During the production of Frankenstein (1931) there was some concern that seven-year-old Marilyn Harris, who played Maria, the little girl thrown into the lake by the creature, would be overly frightened by the sight of Boris Karloff in costume and make-up when it came time to shoot the scene. When the cast was assembled to travel to the location, Marilyn ran from her car directly up to Karloff, who was in full make-up and costume, took his hand and asked "May I drive with you?" Delighted, and in typical Karloff fashion, he responded, "Would you, darling?" She then rode to the location with "The Monster."

See Also: Dracula / Frankenstein 8 x 10 Studio Still - Dracula / Frankenstein Poster Image - Original Studio Image

"One always hears of actors complaining of being typed - if he's young, he's typed as a juvenile; if he's handsome, he's typed as a leading man. I was lucky. Whereas bootmakers have to spend millions to establish a trademark, I was handed a trademark free of charge. When an actor gets in a position to select his own roles, he's in big trouble, for he never knows what he can do best. I'm sure I'd be damn good as little Lord Fauntleroy, but who would pay ten cents to see it?" - Boris Karloff (IMDB)

Read Also: Frankenstein: Comics Greatest Monster - and - Five Myths About The ‘Frankenstein’ Monster

Written By: Ken Hulsey

In 1818 a young aristocrat named Mary Shelley was inspired by a summers night of ghost story readings by a group of friends, to write what may be the greatest horror story in history. Her short story, entitled “Frankenstein”, about a scientist named Victor Frankenstein and his attempts to generate new life from dead tissue has inspired novels, plays, TV series and countless movie adaptations. Her monster, however, was a far different creature than the famous interpretation by Boris Karloff in the 1931 Universal adaptation of Frankenstein that everyone is familiar with. Karloff’s monster was a slow mute who acted out violently from fear and confusion. Shelley’s monster was both intelligent and articulate. His violent behavior stemmed from the internal anguish over how it had been created. This monster was more than capable of confronting his creator intellectually with his pain and suffering. Ultimately the Karloff version was more cinematically impressive than a direct interpretation of Shelly’s monster could have been. Who would have been afraid of an intellectual monster? Shellye’s novel worked as a written horror tale, but as a film it wouldn’t have carried the same impact.

See Also: Warning! The monster is loose! - Frankenstein (1931) - Boris Karloff - Numbered Poster Print

In 1926 Willis O’Brien wanted to follow the success of his feature “The Lost World” with a stop-motion adaptation of Frankenstein. This, however, was just a fleeting fascination with O’Brien who soon began work on another monster classic called “King Kong.” The famed special effects wizard did however write a script for another film that would feature both monsters entitled “King Kong vs. Frankenstein”. He peddled the script around several studios that opted to pass on the project. Ultimately Universal kept control of the script and had it on the shelf for several decades before they sold it to the famed Toho film company in Japan who intern turned it into King Kong vs. Godzilla. Reportedly O’Brien wept when he learned the news.


A few years later Universal purchased the rights to Shelley’s novel a set out to bring it to the big screen. Initially French director Robert Florey directed two reels worth of test footage with Bela Lugosi as The Monster. Universal however was not impressed with any of the work so the project was scrapped.

Universal didn’t give up on the idea of a cinematic version of Frankenstein. English director James Whale had come to Hollywood to direct a film based on R.C. Sherriff’s World War I play entitled “Journey’s End.” Whale was also a scenery designer and a commercial artist. Universal felt that “Frankenstein” needed to be a visual heavy film, the director’s artistic skills would be a perfect match, so they handed him the project. As it would turn out “Frankenstein” would always be remembered for its visuals and is always regarded as the most artistic of all the classic horror films produced by Universal.

Boris Karloff arrived in Hollywood in 1917 and began a career as a bit player in several films before James Whale spotted him in the Universal commissary eating lunch. His silent portrayal as the monster in “Frankenstein” would catapult him to the “A” list of Hollywood horror actors. In real life however Karloff was anything but a monster. He was always noted as being a gentle, kind man who loved to entertain children.

When Universal released “Frankenstein” in 1931 the film was a very unique piece to watch. The film has always been regarded as a black and white classic when it was nothing of the sort. When audiences originally saw the film in theaters the daylight scenes were in amber, the night in pale blue, the eerie scenes in green and the fiery climax in red. Universal also thought it was necessary to hype the film up a bit. As if the film wasn’t scary enough on its own the studio found it in their best interest to park an ambulance out in front of many theaters and to keep two nurses on hand in the lobby to raise the chill factor. They even went as far as to place an actress in the audience during every showing who would, at the scariest moment in the film, scream, jump out of her seat, and run up the aisle and out of the theater. Too bad we don’t see theatrics like that anymore.


The brilliant scientist Henry Frankenstein (Colin Clive)(changed from Shelley’s Victor) has been spending more time in his castle laboratory than he has with his lovely fiance Elizabeth (Mae Clark). Henry as it would seem has become obsessed with creating life through artificial means. Together with his servant Fritz (not Igor) they begin robbing graves to gather pieces that they can use in the experiment. Unknown to the scientist his servant has retrieved the brain of a criminal instead of an intellectual as he was ordered, a mistake that would prove fatal.

Frankenstein brings his creation to life by harnessing the power of an electrical storm to power his generators. The seven-foot-tall creature only twitched at first, but as more power was supplied the monster gained the strength to rise from the table. “ITS ALIVE!”

The monster becomes an object for Frankenstein’s servant Fritz to torment. This ends up being something that the dwarf would regret when he becomes the confused creatures first victim. Frankenstein becomes worried that the being he has created is purely evil so he enlists his friend Dr. Waldman (Edward Van Sloan) to dispose of the abomination. The monster, however, has other plans and strangles Waldman and escapes the castle.

Once out in the countryside The Monster discovers a young girl on the banks of a small lake tossing flowers into the water. The young girl isn’t afraid of the ominous figure and they both begin to play. The scene turns tragic however when after all the flowers are exhausted The Monster throws the girl into the water to see if she too would float. It is important to note that this particular scene was cut from the original print of the film because the censors believed it was too violent. What was left, however, proved to be more frightening. What the audiences saw were the two at play then the film cut to the scene of the young girls body being dragged from the lake. Without the explanation of what really happened it was left to the audience to assume that The Monster murdered her with cruel intent. The imagination always conjures up the most violent of scenarios.

The townspeople become enraged at the discovery of the young girl’s dead body and set out to destroy The Monster. Frankenstein too joins in the search a he becomes the first to spot his creation. The two begin to wrestle and The Monster quickly overpowers the scientist and carries him off to an old mill with the townspeople in chase. Once inside the The Monster carries his creator to the roof while the villagers set the structure ablaze. Another fight breaks out between Frankenstein and his creation. This time The Monster raises his creator above his head and hurls him to the ground below. The structure soon gives way and The Monster never emerges from the flaming heap. Henry Frankenstein manages to survive the ordeal and marry Elizabeth in a happy ending.

Of course we all know that all good monsters never truly perish and movie goers would have a chance to watch Frankenstein and his monster several more times over the decades.

FRANKENSTEIN (1931)
Universal Studios
Directed By: James Whale
Written By: John L. Balderston, Francis Edward Faragoh, Garrett Fort, Robert Florey, John Russell, Mary Shelley

Cast:
Colin Clive as Dr. Henry Frankenstein
Mae Clarke as Elizabeth
John Boles as Victor Moritz
Boris Karloff as The Monster
Edward Van Sloan as Dr. Waldman
Frederick Kerr as Baron Frankenstein
Dwight Frye as Fritz
Lionel Belmore as Herr Vogel
Marilyn Harris as Little Maria

Runtime: 71 Minutes
Country: USA
Language: English
Color: Black and White
Sound Mix: Mono
Released: November 21, 1931

Read Also: Dracula (1931)(Universal) - and - The Sexy Side Of UK Horror - The Vampire Lovers (1970)

Forbidden Planet Glossy Photo Quality Lobby Card Lithograph

From View Obscura Comics

Order Here - $10 and up!

This is an original poster graphic print featuring an image from Forbidden Planet. The print looks amazing matted to 8 x 10 to 24 x 36 and framed and will make a great addition to your movie memorabilia collection. A must for all Science Fiction movie fans!

Each image is a limited edition that is signed by the artist and numbered (1-100).

The image is printed on professional studio grade glossy paper by a professional photography studio not a home printer.

The item will be shipped in an acid free bag with a protective board to prevent folding or creasing.

Larger items will be shipped rolled in a protective tube.

Limited Edition: 100 numbered pieces

When an Earth mission arrives on Altair IV, they find that Dr. Edward Morbius and his beautiful daughter Altaira are the only survivors from the original expedition that had arrived some 20 years before. Morbius isn't exactly pleased to see them and would have preferred that they not even land their spaceship. He does his best to get them on their way but Commander Abrams and his men soon face an invisible force leading them to believe that Morbius and the girl are in danger. Morbius claims to know nothing of other life on the planet but does reveal there once existed a far superior race, now extinct, that left a huge subterranean industrial and scientific complex.

Here is the amazing print!

90. THE GREMLIN

"Nightmare at 20,000 Feet" is a 1963 episode of the American television anthology series The Twilight Zone, based on the short story of the same name by Richard Matheson.

Bob Wilson (William Shatner) is a salesman on an airplane for the first time since his nervous breakdown six months ago. He spots a gremlin on the wing of the plane. Every time someone else looks out the window, the gremlin leaps out of view, so nobody believes Bob's seemingly outlandish claim. Bob realizes that his wife is starting to think he needs to go back to the sanitarium, but also, if nothing is done about the gremlin, it will damage the plane and cause it to crash. Bob steals a sleeping policeman's revolver, and opens the window marked "Auxiliary Exit" to shoot the gremlin, succeeding despite the fact that he is nearly blown out of the plane himself. Once the plane has landed, although he is whisked away in a straitjacket, a final shot reveals evidence of his claims: the unusual damage to the plane's engine nacelle — yet to be discovered by mechanics.


89. ALIENS (It Came From Outer Space)

It Came from Outer Space is a 1953 Science fiction 3-D film directed by Jack Arnold, and starring Richard Carlson, Barbara Rush, and Charles Drake. It was Universal's first film to be filmed in 3-D.

Author and amateur astronomer John Putnam (Carlson) and schoolteacher Ellen Fields (Rush) watch a great meteor crash to earth near the small town of Sand Rock, Arizona. After visiting the crash site, John Putnam notices a strange object at the impact site, and comes to believe the meteor is not a meteor at all, but an alien spaceship. After a landslide covers the mysterious craft, John Putnam's story is ridiculed by the townspeople, the sheriff (Drake), and the local media. Even Ellen is unsure of what to believe at first, but soon agrees to assist John in further investigation. In the following days, several local people disappear. A few return, only to display odd robot-like behavior, and seem distant and removed from their normal selves. Eventually Sheriff Warren also becomes convinced that something more than a meteor is involved, and organizes a posse to root out and destroy the invaders. All alone, John hopes to reach a peaceful solution, entering a mine which he hopes will lead him to the buried spacecraft and its mysterious occupants.

It develops that the aliens are benign beings whose spacecraft has crashed due to malfunctioning components. Their plan is to stay on Earth long enough to replace them, then continue on their voyage. They temporarily control a few humans since they would not be able to mingle inconspicuously with people, and they realize that humans would panic on seeing them. Upon their departure, all returns to normal on Earth.


88. THE MIGHTY PEKING MAN

The Mighty Peking Man (猩猩王 THE MIGHTY PEKING MAN) (Mandarin: Hsing Hsing Wang, Cantonese: Sing Sing Wong - literally "Orangutan King: THE MIGHTY PEKING MAN") is a 1977 film produced in Hong Kong by Shaw Brothers Studio to capitalize on the craze surrounding the 1976 remake of King Kong.

The film was directed by Ho Meng Hua and produced by Runme Shaw; the special effects were directed by Sadamasa Arikawa, with Koichi Kawakita as assistant FX director. It starred Danny Lee and Evelyn Kraft.

A party from Hong Kong headed up by Johnny (Danny Lee) are exploring the Indian side of the Himalayan mountains discover the eponymous Peking Man, a gigantic ape-like creature, along with a beautiful blond barefoot wild woman named Samantha (Evelyn Kraft) whose parents had been killed in a plane crash. Samantha was raised by Utam (the Peking Man) with nothing to wear but an animal-skin bikini (which she later continues to wear in preference to the type of women's clothing more common in Hong Kong). Like Tarzan, she has learned both to swing through the trees on vines and to communicate with and command the jungle animals, with the exception of a venomous snake who bites her on the inner thigh requiring the hero Johnny to suck out the poison while Samantha's leopard friend fights the snake. Shortly thereafter, they fall in love.

Johnny and his partners bring Samantha and Utam to Hong Kong, where Utam goes on display to the incredulous public. Johnny, meanwhile, reconciles with the girlfriend whose romantic betrayal with his brother had been the impetus behind his sudden decision to explore the Himalayas. Samantha sees this and runs off, nearly getting raped. Utam goes berserk and squashes the rapist, then runs off with Samantha to the tallest building he can find (namely the Jardine House), climbs it, and is burned/shot to death by several helicopters in a scene greatly reminiscent of the ending of King Kong, and falls off. Samantha is killed in an explosion during the conflict, and Johnny receives what appears to be a very minor gunshot wound to the lower leg.



87. THE DEADLY MANTIS

The Deadly Mantis is a 1957 science fiction film produced by William Alland for Universal-International Pictures. It was directed by Nathan Juran from a screenplay by Martin Berkeley, and starred Craig Stevens, William Hopper, Alix Talton, and Pat Conway. It was filmed in black and white and runs for 79 minutes.

In the South Seas, a volcano explodes, eventually causing North Pole icebergs to shift. Below the melting polar ice caps, a 200-foot-long praying mantis, trapped in the ice for centuries, begins to stir. Soon after, the military personnel at Red Eagle One, a military station in northern Canada that monitors information gathered from a nearby radar line, realize that the men at one of their outposts are not responding to calls. Commanding officer Col. Joe Parkman drives there to investigate, and finds the post destroyed, its men disappeared and giant slashes left in the snow outside.

When a blip on the outpost's radar screen is soon sighted, Joe sends his pilots out, and one is attacked. Joe searches the wreckage, and this time, in addition to the huge slashes, finds a five-foot-long pointed object in the snow. He takes it to General Mark Ford at the Continental Air Defense Command in Colorado Springs, Colorado. Ford gathers top scientists, including Professor Anton Gunther, to examine the object, but after they fail to identify it, Gunther recommends calling in Dr. Nedrick Jackson, a paleontologist at the Museum of Natural History.

When Ned receives the call from Ford, he is helping museum magazine editor Marge Blaine plan her next issue, and later dodges her questions as she begs him for a big scoop. Later, after examining the object, Ned recognizes it as a torn-off spur from an insect's legs, and soon guesses, from evidence that the creature ate human flesh, that it must be a gigantic praying mantis. Meanwhile, in the Arctic, the people of an Eskimo village spot the mantis in the sky, and although they hurry to their boats to escape, it swoops down and kills several men.

Ned is sent to Red Eagle One to investigate further, and upon leaving, discovers that Marge has finagled permission to accompany him as his photographer. They reach the base, where all the men, including Joe, are smitten by Marge's beauty. That night, Marge and Joe join Ned in his office and discuss the creature, not realizing that it is drawing close to the office window. Marge suddenly catches sight of it and screams, and the bug attacks the building. Although the full unit opens fire on the mantis, it is unscathed and moves away only after planes encircle it.

Hours later, the base remains on red alert, but they finally hear that the bug has attacked a boat in the Canadian sea, which means, Ned calculates, that it is flying at a speed of 200 miles an hour. Ford calls a press conference to announce the bug's existence, and asks the Civilian Ground Observer Corps to track its whereabouts. Over the next few days, Ned, Marge and Joe tirelessly track the bug's progress, with the help of military and civilian onlookers. Late one night, Joe drives Marge home, stopping briefly to ask for, and receive, a kiss. They are distracted by a report of a nearby train wreck, and although they assume it to be a fluke accident, soon after, a woman leaving a bus sees the mantis, and all emergency personnel are put on alert. The mantis is then sighted in Washington, D.C., atop the Washington Monument.

Joe is one of the pilots who bravely attempt to drive the bug toward the sea, but a dense fog throws him off course, and he flies directly into the mantis. As the wounded mantis drops to the ground and crawls into the Manhattan Tunnel, Joe safely parachutes to the ground. Ford heads a team that seals off the tunnel, filling it with smoke to provide cover for Joe and his special unit of men, who enter the tunnel armed with chemical bombs. They creep past wrecked cars until suddenly the bug appears in the fog only a few yards ahead of them. They shoot at it, but it lumbers on, forcing them backward. The mantis seems immune to the ammunition until, only feet from the tunnel entrance, Joe throws a grenade in its face, and it collapses, dead.

Later, Ford, Ned, Joe and Marge enter the tunnel to examine the bug. Marge photographs its face while the men walk around its side, but Joe suddenly sees the mantis' arm move, and runs to protect Marge. Although Ned explains that the bug's movement was merely an automatic reflex, Joe takes the opportunity to pull Marge into an embrace.



86. THE GIANT BEHEMOTH

Behemoth, the Sea Monster (1959) is an American-British science-fiction film co-production. Originally a story about an amorphous blob of radiation, the script was changed at the distributor's insistence to a pastiche of The Beast from 20,000 Fathoms (1953), though elements of the original concept remain in the early parts of the film and in the "electric eel" power of the titular monster. The script was written by blacklisted author Daniel James under the name "Daniel Hyatt," with Eugène Lourié co-writing as well as directing. Released in the United States as The Giant Behemoth, the film starred Gene Evans and André Morell. It was distributed by Allied Artists Pictures.

Dead fish by the thousands begin washing up on the shores of Cornwall, and finally an old fisherman is killed by something which has left him covered with radiation burns, his dying word being "behemoth". An Anglo-American team of scientists are dispatched from London to investigate, and discover the dead fish are also radioactive. Further investigation reveals a large, glowing animal swimming below the surface of the sea, and on another night it comes out and "burns" a farmhouse and its occupants, leaving footprints the length of a police car. From a picture of one print, a paleontologist determines the animal is a [fictional] Paeleosaurus that can project electric shocks and is saturated with radiation. The dinosaur enters the River Thames and surfaces and attacks the city of London. The scientists realize that if it is destroyed by conventional military weaponry, a large amount of radioactive contamination will be released. The military then concludes to use a mini-submarine capable of firing a torpedo with enough additional radioactivity in its warhead to "overdose" the behemoth and kill it. The American scientist and one of the younger Cornish fishermen, boyfriend of the daughter of the first man killed, take the mini-sub out and successfully kill the behemoth.

