I MARRIED A MONSTER FROM OUTER SPACE: Blu-ray (Paramount, 1958) ViaVision 'Imprint' Edition
The affinity most people have for science-fiction
today began in their youth with their love of those whack-tac-ular fifties’
confections, made under a cloud of paranoia for the atomic age and endlessly
replayed on UHF channels throughout the 1980’s as Saturday afternoon ‘creature
features’. Partly due to Hollywood’s fundamental lack of interest in sci-fi, and
partly from the added expense necessary to create these fanciful futuramas, the
genre really did not gain a toe-hold in the industry and become mainstream until
the 1950’s, thanks to several intelligently made, big-budgeted mega-hits like The
Day the Earth Stood Still (1951) and Forbidden Planet (1956) sandwiched
between an endless spate of more cheaply made ‘alien invader’ flicks - actioners,
mostly, devoted to man’s race against time, and the onslaught of robots, radioactive
bugs and humanoid hybrids. Of this latter ilk is Gene Fowler Jr.’s rather shrewdly
executed, I Married a Monster from Outer Space (1958). Like Val Lewton’s
bone-chilling I Walked with a Zombie (1943), I Married a Monster from
Outer Space is a movie of far more intellectually high-minded merits than
its idiotic title would, at first, suggest. And, even on its shoe-string
budget, the picture generates a sort of queasy unease in anxiety-ridden America,
circa the Cold War. Possessing little faith in it, Paramount unceremoniously
dumped ‘Monster’ as the second half of a Saturday matinee double-bill,
headlined by another iconic and indie-produced sci-fi classic of its time; The
Blob, co-directed by Irvin Yeaworth and Russell Doughten. Curiously, unlike
‘Blob’, ‘Monster’ has not enjoyed endlessly
perpetuated popularity, nor has it had much play time on TV, or inspired much
of a following outside its die-hard fans. But I Married a Monster from Outer
Space is an extremely well-crafted ‘little’ programmer that delivers the
goods on a consistently high level.
The picture stars Tom Tryon and Gloria Talbott as
ill-fated couple, Bill and Marge Farrell. Tryon, cut from the same cloth as a
goodly sum of fifties’ beefcake, with his curiously off, though nevertheless chiseled
face, piercing eyes, and otherwise oddly angular physicality, is wholly believable
as the alien hybrid having taken human form. I Married a Monster from Outer Space may
not possess the finesse of a more-expensively mounted sci-fi spectacular, but what
it lacks in production values it more than makes up for with unadorned good solid acting,
the screenplay by Louis Vittes moving along 78-minutes of mostly nail-biting
tension as Marge comes to realize the man she married may be an ‘intruder’ in
disguise. In many ways, the picture can be considered something of a summer
stock knock-off of 1956’s Invasion of the Body Snatchers – minus the pods.
Haskell B.
Boggs’ cinematography departs from space-age main titles into the decidedly
earthly pursuits of a bachelor party in full swing. Almost immediately upon
leaving this bacchanal, the intended groom, Bill Farrell is overwhelmed and
replaced with a doppelgänger from Andromeda who assumes his identity and place
at the altar. Superficially, the rest of the story is about discovering and
destroying this alien threat. But dig a little deeper and a myriad of socio-psychological
subtexts comes tumbling forth – the screenplays ‘good humor’ approach to colonization
from another world, revealing a lot about the state of marriage in the
straight-jacketed 1950’s – men, estranged from their wives – sexually and
psychologically frigid – a man’s rights, via the vow of marriage, leading to
all sorts of repressive queer theory and post-modern feminist complications
regarding a human gal impregnated with alien seed, and, even more disturbing questions
about how well we ever truly understand the person who shares our bed.
Even more intriguing are the ambitions of the hybrid-Bill
as they shift to discussions about ‘being kind to humans’ to the finer
art of learning how to love and why love itself is so gosh-darn important.
