The Beast with a Million Eyes

This film is truly enjoyable as one of the classic cheesy horror flicks of the 20th century. As plain country folk become terrorized by the animals on their farm who's minds are under the control of..."THE BEAST!"...who to my dismay only has two eyes...............Watch for Dick Sargeant as the tough, yet understanding officer.......Good, Clean , Horror!!!

A teapot monster from outer space seeks human form from a farm family in a secluded part of a desert.

I know I'm in a minority, but there are commendable aspects to this drive-in special. Too bad snooty Hollywood never gave Oscars to horror movie productions. Because I would sure give one to Lorna Thayer for her calibrated portrayal of volatile Carol Kelley, farm wife and mother. In my book, she delivers a gamut-of-emotions equal to the industry's more celebrated actresses. After all, as wife and mother, she's been going slowly nutzoid on that god-forsaken farm. Now she has to traverse emotional stages to adjust to the new realities. And she does it in finely nuanced fashion. As the father, Paul Birch too, is much better than expected for one of these 50-dollar Corman specials, while unknown Leonard Tarver may have no lines, still he's got just the right kind of confused, intimidating presence. Too bad he was in only two films. Finally, Dona Core as daughter Sandy is pretty wobbly, but sure looks the winsome part.

To me, the movie could be a sleeper, if filmmakers had figured out something more imaginative than a tea pot monster. The spinning kitchenware is about as scary as collecting stamps. The desert and farmhouse scenes along with the superior acting really deserve something less hokey. But then producer Corman astutely figured his drive-in fans wanted something they could laugh at. We fans sure got it here, even if the monster wasn't in a rubber suit. I just wonder if Hitchcock caught this flick, what with the marauding birds that attack people. Then too, I wonder if Dan Mainwaring, screenwriter of Invasion of the Body Snatchers (1956), didn't also catch the 80-minutes since there is a thematic resemblance.

Anyhow, the movie's well directed and photographed. No effort at prettying up anything—the shack the family lives in, for instance. In fact, a number of the desert visuals are striking. So, this 50-dollar special does have some redeeming features. And a salute to you Lorna Thayer for refusing to walk through a role that could have been just another easy payday.

Historically-speaking, this is quite an important production as far as horror and sci-fi flicks are concerned. For starters, it is one of the very earliest films involving normal animals suddenly turning on humans and attacking them. In fact, there are a enough surprising similarities between this and Alfred Hitchcock's THE BIRDS (1963) to suggest this was a major inspiration to that classic film. Second, this is not only an early producing credit for the prolific Roger Corman, but also the very first genre film he stepped behind the camera to direct. Though it's credited to David Kramarsky, Corman had replaced him early on into the production, sans credit. Third, this was a key establishing film for the fledgling company American Releasing Corporation, run by a few fellas named Samuel Z. Arkoff and James H. Nicholson. ARC would become American International Pictures. Of course if you know anything about vintage horror, drive-in and exploitation films, you'll know just how important these names are.

BEAST (originally titled "The Unseen") was also a production beset with problems. Originally part of a multi-picture package arranged between Corman and Arkoff / Nicholson, the film's budget was initially slated to be way higher but had to be slashed down to just 29,000 dollars. Problems with the filmmaker's union led to the production being shut down after just a day a filming. It also resulted in the original director and cinematographer both having to be sacked and Corman having to complete the film along with new D.O.P. Floyd Crosby. Supposedly the two managed to knock out all of the interior shots (48 pages of the script!) in just two days on studio sets! The exteriors were filmed in Indio, California and, all things considered, the photography actually looks quite good.

Paul Birch - later to appear in Corman's DAY THE WORLD ENDED (1955) and NOT OF THIS EARTH (1957) - stars as Allan Kelley, a farmer who lives on a date ranch deep in the California desert along with his wife Carol (Lorna Thayer) and teenage daughter Sandy (Dona Cole). The family have seen better times, especially Carol, who's neurotic, miserable because of the constant isolation and bitter to the point where she starts resenting and hating her own daughter out of sheer jealousy. An alien spacecraft that makes a strange humming noises lands in a cave in the desert, all of the glassware in the home shatters and, soon after, all manner of animals start going crazy and attacking. Birds of all kinds begin swooping out of the sky, a cow tramples over a farmer, chickens flog Carol and the family dog turns vicious and must be chopped up with an axe!