Upon returning to base in the mini-sub, the sub's passengers hear a radio broadcast reporting schools of dead fish washing up along the shoreline of Florida!



85. SANDA & GAIRA

War of the Gargantuas, released in Japan as Frankenstein's Monsters: Sanda versus Gaira (フランケンシュタインの怪獣 サンダ対ガイラ, Furankenshutain no Kaijū: Sanda tai Gaira?), is a 1966 daikaiju eiga (giant monster movie), and a semisequel to Frankenstein vs. Baragon.

It introduces two giant, hairy humanoids called Gargantuas, which spawned from the discarded cells of Frankenstein's monster from the previous film and are described as brothers. The Green Gargantua is violent and savage, preying upon human beings; as he lives in sea water, he is given the name Gaira (ガイラ?, from kai, "sea"). The Brown Gargantua had been raised in captivity, and is docile and gentle; because he resides in the Japan Alps, he is called Sanda (サンダ?, from san, "mountain"). The film follows the investigation and military engagements of these creatures until their climatic confrontation in Tokyo.

Several ambiguous references are made to Frankenstein vs. Baragon, but the only direct link between the films is the term "Frankenstein", which appears in the title and is used to refer to the Gargantuas ("Frankensteins") in the original Japanese dialogue. Like the previous film, which starred Nick Adams, War of the Gargantuas features a Hollywood actor (Russ Tamblyn) in the lead as a scientist, Kumi Mizuno as his colleague, and another Japanese scientist (previously Tadao Takashima, here Kenji Sahara). The similar casting has led to speculation that the film was intended to feature recurring characters. Eiji Tsuburaya helmed the special effects crew with monster suit actor Haruo Nakajima portraying the antagonistic Gaira.

The film itself is rather vague as to where (if at all) War of the Gargantuas falls in regard to the continuity of Toho's other kaiju films, or even if it should be considered a canonical part of the Godzilla series. In 2002's Godzilla Against Mechagodzilla, however, specific reference to the Gargantuas is made, indicating that (in this variation on Godzilla continuity, in any case) War of the Gargantuas is considered by Toho to be a legitimate part of the Godzilla universe.


84. THE BLACK SCORPION

The Black Scorpion is a 1957 horror film released by Warner Brothers, with stop motion special effects done by Willis O'Brien.

The film begins when an earthquake hits Mexico, resulting in the overnight birth of a new volcano. Sent to study this phenomenon are geologists Dr. Hank Scott and his partner Dr. Arturo Ramos. En route to the village of San Lorenzo, the two men happen upon a destroyed house and an equally totaled police car. Shortly afterward, they find the dead policeman nearby, as well as an abandoned infant.

They take the baby to San Lorenzo and give it to some friends of its (now missing) parents, and are welcomed by the village's priest, Father Delgado. In addition to the disappearances of locals and the destruction of their homes, there have been wholesale slaughters of livestock and strange roars in the night. The villagers believe the culprit to be a demon bull, and have been pestering Delgado for divine assistance. Undaunted, Hank and Arturo begin their geological survey as members of the Mexican army, led by Major Cosio, arrive in San Lorenzo to begin disaster relief efforts. Hank meets and falls in love with local rancher Teresa Alvarez and makes friends with a young boy named Juanito.

The volcano erupts again and the true culprits behind the disappearances and deaths are revealed as giant prehistoric scorpions. After attacking a trio of telephone repairmen, the scorpions turn their attention to San Lorenzo itself, with the guns of Major Cosio's troops having no effect on them. Come morning, the scorpions have returned to their underground lair (which, in addition to the scorpions, is home to giant worms and spiders), leaving the authorities to seek the help of renowned entomologist Dr. Velasco. It is up to him, Hank, and Arturo to figure out a way to either destroy the scorpions or seal off the entrance to their cavern home, before more innocent lives are lost.

Despite collapsing the cave entrance, the giant scorpions make it to the surface and destroy a train, killing countless passengers before fighting amongst themselves. In the end, one scorpion, the largest of the group and presumably the alpha scorpion, kills all of the smaller ones, making it the last scorpion alive and it heads for Mexico City. Hank and Arturo come up with a plan to lure it to a stadium where the military is waiting with tanks and helicopters. Using a truckload of meat from a butcher shop, they manage to get the scorpion into the stadium where the military's weapons are again proved useless against its armor. However, Hank manages to finish it off by using an electric cable attached to a spear at its throat, which is its weakness. After destroying several tanks and choppers, the scorpion is electrocuted.


83. THE SHADOWS

The Shadows are a fictional alien species in the science fiction television series Babylon 5. Their homeworld is Z'ha'dum. In contrast to the Vorlons, whose philosophy is represented by the question "Who are you?", that of the Shadows is represented by the question "What do you want?", centering towards desire rather than identity. J. Michael Straczynski, the show's creator, once explained that he chose the name "Shadows" because of its meaning in Jungian psychology.

A Shadow is an insect-like organism with a spiked, violet-black carapace. They are similar in shape to a praying mantis with an upper body, shoulder spines, a mobile head, and at least one pair of grasping forelimbs. The rear of the body is supported by multiple pairs of legs. Their legs resemble those of a spider, but each Shadow has six of them instead of eight.

The Shadows have fourteen eyes in total divided into four groups. Two sets of three arranged, slanted upward and two sets of four arranged to align perfectly under the first sets.

The spoken language of the Shadows is a rapid series of high-frequency bursts and chirps like a cricket or grasshopper. The endonym of the Shadows is ten thousand letters long, and unpronounceable by many.

Detailed descriptions are rare, due to their ability to "cloak" their physical bodies to visual wavelengths of light. They are thus rarely seen except as shadowy, mirage-like silhouettes, which can be seen by telepaths, those using visual enhancement devices, or when the entity chooses to partially or wholly reveal itself.

Other manifestations take the form of the Shadows' three pairs of glowing orange eyes, usually as a symbolic image within a telepathic or dream vision.

Shadows very rarely engage in hand-to-hand combat to accomplish their goals, relying instead on invisibility, behind-the-scenes maneuvering and their technology. They are, however, vulnerable to high-powered energy weapons, as demonstrated when the two Shadow guards flanking Mr. Morden are killed by particle gun fire from Centauri guards.



82. THE BLOB
The Blob is an independently made American horror/science-fiction film from 1958 that depicts a giant amoeba-like alien that terrorizes the small community of Phoenixville, Pennsylvania. It was not until star Steve McQueen became famous with the TV series Wanted: Dead or Alive that the film became a hit at the drive-in theatres.

The film was Steve McQueen's debut leading role, and also starred Aneta Corsaut. The film's tongue-in-cheek theme song, "Beware of the Blob" (recorded by studio group the Five Blobs—actually singer Bernie Nee overdubbing himself), was written by Burt Bacharach and Mack David and was a nationwide hit in the U.S.

Teenager Steve Andrews (Steve McQueen) and his girl Jane Martin (Aneta Corsaut) are out parking and see a falling star. They drive out to try to find where the meteor landed. An old man (Olin Howland) has heard the meteor crash near his house. He finds the meteor and pokes it with a stick. The rock breaks open to reveal small jelly-like blob inside. This blob, a living creature, crawls up the stick and attaches itself to his hand. The man runs hysterically onto the road, where he is seen by Steve, who takes him to see the local doctor, Doctor Hallen.

They reach the clinic when Doctor Hallen is about to leave. Hallen anesthetizes the man and sends Steve back to the crash site to gather more information. Hallen decides he must amputate the man's arm which is being consumed by the blob, calling in his nurse. However, the blob completely consumes the old man. Now an amorphous creature, it eats the nurse and the doctor while increasing in size.

Steve and Jane return to the office and Steve witnesses the doctor's death. They go to the local police and return to the clinic with the kindly Lt. Dave and cynical Sgt. Burt. However, there is no sign of the creature or the doctor, and the police dismiss Steve's story. Steve and Jane are sent home with their fathers but sneak out and retrieve Steve's friends and successfully enlist their help warning the town.

In the meantime, the blob has consumed a mechanic, the janitor in Mr. Andrew's grocery store and a bar room of late-night drinkers. Investigating, Steve and Jane are confronted by the blob in the grocery store and seek refuge in the walk-in refrigerator. The blob starts to ooze in under the door but then retreats. Steve and Jane escape and set off the town's fire and air-raid alarms. The whole town gathers and demands to know what is going on. As the townspeople and police angrily confront Steve, the blob enters the Colonial Theater, engulfing and eating the projectionist before oozing into the cinema seating area. The patrons run screaming out of the theater alerting the assembled townspeople to the danger. The blob leaves the theatre, but Jane's little brother appears from the crowd to confront the blob with his cap gun before running into the adjacent diner. Jane and Steve run in after him but become trapped along with the owner and a waitress.

The Blob – now an enormous mass – engulfs the diner and begins to ooze in through the windows while the occupants seek refuge in the cellar. The police try to kill the Blob by dropping a power line onto it, but this fails and only sets the diner ablaze. Defending themselves inside, the diner's owner uses a CO2 fire extinguisher attempting to put out the fire, which also causes the approaching blob to recoil. Steve remembers the blob recoiled from the refrigerator, too, and tells Lt. Dave that the Blob cannot stand cold. Jane's father, Mr. Martin, takes Steve's friends to the high school to retrieve fire extinguishers which are used to freeze the blob. Dave requests an Air Force jet to transport the blob to the North Pole to keep it frozen. A military plane is shown dropping the blob into an Arctic landscape. The film ends with the words "The End", which then morph into a question mark, suggesting that the Blob may return.



81. TARANTULA

Tarantula is a 1955 science fiction film directed by Jack Arnold, and starring Leo G. Carroll, John Agar, and Mara Corday. Among other things, the film is notable for the appearance of a 25-year-old Clint Eastwood in an uncredited role as a jet pilot at the end of the film.

When a mysteriously deformed man, ERIC JACOBS, is found dead in the desert, DR. MATT HASTINGS, a family doctor in the tiny neighboring town of Desert Rock, is called in to examine the body. Jacobs, a research scientist, worked with PROFESSOR DEEMER, a reclusive scientist who's conducting mysterious experiments at an out of the way mansion near the town.

Dr. Matt is baffled by the cause of Eric's death. His distorted features suggest acromegaly, a disorder of the pituitary gland, but since Eric was fine just days earlier, Matt can't understand why he would deteriorate so quickly. When Professor Deemer insists that it is acromegaly and refuses to authorize an autopsy, Matt is both annoyed and confused. The local SHERIFF takes the Professor's side.

Later, Deemer returns to his lab, where it's revealed he's working on creating a food nutrient to feed the world's increasing population. He has injected the nutrient into lab animals, which have grown at astonishing rates. A caged tarantula is several times normal size. Suddenly, Deemer's other assistant, PAUL, stumbles into the lab, his face as hideously distorted as Jacobs'. Delirious, Paul attacks Deemer and busts up the lab, setting the tarantula loose. He also injects the unconscious Deemer with the nutrient, then dies as the lab begins to burn. Deemer awakes in time to put out the fire, then buries Paul's body without notifying authorities.

The following day, beautiful DR. STEPHANIE CLAYTON arrives in Desert Rock, having been hired by the late Jacobs. Matt gives her a ride to Deemer's, informing her of Jacobs' death. When they reach Deemer's house, the Professor pretends the damaged lab was an accident. Deemer explains how he is making the nutrient using the power of the atom to bind the solution.

Stephanie becomes an able assistant to Deemer, helping him with his experiments. She also gets to know Matt, who shows her the town and desert scenery. Meanwhile, something odd is going on in the desert. Something unknown is devouring the horses, their skeletal remains found by local RANCHERS. Two human beings appear to have been devoured after an apparent car accident. Matt notices huge pools of a mysterious substance near the accident. After lab analysis, he discovers that it's insect venom û but in an enormous quantity.

At the lab, Stephanie becomes concerned about Deemer, whose face is gradually becoming distorted, much like Jacobs and Paul. When Deemer finally confesses to Matt and Stephanie that Paul went on a rampage and released the tarantula, Matt becomes suspicious, making a connection to the recent phenomena. Meanwhile, the tarantula continues its rampage, killing TWO OLD PROSPECTORS in the desert.

While studying in her bedroom that night, Stephanie doesn't see that the tarantula is approaching in the distance, visible from her bedroom window. Once the tarantula begins wrecking the house, a horrified Stephanie tries to save Deemer, who's convalescing in his room, his face now completely distorted. Unfortunately, the tarantula kills Deemer before Stephanie can save him.

Matt drives up to the house as it collapses, but Stephanie gets out alive, rushing to Matt's car. They drive off into the desert, notifying the State Police and Sheriff, who gives orders to evacuate the town. Efforts to kill the approaching tarantula with machine guns fail, and the monster kills TWO COPS in the bargain. Another effort to kill the monster with dynamite also fails. With the tarantula headed for town, fighter planes approach, dropping bombs on the monster as it reaches Desert Rock. When traditional bombs fail, the planes drop napalm, setting the tarantula on fire as a relieved Matt, Stephanie and various OFFICIALS look on. The film's poster, featuring a spider with two eyes instead of the normal eight, and carrying a woman in its fangs, does not represent any actual scene in the film.

(Information on all monsters provided by Wikipedia)

See Also: The 100 Greatest Monsters From Movies And Television #91 - #100  -and - 

Written By Ken Hulsey

Just about every film buff knows the stars of the classic line of horror films produced by Universal in the 1920s', 30s' and 40s'. Bela Lugosi, Boris Karloff and Lon Cheney, three names that will forever be remembered in the hearts of movie fans around the world. Yet, one name always seems to omitted from the list. True this mystery actor never played Dracula or Frankenstein's Monster, yet his part in the history of horror is just as important as any actor who ever wore a cape or endured hours wrapped in bandages.

See Also: Vintage MEGO 1973 JOKER 8" Action Figure ‘Batman's Arch Enemy’

I am of course talking about Conrad Veidt. Still don't know who I'm talking about? Well, I'm certain that you have heard of some of the films he starred in. Veidt would become known for his roles in such films as "The Cabinet of Dr. Caligari" (1920), "The Thief of Bagdad" (1940), and "Casablanca" (1942). His likeness as Gwynplaine in "The Man Who Laughs" would serve as the inspiration for the comic book supervillain "The Joker."

Starting to sound familiar?

He was born Hans Walter Conrad Weidt in a working-class district of Berlin, Germany. (Some biographies wrongly state that he was born in Potsdam, probably on the basis of an early claim on his part.) From 1916 until his death, he appeared in well over 100 movies.

He appeared in two of the most well-known films of the silent era: as a murderous somnambulist in director Robert Wiene's The Cabinet of Dr. Caligari (1920) opposite Werner Krauss and Lil Dagover, and as a disfigured circus performer in The Man Who Laughs (1928).

"The Cabinet of Dr. Caligari" directed by Robert Wiene from a screenplay written by Hans Janowitz and Carl Mayer. It is one of the earliest, most influential and most artistically acclaimed German Expressionist films. Many historians note that this was the first true horror movie ever produced.

The film tells the story of the deranged Dr. Caligari and his faithful sleepwalking Cesare, and their connection to a string of murders in a German mountain village, Holstenwall. Caligari presents one of the earliest examples of a motion picture "frame story" in which the body of the plot is presented as a flashback, as told by Francis.

The narrator, Francis, and his friend Alan visit a carnival in the village where they see Dr. Caligari and the somnambulist Cesare, whom the doctor is displaying as an attraction. Caligari brags that Cesare can answer any question he is asked. When Alan asks Cesare how long he has to live, Cesare tells Alan that he will die tomorrow at daw, a prophecy which turns out to be fulfilled.

Francis, along with his girlfriend Jane, investigate Caligari and Cesare, which eventually leads to Cesare kidnapping Jane. Caligari orders Cesare to kill Jane, but the hypnotized slave refuses after her beauty captivates him. He carries Jane out of her house, leading the townsfolk on a lengthy chase. Francis discovers that "Caligari" is actually the head of the local insane asylum, and with the help of his colleagues discovers that he is obsessed with the story of a medieval Dr. Caligari, who used a somnambulist to murder people as a traveling act.

Cesare falls to his death during the pursuit and the townsfolk discover that Caligari had created a dummy to distract Francis. After being confronted with the dead Cesare, Caligari breaks down and reveals his mania and is imprisoned in his asylum. The influential twist ending reveals that Francis' flashback is actually his fantasy: he, Jane and Cesare are all inmates of the insane asylum and the man he says is Caligari is his asylum doctor, who, after this revelation of the source of his patient's delusion, says that now he will be able to cure Francis.

"The Man Who Laughs" (1928) was directed by the German Expressionist filmmaker Paul Leni for Universal. The film was an adaptation of Victor Hugo's novel of the same name and stars Conrad Veidt as Gwynplaine and Mary Philbin as the blind Dea. The film is known for the grim Carnival freak like grin on the character Gwynplaine's face which often leads the film to be credited to the horror film genre.

Taking place in England in the year 1690, The Man Who Laughs features Gwynplaine, the son of an English nobleman who has offended King James II. The monarch sentences the parent to death in an iron maiden and the son to a lifetime of public humiliation through extraordinary mutilation. The King calls upon the skills of a surgeon, Dr. Hardquannone, associated with a band of ostracized and feared Gypsies, the Comprachicos, and the boy's face is horribly fixed into a permanent rictus grin. As a title card states, the King condemns him "to laugh forever at his fool of a father."

The homeless Gwynplaine wanders around in a snowstorm and discovers an abandoned baby girl, the blind Dea. The two children are eventually taken in by Ursus, a mountebank. Years pass and Dea and Gwynplaine fall in love but Gwynplaine refuses to allow himself to marry her because he feels his hideous face makes him unworthy. The three earn their living through plays based upon the public's voyeuristic fascination with Gwynplaine's mangled facial features. Their travels bring them back into the path of the deceased King's successor, Queen Anne. Here, Queen Anne's jester, Barkilphedro, discovers records which reveal Gwynplaine's lineage and his potential inheritance of his father's position in the court.

Gwynplaine's deceased father's estate, currently owned by the Duchess Josiana, is in her possession, and Queen Anne decrees that the royal duchess must marry Gwynplaine, the rightful heir, to make things right. Josiana, who has seen Gwynplaine's act, arranges a rendezvous, and is at the same time sexually attracted to and repelled by the "Laughing Man" image. Gwynplaine, made a Peer in the House of Lords, refuses the Queen's order of marriage and escapes, chased by guards. He finds Ursus and Dea at the docks, sailing from England under banishment, and joins them on the boat. The film thus leaves off the tragic ending of Hugo's original novel, in which Dea dies while the group is sailing away from England, and Gwynplaine drowns himself.

