pottered over small things in the pub's kitchen. The difference between humanity and the alien, the film suggests, is that the former can bring value and sentiment to what it sees and so, once again, the British invasion variant gravitates naturally to the domestic.

TEDS is further helped by a very effective score by Elizabeth Lutyens, as well as some crisp, atmospheric cinematography by Arthur Lavis, especially effective when shooting on village location. These are elements that help to make it my favourite out of Fisher's small group of SF movies, a feeling which even the over-acting of Walters can't dissipate. It 's also blessed with a dramatic pre-title sequence - a world wrecked by sudden accident, recalling the night before Day of the Triffids, as well as an eerie sense of a familiar landscape made empty, a horror-fantasy tradition which persists right down to such British films as 28 Days Later. Fisher's film may be short, cheap, and with a disappointingly flat denouement, but its modest pleasures easily invite revival.

A warm-up by director Fisher for his "Island of Terror"(66) and "Night of the Big Heat"(67), this is a template for alien invasion pictures: there's a small group of survivors (in rural England) and marauding invaders, here in the form of slow-moving robots. Since the invaders never do move beyond a slow walk, they never seem to pose a serious threat unless you happen to run right up to them (which one of the characters does indeed do). Then they zap you with a touch of their cold hand and you eventually turn into a controlled zombie. It sounds a bit silly, but the film manages to convey an eeriness to the whole setting. Maybe because it's in black & white, it also reminded me a bit of "Night of the Living Dead"(68). The sense of isolation and the threat are very similar.

What sets this above other sci-fi films of the fifties & sixties is the lack of clunky, melodramatic dialog. The intent by the filmmakers and actors is that this is really happening. The survivors are an average group of citizens, caught in a traumatic situation. None of them are prepared or trained for something like this. There's always that one troublemaker in the group, of course, brandishing a revolver and behaving like an ass. But the story needs that extra tension to make it more interesting. It's low budget, but they didn't really need a lot of money to show empty streets or just several bodies littering the landscape. This one, though, really begs to be remade with a decent budget, as a full throttle invasion story. A similar Americanized version was the earlier "Target Earth"(1954).

I watched this movie late on cable and enjoyed every minute. It had all the ingredients of a classic B Movie. Aliens,Zombies,Quaint english village,Survivors of an environmental disaster,Hapless females,and dodgy acting. You have to love the old B Movies to really enjoy this film.