Also living on the farm is a character that would later become a staple of these kinds of films: the pervy, creepy, half wit handyman. The one in this one is a lonely mute referred to as only "Him." He's not only a voyeur who constantly stares at the females through the window, but he also spies on the daughter character stripping down to her swimsuit and going for a swim and then tries to touch her. "Him" sleeps in a shack next to the house where the walls are plastered with pictures of bikini or lingerie clad girls and he lies in bed looking at girlie magazines while his eyes bug out. I've seen this character countless other times in other exploitation movies, portrayed almost exactly the same as it is here, but NEVER before 1955. This adds a rather sleazy touch to the proceedings, which is especially odd considering this is essentially a family drama whose core message is about how it's important for families to stick together and support one another.

Though interesting and boasting an intriguing and original premise, this really isn't a very good movie. It's slow, the dialogue is hokey, the acting is gratingly melodramatic and the animal attacks scenes are very poorly staged and edited and are mostly accomplished by filming the animals approaching the camera followed by a terrified reaction shot from the actor. People also rightfully snicker at the special effects, which include a tiny little spaceship that looks like something you'd serve coffee out of and an alien so bad they had to make the image all hazy and then superimpose a giant eyeball over top of it. Then again, the movie was originally filmed minus all that. Since Arkoff had pre- booked the film on the promise of a "beast" based on the title, he insisted a "beast" be in the film. Special effects man Paul Blaisdell was then given just 200 dollars to create both the ship and the alien creature on short notice. The fact he was able to come up with anything at all is actually quite impressive in itself.

A young Dick Sargent (going by "Richard" here and years before finding fame as Darren in "Bewitched") plays a small supporting role as a deputy and Sandy's love interest. Production manager "Jack Haze" would become Jonathan Haze and later became immortalized for playing Seymour in Corman's LITTLE SHOP OF HORRORS (1960).

Now it is very easy to lambaste this film for so many things. The cheesy special effects(where reviewers have compared the alien spacecraft to a percolator or tea kettle)or how about the cloth birds thrown at Paul Birch's car. That is the extent of the special effect except of course for the "horrifying" finale where the mastermind is revealed. Somebody pinch me so I do not relive that horror another moment. Okay, let's get real. What about the animals - real, live animals - which are supposedly mad and dangerous. A dog wagging it tail in attack mode? The dog looked liked it was being trained in real time and was about as dangerous as the chances of any actors in this film winning an Oscar. A mad bull suppose to be a milking cow moving on in an attack like molasses. Paper and cloth birds and an innocuous crow sitting in a date palm. Scary stuff. The story basically has some alien mastermind introduced at the film's beginning saying he will take over earth for his dying alien race by first mastering the simple minds of the animals and plants and then moving on to the human beings. Whilst its execution is anything but pretty, The Beast with a Million Eyes is really one of the first nature goes awry films - films like The Day of the Animals, Prophecy, Grizzly, and so on owe the film a little bit - okay, a micro-little bit, but it is one of the first of its kind. What does it have going for it? Honestly not much. Paul Birch is mediocre but at least can act. I wish I could say that about the other thespians but would choke if I tried. Lorna Thayer plays his wife with reckless over-acting. She was an actress of some note and today is best known as the waitress from Five Easy Pieces with the notorious chicken salad sandwich scene. Dona Cole plays the daughter Sandy and she is just awful - no wonder her film career was quite limited. Dick Sargent(the second Darren from Bewitched) and Leonard Traver as the hulking, mute, ax-wielding "Him" are barely serviceable. One minor surprise was seeing great silent film comedian Chester Conklin in a brief but satisfying role. He even gets to do a little shtick for us before his udderly ridiculous departure. I have one big question. Why would an alien mastermind trying to take over the world start on a barely populated date farm in the middle of nowhere. Nothing much here in terms of animal/plant/or human life? You can tell the movie was made on a shoe-string budget and has obvious, for many, irrevocable flaws. But despite all of these imperfections, I found the movie to have some heart and think we should all get together and give it some love. Paul Birch's character would be so happy with that.

Most of the reviews of this movie have focused on acting, writing, and production values (or perhaps the lack thereof). This is what makes the film entertaining. In my view, the most interesting aspect of this film is its allegorical quality.

This movie was released in 1955, during the blacklist period and the McCarthy hearings. The title refers to the alien's ability to takeover the brains of the lesser animals (birds, dogs, cows, chickens) as well as the brains of weak-minded humans. Doing this provides him with the ability to see what the rest of us are up to. To me, that seems a lot like informing on our neighbors and co-workers. And what's the defense against this alien threat? We defeat it by staying united and sharing our strength.

Allegory or no, it's fun to watch the rampaging farm animals (perhaps a precursor to "Black Sheep") and the attacking blackbirds (props, I hope, tossed at a car window).