Stills of Veidt were used as inspiration by the Joker's creators, artist Bob Kane, writer Bill Finger and artist Jerry Robinson,the creators have long disputed who actually came up with the character. Veidt also appeared in Magnus Hirschfeld's pioneering gay rights film Anders als die Andern ("Different from the Others", 1919), in which he played what is likely the first gay character written for the cinema, and in Das Land ohne Frauen (1929), Germany's first talking picture.

Veidt fervently opposed the Nazi regime, and he emigrated from Germany in 1933 a week after marrying a Jewish woman, Illona Prager. He settled in the United Kingdom and continued making films, notably three with director Michael Powell: "The Spy in Black" (1939), "Contraband" (1940) and "The Thief of Bagdad" (1940).

He later moved to Hollywood, and starred in a few films, such as Nazi Agent - in which he had a dual role as a Nazi and as the Nazi's twin brother. But he is most well known in this period for playing the Nazi Major Heinrich Strasser in "Casablanca" (1942).

He died of a heart attack a year later, while playing golf in Los Angeles.

Veidt sang the title song "Where the Lighthouse Shines Across the Bay" of the 1933 film "F.P.1". It was a flop at the time, but became a hit in the United Kingdom in 1980. Disc-jockey Terry Wogan had played it as a request on his breakfast show and was flooded afterwards with letters asking for a repeat.

Rachael earned her English degree from the College of St. Catherine. Shortly after graduation, she won the Best Breakthrough Screenplay award at the New York International Independent Film And Video Festival for her first feature-length script. Her interest in film led her to take acting classes and audition for films in the Twin Cities area. In the past few years, Rachel has acted in numerous independent shorts, features, music videos and television shows and recently moved to Los Angeles to expand her career. She wrote, directed, and starred in Why Am I in a Box? which has already won seven Creative Spirit Awards and has distribution. Together with Brooke Lemke, Rachel runs Silent-But-Deadly Productions, an all-female production company.

See Also: Will She Live To Tell? - Version 2 - Erotic Bondage Art - Men's Pulp Magazine Limited Edition Signed and Numbered Print

As an actress, she first appeared as Amy in St Euphoria Pictures' The Monster of Phantom Lake. She has since become a well-known Scream Queen and acted in numerous, independent feature films, such as Terror Overload, Strip Club Slasher and Cave Women on Mars. She played a creepy ghost in Dav Kaufman's 13 Hours in a Warehouse and she played the lead role in JP Wenner's Retina, featured on The Horror Vault DVD. Rachel portrays Jolly in the web comic A Life Behind the Mask from Comic Book Divas.

Rachel has been an in-studio guest on Maxim Radio's "Hotties Of Horror" week and writes a regular Scream Queen column for The Chainsaw Mafia. Rachel was featured as Scream Queen Of The Month at ScreamQueen.com and was crowned PollyStaffle.com's Pinup Of The Year. She has been a panel speaker at the Xanadu convention in Las Vegas and been featured in several magazines, including Gorezone and Girls and Corpses. Rachel has her own trading cards, available from TerrorCards.com.

RACHEL GRUBB INTERVIEW

Ken Hulsey - Anyone who knows you understands that you have love affair with everything Batman related, especially The Joker, did you grow up being a comic book fan and why the fascination with the Cape Crusader's arch enemy?

Rachel Grubb - I grew up as a comic book fan for sure! As a child, I admired Batman and looked up to him as a father figure. I loved to read superhero comics as a kid, but Batman was my favorite. I was interested in just about anything Batman related, no matter how silly. I loved the cartoon and the 1960's live action TV show as a child. And when I was a little older, I loved the Tim Burton film with Michael Keaton. And of course, since then, I've also loved the Animated Series, and the Dark Knight. I was into all of it, but there is something special about the Dark Knight. Nolan brought Gotham to the screen in a way I never thought possible. Batman Begins wasn't bad, but it didn't really click with me because I dislike origin stories. When I was little, I never wondered, "Why does Batman fight crime?" (Although, I do remember being about 6 years old and wondering why he didn't just kill the Joker.) Dark Knight is kind of the ultimate Batman adaptation, and the Joker was the most important part of that. And let's face it: Heath Ledger's Joker is to Batman fangirls what Michelle Pfeiffer's Catman was to Batman fanboys back in the day.

KH - How hard is it for young women to break into modeling and acting these days? What are directors and photographers looking for?

RG - They're probably all looking for something different. But there is one thing that everyone is looking for, and that is someone who is willing to work hard. A lot of people imagine breaking into acting as this thing that magically happens to you one day, but it isn't really like that. You start out doing smaller projects, like student films, and little by little you work your way up to bigger things. When some people are starting out, they only want to try out for bigger movies, or roles that pay a lot of money, but I don't recommend that. Roles like that are highly competitive, and if you don't have much experience, you're going to get beat out by someone who does. So you shouldn't pass up an opportunity just because you think the movie won't be a huge success or make you famous. If it will add to your resume and give you something for your reel, or just help you improve your craft, it can be good for you. It is also important to be committed, and make acting and modeling a priority. There are a lot of people who say that want to be actors and models, but they really like the idea better than they like to actually do it. If you have other things you would rather be doing, that is fine, but you can expect that most opportunities will go to those who truly want to do it.

KH - You've starred in two of Christopher Mihm's retro sci fi films, "Monster of Phantom Lake" and "Cave Women on Mars", how did you get involved in those projects, and what was it like working with the director?

RG - I found an audition online for a local feature film based on 1950's drive-in horror movies, and I had to check it out. I love watching Mystery Science Theatre 3000, so I was quite familiar with those types of movies. I went into to audition, and they cast me in the role of Amy. When I met Brooke Lemke, she told me how Chris wanted to make a movie with her called Cave Women On Mars. Chris recognized Brooke from Invasion Iowa with William Shatner. I told them both that I would love to be in it, and that's how we became the two leads with the warring tribes--Blondes vs. Brunettes. I love working on these movies with Chris. I think that if you want to make a successful parody of something, even if you don't have a genuine appreciation for it, you at least should have an understanding and respect for it. If you make fun of something you don't like, and don't really know anything about, it's not going to work. Chris grew up with these movies, and he really understands them, which is why he is able to make fun of them so well.

KH - Now, I''ve commented several times that I though that you made an excellent villain in CWOM. That is always the best part to play in a production isn't it? I mean the bad girl (guy) always get's the best lines don't they?

RG - A lot of the time. The villains do get to do all of the crazy, fun stuff. Like with Hagra, I got to develop this great voice for her, and these evil looks. The only downside is that I never get to play the good girl. I'm always the quirky one, or the mean one, or the evil one. And I think it would be great to be the one the audience is rooting for once in a while.

KH - In "Terror Overload" you appear in a couple of the stories, in shall we say, compromising positions. You've often said that performing nude and doing scenes of a sexual nature doesn't bother you. How do you prepare for something like that, it must be a real "gut-check"?

RG - It's actually not. For me anyway, when I'm preparing for a role, I'm thinking more about my performance and memorizing my lines. The only thing that makes me nervous is when I have to watch it. I recently attended the premiere of Terror Overload. I was nervous throughout the whole thing! Getting naked is one thing. Seeing it up on the big screen is quite another.

KH - While looking over your list of upcoming films, I saw that you are going to play "The Bride of Frankenstein" in "Night on Has Been Mountain." Now, that sounds like a fun role, tell us a little bit about that production?

RG - I've been working with Haunted Autumn Productions for a while now. Night On Has Been Mountain is about old school movie monsters and what they're doing now. I get to be the Bride Of Frankenstein, who is now trying to earn a living as a stripper. We film those scenes as soon as we find a location.

KH - Recently you have founded you own production along with fellow actress Brooke Lemke, who you have co-starred with on a few films, called "Silent But Deadly Productions." Tell us about why you both started it, and about your new web series "Silly But Delusional"?

RG - Brooke and I started Silent-But-Deadly mainly because we wanted to create more opportunities for all the awesome women we've worked with in independent film, and also because Brooke and I liked working together and wanted to keep doing it.

Our web series is called SBD, named after Silent-But-Deadly. Each episode has a title with the initials SBD. The first episode is called Silly But Delusional. We were approached by Justen Overlander of the Numa Network to do a web series. They have a large number of female subscribers, and they wanted something that would appeal to that demographic. Brooke and I came up with the idea of playing roommates, and we each created our own character. Brooke wanted her character, Jill, to be obsessed with reality TV, and have her talking to a webcam and pretending it was a confessional on her own reality show. I told her, "I wanna make fun of my weird obsession with the Dark Knight!" So Gina, my character, has this Joker poster she talks to. In the beginning, it was more like this weird habit she had. But in subsequent drafts, she got weirder, and it seemed like she really did thing she was talking to the Joker. It was fun to do. Most of the situations we go through are based on experiences Brooke and I have had with past roommates.


KH - There has been a real boom in independent horror and sci fi productions coming out of Minnesota these days, or so it seems, is this a new thing or has there always been a sort of underground film community there?

RG - have only been involved with the underground film community for the last five years or so. We do have a rich film community here in Minnesota, but i can't say for sure how long we've had it. I do think that more recently, Minnesota filmmakers have been able to get their movies out there and seen by people. That's been happening lately, and we're starting to be recognized.

KH - Which do you enjoy more, modeling or acting?

RG - Acting. No question. Modeling can be a creative outlet at times, like when I get to come up with my own ideas for photo shoots. I also like it because I can go in for a few hours and have fun and get the pictures back in less than a week. But it's nothing like the creative challenge for acting.

KH - Your popularity seems to have really taken off over the past year or so. You have become heavily in demand with numerous photo shoots, more film roles and magazine articles. What do you think sets you apart from other actors and models that has spawned this popularity?

RG - I wish I knew the answer to that, because whatever it is, I want to do a lot more of it! I would have to say that a lot of it is my versatility. I can play several different types and various ages. As a model, I have many different looks. I've done fine art, pinup, and even commercial work. I don't really stick to one genre. I think that's a big part of it.

KH - What other actors do you admire, is there anyone that you try and emulate in your performances?

RG - I wouldn't say I try to emulate anyone, but there are quite a few people I look at and say, "I wanna be that good." I think it's probably quite obvious that I love Heath Ledger's performance as the Joker. It's so organic and flowing that it doesn't even look like acting at all. It just looks like...being. Only it's not, because he's nothing like that character at all. He just disappeared into the role. I'm also very fond of Malcolm McDowell in A Clockwork Orange. The crap he had to endure for that role took dedication to a whole new level. He scratched his freakin' cornea. I'm also fascinated by Johnny Depp's process. I love how he can pull out the strangest influences for a character and come up with such a unique interpretation. If I had the chance to spend a night with Johnny Depp, I'd just take the opportunity to talk to him and pick his brain about acting. I don't I have ever met another woman who would say that.

KH - Your dance card is pretty full these days with numerous films and photo shoots, but is there something on the horizon that possibly we haven't heard about yet

RG - I'm doing another movie called Strip Club Slasher very soon. It's by NFTS Productions, who did Terror Overload. I'm also doing another movie with Haunted Autumn Productions called Hi-Way Headhunter. I had so much fun working on Tales Of The Dead, and I can't wait to get started on this! I'm also going to be doing a comedy with Jorge Sosa called The Manxes. And later on, I'm doing a vampire movie with Suzi Lorraine and Brooke Lewis called The Last Revenants.

KH - What do you foresee in your future? Where do you want your career to go from this point forward?

RG - It's hard to say. I'd like to keep doing what I'm doing, but lots more of it. I feel very fortunate that I've been able to do what I've done. I hope to do more writing and directing with Silent-But-Deadly. I'd also like to do more modeling for magazines and such.

See Also: MIN's Friday Girl - Scarlet Salem - and - Michelle Shields - MIN's Friday Girl

80. BIOLLANTE

Biollante (ビオランテ, Biorante?) is a daikaiju (strange beast or monster) from the Godzilla film series. She made her first appearance in the 1989 feature Godzilla vs. Biollante. She was never put into any other Godzilla movies.

After Godzilla's return in 1984, the city of Tokyo, Japan had suffered a great deal of destruction. During the aftermath and cleanup, forensic workers collected small remains of skin from Godzilla, which were later transported to a government lab facility in the arid wasteland of Saradia. A scientist by the name of Dr. Genshiro Shiragami intended to use the genetic material of the Godzilla cells in the skin to genetically enhance various species of plants to create crops resistant to harsh weather and unfavorable conditions of Saradia. Unfortunately, numerous other nations did not approve of this move in agricultural wealth-as Saradia relied on exports for its produce-and an act of terrorism was put into plan to bomb the laboratory working with the cells. Amongst the scientists who lost their lives was Erika Shiragami, Dr. Shiragami's daughter. Her loss was terrible to him, and he proceeded to collect DNA from his daughter and splice it with that of a rosebush in hopes of preserving his daughter's spiritual entity. Five years later, in 1989, an earthquake destroyed the roses' shelter, thereby killing several. Dr. Shiragami panicked, and carried out a risky and unauthorized plan to splice the Godzilla DNA with a lone rose, in hopes that the rose would remain alive and hopefully invincible. However, the seemingly successful fusion of the cells resulted in the slow but eventual growth and mutation of the rose, which eventually became capable of thinking and moving, and eventually proceeded to smash its way through the laboratory wall, making its way to Lake Ashino, where it rooted itself and took up residence.

At first, Biollante was a giant rose with teeth inside her bud and long vines (merely a heavily-mutated and exceptionally large "thinking" rose). In her second form, the Godzilla genes took over and Biollante's body became an abomination of biological science. Biollante's second form had a head like a mosasaur's and a maw with knife-like teeth, even on the interior lining of her mouth. In addition, six large tusks (three on each side of his mouth) protruded from the fulcrum-region of her mouth. Large numbers of vines and tendrils were a primary feature of Biollante. Some vines ended in sharp, spear-like ends, while others sported small, sharp-toothed mouths. In Biollante's first form, a large, fleshy sac was surrounded by her overlaying vines. In his second form, what appeared to be meaty flesh was seen underneath the tangled mess of vines and plant-tissue. The fleshy surface was pink and had many wrinkles and lines, resembling a brain-like surface.

79. THE METALUNAN

This Island Earth is a 1955 American science fiction film directed by Joseph M. Newman. It is based on the novel of the same name by Raymond F. Jones. The film stars Jeff Morrow as the alien Exeter, Faith Domergue as Dr. Ruth Adams, and Rex Reason as Dr. Cal Meacham. The film was one of the first major science fiction films to be made in Technicolor.

Dr. Cal Meacham, a noted scientist, receives an unusual substitute for electronic condensers that he ordered. He receives instruction and parts to build a complex communication device called an interocitor. Although neither Meacham nor his assistant Joe Wilson have heard of an interocitor, they immediately begin constructing it. When finished, a mysterious man named Exeter appears on the interocitor's screen and tells Meacham he has passed the test. His ability to build the interocitor demonstrates that he is gifted enough to be part of Exeter's special research project.

Intrigued, Meacham is picked up the next day at the airport by an unmanned, computer-controlled Douglas DC-3 aircraft with no windows. Landing in a remote area of Georgia, he finds an international group of top-flight scientists already present – including an old flame, Dr. Ruth Adams. Cal is almost immediately suspicious of the odd-looking group of men leading the project.

Cal and Ruth try to flee with a third scientist, Steve Carlson, but their car is attacked and Carlson is killed. When they take off in a small plane, Cal and Ruth watch as the facility and all its inhabitants are incinerated, and their plane is drawn by a mysterious beam into a flying saucer. They learn that Exeter and his band are from the planet Metaluna, having come to Earth seeking uranium deposits as well as scientists to help defend their planet in a war against the evil Zagons. Exeter informs the Earthlings that he is taking them back to his world.

After a mind-bending journey, they arrive to find the planet under full bombardment and falling quickly to the enemy. Metalunan society is breaking down and there is little hope. Their leader, The Monitor, reveals that the Metalunans intend to relocate to Earth and insists that Meacham and Adams be subjected to a Thought Transference Chamber in order to subjugate their free will so they cannot object. Exeter believes this to be immoral and misguided since it constrains their ability to help the Metalunans. Exeter decides to help Cal and Ruth escape, thus revolting against his own kind, before they enter the brain-reprogramming facility.

Exeter is badly injured by a Mutant while the three escape from Metaluna prior to the final destruction of the planet. The Mutant also boards the craft, but dies as a result of pressure differences on the journey back to Earth.

As they enter Earth's atmosphere, Exeter sends Cal and Ruth on their way in their small plane, but he himself is dying and the ship is nearly depleted of energy. With no other options, Exeter uses the craft's remaining power to fly it out to sea and crash.


78. THE VISITORS

V (or V: The Original Miniseries) is a two-part science fiction television miniseries, written and directed by Kenneth Johnson. First shown in 1983, it initiated the science fiction franchise concerning aliens known as "The Visitors" trying to gain control of Earth.

A race of aliens arrive on Earth in a fleet of 50 huge, saucer-shaped motherships, which hover over major key cities across the world. They reveal themselves on the roof of the United Nations building in New York City, appearing human but requiring special glasses to protect their eyes and having a distinctive resonance to their voices. Referred to as the Visitors, they reach out in friendship, ostensibly seeking the help of humans to obtain chemicals and minerals needed to aid their ailing world. In return, the Visitors promise to share their advanced technology with humanity. The governments of Earth accept the arrangement, and the Visitors, commanded by their leader John and his deputy Diana, begin to gain considerable influence with human authorities.

Strange events begin to occur and scientists become objects of increasing media hostility. They experience government restrictions on their activities and movements. Others, particularly those keen on examining the Visitors more closely, begin to disappear or are discredited. Noted scientists confess to subversive activities; some of them exhibit other unusual behaviors, such as suddenly demonstrating an opposite hand preference to the one they were known to have.

Television journalist cameraman Michael Donovan covertly boards one of the Visitors' motherships and discovers that beneath their human-like facade (they wear a thin, synthetic skin and human-like contact lenses in public), the aliens are actually carnivorous reptilian humanoids preferring to eat live food such as rodents and birds. Donovan records some of his findings on videotape and escapes from the mothership with the evidence, but just as the exposé is about to air on television, the broadcast is interrupted by the Visitors who have taken control of the media. Their announcement makes Donovan a fugitive, pursued by both the police and the Visitors.

Scientists around the world continue to be persecuted, both to discredit them (as the part of the human population most likely to discover the Visitors' secrets) and to distract the rest of the population with a scapegoat to whom they could attribute their fears. Key human individuals are subjected to Diana's special mind control process called "conversion", which turned them into the Visitors' pawns, leaving only subtle behavioral clues to this manipulation. Others become subjects of Diana's horrifying biological experiments.