Arguably, a satire, I Married a Monster from Outer Space draws parallels
between the dehumanization of civilization and alien abduction, its squid-faced
replicants, already to have infiltrated core organizations, while the steadily,
if slower-advancing intellect of mankind pieces together the clues to grapple with
this threat from another world. The
rather primitive, though no less creepy design of these all-male ‘monsters’ –
revealed only briefly, and usually, superimposed – adds a lot to the story’s ‘fear
factor’ as well as contributing to the kernels of terror that, of course, are
meant to market our story as a pure and pulpy popcorn-muncher. The opener to I
Married a Monster from Outer Space plays like a vintage noir, Bill, having
left his ole pals, Sam Benson (Alan Dexter) and Mac Brody (Ty Hardin as Ty
Hungerford) back at Max’s bar in Norrisville, now on route to his beloved’s
abode after his bachelor bash, discovers a body lying in the streets along an
abandon stretch of road. However, when Bill pauses a moment to investigate, he
finds the body has vanished – replaced by a hideous creature to consume him in
a spooky mist. The next day, Bill arrives at the church to wed Marge Bradley
(Gloria Talbott) – his emotionless stance, a tad perplexing to the bride who,
suggests Bill has cold feet, but nevertheless, goes through with the big day as
planned. Tossing her bouquet to best friend, Helen Rhodes (Jean Carson), who has
designs on Sam, Marge cannot eschew an ‘off’ feeling about her new hubby, especially
after he nearly kills them both by failing to turn on the headlamps of his car,
resulting in a near collision with another vehicle.
But in fact, Bill wants to get down to business right
off the bat. No time to waste. Or is there? As an impromptu thunderstorm
strikes near their honeymoon hotel, Bill retreats to the balcony to watch the
skies, rather than satisfy his new bride with some passionate love-making. Marge
knows something is definitely wrong with Bill. Indeed, after a year’s suffrage
she writes her mother (Mary Treen) to inquire about ‘what husbands are like’,
suggesting the man she married as morphed into someone who grows more
emotionally distant each day. Although she cannot put her finger on it, Marge
intuitively begins to sense some of the other men in town, from casual acquaintances
to time-honored business colleagues, have also become aloof; suddenly, inexplicably,
to have changed. Meanwhile, pals, Sam and Ted Hanks (Chuck Wassal) share a
frank discussion about not seeing Bill any more. Jokingly, and feeling no pain,
Sam informs the bartender, Max Grady (Max Rosenbloom) he is a home-wrecker. Making
for home, Sam becomes ill and throws up in a back alley. Now, he hears a sinister
sound, falls backwards and is similarly consumed by a galactic cloud of dark smoke.
Not long thereafter, Marge attends Dr. Wayne (Ken Lynch) with concerns about her
lack of fertility. Wayne reminds Marge not all couples immediately get
pregnant. It took him and his wife, Doris nearly five-years to conceive. Armed
with this knowledge, Marge decides to get a puppy - a surrogate. Inadvertently,
Marge also runs into Helen and Sam; Helen, elated to announce at long last, Sam
has proposed marriage. Only, the man in her car is not Sam – but Sam’s
duplicate.
Marge brings the puppy home as a surprise. Instead, it
viciously growls at Bill, who suggests, perhaps, dogs do not like him – a real ‘red
flag’ for Marge as Bill has always grown up with dogs. Suggesting Marge leave
the puppy in the basement, after dinner Bill goes to the basement and kills the
animal. Lying to Marge, that the puppy choked on its tight-fitted collar, Sam
suddenly arrives to confer with Bill.
Believing the boys need a little privacy, Marge leaves them alone, at
which point Sam reveals himself to Bill as another alien hybrid. Sam explains
how a new ‘human design’ has been implemented since Bill first came to earth
and orders him back to the mother ship for re-tooling. In another part of town, a
police cruiser carrying officers Schultz (Jack Orrison) and Frank Swanson
(Peter Baldwin) spy a drunk stumbling into a nearby alley. Pulling over to
investigate, Schultz is rendered unconscious by Swanson who, along with the drunk,
now carry his body into the alley. There, it too is consumed by the alien
smoke. It now becomes apparent the town has become overrun with alien hybrids.
