|
|||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||
Originally titled Quatermass and the Pit in the UK, then renamed Five Million Years to Earth for American audiences, this unique little science-fiction thriller is one of the more recognized non-horror subjects to come from Hammer Studios in the 60’s. The title character is certainly one of the most celebrated. Nigel Kneale created Quatermass and penned the original BBC miniseries that was adapted into the first film. He also wrote this film adaptation of his second TV miniseries starring the same character. Quatermass and the Pit is nothing spectacular by today’s standards, but does create some interesting ideas, as well as villains that must be fought through their ability to influence even after they’ve been killed. The film series has an interesting history, made confusing by the US theatrical titles: the first movie based on the TV show was The Quatermass Xperiment (aka The Creeping Unknown, 1955), followed by Quatermass 2 (aka Enemy from Space, 1957), leading to a third film, entitled Quatermass and the Pit (aka Five Million Years to Earth, 1968). The TV show was even remade, plus other theatrical sequels followed. Underground tunnel workers uncover a human skull, then a whole skeleton at Hobbs End, which is announced to be a prehistoric ape man. The London transit station quickly becomes an excavation site headed by Dr. Mathew Roney (James Donald), uncovering at least six fossilized bodies – one of the most remarkable finds of all time. These artifacts prove that creatures resembling mankind walked the earth five million years ago, long before previously supposed. Fiery-haired Barbara Judd (Barbara Shelley), the photographer, helps to find an unexploded bomb also buried inside the rock and clay, creating a more unstable, tension-filled scenario. Once the military moves in, chaos ensues, causing political turmoil and scientific anomalies as they determine that the “bomb” isn’t manufactured of any earthly metal. |
|
|
Meanwhile, England is in the race for being the first military presence on the moon and in outer space, much to the disgust of Professor Bernard Quatermass (Andrew Keir), who works for the Ministry of Defense but prefers science over strategic world maneuvers. During his discussion with Colonel Breen (Julian Glover), the two are called to the underground tunnel to investigate the slowly revealing missile. The first guess is a German weapon, until another, nearly intact skull is located inside – perhaps it’s some sort of spaceship. They then discover that the surrounding area has a history of haunting, with old wives’ tales fueling ghost stories and eerie suppositions about evil creatures and the devil – it’s a place long notorious for weird happenings. They’re all scientists, however, refusing to accept the idea of aliens, goblins or phantoms – until they unearth the entire object with evidence of a sealed compartment with something still inside… Quatermass and the Pit includes a few overly advanced science-fiction gadgetries that put it entirely in the realm of science-fiction. Although the setting and characters are grounded in reality, at least as much as they are convincingly acted, the notion of supernatural elements, flying saucers, premonitions, hallucinations, mind control, hideous dwarves, and monstrous, gooey, horned locust, create an enticingly thrilling horror premise. It’s also a mystery, cleverly building to a point in which the real scares are introduced. Unfortunately, the monsters themselves are expectedly rubbery, accompanied by dated special effects and cheap practical creature makeup. The theories, especially of Martians, telekinesis, the alien intervention of the evolution of man, and the resulting military cover-up procedures are pure B-movie material, but brilliantly original. The Ministry won’t stand for otherworldly presumptions, demanding rational explanations and solid proof that is likely to be dismissed even if it were substantial – the “proof” that is finally supplied is in fact rather hokey. Resorting to an apparatus that can create images from an unconscious mind, Quatermass and the Pit heads steadily down the road of silliness, rerouting it from the more alluring opening premise. And while the conclusion is action-packed and startling, it leaves things a bit too open-ended. - Mike Massie
|
More
Recent Reviews:
Recommendations:
|