77. GWANGI

The Valley of Gwangi is a 1969 American western-fantasy film directed by Jim O'Connolly and written by William Bast. The film is also known as Gwangi, The Lost Valley, The Valley Time Forgot, and The Valley Where Time Stood Still. It was filmed in Technicolor. The film is known for its creature effects provided by Ray Harryhausen.

Sometime near the turn of the century, a beautiful cowgirl named T.J. Brekenridge (Gila Golan) hosts a rodeo that is struggling. Her former fiancé Tuck Kirby (James Franciscus), a heroic former stuntman working for Buffalo Bill's Wild West show, wants to buy out T.J.

T.J. has an ace she hopes will boost attendance at her show - a tiny horse. Tuck meets a British paleontologist named Horace Bromley (Laurence Naismith), who was working in a nearby Mexican desert. Bromley shows Tuck fossilized horse tracks, which Tuck notices to be similar to T.J.'s horse's feet. So Tuck sneaks Bromley in for a peek. Bromley declares the horse to be an Eohippus.

The tiny horse came from an area known as the Forbidden Valley. A gypsy claims that it has a curse, and demands that it be returned. Later a group of thieves (presumably under orders from the Gypsy) collaborate with Bromley to steal the horse and release it to the valley. Bromley collaborates in the hopes of following the horse to its home.

Tuck nearly walks in on the theft, notices the horse missing, and sets off after it and Bromley. When T.J. and her crew discover that the horse is missing they believe Tuck has stolen it. T.J. then forms and leads a group of cowboys after Tuck and Bromley on a mission to retrieve the horse.

Making their way into the valley, Tuck, T.J, and the rest of the group meet up and soon discover why the valley is said to be cursed as a Pteranodon swoops down and snatches a boy who had accompanied the group into the valley. After killing the Pteranodon, they spy an Ornithomimus, a small dinosaur which they chase after in the hopes of capturing it. Just as the ornithomimus is about to escape, it is killed by Gwangi, a vicious Allosaurus which pursues, almost finding and eating Bromely, however, a Styracosaurus appears and frightens Gwangi away.

Later, Gwangi pursues them to their base camp, where it is able toget the best of them, until they begin to rope it down, however, the styracosaurus reappears and battles Gwangi. Gwangi emerges victorious, but decides to attack the men again.

Gwangi manages to catch and kill one of the cowboys, and then knocks itself out while trying to exit the valley in pursuit of the rest of the group. Securing the creature, they take it back to town where it is to be put on display in T.J.'s show. However on opening night one of the Gypsies sneaks in and begins to unlock Gwangi's cage in an effort to free it. Instead the unfortunate man is killed and Gwangi breaks free, killing Bromley and a circus elephant (actually modelled after a prehistoric mammoth) in the process.

Eventually Gwangi, Tuck, T.J and Lope (the Mexican boy), end up in a cathedral which catches on fire during battle. After some close calls Tuck and T.J. manage to escape and lock the door behind them, trapping Gwangi in the burning building which then crumbles around it. Screaming in agony, Gwangi dies in the fire and the town makes Tuck the town hero. However, the town's population is also saddened by the thought of a magnificent creature like Gwangi dying such a horrible death and by the loss of life due to the dinosaur's rampage.



76. THE HOST
The Host (괴물, Gwoemul - "Monster") is a 2006 South Korean monster film, which also contains elements of comedy and drama films. The film was directed by Bong Joon-ho, who co-wrote the screenplay, along with Baek Chul-hyun.

The film opens with an American military pathologist commanding a reluctant Korean assistant to violate protocol by dumping over 200 bottles of formaldehyde down the drain, which leads to the Han River. A few years later, two men are standing and fishing in the Han River when one discovers a mutant amphibian (which is never shown). Four years later, a man commits suicide by jumping off a bridge into Han River, but not before noticing that there's "something dark, underwater."

In the present day, Park Gang-du (Song Kang-ho) is a seemingly slow-witted man who runs a snack-bar with his father, Hee-bong (Byeon Hee-bong). Hyun-seo (Ko Ah-seong) is a schoolgirl and Gang-du's daughter. Gang-du's sister, Nam-joo (Bae Doona), is a national medalist archer who has an unfortunate tendency to hesitate, and his brother Nam-il (Park Hae-il) is an alcoholic former activist who has not done much since graduating from university.

Gang-du is delivering a meal to some patrons, and sees a crowd gathering along Han River. He joins them as they stand near the side of the river and point at something under the Wonhyo Bridge. A few moments later, the creature appears on shore behind them, and begins to attack and devour people. As Gang-du runs away, he sees Hyun-seo emerge from the snack bar and grabs her hand without stopping. He then stumbles and unwittingly grabs a different girl. A short distance away, he looks back and sees the creature pull Hyun-seo into the river. Gang-du then sees the monster dragging her on the opposite bank before disappearing into the water.

As the family mourns the young girl in a shelter set up for victims of the attack, government representatives in yellow bio-hazard suits arrive and demand to know who has had direct contact with the creature. Gang-du admits that he has, and the family is forced to the hospital, where Gang-du is quarantined. The Korean government announces that the creature is not only a direct danger, but also the host of a deadly, unknown virus. Gang-du receives a phone call from Hyun-seo, who is not dead, but trapped in a sewer. She is cut off as her cellphone battery runs out. Gang-du tries to explain to others, but his explanation sounds insane to the people at the hospital. Hee-bong believes his son, and uses up his life savings so that they can escape from the hospital and rescue Hyun-seo. They are then able to obtain a truck, two non-yellow hazmat suits, weapons, and a map of the sewer system around the Han River.

The family search the sewers to no avail and return to their snack stand at the banks of the Han river to rest for the night. They wake to find the creature watching them. Hee-bong fires on the creature, causing it to attack them and overturn the snack stand. As the creature tries to get at them inside, Hee-bong fires a shot that causes the creature to flee. Hee-bong, Gang-du & Nam-il give chase, firing wildly. Hee-bong is eventually killed by the creature, and Gang-du is captured by soldiers; Nam-il and Nam-joo escape but are separated.


75. DESTROYAH
Godzilla vs. Destoroyah (ゴジラVSデストロイア, Gojira tai Desutoroia?), alternatively titled Godzilla vs. Destroyer, is a 1995 film directed by Takao Okawara and written by Kazuki Omori. It was released in Japan on December 9, 1995. It is the 22nd installment in the Godzilla series of films and the seventh & last of the Heisei series.

In 1996, after the death of SpaceGodzilla, Birth Island is found destroyed. Godzilla's adopted son, Little Godzilla, is presumed dead at first but later reveals himself as a larger and more powerful sub-adult due to the excess radiation and is re-named Godzilla Junior. Godzilla, covered in glowing lava-like rashes, enters Hong Kong and destroys most of the city. G-Force representatives hire college student Kenichi Yamane, the grandson of Dr. Kyohei Yamane, to come work at the center in an attempt to unravel the mystery of Godzilla's condition.

Yamane suspects that Godzilla has absorbed too much atomic energy and is having a nuclear heart attack. His death would result in triggering an atmospheric chain reaction which will take Japan, and the entire Earth with him. G-Force deploys a flying combat vehicle outfitted with anti-nuclear cold weapons to forestall this; the Super X III. Strange life forms appear where the original Godzilla died, and a host of deadly creatures called Destoroyah begin wreaking havoc. Soil samples reveal that Destoroyah is connected to the Oxygen Destroyer used against the first Godzilla in 1954, which mutated Precambrian era life forms. After several deadly skirmishes with the Japan Self-Defense Forces, the Destoroyah evolve beyond the J.S.D.F.'s containment abilities and psychic Miki Saegusa must use her failing powers to lure Junior to the area in an attempt to combat Destoroyah in Tokyo. Godzilla, who is searching for his son, follows Junior, but complications arise. Due to his encounter with the Super X III, Godzilla will meltdown once his body reaches 1,200 degrees Celsius and the Earth will be destroyed.

During Junior's first battle, he is wounded. Godzilla and Junior meet in Narita, but Destoroyah returns in his final form. Destoroyah knocks down Godzilla and kidnaps Junior, dropping him from an extreme altitude that brings the child monster close to death. Godzilla, enraged, attacks Destoroyah and a battle ensues that destroys Tokyo. Born from the only weapon to ever kill a Godzilla, Destoroyah shows an advantage, but Godzilla's radioactivity has increased his own power. Destoroyah's body decomposes into many smaller Destoroyah which attempt to swarm Godzilla from all sides, but Godzilla uses his nuclear pulse to incinerate the miniature Destoroyahs.

Alone at last Godzilla tries to revive Junior but, he fails. Overcome by grief, Godzilla's heart continues to fail. Suddenly, Destoroyah returns for one last attack. Godzilla's demise begins, resulting in his power increasing once again significantly. In a fury of rage, Godzilla begins reigniting Destoroyah with his powerful atomic rays, severely burning and injuring the beast. Destoroyah then attempts to escape, but the military shoots and blows off his wings. Destoroyah falls out of the air but Godzilla doesn't move. When Destoroyah hits the ground, because of the extreme change in temeperatures from the ice rays and Godzilla superheating the ground, Destoroyah explodes. As Godzilla reaches meltdown, and begins to die, the Super X III freezes him with ice beams to stop him from the destroying the planet and are successful. Godzilla's final moments of life are long, and strenuous as he is overcome with immense pain, with his flesh and body slowly melting away. The King of the Monsters gives one last faint roar before he becomes nothing more than a pile of melted flesh and ashes. But in his final moments, he transfers his last supply of energy over to the fallen Junior.

The victory is a costly one however, for the radiation has made Tokyo an uninhabitable city. Suddenly, radiation levels begin to drop, and from within the thinning smoke, is a revived and full grown Godzilla Junior, the new King of the Monsters.


74. GIANT OCTOPUS

It Came from Beneath the Sea (1955) is an American science fiction film produced by Sam Katzman and Charles Schneer for Columbia Pictures, from a script by George Worthing Yates designed to showcase the special model-animated effects of Ray Harryhausen. It was directed by Robert Gordon and stars Kenneth Tobey, Faith Domergue, and Donald Curtis. Much of the filming was done at the San Francisco Naval Shipyard, including scenes aboard a submarine, and several naval personnel were given supporting roles.

A nuclear submarine on patrol maneuvers in the Pacific Ocean captained by Commander Pete Mathews (Kenneth Tobey), comes into contact with something the sonar determines is massive. The boat is disabled but manages to free itself and dock at Pearl Harbor. There it is discovered animal tissue of great proportions has jammed in its propellers. A man-and-woman team of marine biologists, Lesley Joyce (Faith Domergue) and John Carter (Donald Curtis), is called in, and they identify the tissue as part of a gigantic octopus. The military authorities scoff at this explanation, but are finally persuaded to investigate upon receiving reports of missing bathers, and ships pulled under the water by some living thing. Over the following two weeks, as John and Lesley continue their investigation, Pete shows a personal interest in Lesley, who is only eager to return to her own research. The scientists conclude the octopus is from the Mindanao Deep and has been forced out of its natural habitat due to hydrogen bomb testing in the area. The testing has rendered the octopus radioactive, and this radioactivity drives off its natural food supply.[3]

John and Lesley speculate that unexplained disappearances of a Japanese fishing fleet and a Siberian seal boat may have been due to the octopus. Pete and the Navy representatives express doubt over this hypothesis, however, and demand further proof. Later, as Pete assists John and Lesley with departure arrangements, a report comes in of an attack on a French shipping boat, from which several men escaped in a raft. John and Lesley are once again pressed into service for the government. The French survivors are questioned by psychiatrists, but when the first sailor's description of an attack by a creature with giant tentacles is met with skepticism, the other sailors refuse to testify. Lesley is able to convince the first sailor to repeat his story for the government officials, who now have the evidence they need to back up the scientists' premise. The government then halts all sea traffic in the North Pacific without revealing the reason to other countries. John flies out to sea to trace a missing ship, while Pete and Lesley follow up a report of three missing people on the coast of Oregon.

The local sheriff, Bill Nash (Harry Lauter), takes them to the site of the attack along the beach, where they find a giant suction imprint in the sand and request that John join them. While waiting, Pete and Lesley fish all day to no avail, and are convinced that the giant creature may be in the vicinity. After John arrives and the imprint is definitively identified as octopus, Pete demands Lesley leave the project, which now threatens to become dangerous, but she steadfastly refuses.

When Bill is attacked along the beach by the creature in front of the scientists, they hastily arrange for the entire Pacific coast waters to be mined before departing for San Francisco and the Navy's central headquarters. An electrified safety net is strung underwater across the entrance to San Francisco Bay to protect the Golden Gate Bridge, which is also wired. John takes a helicopter along the shore and baits the sea with dead sharks in an effort to lure the octopus back inland. Lesley demonstrates to reporters a special jet-propelled atomic torpedo, with which they hope to shoot the creature and then drive it to sea before detonating the device. Later that day, the giant octopus demolishes the net across the Bay and heads toward San Francisco.

The Navy orders the Golden Gate Bridge abandoned, but when John learns that the electric circuit on the bridge remains on, races out to shut it off. The bridge is attacked by the creature, but Pete rescues John before one section collapses. The residents of the city panic and begin a mass exodus down the peninsula, as the Navy struggles to evacuate the Embarcadero and the Ferry Building, which is then battered by the octopus. When several more people are attacked, the Defense Department authorizes Pete to launch his submarine and the atomic warhead. John joins Pete while Lesley remains at the base. Flame throwers push the octopus back into the sea, but when Pete shoots the creature, it grabs the submarine. Using an aqualung, Pete swims out to the octopus and places explosive charges on it before being knocked out by the creature's flailing arms. John then swims out, shoots the octopus in the eye, forcing it to release the ship, and pulls Pete to safety. Back at the base, as the creature turns toward open sea, the torpedo is detonated, destroying the giant octopus. Later, while celebrating, Lesley agrees to continue seeing Pete after she and John finish their next research project.



73. THE POD PEOPLE

Invasion of the Body Snatchers is a 1956 horror science fiction film based on the novel The Body Snatchers by Jack Finney (originally serialized in Colliers Magazine in 1954). It stars Kevin McCarthy, Dana Wynter, King Donovan, and Carolyn Jones. The screenplay was adapted from Finney's novel by Daniel Mainwaring, along with an uncredited Richard Collins, and was directed by Don Siegel. The film is the first and most critically acclaimed of the novel's four film adaptations to date.

Set in the fictional town of Santa Mira, California, Dr. Miles Bennell (Kevin McCarthy), a local doctor, finds a rash of patients accusing their loved ones of being impostors. Another patient is a former sweetheart of his; recent divorcée Becky Driscoll (Dana Wynter), who tells him that her cousin, Wilma, has this same strange fear about Uncle Ira.

Assured at first by the town psychiatrist, Dr. Dan Kaufman (Larry Gates), that the cases are nothing but "epidemic mass hysteria," Bennell soon discovers, with the help of his friend Jack Belicec (King Donovan), that the townspeople are in fact being replaced by perfect physical duplicates, simulations grown from plantlike pods. The Pod People are indistinguishable from normal people, except for their utter lack of emotion. The Pod People work together to secretly spread more pods — which grew from "seeds drifting through space for years"— in order to replace the entire human race.

The film climaxes with Bennell and Driscoll attempting to escape the pod people, intending to warn the rest of humanity. They hide; Driscoll falls asleep and is subverted. With the Pod People close behind, a seemingly crazed Bennell runs onto the highway frantically screaming about the alien force which has overrun Santa Mira to the passing motorists and (in a moment that is considered a breaking of the Fourth Wall) looks into the camera and yells, "They're here already! You're next! You're next!"

Finally, Bennell is picked up by the police and questioned in a clinic. The policemen in charge do not believe his account — until they receive news of an accident in which a truck carrying strange giant beanpods is opened. The police are quick to alert the authorities; the message has been received, but the actual end of the story is left open.



72. THE GUNSLINGER

Westworld is a 1973 science fiction / thriller film written and directed by novelist Michael Crichton and produced by Paul Lazarus III. It stars Yul Brynner as a lifelike robot in a futuristic Western-themed amusement park, and Richard Benjamin and James Brolin as customers who are attacked by the park's robots when they malfunction.

The story is set sometime in the near future, in Delos, a high-tech, highly realistic fictional adult amusement park featuring androids that are almost indistinguishable from human beings. For a price of $1,000 per day, guests may indulge in any fantasy, including killing or having sex with the androids. The androids are programmed to act in character for each of the park's three themed zones: WesternWorld (the American Old West), MedievalWorld (medieval Europe), and RomanWorld (pre-Christian Rome). One of the main attractions in WesternWorld is the Gunslinger (Brynner), a robot programmed to start duels. Thanks to its programming, humans can always outdraw the Gunslinger and kill it. The guns issued to the guests also have temperature sensors that prevent them from shooting each other or anything else living but allow them to 'kill' the room-temperature androids.

After an introductory advertisement for the park, the film begins as Peter Martin (Benjamin), a first-timer, and his friend John Blane (Brolin), who has visited previously, visit WesternWorld. Gradually, the technicians running Delos begin to notice problems spreading like an infection among the androids (see computer virus). First the robots in MedievalWorld begin suffering an inexplicable number of systemic failures; then a robot rattlesnake bites Blane; against her programming, an android refuses a guest's request for sex. The failures increase until the robotic Black Knight kills a guest in a sword-fight in MedievalWorld. The resort's supervisors, in increasing desperation, try to regain control by shutting down power to the entire park, but this traps them in the control rooms, unable to turn the power back on while the robots run amok on stored power.

Martin and Blane, who passed out drunk after a bar fight in the WesternWorld bordello, wake up unaware of the breakdown. When the Gunslinger challenges the two men to a showdown, Blane treats the confrontation as a typical amusement until the robot shoots and kills him. Martin runs for his life as the robot implacably follows him.

Martin flees to the other areas of the park, but finds only a panicky fleeing technician, dead guests and damaged robots. He climbs down through a manhole to the underground control area, where the resort's technicians have suffocated since the ventilation shut down. As the Gunslinger stalks Martin through the corridors, he throws acid into its face and sets fire to it with a torch. He also finds a woman chained up in the dungeon, but she turns out to be an android. Finally, the burned hulk of the Gunslinger attacks him one last time before succumbing to its damage. The film ends as Martin, apparently the sole human survivor, sits down on the dungeon steps in a state of near-exhaustion and shock, thinking of the irony of Delos's advertising, "Have we got a vacation for you!"



Cloverfield is a 2008 American monster movie directed by Matt Reeves, produced by J. J. Abrams and written by Drew Goddard.

The film is presented so as to look as if it were a video file recovered from a digital camcorder by the United States Department of Defense. The film begins with a disclaimer stating that the following footage about to be viewed is of a case designated "Cloverfield" and was found in the area that was "formerly known as Central Park".