After Sam departs the family home, Bill checks in on
Marge who feigns being asleep. However, much determined to get to the bottom of
things, Marge secretly follows Bill as he departs the house, presumably to go
for a walk. In one of the movie’s most
disturbing moments, Marge learns Bill is an alien/human hybrid – observing as
the acrid smoke evaporates from his body and the monster inside is exposed,
entering the nearby ship. Approaching Bill, Marge realizes only a shell remains.
Fearing discovery, Marge retreats to Max Grady’s bar, desperately pleading for anyone
to listen to her story. A leering drunkard, Weldon (James Anderson) is momentarily
intrigued. Now, a prostitute, Francine (Valerie Allen) encourages Weldon, who
is completely disinterested by her offer. Badly timed, Marge encounters Officer
Swanson and the newly transformed Schultz. She begs them to let her see Chief
Collins (John Eldredge). At the precinct, Collins feigns empathy, but refuses to
buy into Marge’s hysteria. After listening intently, Collins asks Swanson to
escort Marge home, a flash of lightning informing the rest of us he too has
already been consumed by the alien invaders. Disturbed, Marge enters her
darkened house to discover Bill already waiting for her. At first startled,
Marge agrees to accompany Bill upstairs.
At Sam’s wedding, Marge implores Helen to reconsider,
or, at the very least, delay her nuptials, but to no avail. Unable to provide a
reason for her concern, Helen thinks Marge is just being silly. Meanwhile, Weldon has followed Marge home. As Marge
is remote, rejecting her husband, Bill now suspects something is afoot between
Weldon and his wife. Using mental telepathy, Bill summons Officers Schultz and
Swanson to investigate and, in short order, they murder Weldon –
the gun shots stirring Marge from her slumber. The surrogates of Bill, Sam and
Harry now convene at the bar, observing as Francine goes on the prowl for new
clientele to service. Sam reminds his cohorts of the ultimate goal in their
invasion: to colonize the earth with offspring born of earth’s female
population. Now, Max assaults Bill who, unfazed, retreats without reprisals.
Max observes his own knuckles are badly bloodied. Meanwhile, Francine leaves
the bar, pursuing a hooded figure lingering along he avenue. Assuming the
figure as a potential John for hire, Francine entices, is startled by the alien
concealed beneath, and is instantly vaporized into a glowing mass.
Meanwhile, while on a routine bit of rest and
relaxation at the park, rowing with Helen on the lake, Sam falls overboard.
While Ted, who is nearby, remains unconcerned, Marge notices Sam has not
resurfaced. Now, Ted dives into the water, pulling Sam back to shore where Dr.
Wayne attempts to give him oxygen. However, instead of resuscitating Sam, the
oxygen kills him. In the aftermath, Helen decides to spend the evening with
Bill and Marge; the latter, determined to make the curious happenings in Norrisville,
public record with the authorities. As Capt. Collins is no help, and, Dr. Wayne
firmly believes Marge is losing her touch on reality, Marge now sneaks out to
send a telegram via Western Union to the FBI. However, upon paying her fee and
turning to go home, Marge notices the clerk, Mr. Potter (Tony Di Milo) tears up
her form. Indeed, Mr. Potter is one of the alien hybrids too. Now, Marge reasons
to drive out of town, prevented in her escape by Officer Swenson, who claims
the road ahead has been washed out from the previous night’s electrical storm. Returning
home, Marge confronts Bill with the truth. In reply, he explains the situation
to her; his alien race narrowly escaped from a destabilized solar system, light
years beyond the earth, their lack of female survivors necessitating another
way to propagate their species.
Predictably, Marge reveals all to Dr. Wayne who gathers
a posse along with Charles Mason (Steve London) to search for the alien mother ship
with a pair of hunting dogs. Sensing the real danger approaching, Bill breaks
down the door to his bedroom, demanding to know to whom Marge has been talking.
