Conquest Of Space (1955)

Starring Walter Brooke, Eric Fleming, Mickey Shaughnessy, Phil Foster, William Redfield
Directed by Byron Haskin

(actor & director credits courtesy IMDB.com)

On a mission to Mars, the general leading the spaceflight begins to have doubts about man invading the heavens and seeks a way to sabotage the mission. 

Producer George Pal delivers another science fiction drama, this time about man's journey into space on a mission to Mars, and it's an often eye-popping adventure, with beautiful stellar backgrounds from Chesley Bonestell and striking special effects.  At the time, there was a school of thought that interstellar space craft would have to be launched from a way station in space to avoid Earth's gravitational pull, and that is depicted here with a circular "wheel" space station housing the crew working on the project.  Drama is mined from the select individuals aboard who are selected for the spaceflight and have been trained and tested and switched to a diet of pills, as well as from the father-son relationship between commanding officer Brooke and Fleming, who wants to return to Earth to reunite with his wife, but is being blocked by Brooke.  When the actual spaceflight begins, a new set of dramatic conditions commences as Brooke worries man's conquest of space is contrary to the Bible's teachings, and engages in actions that threaten his own crew.  The actors are generally fine, although Foster is quite a bit over the top as an outspoken Italian-American, but as far as standouts, I found Benson Fong came off best as a sensitive Japanese native who wants to elevate his nation.  Van Cleave delivers an appropriately majestic score and the art direction and set design are well done and complement the excellent exterior visuals.  

The Witch's Mirror (1960)

Starring Rosita Arenas, Armando Calvo, Isabela Corona, Dina de Marco, Carlos Nieto
Directed by Chano Urueta

(actor & director credits courtesy IMDB.com)

When she learns her goddaughter has been targeted for murder by her husband, a witch calls upon demons to try and protect her, and when that fails, plots revenge on him and his new bride. 

An engaging horror film from Mexico features a great deal of atmosphere, from the billowing smoke conjuring visions in the witch's mirror, to the shadowy photography, and the quality musical score, anchored by a piano piece played by the doomed de Marco before her death.  Although an original tale, the film nods to other horror pictures as it progresses, particularly The Hands Of Orlac in its final act.  The performances serve the story well, with Arenas as Calvo's new wife acceptable of his home and the memories left behind by de Marco, until her spirit begins haunting the place, which slowly drives Arenas and Calvo into a reasonable hysteria.  Corona, playing the witch who also is Calvo's housekeeper, makes for a unique character, not overtly evil, nor fitting the typical imagery of a witch, but dedicated to helping de Marco by performing arcane rituals.  All this makes for a fine horror film with some familiar subject matter but also some atypical touches. 

Ghost Ship (1952)

Starring Hazel Court, Dermot Walsh, Hugh Burden, John Robinson, Hugh Latimer
Directed by Vernon Sewell

(actor & director credits courtesy IMDB.com)

A young couple invest in a yacht they want to make their home on, and ignore the warnings that it's a haunted ship, but when they experience proof there are ghosts on the ship, they turn to psychics for help. 

Don't expect any special effects or attempts to scare the audience with spectral manifestations, but that doesn't mean this isn't a worthwhile film.  The main characters had my interest and sympathy, particularly Court, who is ever charming as the young bride eager to help her husband turn the yacht into a happy home.  The film itself is more of a mystery than a thriller, as Court and Walsh slowly learn all the secrets of the yacht's former owners in flashback scenes which are well staged and directed.  This is by no means a great picture, but it is a fun diversion.  

Untamed Women (1952)

Starring Mikel Conrad, Doris Merrick, Richard Monahan, Mark Lowell, Morgan Jones
Directed by W. Merle Connell

(actor & director credits courtesy IMDB.com)

Four men aboard a bomber plane crash land near an island, where they find themselves the prisoners of an ancient race of Druid women, and later encounter giant prehistoric creatures. 

Conrad stars as the leader of the ragtag crew, who has three very different men under his command, including a man who enlisted to get away from his mother, a simple farm boy, and a far too verbose Brooklynite always preaching the joys available in his home town.  There's some sexist dialogue among the men, although the women have the upper hand for most of the film, thanks to a chief played by Merrick who's eager to do away with the men.  Once the men get away and encounter the prehistoric animals, it's a disappointment because the footage is obviously cribbed from One Million B.C. with armadillos, lizards, and other creatures standing in.  Nevertheless, there were parts of the film I enjoyed, and it's a pretty hard to find sci-fi film from the era of the 1950s, which makes it merit a look.       

The Man Who Changed His Mind (1936)

Starring Boris Karloff, John Loder, Anna Lee, Frank Cellier, Donald Calthrop
Directed by Robert Stevenson

(actor & director credits courtesy IMDB.com)

A scientist mocked for his theories, takes in a young female assistant, who helps him prove that he can switch the brain of one creature to another, but she fears he's too eager to experiment on man. 

This is one of Karloff's first "mad doctor" films, predating the series he made in America for Columbia, and it may well be the best of them, with good performances and fine photography by Jack Cox.  Karloff made this for Gaumont-British and Gainsborough, and their production values are excellent, with cleverly designed machines for Karloff to operate.  Calthrop was a favorite performer for me, a wheelchairbound patient who delivers many witty and denigrating asides, and also Cellier whose performance as a stuffed shirt gives way to another different role to play.  Karloff himself gives a worthy portrayal, riveting to watch, as his frustration gives way to surrendering to evil in tightly-framed closeups.  We have here a very good horror film, among the top entries of the era.      