Robert "Rob" Hawkins wakes up on the morning of April 27 having slept with a previously platonic friend, Elizabeth "Beth" McIntyre. They plan to leave for Coney Island that day. The footage cuts to the next month, when Rob's brother Jason and his girlfriend Lily prepare a farewell party for Rob who will be vice president of smoothie beverage "Slusho!" in Japan. At the party, their friend Hudson "Hud" Platt uses the camera to film testimonials for Rob, accidentally taping over Rob and Beth's Coney Island trip. While recording, Hud flirts unsuccessfully with Marlena, another party guest. After Beth leaves the party following an argument with Rob, an apparent earthquake strikes, and the city suffers a brief power outage.

The local news reports that an oil tanker has capsized near Liberty Island. After going upstairs to investigate the disaster, a devastating explosion that wipes out much of Lower Manhattan causes the party-goers to evacuate the building and witness the head of the Statue of Liberty crashing nearby in the street with several stunning scratch and bite marks. Hud records what appears to be a giant hand of a creature several blocks away. Many take shelter in a convenience store as the Woolworth Building collapses. Rob, Jason, Lily, Hud and Marlena attempt to escape Manhattan on the Brooklyn Bridge. A gigantic tail destroys the center span of the bridge, killing Jason and hundreds of others. The survivors are forced to flee back to Manhattan.

Rob listens to Beth's message saying she is simply trapped in her apartment and unable to move. The news shows the United States Army's 42nd Infantry Division attacking the monster and smaller, vicious creatures that are falling off its body (named HSP or "Human Scale Parasites" in the Blu-ray special investigation mode). Several HSPs are seen attacking soldiers and civilians on the ground. As hundreds attempt to flee, Rob, Hud, Lily, and Marlena venture out to rescue Beth.

They are soon caught in a crossfire between the monster and the military and escape into a subway station. They decide to go through the subway tunnels to reach Beth's apartment, but are attacked by several of the parasites where one of them mortally wounds Marlena. The group escapes into the Bloomingdale's department store where they are met by a squad of soldiers. They have set up a field hospital and command center in the store. As Rob tries to garner assistance for Beth, Marlena's eyes start bleeding and she is taken away in a curtain by men wearing hazmat suits where she inflates, then explodes. One of the military leaders allows the others to leave but warns them to report to a military evacuation site before 6:00 am, which is when the last helicopter evacuates Manhattan and the Military will enact its "Hammerdown" protocol. This would involve the bombing of the city in an effort to destroy the monster.

(All Monster Info From Wikipedia)

Written By: Ken Hulsey
Sponsored By View Obscura Comics

As many of you may or may not know collecting classic movie posters, lobby cards and photographs is a real passion of mine. I often times spend hours rummaging through thrift stores, antique malls, flea markets and yard sales looking for authentic movie related items. I have put together quite a collection and one day I hope to get everything framed and up on my walls.

See Also: Movie Memorabilia at View Obscura 

That being said, I woke up this morning with monster movie posters on my mind so I decided to post a collection of some great ones here for all to enjoy.

What makes for a great monster movie poster? Well a great monster is a good start but as you can see from some of the examples here a great work of art can sometimes make a bad monster look good. Of course that is the general idea isn't it? After all the sole purpose for these posters were to put butts in theater seats.

Another great element that most great monster movie posters share is a sexy damsel in distress. Monster plus half-naked woman means box office gold ... or so was the general idea during the golden age of monster films.

A great example of a great monster movie poster is this one (above) from "When Dinosaurs Ruled The Earth". You have dinosaurs fighting in the background, a giant dinosaur eating a bikini-clad cave girl, people chained up, more bikini-clad cave girls and yet another bikini-clad cave girl with a spear front and center.

Would you want to see this movie? Oh, hell yes!

Here are more such posters, some with sexy girls and some without, some with great monsters and some without:


Reptilicus

A great poster here! A giant dragon taking out the Golden Gate Bridge. Too bad the movie didn't live up to this artwork.

Info:

Reptilicus, a giant monster film about a fictional prehistoric reptile, is a Danish-American co-production, produced by American International Pictures and Saga Studios, and is upon close examination two distinctly different films helmed by two different directors.

The original version, which was shot in Danish was directed by Danish director Poul Bang and released in Denmark on February 25, 1961.

The American version, which was in English with a nearly identical cast, was directed by the film's American producer-director Sidney W. Pink; this version was initially deemed virtually unreleasable by American International Pictures and had to be extensively reworked by the film's Danish-American screenwriter, Ib Melchior, before being finally released in America in 1962.
King Kong (1933)

Of all the zillions of King Kong posters that were produced this one has always been my favorite. Great colors, great action pose, what's not to love?

King Kong is a Pre-Code 1933 fantasy monster adventure film co-directed by Merian C. Cooper and Ernest B. Schoedsack, and written by Ruth Rose and James Ashmore Creelman after a story by Cooper and Edgar Wallace. The film tells of a gigantic island-dwelling gorilla-like creature called Kong who dies in an attempt to possess a beautiful young woman. The film stars Fay Wray, Bruce Cabot and Robert Armstrong and opened in New York City on March 2, 1933 to good reviews. Kong is distinguished for its stop-motion animation by Willis O'Brien and its musical score by Max Steiner. The film has been released to video, DVD, and Blu-ray, and has been computer colorized. In 1991, the film was deemed "culturally, historically and aesthetically significant" by the Library of Congress and selected for preservation in the National Film Registry.


The Green Slime

Again everything you want in a monster movie poster. A sexy girls, great monster art and great action. The movie .... well not so good, but one of my faves none the less.

The Green Slime (ガンマー第3号 宇宙大作戦, Ganmā Daisan Gō: Uchū Daisakusen, aka Gamma 3: Operation Outer Space) is a 1968 science-fiction film produced by MGM in the United States and shot in Japan at the studios of Toei Company by director Kinji Fukasaku. The film was spearheaded by the same creative team who produced similar Italian outings including Wild, Wild Planet, Ivan Reiner and Walter Manley.

















Frankenstein meets The Wolf Man

Two great monsters combine for one great poster. There's Frankie carrying off a woman in her night-gown .... ya gotta have that .... and you have The Monster and The Wolf Man trying to kick the crap out of each other. Nuff said.

Frankenstein Meets the Wolf Man, released in 1943, is an American monster horror film produced by Universal Studios starring Lon Chaney, Jr. as the Wolf Man and Bela Lugosi as Frankenstein's monster. The movie was the first of a series of "ensemble" monster films combining characters from several film series. This film, therefore, is both the fifth in the series of films based upon Mary Shelley's Frankenstein and a sequel to The Wolf Man.












Frankenstein 1970

What can I say about this one? Great image of a sexy woman cowering in fear in the shadow of a truly grotesque looking Frankenstein silhouette. This one is just about perfect.

Frankenstein 1970 is a 1958 science fiction horror film, starring Boris Karloff and Don 'Red' Barry. This independent film was directed by Howard W. Koch, and its alternative titles were Frankenstein 1960 and Frankenstein 1975. Released on a low budget, the film was originally intended to be named Frankenstein 1960 but it did not sound futuristic enough. In October 2009, Warner Brothers released the DVD "Karloff & Lugosi Horror Classics" which includes Frankenstein 1970 as one of the four films and features an audio commentary by co-star Charlotte Austin and historians Tom Weaver and Bob Burns.









Destroy All Monsters

This is pure monster heaven! You have just about every great Japanese movie monster in one poster. Japanese monster posters are always amazing and this one stands out on top!

Destroy All Monsters, released in Japan as Charge of the Monsters (怪獣総進撃, Kaijū Sōshingeki), is a 1968 Japanese science fiction kaiju. The ninth in Toho Studios' Godzilla series, it was directed by Ishirō Honda with special effects by Sadamasa Arikawa (supervised by Eiji Tsuburaya.) This is the fifth film to feature Mothra, third to feature King Ghidorah, fourth to feature Rodan, and second to feature Gorosaurus, Anguirus, Kumonga, Manda, Minilla, Baragon, and Varan. This film is also considered that last of the more classical era of Showa films.









Bride of the Monster

Great classic vampire poster! Again the reoccurring theme of the monster (or in this case vampire) carrying off a rather buxom maiden. What's with the meatball with tentacles?

Bride of the Monster is a 1955 sci-fi horror film starring Bela Lugosi, along with Tor Johnson, Tony McCoy and Loretta King Hadler. It was produced, directed and co-written by Edward D. Wood, Jr.

A sequel, entitled Night of the Ghouls, was finished in 1959, but due to last-minute financial problems, was not released until 1987.
















Blood From the Mummy's Tomb

With this one you don't even need a mummy in the poster to sell the film. A severed hand choking a buxom victim ... that's all you really need. I love the look of terror on the woman's face. Great poster!

Blood from the Mummy's Tomb is a 1971 British film starring Andrew Keir, Valerie Leon, and James Villiers. This was director Seth Holt's final film, and was adapted from Bram Stoker's novel The Jewel of Seven Stars. The film was released as the support feature to Dr. Jekyll and Sister Hyde.

Written By: Ken Hulsey

In 1941 Curt Siodmak sat down at his desk with the intention of writing a horror story that would draw on Greek Mythology and the belief that somehow a man could transform into an animal, a common legend that ran through the folklore of just about every culture on Earth. Little could he have realized that the script he was about to write, The Wolf Man, would not only have an effect of the future of horror films, but the future of the occult as well. It has always been a common belief that many of the concepts of lycanthropy that were portrayed in the film came from a collection of popular folklore and witchcraft. In fact nothing is further from the truth. Siodmak was responsible for coming up with the design of the pentagram, the werewolf’s vulnerability to silver, and the full moon being the catalyst for the transformation from man to beast all on his own. In fact the legendary poem “Even a man who is pure of heart, and says his prayers by night, may become a wolf when the wolf bane blooms, and the autumn moon is bright.” is a Siodmak original.

See Also: Lot Of Five Classic Universal Monsters Photographs, Frankenstein, Wolf Man, The Bride, Creature, and Mummy - 8.5 x 11 Prints

The Wolf Man was not the first werewolf film to be produced by Universal, that distinction belongs to “Werewolf of London” which flopped at the box office in 1935. The film starred popular character actor Henry Hull in a far more subtle makeup job by Jack Pierce, the same man who transformed Lon Chaney Jr. Into the Wolf Man six years later. Many fans that have seen this earlier effort have commented that the werewolf looked far more menacing than the version that came after.


Universal convinced the reluctant Lon Chaney Jr. to follow in his father’s footsteps and endure the six-hour makeup sessions to portray Larry Talbot and his harry alter ego the Wolf Man. The character transformed Cheney into a superstar. The Wolf Man would prove to be so popular that it would appear in a total of five films (Frankenstein Meets the Wolf Man, House of Frankenstein, House of Dracula and Abbott and Costello Meet Frankenstein) all of which were played by Cheney. It has often been noted that all the popularity and fame that Cheney achieved never brought him true happiness. In real life the actor had his own internal demons to deal with. Alcoholism would be a life long fight that would eventually take a toll on him. When Cheney passed away he was so riddled with disease that he donated his body to the USC Medical Center for study, leading to the urban legend that somewhere in the bowls of the hospital the actors head is preserved in a jar.

When Larry Talbert returns to Llanwelly, Wales to rekindle a relationship with his estranged father, Sir John Talbert (Claude Rains) he gets far more than he bargained for. While examining his fathers telescope he accidentally focuses in on the bedroom of the fetching Gwen Conliffe (Evelyn Ankers). The young Talbert is so impressed with the young woman that he shows up at the family store the next morning to meet her. While there he stumbles upon an interesting walking stick that bears the silver head of a wolf marked with a mystic pentagram. Talbert feels inclined to purchase the item to convince Conliffe that his intentions are admirable and that he would be trustworthy enough to go out with. Not completely trusting him she agrees to the date, but only if she can bring one her friends along.

While the trio is out at a local carnival Gwen’s friend Jenny is attacked by what appears to be a wild animal. Talbot uses his new cane to fend of the creature, but gets bitten in the process. When the police arrive to investigate the attack they discover the dead body of a traveling gypsy. Talbot is questioned but cannot explain how he could have mistaken the young man for a wolf.


Strange things begin to happen to Talbot. He starts experiencing missing time and begins to feel as if he is loosing control of his sanity. To make things worse there are more murders and the local authorities begin to doubt his stories and his innocence.

The gypsy woman, Maleva, soon reveals to Talbot that the animal he killed was not a wolf at all but a werewolf. Her son Bela (Bela Lugosi) had lived with the curse for years and now the lycanthropy had been passed to him.

Uncontrollably the stricken Talbot begins running wild at night and the local populous begins to organize hunting parties to capture or kill him. One night Gwen comes looking for him and he attacks her. John Talbert arrives just in time to stop the attack and unknowingly kills his own son with the silver handled walking stick. Moments after his death he reverts back to his human form revealing that the monster had indeed been Larry Talbot the entire time.

The Wolf Man not only was inspired by already existing mythos, it successfully changed it forever. Every werewolf picture that was produced after it followed the new folklore that was created for the film. It was almost like all prior legends of the creature had been erased from public knowledge. One can only give credit to a well conceived screenplay and a well executed film that made a strong enough impression on audiences that it actually rewrote history….in a sense.

The Wolf Man (1941)
Aka: Destiny (1941)

Universal Studios

Directed By: George Waggner
Written By: Curt Siodmak

Cast:
Claude Rains as Sir John Talbot
Warren William as Dr. Lloyd
Ralph Bellamy as Col. Paul Montford
Patric Knowles as Frank Andrews
Bela Lugosi as Bela
Maria Ouspenskaya as Maleva
Evelyn Ankers as Gwen Conliffe
J.M. Kerrigan as Charles Conliffe
Fay Helm as Jenny Williams
Lon Chaney Jr. as Larry Talbot / The Wolf Man
Forrester Harvey as Victor Twiddle

Runtime: 70 Minutes
Country: USA
Language: English
Color: Black and White
Sound Mix: Mono

Released: December 12, 1941

Read Also: Frankenstein (1931)(Universal) - and - Dracula (1931)(Universal)

Dai Green is the “Head Mistress” of one of the top horror websites HorrorNews.net as well as an actress, model, and podcast host.

Apart from her duties with HNN, she has starred in films such as IT’S GROUNDHOG’S DAY, CHAINSAW SALLY, GOREZONES’S AMERICAN SERIAL KILLERS, MODERN ROMANCE, and is currently working on three more film in various stages of production such as RESURRECTION where she is set to appear along with Holly Madison, Nicolas Puccio, Tommy Lynch, as well as many others. She was named one of the “Top 100 Women In Fantasy/ Sci-Fi films of 2010” as well as one of the “Top 10 Hottest women of 2010”.

Dai is currently the producer and host of two podcasts, PODCAST FROM HELL along with John Torrani and THE GASH along with Nita Burson, which explore many to all aspects of the horror genre and beyond. Both shows have a large fan base with many horror celebrities added to the mix. PFH is the interview show where the guests have spanned from Frank Henenlotter to Sid Haig and The Gash is the show hailed by Kevin Tenney as “The View with PMS” which covers all aspects of the entertainment genre from the eyes of “chicks in horror”.

Aside from her work in the entertainment industry, Dai is also known for her activeness for multiple charities. Halloween of 2009, she rallied up over 100 people, on a month’s notice, to donate their time and money and going into children’s hospitals across the country in costume to pass out candy to those children who would have missed Halloween all together. In 2010, she started selling her photos and donating all the proceeds to various charities including, but not limited to, the West Memphis Three Fund and multiple children’s organizations.

70. IT! THE TERROR FROM BEYOND SPACE
It! The Terror from Beyond Space is a 1958 black and white science fiction film directed by Edward L. Cahn.

The film opens with a classic 1950s version of a spaceship (three tail fins, long, pointed body) perched on the cratered surface of an alien world. A voice-over tells us that the year is 1973 (voice at the beginning of the film says that it's six months after the initial crash, which was listed as January, 1973) and this is the planet Mars. It transpires that this vessel has been sent to rescue the crew of a previous exploration mission. They have found only one survivor, Col. Edward Carruthers (Marshall Thompson), and suspect him of having murdered the other nine to save rations for himself since he could not know if he would be rescued. Carruthers pleads his innocence, blaming the deaths of his colleagues on an unknown creature they encountered on the planet in a thick sandstorm where people just vanished.

The commander is unsympathetic and orders the ship to return to Earth, a four month trip. However, before blasting off, a junior crew-member unwisely leaves a door to the spaceship open for a long time...

After liftoff (one man is seen sitting in an ordinary metal chair during liftoff--the ship does have "artificial gravity", which saves on a lot of special effects), the crew settle down for the long trip back to Earth. It is not long before things start to go amiss, first with Kienholz having gone missing: In (now) typical horror-movie fashion, unimportant crew-members wander off to dark and isolated parts of the ship and are dispatched by It. Usually, we see only a character's reaction shot and, perhaps, a looming shadow - the creature, at this point, is not clearly seen.

There are seven men and two women on the ship besides Carruthers. The women are first seen serving the men food and drink at dinner (it is the fifties), but one turns out to be a doctor who can perform autopsies. Since it is the fifties, people smoke on board ship and there is an ample supply of cigarettes in a very large and roomy, many decked ship with little in the decks.

As the trip progresses, the crew are at first skeptical that something is aboard, but soon have to accept the fact as the body-count mounts, with the bodies sucked dry of all moisture, bone marrow, etc. which is what the creatures feed on, on barren Mars. At this point they decide to tool-up - the ship is equipped with an impressive amount of weaponry, including handguns, machine-guns, hand-grenades and even a bazooka. One hole in the ship and they lose all their air. Electricity enough to kill a hundred men just annoys the monster with its razor sharp claws.

The intruder is largely immune to all this hardware however, and at one point the crew manage to trap It in the "reactor room" (the ship is nuclear-powered) and expose it to the reactor by raising a shutter (apparently the nuclear pile is like the furnace in a steam-ship). At one point two men walk "down" the outside of the ship to try and get behind the monster. In one shot, they can be seen from a distance with the two men in a lighter rectangle obviously imposed onto the (model) ship and space background. There is an often repeated bit of film with the ship flying through the same bit of space.

As the crew dwindle, they retreat upwards in the ship. The monster is strong enough to rip apart the hatches which separate the decks. Finally they are in control only of the top-most chamber. In a final standoff, all manner of anti-armor weapons are unleashed in a confined space, to no great effect. Observing that the ship's oxygen is down quite a bit, they realize it is due to the creature, which must have large lungs, and they hit on the excellent idea of opening the hatch while wearing space suits. The decompression of the ship takes all the air out of it as the creature gasps its life out and it is no more. A quick investigation reveals it is dead.

Back on Earth, their base having had the news, a press conference is told of the monsters that inhabit Mars, that the planet is death, and that they may have to leap frog it and leave it out of future space exploration.