Dr. Wayne and Mason fire bullets into
the aliens, startled when their wounds instantly heal. Now, Mason releases his
dogs who snap at the alien’s breathing tubes, causing several attackers to hemorrhage
and dissolve into a puddle of jelly. Storming the mother ship, Wayne and Mason
discover the real human counterparts suspended from wires inside. Releasing the
real people causes their alien hybrids to reveal their truest selves. The
hybrid of Capt. Collins is unable to stave off this assault. Meanwhile, Bill’s
alien counterpart declares to Marge ‘her people’ have won the battle. As Wayne
frees the real Bill from his suspended animation, alien-Bill suddenly implodes,
his body melted into bubbling jelly. Now, the real Bill emerges from the
mother ship, moments before it too is destroyed. Marge and Bill are reunited as
the camera pulls back to an omnipotent fixed point in outer space, with more
alien ships retreating into the distant stars.
I Married a Monster from Outer Space is a cunningly performed
and disturbing sci-fi thriller. So easily, it all could have degenerated into
camp, except the entire cast play this fanciful scenario with deadly seriousness.
The trick here is retained in believability, to lend the movie not only an air
of immediacy, but also an unsettling vibe that its outlandish story – however
far-fetched – might nevertheless possess a kernel of truth. Both the picture’s
director, Gene Fowler Jr. and its screenwriter, Louis Vittes were veterans of
television, and, in hindsight, their experiences on the small tube have carried
over here and served them well. On a minuscule budget they have conspired to
craft a very succinct and compelling sci-fi thriller of the ‘little gem’ class.
Despite its disastrous title, I Married a Monster from Outer Space proved
a sizable hit with audiences and critics. The picture was cited for John P.
Fulton’s ‘outstanding’ SFX – quaintly dated, but still effective by today’s
standards – and for its skillful acting; also, Haskel B. Boggs’ atmospheric
cinematography. No kidding – this movie is a transparent rehash of ‘Body
Snatchers’, ever-so-slightly tweaked/recycled one year later in Wolf
Rilla’s Village of the Damned (1960). But hey, imitation remains the
cheapest form of flattery. And although the
picture’s motivations then were arguably a byproduct of Cold War anxieties, today,
it’s the sexual politics that easily creeps us out – emotionally distancing men,
with woman marginalized as receptacles for alien sperm – a far more
controversial, perverse, and, arguably, unsettling dynamic.
Another Aussie import from ViaVision’s newly
inaugurated ‘Imprint’ line, I Married a Monster from Outer Space debuts
in a ‘region free’ 1080p transfer that is just a step up from its DVD
incarnation. Virtually nothing has been done to upgrade the video master provided
to ViaVision from Paramount, with similarly exposed age-related damage,
comparable on both the standard DVD release from 2001 and this ‘newly minted’
hi-def disc. A curious anomaly to afflict both transfers - at just shy of the
40 min. mark, an entire minute of footage degrades to the quality of a tired
old VHS master. Honestly, it is that bad. Mercifully, it only lasts for about a
minute. But the sudden and inexplicable loss of fidelity is just weird – even more
so than the content of this movie! Otherwise,
not much to report here. Contrast is slightly anemic and tonality falls
somewhere into the mid-range, with a decided lack of pristine whites. Overall,
the image will not disappoint. But it will not astound, either. We get a PCM 1.0
mono that is adequate – though, just. An original theatrical trailer and ho-hum
image gallery are the only extras here – plus, and best of all – a new and
informative audio commentary from Barry Forshaw and Kim Newman, filling their
run time with feature-length homosexual subtexts, backstories about Tom Tryon, and
lots of fact-based ‘making of’ knowledge.
Definitely, well worth a listen. Bottom line: I Married a Monster
from Outer Space remains an underrated sci-fi thriller. ViaVision’s Blu-ray
gets the job done, though without the due diligence applied, and frankly,
anticipated for something being billed as a ‘signature’ series in hi-def. Not
awful. But hardly grand. Regrets.
FILM RATING (out of 5 – 5 being the best)
3.5
VIDEO/AUDIO
2.5
EXTRAS
1
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