Terra de Gigantes

Irwin Allen produced series about a spacecraft crashing on a land of giant people, animals, insects, etc.

The last of Allen's four science fiction TV shows of the 60s. Personally, I liked the other three (Voyage, Time Tunnel, Lost in Space) more but Giants is still one of my favourite TV shows ever.

The Allen directed, John Williams scored opening episode - The Crash - is perhaps 50% of what makes Giants special. Seriously, if the series did not begin with such a knockout opener it is quiet possible I would not rate the series so highly!

I am not bashing the rest of the series but it is true that eight of the 51 episodes were total stinkers. Nearly all those stinkers came from season two when the once deadly serious tone of the series was transformed into something less interesting.

There are two ways to watch the series: in production order and out of production order. Go for the production order on the DVDs (atleast the Australian DVDs). The first seven or so hours begin with the giants being mostly silent (as seen in The Crash) and this is the best of Land of the Giants.

Season two had three very memorable time travel episodes (A Place Called Earth, Home Sweet Home and Wild Journey) written by Time Tunnel's William Welch. These are must see hours with quality guest stars like Warren Steven and Bruce Dern turning up!

This review might come over as a bit confusing as I say this is one of my favourite TV shows ever then I say eight episodes are trash?? Let me just repeat that I have a very special fondness for the opening hour, The Crash. From the way Valerie (Deanna Lund) behaves, to the energetic John Williams score, to the epic Allen direction and even having the giant land covered in mist (no mist in the other episodes) - this is what makes it special.

The Crash is without question one of the very greatest hours of film ever made! Enjoy.

If there was a happy-ending episode to conclude the series, it may have been like this: The seven people on the Spindrift didn't travel through time or distant space but were shrunk like the movie "Fantastic Voyage" and landed on Earth in an English speaking place at the present time. That's a similar concept as the movie "Planet of the Apes". That's why we see the same cultures, fashions and technology as Earth of the late '60s. Some familiar products and objects appear but are just twelve times in larger scale except the audio level. The Captain insists he saw Earth in "On a Clear Night You Can See Earth" but it was his wishful thinking or mental distortion.

Recently,I got a chance to see some of the episodes on a local cable channel,and this was my favorite Irwin Allen series of them all. Several people including the dog,have crash-landed on earth,but its not the same planet that their ship was from. The special effects here are unforgettable which involved the characters to find themselves in some odd situation after another (especially in one episode where they are in a little girl's room where they take refuge in a doll house,only to be stalked by a giant cat!) Basically everything went just right with this series which didn't last long when it ran on ABC from 1968-1970,but it was a classic worth seeing.

Clearly someone knew what they were doing with this thing, but when it messes up, it really messes up.

But I think the pros greatly outweigh the cons.

Problems consist of the attempt to get Lost In Space's success with Jonathan Harris and Billy Mumy with Kurt Kaznar and Stefan Arngrim. That was a miss. Arngrim looks unhappy the entire time he was on this show. And Kaznar was too hammy.

It seems at one time the realization was that Deanna Lund was more appealing visually, so there would be attempts to make a trio of troublemakers, but that seemed to be the wrong direction as well. I think Valerie could have done it but with one of the other characters, acting wise. She just wasn't clicking with Kaznar or Arngrim.

The second glitch seems to be was it earth or not Earth, if not Earth then why did so much of it look like Earth. This led to much confusion as well.

Problem 3 was unavoidable. Our flight attendant Betty became pregnant in real life. By the time she returned to the show and was able to go with the plots rather than being hindered by her pregnancy, it seems it was too late and the show was tanking.

Betty actually worked better with Kaznar than Valerie did.

The truly amazing thing about seeing this show for the first time just a few years ago is that none of the main cast went on to do anything, so they were all brand new for me.

Oh, there are recognizable guest stars like Jack Albertson, Jesse White, John Carradine, Susan Howard, Bruce Dern and Yvonne Craig, but none of the regulars ever did anything else.

Stefan Arngrim's sister, Allison, went on to portray Nellie Oleson on Little House and she had much more life than her older brother did here.

The saving grace for this show is plots. Some of these plots here are worthy of the original Star Trek. Off the top of my head, standouts are the clone episode with much greater comprehension of how to do twin portayals and the final episode with Dern and Craig is phenomenal to watch.

These shows are hardly an insult to the intelligence.

It seems Land of the Giants aired in the UK and outside of America more than it did within the states after it had been cancelled, as I never saw this show before or even heard of it.

It is deep, that's for sure. Pity there couldn't have been a conclusion episode where the passengers and crew returned to 1983 (!) but the final episode is an intriguing finale in and of itself.

As a child growing up in England in the late 60s, my favourite TV show was "Lost in Space", but "Land of the Giants", which replaced it from time to time in the schedules, was only slightly less intriguing. It didn't boast a character quite so camply magnificent as Dr Zachary Smith (my lifelong hero!), but its parallel-world scenario struck me as deeply haunting and thought-provoking. All of the reviewers who berate LIS and LOTG for their creaky plots and primitive special effects are missing the point; these shows relied on a willing suspension of disbelief, and the imaginative collaboration of their audience (for the most part, children). I pity rather than envy the present generation of children, whose dreams are delivered to them ready made.