When Worlds Collide (1951)

Starring Richard Derr, Barbara Rush, Peter Hansen, John Hoyt, Larry Keating
Directed by Rudolph Mate

(actor & director credits courtesy IMDB.com)

An astronomer warns the world's governments that the Earth is due for destruction by an approaching star and planet, but when they scoff at his claims, he sets out to build a rocketship to save some of humanity at least. 

Another science fiction epic from producer George Pal, it's special effects are impressive for the era, and has a quality cast, with character actor Larry Keating a strong anchor for the impetus to race against time.  There's a love triangle with Derr, Rush, and Hansen as a backdrop, and John Hoyt is memorable as a stodgy old millionaire who funds his wealth into the construction of the rocket but wants a seat aboard it and the power to select who else goes.  Naturally, there's characters to root for as the passengers are chosen for the rocket flight, and other difficulties along the way to contend with.  W. Howard Greene & John F. Seitz's color photography is very vibrant, particularly during scenes of destruction, and Leith Stevens' score is well-suited to the dramatics.  

Strait-Jacket (1964)

Starring Joan Crawford, Diane Baker, Leif Erickson, Howard St. John, John Anthony Hayes
Directed by William Castle

(actor & director credits courtesy IMDB.com)

After enduring 20 years in an asylum for murdering her husband and his lover with an axe, Lucy Harbin is released and moves in with her daughter, but has difficulty adjusting. 

After the success of Whatever Happened To Baby Jane?, Crawford was cast by Castle in this horrific drama, focusing on a former axe murderess who is continually reminded of her past.  Although it's essentially a horror film, there are plenty of melodramatic scenes and opportunities for Joan to emote in Robert Bloch's screenplay, making the film a surprisingly good fit for the actress, who gives a good performance.  Baker is cute and offers good support in her role as the daughter who faces reuniting with a woman she hasn't seen in 20 years, and George Kennedy is memorable as the creepy hired hand on their farm, who also knows his way around an axe.  Although this is very grim subject matter, the sense of fun associated with Castle's films is still there, and gore for the most part is kept off the screen.  However, there's a few shocking moments well rendered by the special effects department.  Per IMDB, future television star Lee Majors has an uncredited role as Crawford's doomed husband in the film's prologue.

The Scotland Yard Mystery (1934)

Starring Gerald du Maurier, George Curzon, Grete Natzler, Belle Chrystall, Leslie Perrins
Directed by Thomas Bentley

(actor & director credits courtesy IMDB.com)

A Scotland Yard superintendent finds himself in a battle of wits with a doctor also working for the Yard who has masterminded a scheme to fake men's deaths and collect their insurance money.

With an alternate title of The Living Dead, it's easy to at first assume this might be a horror film, but the men who "die" are actually given a serum to simulate death, and revived by an antitoxin.  Nonetheless, this is an entertaining British mystery more focused on the cat and mouse game between superintendent Du Maurier, and villainous doctor Curzon.  Curzon in particular is given clever dialogue to defend himself, even when Du Maurier witnesses him poison one of his confederates to keep him from talking.  I enjoyed seeing how Scotland Yard conducts their investigations in the film's setting and era, with plainclothesmen tailing suspects, and interrogations limited by the rule of the time banning use of the third degree.  Although I wouldn't say any of the cast especially stood out, this is a competently made and cleverly written film.

The Man And The Monster (1958)

Starring Enrique Rambal, Abel Salazar, Martha Roth, Ofelia Guilmain, Ana Laura Baledon
Directed by Rafael Baledon

(actor & director credits courtesy IMDB.com)

A music journalist visits the home of a famed pianist, in advance of a concert featuring his beautiful protege, and slowly learns that man is haunted and obsessed by a terrible secret.

This Mexican horror film offers a very unique story, and a memorable creature makeup, scripted and produced by co-star Abel Salazar.  His screenplay is well ordered and sustains an element of mystery before the horrific elements are eventually revealed.  Rambal gives a good performance as the tortured musician, and the cinematography by Raul Martinez Solares is well done, with varied camera setups and dark imagery.  Baledon's direction creates worthwhile suspense and keeps things moving admirably, leading me to highly recommend the film.

Flight To Mars (1951)

Starring Marguerite Chapman, Cameron Mitchell, Arthur Franz, Virginia Huston, John Litel
Directed by Lesley Selander

(actor & director credits courtesy IMDB.com)

A reporter accompanies a team of scientists on a rocketship to Mars, and tries to woo the disgruntled female engineer, while the rest encounter Mars' advanced underground civilization.

This sci-fi effort was one of the later films of Poverty Row studio Monogram, but has an advanced pedigree compared to their usual output.  It was produced by future Oscar-winner Walter Mirisch, and the matte paintings and special effects are more serviceable to the story than you would expect.  Mitchell, Huston, and Franz figure in a love triangle when Mitchell sees how Franz is ignoring Huston, which becomes a square when Franz throws Huston over for attractive martian Marguerite Chapman.  The men are costumed from neck to toe, while the women have peekaboo blouses and short skirts, in what would become something of a standard for 1950s sci-fi, as my friends Dan Day Jr. and Mark Holmes have both observed.  Although I thought there were too many standard camera setups in the film, there are some fine visuals, the score by Marlin Skiles is very good, and this must have been a big step up towards respectability for Monogram.