69. MORLOCKS

The Time Machine (also known as H.G. Wells' The Time Machine) is a 1960 British science fiction film based on H. G. Wells' 1895 novel of the same name about a man from Victorian England who constructs a time travelling machine and uses it to travel to the future. It starred Rod Taylor, Alan Young and Yvette Mimieux.

The film was produced by George Pal, who also filmed a 1953 version of Wells' The War of the Worlds. Pal always wanted to make a sequel to his 1960 film, but it was not remade until 2002 when Wells' great-grandson Simon Wells, working with executive producer Arnold Leibovit, directed a film with the same title.

When H. George Wells (Rod Taylor)stops his Time Machine in the year 802,701, next to a low building with a large sphinx on top, he discovers the seemingly idyllic pastoral paradise and spots young adults by a river. A woman is drowning, but the others are indifferent. George rescues her, but is surprised by her lack of gratitude or other emotion. She calls herself Weena (Yvette Mimieux) and her people the Eloi.

As night falls, George is surprised to find out that the Eloi have no government, no laws, and no civilisation to speak of. Curious, he asks to see their books, but when he finds them all covered in dust and rotted by mold, he becomes outraged. He returns to where he had left his time machine, but it has been dragged into the building, behind locked metal doors. Weena follows George and insists they go back inside, for fear of "Morlocks". A bizarre creature assaults Weena, but George wards it off with fire.

The next day, Weena shows George what appear to be air shafts in the ground. She then takes him to a museum, where the "talking rings" (metal rings that can play a recorded message) tell of a centuries-long nuclear war. One group of survivors remained underground in the shelters and evolved into the Morlocks, while the other, which became the Eloi, returned to the surface. George starts climbing down a shaft, but turns back when a siren sounds. Weena and the Eloi walk towards the open building in a trance, conditioned to seek refuge from a non-existent attack at the siren's blaring. When the siren stops, the doors close, trapping Weena and others inside.

To rescue Weena, George climbs down a shaft and enters the subterranean caverns. In one chamber, he finds human bones and learns that the Morlocks eat the Eloi. Discovering that the Morlocks are sensitive to light, George uses matches to keep them at bay, eventually fashioning a makeshift torch. A Morlock knocks it away, but one of the Eloi summons up the courage to beat the Morlock to death, thus showing that the Eloi are not yet entirely docile. George sets the Eloi to setting fire to material in the cave, driving off the Morlocks, then leads the Eloi up the shafts to safety. Under his direction, they drop tree branches into the shafts to feed the fire. There is an explosion, and the area caves in. The next morning, George finds the doors to the building now open. He goes to retrieve his machine, but the doors close behind him and he is attacked by Morlocks. George manages to activate the machine and escape, first to the far future, then back to January 5, 1900.


68. INVADERS FROM MARS

Invaders from Mars (1953) is a science fiction film, directed by William Cameron Menzies from a scenario by Richard Blake, based on a story treatment by John Tucker Battle, who was inspired by a dream recounted by his wife. It was produced independently by Edward L. Alperson Jr. and starred Jimmy Hunt, Helena Carter and Arthur Franz.

One night, a small boy, David MacLean (Jimmy Hunt), sees a flying saucer land near his home. His scientist father (Leif Erickson) goes to investigate. When he returns, there is an unusual mark on the back of his neck and he behaves in a different, cold and hostile manner. Gradually, David realizes that there is a conspiracy in which the people of the town are one by one becoming cold and inhuman.

With the help of a local astronomer Dr. Stuart Kelston (Arthur Franz) and health-department physician Dr. Pat Blake (Helena Carter), he learns that the flying saucer, that has buried itself in a sandpit just behind his home, is the vanguard of an invasion from Mars. The Army is contacted and convinced to investigate, leading to a military penetration of the underground hideout established by the Martians. The troops enter the saucer. Inside they find a Martian, mostly a large head with strange tentacles, encased in a glassy sphere. The Martian mastermind is served by tall, green, silent humanoid "mutants", who use cerebral implants to control the townsfolk in order to sabotage nuclear rocket experiments at a facility just outside of town.

In the film's climax, the Army, scientists, and David flee from the sandpit as explosives hidden aboard the flying saucer count down their last remaining seconds. An excessively long sequence montage's David running downhill, with flashbacks of the events of the film, supposedly running through David's mind. This includes some sequences played backwards, and scenes and events at which David was not present, and of which he can thus have had no knowledge. This is inter-ciut with shots of the explosive timer counting down. After the explosion, David is back in his bed, awakened by thunder, as he was ta the beginning of the film. His parents reassure him by telling him the whole thing was just a nightmare and send him back to bed. As thunder awakens him again, he sees the same UFO slowly land at the sandpit near his house. Is this another dream, or was the first a premonition of a now-real event?

The film was shot from the point of view of a child. Camera angles are lower than usual. The set design of the police station consists of stark, elongated structures stretching high above the boy's head, much as it would appear to a boy, shorter than an adult.

Although the action ends with the flying saucer being blown up as it tries to flee back to Mars, the plot is left unresolved, and very morally ambiguous. Dr. Kelston early on explains to David that due to Mars' hot dry surface, the Martians live underground, or in spaceships hovering above the surface, and have created mutants to labour for them as slaves. He notes that Earth has been under systematic observation by the Martians for 200 years, and reasons that the top-secret military atomic rocket facility at which he (and David's father) work has caused anxiety to the Martians, as humanity's (or more specifically the US's) recent developments in rocketry and atomic physics are now a threat to the Martians living in ships above Mars. Thus the Martian 'invader' is simply trying to disable or destroy the rocket facility. This is confirmed by the facts that the 'invaders' are actually one Martian on one ship, not a fleet, and that the humans over whom the Martian gains control act simply to eliminate the main scientists or the rocket facility. There is no general slaughter, terrorism, or attack on the government or major cities. Nevertheless, the massive force of US military might is brought to bear (in a ridiculously rapid response using stock footage of a military train loading and carrying tanks and other military vehicles). Rather than negotiate with the Martian, the army tries to kill him (and succeeds). Dr Kelston does not question the motives of the human overreaction, but becomes part of it. The moral ambiguity is raised further when the Martian-controlled sergeant tells the captured David and Dr Blake that the Martian is a highly-evolved human, and thus not an alien species. The reaction of the Earth-humans against the Martian-human is thus the flight of primitives with a more civilised version of themselves, who are only trying to protect themselves from the primitives who threaten them with destruction. While the viewer is left feeling the Earth-humans win when the Martian ship is destroyed, the question of the morality in the Earth-humans' reaction to the Martian's self-defensive pin-point attack on Earth, and the potential for a much larger and deadlier response by the Martians, is left unresolved. Humanity may have won this battle, but is likely to lose the war against an obviously far-advanced Martian civilization with interplanetary-voyaging capabilities.


67. THE GORN

In Star Trek, the Gorn are humanoid reptiles from the Gorn Hegemony.

The Gorn had contact with the Orion Syndicate as early as 2154. The name of their government was established as the Gorn Hegemony in the Star Trek: Enterprise episode "Bound" although, in the games "Star Trek: Starfleet Command" and "Star Trek: Starfleet Command II: Empires at War" The Gorn's government was referred to as the "Gorn Confederation".

The Gorn made first contact with the Federation at Cestus III in 2267 when a misunderstanding nearly led to war (original series episode "Arena", the Gorn played by Bobby Clark). Although the Gorn made territorial claims, the Federation had a settlement there in 2371, indicating tension later softened.

The Gorn have become one of the most popular hypothetical bioforms to appear on Star Trek, due to the striking design by artist Wah Chang, and the Gorn's memorable personality. A hissing, slow-moving, but lethal beast, the Gorn captain is also shown to be quite cunning and devious; chuckling wickedly to himself as he sets a trap for Kirk, and later promising that if the captain gives himself up, the Gorn will make his death "merciful and quick". "Arena" is also considered one of the series' classic episodes and was the template for a similar, critically acclaimed episode of Star Trek: The Next Generation entitled "Darmok".

For years, "Arena" marked the only live action appearance of the Gorn, although the race was "name dropped" from time to time. In 2005, an episode of Star Trek: Enterprise featured a Gorn (albeit in the Mirror Universe) in the episode "In a Mirror, Darkly Part II". In that episode, the Gorn (whose name was Slar) was an overseer of a group of slaves belonging to the Mirror Universe's Tholians in an attempt to steal technology from the Defiant which had been lured into the Mirror Universe from ours. Slar hid in the ship's corridors and killed several crewmembers until it was killed by Jonathan Archer. For this appearance, Slar was designed using computer animation (and much to the chagrin of some fans, appeared radically different from the original Gorn). Since "In a Mirror, Darkly" takes place entirely within the Mirror Universe, the contact seen between the Earth Empire and the creature does not contradict the first contact seen in "Arena".


66. TUSKEN RAIDERS

Tusken Raiders (or Sand People) are fictional creatures in the Star Wars universe. They live on the planet of Tatooine.

The Tusken Raiders' preferred means of transportation is the Bantha, which plays an important role in Tusken culture and religion. When a Tusken receives a bantha, they form a life-long bond; when one of the two dies, the other is exiled to the desert to die.

According to Expanded Universe sources, Tusken Raiders are named after Fort Tusken, an early Old Republic mining settlement in which all of the settlers were overwhelmed and captured or killed by Tusken Raiders, then referred to as Sand People. The attack probably occurred due to the fort's placement over one of the Raiders' holy wells.

Exiled Jedi Sharad Hett and his son A'Sharad Hett, whom he trained in the ways of the Jedi, lived among the Tusken Raiders for many years. Hett was one of the few non-Tuskens to be accepted into their ranks and was even given the title of Warlord. Although A'Sharad Hett believed he was half-Tusken for the better part of his young life, during his training on Coruscant he learned that humans and Tusken Raiders were genetically unable to reproduce, leading him to believe that his mother must have been a human, captured by the Tusken Raiders at a young age and raised as a Tusken.



65. GRUMPY

Land of the Lost (1974–1976) is a children's television series co-created and produced by Sid and Marty Krofft. During its original run, it was broadcast on the NBC television network. However, it also aired in daily syndication in the early 1980s as part of the "Krofft Superstars" package. In 1985, it returned to late Saturday mornings on CBS as a replacement for the cancelled Pryor's Place - also a Krofft production.

The Marshalls are brought to the mysterious world by means of a dimensional portal, a device used frequently throughout the series and a major part of its internal mythology. This portal opens when they are swept down a gigantic 1,000 foot waterfall. We later learn in what should have been the series finale (titled "Circle", which explains the time paradox) that this portal is actually opened by Rick Marshall himself, while in Enik's cave, as a way for the current Marshalls to return to earth, resolving the paradox and allowing Enik to also return to his time.

Outfitted only for a short camping trip, the resourceful family takes shelter in a natural cave and improvises the provisions and tools that they need to survive. Their most common and dangerous encounters are with dinosaurs, particularly a Tyrannosaurus Rex they nickname "Grumpy" who frequents the location of their cave.

A Tyrannosaurus, Grumpy was first of the Dinosaurs the Marshall family encountered, occasionally chasing them to High Bluff, being tall enough to look inside as the Marshalls ram a sharpened log they called the "flyswatter" into Grumpy's open mouth and drive him away. Holly speculates that Grumpy continued to return due to the large quantities of a ground-hugging fern-like plant she dubs "dinosaur nip" that grows in the area.


64. GORGO

Gorgo is a 1961 British Giant monster movie. Directed by Eugène Lourié, it tells the story of an underwater monster's capture off the coast of Ireland. The monster is taken to London to be featured as a circus attraction. The film borrows elements from other monster movies, such as Godzilla and King Kong.

Captain Joe Ryan is salvaging for treasure off the coast of Ireland, when a volcano erupts, nearly sinking his ship. Ryan and his first officer, Sam Slade, take the ship to Nara Island for repairs. As they enter harbour, they discover the floating carcasses of marine animals, the first hint that something dangerous was awakened by the volcano eruption.

Ryan and Slade consult the harbour master, who also has archeological pretensions: he has been salvaging a Viking longship in the harbour. Some of his men have disappeared mysteriously; it turns out that one has died of fear. After dark, a monstrous creature surfaces, attacks a group of fishermen, then comes ashore to wreak havoc on the island. This dinosaur-like creature is supposedly 65 feet tall. The people of the island finally drive it off.

Ryan and his crew manage to capture the monster and haul it aboard their ship, tying it to the deck. Soon, university scientists arrive on Nara, hoping to collect the monster for study, but Ryan has been offered a better deal by the owner of a circus in London. When the ship arrives in London, the circus owner names it "Gorgo", after the Gorgons of Classical mythology. (A dinosaur called Gorgosaurus that has a strong similarity to the Gorgo creature in this film had been previously described as well; whether or not this dinosaur is related to the naming of the film or the monster in it is uncertain). It is exhibited to the public in Battersea Park.

The scientists examine Gorgo, and conclude that he is not yet an adult, and that his mother must be nearly 200 feet tall. On that note of foreboding, we cut to Nara Island as Gorgo's mother ("Ogra") attacks. Ogra trashes the island, sinks a Royal Navy destroyer, and resists attack from other warships. Later, Ogra comes ashore in London, still looking for her son, and destroys Tower Bridge and Big Ben, despite being bombarded by tanks and infantry. Royal Air Force jets attack Ogra, but with no effect. Having demolished much of London, Ogra rescues Gorgo, and both mother and son return to the sea.



63. MIGHTY JOE YOUNG

Mighty Joe Young is a 1949 RKO Radio Pictures film made by the same creative team responsible for King Kong (1933).

Written by Merian C. Cooper (who provided the story) and Ruth Rose (screenplay), and directed by Ernest B. Schoedsack, it tells the story of a young woman, 'Jill Young', played by Terry Moore, living on her father's farm in Africa, who ends up bringing the title character — a giant ape — to Hollywood. The movie co-stars Ben Johnson, as 'Gregg', in his first major role.

Willis O'Brien, who created the animation for King Kong, was the supervisor of special effects on this film, although by some accounts the majority of the animation was performed by Ray Harryhausen. The models (constructed by Kong's builder Marcel Delgado) and animation are more sophisticated than Kong's, containing more subtle gestures and even some comedic elements, such as one chase scene where Joe is riding in the back of a speeding truck and he spits at his pursuers. Despite this increased technical sophistication, this film, like Kong, features some serious scale issues, with Joe noticeably changing size between many shots. (The title character is not supposed to be as large as Kong - perhaps 10-12 feet tall.) Harryhausen has attributed these lapses to producer Cooper, who insisted Joe appear larger in some scenes for dramatic effect.

After being taken from his home in Africa, Joe is an instant hit in the Hollywood nightclub "The Golden Safari" (on opening night he wins a tug-of-war with ten real-life strong men, including ex-boxer Primo Carnera, whom he throws into the audience), but the novelty wears off and he is tired and homesick after seventeen weeks of performing. An ill-conceived skit with Jill as an organ-grinder leaves Joe (and Jill) storming off-stage, and, to make matters worse, three drunks sneak backstage and ply Joe with liquor. Intoxicated, he breaks out of his cage and into the club, his rampage turning lions loose and inflicting massive damage. A court orders him shot.

Jill, Gregg, and O'Hara cook up a plan to get Joe out of the country--but on the way to a ship, they stop to rescue children from a burning orphanage, and Joe redeems himself.


62. TRIFFIDS

The Day of the Triffids is a 1962 British film adaptation of the science fiction novel of the same name by John Wyndham. It was directed by Steve Sekely, and Howard Keel played the central character, Bill Masen. The movie was filmed in colour with monaural sound and ran for 93 minutes.

Triffids are strange fictional plants, capable of rudimentary animal-like behaviour: they are able to uproot themselves and walk, possess a deadly whip-like poisonous sting, and may even have the ability to communicate with each other. On screen they vaguely resemble gigantic asparagus shoots.

Bill Masen (Howard Keel), a merchant navy officer, begins the story in hospital, with his eyes bandaged. He discovers that while he has been blindfolded due to an accident, an unusual meteor shower has blinded most people on Earth. Masen finds people in London struggling to stay alive in the face of their new, instantly-acquired affliction, some cooperating, some fighting: after just a few days society is collapsing.

He rescues a school girl, Susan (Janina Faye), from a crashed train. They leave London and head for France. They find refuge at a chateau, but when its attacked by sighted prisoners they are again forced to escape. Even though the Triffid population continues to grow. Meanwhile on a coastal island, Tom Goodwin (Kieron Moore) a flawed but gifted scientist, battles the plants as he searches for a way to beat them.



61. MECHAGODZILLA

Mechagodzilla (メカゴジラ, Mekagojira?) is a fictional character from various films in the Godzilla series, introduced in Godzilla vs. Mechagodzilla (1974). It is Godzilla's mechanical doppelgänger and one of the most popular Toho kaiju. Mechagodzilla is also recognized as one of Godzilla's most powerful enemies (all iterations have at one point or another come very close to killing the King of the Monsters). He is also the secondary antagonist of the Godzilla series.

The original Mechagodzilla was created as a weapon of destruction by the Simians.

It first appeared in a pseudo-flesh outer covering, masquerading as the real Godzilla during attacks against Japan in Godzilla vs. Mechagodzilla. Curiously, while the Simians gave Mechagodzilla a laser beam in its mouth to mimic Godzilla's atomic breath, they didn't bother replicating Godzilla's unique roar. Godzilla's ally Anguirus wasn't fooled by the impostor, but in the resulting fight Mechagodzilla broke Anguirus' jaw and sent him fleeing underground. Although the battle went badly for Anguirus, it tipped humanity off to the charade due to the fact that while Godzilla and Anguirus had initially been enemies in 1955 in the second Godzilla film, they had been firm allies ever since, and the two were known to come to one another's aid in combat against other monsters. Anguirus attacking 'Godzilla' was seen as a complete shock. Anguirus had also exposed a piece of MechaGodzilla's true mechanical nature by ripping off a piece of the disguise the machine was covered in, though most humans didn't seem to notice it.

Soon the true Godzilla appeared and exposed his foe's metallic form completely. Interestingly, after losing its disguise, Mechagodzilla's fingers lost all mobility and it lost the beam in its mouth (No explanation for this was ever given). The battle resulted in a tie, however, and in the end it took the combined might of Godzilla and King Caesar to remove Mechagodzilla's head from his shoulders, ending the threat.

The Simians rebuilt their dreadnought for another try in Terror of Mechagodzilla one year later. Having learned the value of teamwork firsthand, the Simians called in an old debt to pair Mechagodzilla with the aquatic dinosaur Titanosaurus that had been discovered by a Dr. Mafune.

This time there were some modifications made, mainly turning the mecha into a true cyborg by giving it living human brain cells. This was accomplished by integrating its control circuitry into the body of Dr. Mafune's daughter Katsura, as well as a variety of other cybernetic enhancements. Also Mechagodzilla's main control system was moved down into its neck so it could function unimpaired if Godzilla again attempted to decapitate it. Godzilla's perseverance combined with the timely self-sacrifice of Mechagodzilla's operator (Katsura killed herself) brought the machine down for good. The King of the Monsters buried Mechagodzilla's shattered form deep underground to prevent another repair job.

The original Mechagodzilla is the only one to be referred to by numerics within the movies themselves. When it is rebuilt in its second appearance, the "MG" emblazoned on its arm has a "2" added to it. It is still usually referred to as simply "Mechagodzilla" by the characters.

(All monster info from Wikipedia)

See Also: The 100 Greatest Monsters From Movies And Television #71 - #80 - The 100 Greatest Monsters From Movies And Television #81 - #90 - and - The 100 Greatest Monsters From Movies And Television #91 - #100

House of Wax is a 1953 American horror film starring Vincent Price. Director André De Toth’s remake of Mystery of the Wax Museum (1933) was the first 3-D film of the 3-D craze of the early 1950s.

Professor Henry Jarrod (Vincent Price) is a devoted wax figure sculptor for his museum in 1910s NYC. When his financial partner, Matthew Burke (Roy Roberts), demands more sensational exhibits to increase profits, Jarrod refuses. In retaliation, Burke torches the museum for the insurance money, leaving Jarrod for dead. Miraculously, Jarrod survives (though his hands and legs are rendered useless) and builds a new House of Wax with help from threatening deaf-mute sculptor, Igor (Charles Bronson).

The museum’s popular "Chamber of Horrors" showcases both famous crimes and more recent ones, like the murder of Jarrod's former business partner by a cloaked, disfigured killer. Burke's fiancée, Cathy Gray (Carolyn Jones), is also attacked. But when Cathy’s friend, Sue Allen (Phyllis Kirk), visits the museum, she makes a discovery that leads to the horrifying truth behind the House of Wax.

Stereoscopic 3-D was an alternative technology (like Cinemascope and Cinerama) used by 1950s studios attempting to compete with the new threat of television. Just over 50 titles were released in the 3-D process during its 2-1/2 year heyday. House of Wax was always shown in dual interlocked 35 mm projection with polarized glasses. The film was re-released in the period of 1975 through 1980 in both single strip 35mm Stereovision 3-D and in Stereovision's pioneering 70mm 3-D process, where it played in major venues like Grauman's Chinese Theater, in Hollywood, and the huge Boston Music Hall (seating 4300 patrons).

House of Wax, originally titled The Wax Works, was Warner Bros. answer to the 3-D hit, Bwana Devil, which had been released the previous November. Seeing something big in 3-D's future, WB contracted the same company, Natural Vision, run by the Gunzberg Brothers, Julian and Milton, to shoot the new feature. The film is ultimately a remake of the studio's 1933 film, The Mystery of the Wax Museum, which in itself was written and based on Charles Belden's three-act play, The Wax Works.

The title was borrowed for a very different story line, as a modern film remake starring Elisha Cuthbert and Chad Michael Murray, released in 2005.

House of Wax is without a doubt one of the most effective horror films produced in the 1950s'. Price is at the top of his game in this one, as a crippled sculptor who finds an easy short cut to create wax figures of histories greatest beauties. What a better way to create life-like figures than to kidnap local woman and encase them in wax?

The climax is of the film is an eerie affair with fire consuming melting wax figures ala Raiders of the Lost Ark. A chilling effect to say the least.

Also of note is a great cameo by Carolyn Jones (The Addams Family - Morticia) as a ditsy blond who becomes one of the first victims.

A true classic not to be missed!

House of Wax (1953)
Warner Bros

Directed By: André De Toth
Produced By: Bryan Foy
Written By: Charles S. Belden (play) / Crane Wilbur (screenwriter)

Cast:
Vincent Price - Professor Henry Jarrod
Frank Lovejoy - Lt. Tom Brennan
Phyllis Kirk - Sue Allen
Carolyn Jones - Cathy Gray
Roy Roberts - Matthew Burke
Paul Picerni - Scott Andrews
Paul Cavanagh - Sidney Wallace
Charles Bronson (as Charles Buchinsky) - Igor

Release Date: April 25, 1953
Running Time: 88 min.
Language: English
Budget: $658,000 (estimated)

Written By: Ken Hulsey
Sponsored by View Obscura Comics

As promised a few weeks back here is yet another gallery of great monster movie posters. I like to think of this little collection as "the good, the bad, the wtf and the boing." The reasons for this should become quite evident as you proceed through my hand picked selections.

What did we talk about last time? Was it the elements that make up a great monster movie poster? If memory serves I mentioned a few key items including a great monster (... well sometimes), dynamic action or violence and a sexy damsel (or damsels). Well these images have all of that in spades.

Godzilla vs The Cosmic Monster

You would probably guess that since this is a Godzilla movie poster that it would be one of my all-time favorites ... and you would be right! The image is truly beautiful ... well as beautiful as the image of a giant dinosaur fighting a robot version of himself can be.

Info:

Godzilla vs. Mechagodzilla (ゴジラ対メカゴジラ Gojira Tai Mekagojira), originally known in the United States as Godzilla vs. Bionic Monster and subsequently Godzilla vs. Cosmic Monster, is a 1974 science fiction kaiju film. This was the 14th of the Toho studio's Godzilla series (set after Godzilla vs Megalon), it was directed by Jun Fukuda with special effects by Teruyoshi Nakano and the original score composed by Masaru Sato. It is the fifth film to feature Anguirus and the first film to feature Mechagodzilla and King Caesar.


The Phantom of the Opera

Here is a truly amazing movie poster! It is a work of art that would rival anything hanging in a museum.

Info:

The Phantom of the Opera is a 1925 silent horror film adaptation of the Gaston Leroux novel of the same title directed by Rupert Julian. The film featured Lon Chaney in the title role as the deformed Phantom who haunts the Paris Opera House, causing murder and mayhem in an attempt to force the management to make the woman he loves a star. It is most famous for Lon Chaney's intentionally horrific, self-applied make-up, which was kept a studio secret until the film's premiere.

The film also features Mary Philbin, Norman Kerry, Arthur Edmund Carewe, Gibson Gowland, John St. Polis, and Snitz Edwards. The only surviving cast member is Carla Laemmle (born 1909), niece of producer Carl Laemmle, who played a small role as "prima ballerina" in the film when she was about 15.

The film was adapted by Elliott J. Clawson, Frank M. McCormack (uncredited), Tom Reed (titles) and Raymond L. Schrock. It was directed by Rupert Julian, with supplemental direction by Lon Chaney, Edward Sedgwick and Ernst Laemmle.

The Crater Lake Monster

Hey, what's not to love about this! A giant dinosaur rising out of the lake to make a meal out of a couple of lovers out for a boat ride. Never mind the fact that the poster shows a T-Rex and the monster in the film is a plesiosaur ... who cares? Everybody knows a Rex sells tickets!

Info:

The Crater Lake Monster is a 1977 B-rated horror film directed by William R. Stromberg for Crown International Pictures, and starring Richard Cardella. The script was also written by Stromberg and Cardella, and their affiliation with The Crater Lake Monster marked the zenith of their careers.

The storyline revolves around a giant plesiosaur, akin to the Loch Ness Monster, which appears in Crater Lake, next to a small Oregonian town. As people are attacked by the monster, the Sheriff (Cardella) investigates along with a group of scientists in order to stop the creature.

The film is mostly notable for being an example of David W. Allen's early stop-motion animation, and "the best thing about the movie (make that the only thing)". Otherwise, the film was widely panned by critics, with DVD Drive-In calling it "one of the worst giant monster flicks of all time"

Legend of Dinosaurs & Monster Birds

This Japanese import has all the things any monster movie maniac craves, two dinosaurs ripping each other to shreds while smashing a boat to pieces. One of the beasts is even enjoying a mid fight snack in the form of one of the ships sexy passengers.

Info:

Legend of Dinosaurs and Monster Birds (恐竜・怪鳥の伝説 Kyōryū Kaichō no Densetsu) (1977) is a Japanese science fiction film, released by Toei Company. The film featured a giant Plesiosaur and Rhamphorhynchus.











Curucu: Beast of the Amazon

Ever heard of "Curucu: Beast of the Amazon? Neither had I, but the film had one awesome movie poster!



























Gamera: Super Monster

So what would happen if Gamera took on a Star Destroyer?

Look I don't remember Gamera being in any of the original Star Wars films either. Maybe George Lucas edited the scenes out because they made the films to long ..... like the Biggs Darklighter scenes?

Anyway.... giant turtle plus copyright infringing spaceship and three Japanese superheroes equals great poster!

Info:

Gamera: Super Monster (宇宙怪獣ガメラ Uchu Kaijū Gamera, Space Monster Gamera), a 1980 kaiju film, was the belated final entry in the Shōwa Gamera series, and the last Gamera film written by Nisan Takahashi and directed by Noriaki Yuasa. It relied heavily on stock footage from previous Gamera films. This movie was made when Daiei was brought out of bankruptcy by Tokuma Shoten publishing company. It was intended as a one-shot movie for children. There wasn't another Gamera film for another 15 years, until his revival in 1995.

The Beast and The Vixens

Okay, I know that I just violated my own "no nudity" policy, but this one was too good to omit. I honestly got nothing on this one, but it sure looks like Sasquatch is having a good time!

"Bigfoot Gone Wild!" anyone?
























King Kong vs Godzilla - Retro Style Lobby Card Print

Prices are only $10 and up! - Order Here

This is a poster graphic print featuring an image from the classic monster movie "King Kong vs Godzilla." The print looks amazing matted and framed and will make a great addition to your movie memorabilia collection. A must for all Godzilla fans!

Limited Edition: 100 numbered pieces.

Mr. Tako, head of Pacific Pharmaceuticals, is frustrated with the television shows his company is sponsoring and wants something to boost his ratings. When a doctor tells Tako about a giant monster he discovered on the small Faro Island, Tako believes that it would be a brilliant idea "...with a punch" to use the monster to gain publicity. Tako immediately sends two men, Sakurai and Kinsaburo, to find and bring back the monster from Faro.

Meanwhile, the American submarine Seahawk gets caught in an iceberg. Unfortunately, this is the same iceberg that Godzilla was trapped in by the Japanese Self-Defense Forces back in 1955, and the submarine is destroyed by the monster. As an American rescue helicopter circles the iceberg, Godzilla breaks out and heads towards a nearby Soviet Arctic base. The base alarm sounds as they deploy everything they have against him. Tanks were sent to stop Godzilla's advance, but to no avail. Godzilla advances, now closer to the base. 12 rapid-firing four-turreted artillery cannons, despite their firepower and firing rate, had no effect either. Godzilla, now at the coastline of the base, fires his atomic ray at the tanks' defensive line, melting them instantly. The rest of the tanks retreat, now leaving the bases defenses to deal with him. The base itself, of course is ineffective against Godzilla. He continues moving inland, razing the base to the ground, and sends the tank armory up in flames. Godzilla's appearance is all over the press, making Tako furious.

See Also: A Gallery Of Great Monster Movie Posters

Written By: Ken Hulsey

When monster movie fans think of the names Godzilla, King Kong, Rodan, Mothra and Varan they most often times have fond memories of 200-foot-tall creatures stepping on buildings while terrified townspeople flee for their lives in terror. Though these monsters may be household names to just about everyone, the man who actually climbed into the hot and cumbersome costumes to make them come to life has been an unsung hero who has very rarely received any credit.

See Also: Monster Zero - Godzilla, Rodan, King Ghidorah - Retro Style Lobby Card Print

That man is Haruo Nakajima, a Japanese actor who from 1954 to 1972 put on the heavy rubber costumes to play Toho's most famous movie monsters.

Nakajima started out in the Japanese movie industry as a bit player in the early 1950's. The eager young actor was mostly cast as a background extra and often times found himself on the wrong end of a sword, that is, until one day Eiji Tsuburaya (known as the father of Japanese special effects) approached him about volunteering for a risky stunt. The film that would ultimately bring both Nakajima and Tsuburaya together was the WWII action film "Operation Kamikaze" in which a pilot was to emerge from a crashed aircraft completely engulfed in flames. A stunt where an actor was to be set on fire had never been attempted in Japan before and Tsuburaya was looking for someone brave enough to be the guinea pig. Nakajima was the only actor to step forward when called.

As fate would have it, a year later Tsuburaya would be looking for someone to once again do something never before attempted in a Japanese movie, this time however he needed an actor to wear a heavy monster costume made of melted car tires for a film called "Gojira" (Godzilla). As Nakajima explains Tsuburaya, and the film's director Ishiro Honda (who also directed Operation Kamikaze) knew exactly who to call, "The film makers were scratching their heads wondering who they could get to put on the suit, then the remembered my stunt. They thought, hey let's get that guy we set on fire last year."

Though Nakajima didn't know what he was about to get himself into, he accepted the job, if for nothing else, to keep himself employed.

Nakajima endured wearing that 200-pound costume for the entire filming of "Gojira". Though other actors were cast to play the monster, only Nakajima could tolerate the costume, long working hours and awful filming conditions.

The filming for "Gojira" took place in the summer of 1954, which would be one of the hottest on record in Japan. Since the stages at Toho had no air conditioning and because Nakajima had to wear that heavy costume, the production was moved from a normal shooting during the day to a 5pm to 5am schedule. According to the actor "The crew often times said that the shooting schedule was the real Gojira (Monster)."

The success of "Gojira" spawned numerous sequels and other special effects driven films. Every time one of those films needed a monster Nakajima was called upon to do the dirty work. In the sequel to Gojira/Godzilla, entitled "Godzilla Raids Again" Nakajima's character was pitted against another monster, Anguirus, who was played by fellow actor Katsumi Tezuka. Nakajima took Tezuka under his wing to teach him how to act in the monster's cumbersome costume. Though the actor did his best, Nakajima knew that his understudy didn't have what it took, "He had a hard time in the costume and he could only move around in it for short periods of time."

As the years kept coming so did the monster roles for Nakajima. Next came "Rodan" then "Varan" and then "Mothra". The filming was long, hard and very dangerous. Nakajima admits that he was injured in some way or another on every single production. On the set of "Varan" the actor was hurt very seriously when a miniature building blew up underneath him. Despite being in severe pain he never let anyone know about it, "I felt like I could have gone to the hospital, but I knew if I had to go then the crew would have to go home, and not get payed for the time, so I stuck it out."

Likewise on the set of "Rodan" a cable snapped while Nakajima was inside the monster's costume suspended some 10-meters above the sound stage, "The cable broke and I began to spin wildly before the whole thing gave way and I came crashing to the ground. Luckily the costume had wings and I landed in the water which protected me."

Tsuburaya was very pleased to see that Nakajima was okay stating, "I'm glad that you didn't die."

Nakajima notes that not all of the parts he played were difficult, in fact the role of Moguera in "The Mysterians" was literally a walk in the park, "The role was easy, all the robot did was walk around and the suit was light."

Nakajima's hardest role came in 1967 when he was called upon to play another world-famous monster, King Kong, in "King Kong Escapes". The actor recalls, "The monster was very hard to play because the suit was so different. The arms were long, longer than my own, and I had to use sticks to control the hands, also the legs were short so I had to walk all hunched over."

On the set of "Frankenstein Conquers the World" Nakajima had the pleasure of showcasing his martial arts skills against fellow actor Koji Furuhata (as Frankenstein). Likewise he would also get to showcase his fighting skills three years later, this time against Yû Sekida in "War of the Gargantuas".

Nakajima remembers sparing against Furuhata and giving the young man a few tips on acting, "The guy that they got to play opposite me wasn't an actor so I had to take some time to teach him how to work in front of the camera. I did enjoy working with him though, we got to match our martial arts skills. He was a black belt and I used my judo."

As Baragon, however, the actor had yet another unique experience on set, "The monster didn't fly as such, but had to leap great distances. There were four or so crew members with wires that had to pull as hard as they could to get me to launch forward."

Though playing monsters was hard, Nakajima never complained, thinking that he would be a fool to pass up such work, a fact that Tsuburaya playfully reminded him of on several occasions, "He would say to me 'even a fool could do this', so I never complained or said no."

Though Nakajima has played a vast number of monsters, it was revealed at this years Monsterpalooza that two of the monsters he has been credited as playing were not actually him at all. One being the insect-like Meganeuron from "Rodan" and the other being the giant walrus from "Gorath". When asked about these two monsters Nakajima stated that he never played them, though several pieces of documentation state that he did.

Haruo Nakajima is not the only actor to ever play Godzilla, there were two others, but his ground-breaking work in the early days of Toho monster movies set a standard for which every other suit actor would be measured. He gave the "King of the Monsters" and his brethren life and helped establish the monster as a world-wide cinema icon. His hours of hard work has brought such joy to movie fans around the world. It is only fitting that this unsung hero of the silver screen get the kudos that he much deserves.

Haruo Nakajima we take off our monster heads to salute you!

GODZILLA IS DEAD!
City Saved By Scientist's Secret Invention
Tokyo, Japan - Steve Martin - United World News - Chicago
(Fiction)

Our tale begins dramatically amidst the smouldering ruins of what was once a great city. Twisted girders, cracked, blistering sidewalks and the skeletal frames of demolished buildings paint a grim portrait of this smouldering memorial to the unknown. Tokyo, once a proud metropolis of six million people, is now a graveyard.

See Also: Gojira (Godzilla King of the Monsters) 3D Shadowbox Collage - One of a Kind Original Artwork

The mind is a curious thing. It takes so much for granted! Freedom, happiness, security....these are things we've lived with and accepted, but rarely appreciated. As I look across the crimson, still-smoking horizon, these ideals seem very far away, for what I see, and smell, and sense...is death. Perhaps I myself am dead, and this fiery, lifeless landscape is actually Hell! I don't know..I don't know anything anymore, except that I, as a man, as a member of the human race, have been dwarfed by a living nightmare. It has proven itself stronger, smarter...more powerful than the Earth itself! My world burns before me, and with it, my very soul.

My name was Steve Martin. I used to be a foreign correspondent for United World News. I was headed for a routine assignment in Cairo when I decided to stop off in Tokyo to see an old friend. But that was days ago...I was a man then.

Now I am part of the human wreckage, the rubble and blood and total destruction of last night. I am in a hospital, and all around me are the dead and the injured. Those who are alive are silent, thoughtless...they know it is only a matter of time before "It" strikes again.

People are walking by me very fast now. I can hardly see their faces. Perhaps it is just as well....what does the face of defeat look like, anyway? It couldn't be more sickening that the cold, blank expressions of the lifeless. But ....wait. That girl coming toward me-I know her! Why, it's..."Emiko, Emiko!"

"Steve, Steve Martin! Are you Badly hurt?"

"After last night I'm lucky to be alive. And your father....is he alright?"

"Yes! He's meeting with the security officials now. Don't move Steve, I'll try to get a doctor for you."

A doctor! Hah! What can a doctor do? Will he bring the city back? Will he bestow life upon upon those trampled and crushed and burned? What can anyone do now...now that Godzilla lives? Emiko means well, as do they all...but tonight he will return. Tonight we will not be as fortunate! Death stalks us all, in the furious, rampaging form of a behemoth such as modern man had never seen prior to last night. But wait - I am wrong? He had never been seen! But no one believed those sightings, those reports of a vengeful monster out of ancient myth and legend....it seems so long ago now, but I can still recall every horrifying moment as clear as crystal. A few days ago things were normal...

A small sailing vessel was drifting peacefully in calm water. Some of the men were on deck, staring into the infinite loneliness and wonder that was the ocean. How old the ocean was, they thought. And how mysterious. Suddenly a stark, glaring light flashed across the deck. The men rose instantly and looked about. Then their eardrums burst and their bodies crumpled before a sound like no other....a heavy, thundering roar like the wail of some unholy foghorn. Flames filled the air. The radio men tried to send for help but there wasn't enough time. In an instant, the vessel had disappeared beneath the cruel, burning waves...

When I finally arrived at the airport the following morning, I was greeted by Shegarito, Dr. Serizawa's trusted assistant. But before we could visit the good scientist, a Japanese officer interrupted our meeting and asked me to come to the security headquarters. Slightly annoyed at the curious request, I asked Shegarito to extend my apologies to Dr. Serizawa and reluctantly followed the officer into a small room. Although I could not understand all of it, I figured out that the reason for everyone's strange behavior this curious morning involved the sinking of that small sailing vessel...

My part in the confusion was finally made clear to me. A friendly, English-speaking Japanese official named Tomo asked me several questions about my flight. He was seeking answers to the perplexing enigma of that ship disaster! What could have caused it? A mine, or a collision perhaps...but when the ship's doomed radiomen sent a message through, it told only of a blinding flash of light.


It was a mystery, alright. The Japanese authorities were trying to solve that mystery by sending out a rescue ship to survey the disaster area.

That rescue ship was never heard from again.

While officials tried their best to control the panic elicited from these strange accidents, news of the disasters finally leaked out. A frightened public demanded an explanation! Scientists and government men were brought together to discuss courses of action and offer solutions. Among them was Dr. Yomane, Japan's foremost paleontologist, whom I had met through my friend Serizawa several years ago. If there was an answer to these mysterious sea disasters, it would come from these men.

After much desperate conversation, Dr. Yomane suggested to the officials that they question the natives of Odo Island, a small bleak, spot of land that was close to the area where the tragedies had taken place. Confused, but receptive, the authorities quickly agreed. I was allowed to tag along.

Odo was an industrious little island in the Pacific populated by several hundred natives who were now paralyzed with fear. These people were the only ones to see some of the fires at sea, as well as locate one survivor of a sinking. His visit, unfortunately, was a short one! As the Japanese officials descended upon the island’s small community, the natives became even more frightened. One babbled what everyone considered to be a “ridiculous” story to Tomo. Nervously, he informed the official that a horrible monster was responsible for all the disasters.

Too much sake, I thought to myself.


That evening I had the unique opportunity to witness a rare ceremony. The islanders were apparently performing an ancient folk-dance, and wore rather frightening reptile-like face masks. Tomo enlightened me as to an old Odo legend, which stated that somewhere off shore there lived a massive creature of incredible strength. Although this sounded silly to me at first, I was curious about the monster’s name and asked Tomo if he knew it. A native answered for him. The thing was called Godzilla.

Much later that night, Tomo and I were sleeping in a tent we had set up at the far edge of the island. Restless, I awoke to notice a peculiar flickering in our lantern. The very ground beneath us appeared to be quivering! Tomo and I wedged ourselves around our tent pole for support as wind and rain began to pound against us. Staring into the furious blackness, we could hear huts falling a people shouting. For this was more than just the wind and rain and lightening. Much more. I wasn’t sure just what it was. No one was sure. No one except the natives, and they were positive. They said it was….Godzilla!

It was decided that a return trip to Odo was necessary if the mystery of these unusual occurrences would ever be solved. Dr. Yomane himself would visit the island to search for signs of unusual phenomena. On the morning of the sailing, Pier “J” swarmed with well-wishers for the doctor and his party. But there was still a feeling of anxiety among the passengers. For every ship that had taken this course had vanished from the face of the Earth. Yes, there was a feeling of anxiety, but perhaps the two exceptions were Emiko and a young marine officer named Ogata. When I had last seen Emiko she had just been engaged to Dr. Serizawa; it was the usual triangle, only this time it was to play an important part in the lives of millions of people.

When the troupe finally arrived the next day, they discovered various large, radioactive openings in the soil of Odo Island. Dr. Yomane was stunned….they were the footprints of a living creature! Suddenly, Emiko pointed out something in the crack of the imprint. It was a trilobite, a three-winged worm thought to be extinct.

The shrill sounds of a native gong rang out across the peaceful morning silence and everyone began running toward the top of a hill. I hastily asked Tomo what was going on, but he simply insisted that we follow. Soon we were swept along with the frenzied natives in that strange exodus toward that mountain peak. From our position in the crowd, we could see that Dr. Yomane and his party were fairly close to the top. Then it happened. At first it looked like the mountain was moving….but this was no mountain. Nor was it anything else I could possibly imagine. Several jagged, pointed spines rose like majestic warriors from behind the hill! The horrified people cried out in fear and melted into the side of the mountain for protection. For this was Godzilla….an incredibly large, unbelievably massive prehistoric beast, and the most frightening thing I had ever seen in my life! Staring at the tiny human beings before it, the creature roared and bellowed in terrifying defiance. It was challenging us, challenging mankind itself for mastery of our world.

At a scientific conference held a few days later, Dr. Yomane, one of the eyewitnesses, lead the discussion. Of course, the question we were all asking ourselves was how this animal could reappear after all these years, and so close to the coast of Japan? The doctor suggested that some rare phenomenon of nature allowed this breed of the Jurassic Age to reproduce itself and, for a long span of time, the beast had no reason to reappear to the world. But now that analysis of radioactivity in the creature’s footprints showed the existence of Strontium-90, a product of the H-Bomb, it was Yomane’s considered opinion that Godzilla was resurrected due to repeated experiments with nuclear bombs.

A short while later I phoned my boss, George Lawrence, in Chicago and eagerly gave him the following headline: SECURITY DECIDES TO USE DEPTH BOMBS AGAINST GODZILLA. It would be the first real test of man’s defenses against this prehistoric foe!

In the midst of all the excitement, I finally contacted my good friend, Dr. Serizawa, but declined to see him that evening when he mentioned that Emiko was visiting. The marriage between Emiko and Dr. Serizawa had been arranged when they were both children, and while the girl wasn’t in love with the great scientist, she had great respect and admiration for him. It proved difficult for her to tell him she was planning to marry the young sailor, Ogata.

But what was more important and, indeed, far more surprising lay in the doctor’s mysterious laboratory. Before Emiko could explain her true feelings, Serizawa insisted she observe his new discovery. A large beautiful fish tank stood in the center of his lab, and the girl seemed enchanted with it. Then, Serizawa placed a strange pellet into the water and pulled Emiko away. Bubbles arose furiously from the capsule, and Emiko screamed in revulsion!

Whatever it was she saw, the scientist made her promise to tell no one of it.

By the end of the day, it was generally assumed that the underwater demolitions had ended the short but terrible reign of Godzilla. There was a feeling of relief throughout Tokyo, even celebration, but both the hope and the celebration were short-lived.


For the massive creature was soon sighted rising from the ocean outside of Tokyo! Within moments the city was aware that Godzilla was inside the harbor, and panic began to spread and mount to uncontrollable proportions. The monster slashed at the ocean as the Japanese military began firing. Their bullets and rockets had no effect whatsoever. With the thunder of some monstrous demon, the creature climbed upon land! It was like the end of the world for the seaside citizens of Tokyo. Godzilla crushed automobiles and small houses beneath his massive feet. An oncoming train was savagely attacked, its steel cars crushed within the ferocious jaws of the prehistoric horror. The monster left a legacy of terror and destruction before it finally turned back toward the sea. But we knew that he would be back soon to destroy us all unless some means were found to combat him.

Tokyo was quick to ready its defenses. The city was surrounded by high-tension electrical towers, and to get to the heart of the area, Godzilla would have to break through 300,000 volts of electricity! The officials were fighting against the clock to have everything ready by nightfall, and a general evacuation of all non-essential personnel was ordered. It was a monumental job, but a job that had to be done. By the early evening hours everyone was off the street. The news office commanded a good view of Tokyo and received all reports directly from security headquarters. Everyone in the city was on a watch a wait basis. The wait….was not a long one.

Like some monstrous denizen of Hell, Godzilla emerged from the ocean depths and walked toward the shore. Here in Tokyo, time has been turned back two million years as the creature stalked defiantly across a well-guarded landscape. He was as tall as a thirty-story building, and we gasped with terror as he approached the city’s main line of defense: the 300,000 volts of electricity strung around Tokyo as a barrier against Godzilla! The monster cautiously neared the wires. Explosion after explosion of electrical power began! It seemed for a while as if, at long last, something had finally worked in stopping the prehistoric leviathan. But then our hopes died with the next fatal blow. From out of the monster’s massive mouth came a stream of radioactive vapor! Spewing fire upon the life-saving electrical towers, the strong, steel girders became soft and weak, and began to melt. I could hardly believe what I was seeing. Now it seemed Tokyo had no defense!

The monster destroyed everything in its path. Nothing could withstand its other-worldly might! Buildings, bridges, aircraft, all were wiped from the face of the Earth by this incredible force of ancient nature. An entire tank battalion was sent out to point-blank firing range. The soldiers who commanded these defenses were incinerated in a matter of seconds! Death loomed over Tokyo. Godzilla roared and screamed his challenge into the fiery night sky, as if to alert man of his numbered days. And before I realized what was happening, the ceiling above me began to collapse, and I was soon buried under the wreckage.

Now, it’s a blurred memory as I lie here in the hospital.

“Hi Emiko”, I moan as the young girl’s vision comes into focus and wracks me from my tormented dreams. Her fiance is with her.

“Ogata!” I exclaim. “Anything new develop?”

Emiko answers before the sailor can even speak. “Nothing new will develop unless….I was shown a terrible secret, and was asked never to reveal it!”

I look the girl squarely in the face, and find my senses returning to me at long last. “Emiko”, I ask soberly, “If you can help, you must! Last night Tokyo was destroyed. Tomorrow it might be Osaka or Yokahama.”


“When I went to see Dr. Serizawa, I had intended to tell him of Ogata and me, but there was something he wanted to show me first…He had been experimenting with oxygen when he came upon a terrible chemical discovery: A way to destroy all oxygen in water, thereby disintegrating all living matter! An amount no larger than a baseball could turn Tokyo Bay into graveyard. Serizawa had found a terrible destructive power and until he could find a counteractive developed from his experiments, he didn’t want the world to know his secret. He swore me to silence!”

Ogata eyes his future wife nervously. “Emiko! We need Dr. Serizawa’s help. There is no other way!”

I nod in agreement, and then watch the young couple leave the hospital room.

I don’t know what went on when Emiko and Ogata went to see the great scientist. I only know that he finally did consent to let them use the weapon, after burning the formula for the deadly discovery in his fireplace. We all stand together now, united in our hope for the future.

The boat; finding the location of Godzilla; the oxygen destroyer; all these are ready. Serizawa is assisting Ogata in placing the weapon deep under water as an announcer aboard the ship eagerly asks the world to “please stand by”.

They’ve been under water for several minutes now. It seems like….wait! Serizawa seems to be having trouble! Ogata radioed that he refuses to come to the surface!

“Ogata, is it working!” Serizawa’s voice crackles over the speaker. He can see the horrendous creature approaching in the distance, already feeling the effects of the deadly weapon. As Ogata is pulled to the surface, he can see his comrade remove a knife and start cutting his own hose! “Live happily with Emiko.” He says.

The sea around us is erupting. We are motionless; still; waiting to see what happens next. Suddenly the monster appears! But he is not the terrifying sight that instilled fear and terror into our very souls as before. Godzilla is now bellowing his death throes. In an instant he disappears beneath the surface.

The menace is gone, and so is a great man. But now the whole world can wake up and live again, and perhaps now, with the example set by Dr. Serizawa, we can do so more wisely.

The original "Godzilla" was first released in Japan on November 3, 1954.

Vampirella is a fictional character, a comic book vampire superheroine created by Forrest J Ackerman and costume designer Trina Robbins in Warren Publishing's black-and-white horror comics magazine Vampirella #1 (Sept. 1969). Writer-editor Archie Goodwin later developed the character from horror-story hostess, in which capacity she remained through issue #8 (Nov. 1970), to a horror-drama leading character. Vampirella was ranked 35th in Comics Buyer's Guide's "100 Sexiest Women in Comics" list.

Vampirella was originally presented as an inhabitant of the planet Drakulon, a world where a vampiric race lived on blood and where blood flowed in rivers. Drakulon orbits twin suns that were causing droughts across the planet, marking certain doom for Vampirella and her race. The race of which Vampirella was born, the Vampiri, were able to transform themselves into bats at will, possessed superhuman physical attributes, sprout wings when required to fly, and drink blood.

See Also: Vampirella #89 - March 1980 Issue - Warren Magazine

The story begins with the inhabitants of Drakulon dying slowly due to the drying up of its blood. The last few lie dying when a spaceship from Earth crashes on the planet. Vampirella, sent to investigate, is attacked; retaliating, she discovers that the astronauts have blood in their veins. In order for her race to survive, she manages to pilot the ship back to Earth where her adventures begin. Vampirella becomes a "good" vampire, and devotes her energy to ridding our world of the evil kind. Evil vampires owe their existence to Dracula, who came from Drakulon but was corrupted by Chaos.

Harris Comics revived Vampirella in the miniseries Morning In America, written by Kurt Busiek. Soon thereafter, the story "Mystery Walk" revised her origin. She learned that she was, in fact, the daughter of Lilith, whom popular medieval Jewish lore depicts as the first wife of Adam. Lilith would not submit to Adam and was cast out of Eden by God. Lilith spawned demons, but later repented and went to Eden to bear children to fight the evil she had created. Her first attempt was Madek and Magdalene, who turned to evil; Vampirella was her second. Her brother and sister brainwashed her into believing she was from the planet Drakulon.

Her origin was later revised in Vampirella Lives and elaborated on in Blood Lust. Drakulon was real, but was a place in Hell. Vampirella was brought to Eden, not born there. It is later implied that Vampirella was raised in Drakulon, not in Eden. She was made to believe that Drakulon was another planet by Lilith, not by her brother and sister. Vampirella and her boyfriend restore the rivers of blood to Drakulon, which weakens Lilith. Lilith is killed by the hand of God.

A further revision in the "World's End" storyline revealed that Lilith did not really repent and raised Vampirella to be good because she wanted to release the Heart of Darkness (heart of the fallen angel Malkuth) from Metatron's lance, which could only be done by a good person.

This story was revised again in Vampirella: Revelations. Lilith is again alive. Lilith still did not repent, but the reason she raised Vampirella good was that the existence of vampires made Lilith weaker and she wanted someone to kill them. Lilith had used a magic mirror to make Vampirella believe whatever variation on her origin was necessary at the time.

Vampirella initially appeared in Warren Publishing's black-and-white horror-comics magazine Vampirella #1 (Sept. 1969), running to issue #112 (March 1983). The title was a sister magazine of Warren's horror anthologies Creepy and Eerie. Like those magazines' respective mascots, Uncle Creepy and Cousin Eerie, Vampirella hosted horror stories, though unlike them, she would also star in her own story, which would headline each issue. Vampirella was initially edited by Bill Parente. It would later be edited by Archie Goodwin (issues #7-12, 34-5), Billy Graham (#13-16), Bill DuBay (#21-50, 87-95, 101-102) and Louise Jones (#51-86).

As comics historian Richard J. Arndt describes, "Forrest Ackerman created, or at least had a strong hand in creating, Vampirella and he clearly had a major influence in shaping the lighthearted bad-girl story style of this issue as well." Her costume and hair style were designed by comics artist Trina Robbins. The character's first story artist was Tom Sutton. Artist Frank Frazetta's first-issue cover "was a substitute for the original cover by European artist Aslan."

José González became the character's primary artist starting with issue #12. Other artists who would draw Vampirella during her magazine's original run included Gonzalo Mayo, Leopold Sanchez, Esteban Maroto, José Ortiz, Escolano, Rudy Nebres, Ramon Torrents, Pablo Marcos, Jim Janes, John Lakey, Val Lakey, and Louis Small, Jr..

Backup features appearing in Vampirella included "Tomb of the Gods", "Pantha" and "Fleur". Vampirella herself also appeared in a story with fellow Warren characters Pantha and the Rook in Eerie #94-95, and with most of the Warren characters in a company crossover special in Eerie #130. The final issue of the original Vampirella was cover-dated March 1983.

This article uses material from Wikipedia and is licensed under the GNU Free Documentation License.

Natalie Popovich plays Ivonna Cadaver, the raven-haired temptress who haunts, teases, and tantalizes viewers each week on nationally-syndicated “Macabre Theatre,” the show LA Weekly declared “it beats the living daylights out of just about anything else being broadcast.”

Ivonna is a timeless ghoul who has chosen to re-invent herself in the 21st Century as the new diva of darkness.

Each week Ivonna welcomes viewers into her own private dungeon where she engages in delectable debauchery and hosts such campy – some say, classic – horror movies as “Satan School for Girls,” Dario Argento’s “Unsane” and “Deep Red,” “Snake People,” and “The Brain That Wouldn’t Die.”

Ivonna delivers hip and cutting-edge humor and commentaries “with a bite.” Signature segments include Goth Trivia – fun facts on the movie, CD Picks of the week– the latest in bands and artists; Ghoul Shopping Network – her take on hot products in today’s culture, with a Macabre twist.

Ivonna “On Location” attends stellar premieres, DVD release parties and visits celebrities. Including the horrific unveiling of “Freddy Krueger” (Robert Englund) and “Jason” (Ken Kirzinger) wax figures at the Hollywood Wax Museum to promote New Line Cinema DVD release of "Freddy VS Jason". LA Weekly called Ivonna Cadaver the latest “proponent in the long tradition of raven-tressed, drastic décolletage-flaunting hostesses.”