The Atomic Kid

Republic Productions put out a comedy film in late 1954 which might be considered nominally sci-fi. The Atomic Kid (TAK) did involve atomic energy — a common sci-fi element in the 50s — but in more of a supporting role. Mickey Rooney stars as “Blix” Waterberry, a man who survives a nuclear test, for no apparent reason and thus becomes a person of interest. Since TAK is a “Mickey Rooney Production,” it’s not surprise that Rooney’s wife (#4), Elaine Devry, co-starred as his love interest. Robert Strauss co-starred as Blix’s faithful, if not too bright, friend Stan. Strauss gained fame in Stalag 17 the year before. Blake Edwards, creator/writer of the Pink Panther series, wrote the screenplay. Some of Cleuseau’s bumbling can be seen in Blix.

Quick Plot Synopsis
Blix and Stan wander through the Nevada desert, disappointed that they had not found a get-rich-quick uranium mine. They wander onto the site of a nuclear test about to be detonated. Stan’s geiger counter picks up radiation, so he’s sure there’s a lode nearby. They find a lone house, with a family of manikins inside. Thinking it’s a model for a tract development, Stan drives to town (in the manikin family’s car) while Blix stays to squat their claim. Blix, hungry, finds food in the pantry and makes himself a peanut butter, sardine and horseradish sandwich. Stan tells the army about Blix, but too late. The bomb is exploded. The army and physicists rush in. Blix is fine, though a bit singed and his bread toasted. Blix is subjected to months of tests to understand why he’s only radioactive, but otherwise unharmed. Corporate representatives lobby Stan for product endorsements — such as Mother Goose peanut butter. A shifty man named Reynolds convinces Stan to deny all other offers and sign with him for a million dollar book deal. This deal required that Stan wear a spy camera in a lapel flower to gather information about Blix (and any other atomic secrets he might find.) Meanwhile, Blix has been falling for his very pretty nurse, Audrey. Whenever she is near, or holds his hand to take his pulse, Blix’s radiation increases. After a variety of tests, the doctors still have no idea why Blix survived, or remains radioactive. Frustrated at his confinement, Blix manages to escape the hospital, despite serious incompetence. The FBI assist his escape. While on the lam, Blix travels to Las Vegas to meet Audrey. He does, and finds out that his atomic energy makes slot machines jackpot around him. He and Audrey go to her rooming house. After some compressed speed-courting, Blix finally gives Audrey a big kiss, which causes all sorts of sight gags about his energy burst. He glows in the dark. Blix goes back to the hospital for yet more tests, but they find that his radioactivity has returned to zero. Free to leave, if a bit disappointed at being a common nobody again, Blix seeks out his friend Stan. Mr. Reynolds is chastising Stan for being incompetent as a spy. When Blix arrives, Reynolds’ he tries to kidnap Blix for study by the Russians. Blix bluffs that his radioactivity means he could blow up with a sneeze. This, he times with a scheduled nuclear test. Cowed by the demonstration, Reynolds summons his boss. Through some fast-paced slapstick, Blix is knocked out of a window and lands on the spy boss, right in front of two vacationing FBI agents. Blix and Audrey wed and travel to their honeymoon on backroads to avoid the press. They become lost and stop at a house for directions. The house is full of manikins. Oh no! They drive away at a sped-up frame rate. The End.

Why is this movie fun?
It’s a light-hearted Blake Edwards comedy. It’s supposed to be fun. Rooney and Strauss actually make a good comedy team. They are almost in the Lewis & Martin or Abbott & Costello style, but without the Straight Man being too straight, or the “little one” being too inept. Stock footage of the nuclear tests of the early 50s is time-capsule fun.

Cold War Angle
Aside from the extensive look at nuclear testing, there is the Russian spy subplot with Mr. Reynolds. In the case of TAK, the Cold War is more of an overt background to the romantic comedy.

Notes
Yucca Flats’ Brighter Side — The premise that a man is altered by having been exposed to a nuclear test, would get recycled a few times, but one of the more famous ones is 1961’s Beast of Yucca Flats. In that film, Tor Johnson is a soviet agent accidentally exposed to a nuclear test explosion. But, instead of being turned into a benignly glowing lovelorn young man, Tor was turned into “a beast”.

Operation Desert Rock — Younger viewers might question the logic (if not the veracity) of the old stock footage showing soldiers being deliberately placed in trenches near a nuclear blast. But, this actually happened. One goal of the many nuclear tests was weapons development — bigger bombs or details, such as how high above the ground made for the best air burst. Another goal of the tests was to train troops. Sheltering in trenches showed that they could survive a nuclear blast. Entering a recently nuked zone gave them experience in moving over and taking irradiated ground. If a nuclear war were to break out, better to have ones troops familiar with what to do, and what not to do. Just as Operation Crossroads in the late 40s tested the effects of nukes on naval vessels, Operation Desert Rock tested blast effects on army gear such as tanks, trucks, cannons and jeeps. The twisted hulks were, no doubt, useful reminders of the bomb’s power.

Operation Doorstep — A tertiary goal for the nuclear tests was to study the effects on civilian items. During the Upshot-Knothole series of blasts, in March of 1953, Civil Defense authorities had some typical homes constructed at various distances from the blast center. Mannequins were arranged in faux dinner parties or other everyday tableau. Some were positioned in the bunker basements in proper Duck and Cover mode. There are some famously-repeated clips of the structures being exposed to the heat then the shock wave. Some of the frame houses were blasted apart. Others fared better. The mannequins and furnishings were generally tossed around. Operation Doorstep is the real-world event upon which Blake Edwards created his story.

Laughter Medicine — In the 50s, the American public was generally freaked out at the prospect of a nuclear attack. There were many sobering dramas, such as the television movie Atomic Attack, also in 1954. As in most of the 50s’ films, where a shred of optimism somehow prevails, Blix’s comically absurd survival was, nonetheless, survival. Having the apparent key be a peanut butter, sardine and horseradish sandwich was funny enough, but it represented that hope people had in the 50s. Somehow, they might survive the unthinkable — even if by absurd coincidence. Laughing at nuclear doom was a sort of cure for it.

Old Boy — Mickey Rooney gained fame as a “boy” actor. He began at the age of seven as the recurring character Mickey McGuire in a series of “shorts” in the late 1920 and into the early 30s. After that, he played various precocious comic boy roles. In 1937, he started another long-running boy character named Andy Hardy. This was his signature role of lovelorn, awkward and innocent “boy” role. Andy Hardy had many films stretching through the 40s. Even though (then) in his late 20s, he was short enough and baby-faced enough to pull off playing a teen. By the time of TAK, he was too old for boyish Andy Hardy films, although TAK could be viewed as “Andy Hardy Gets Bombed”. Rooney played the comic pair well with Buddy Hackett in 1963’s comic farce, It’s a Mad Mad Mad Mad World.

Bottom line? TAK is a light comedy in the Abbott & Costello idiom. It’s humor is mostly slapstick or simple plays on words. As such, TAK can be appreciated by younger children. The humor can sometimes be a bit juvenile, but that has a nostalgic value: humor before vulgarity became the benchmark. The sci-fi element is thin, but the historic footage of nuclear tests has some time-capsule value.

Death Race 2000

Roger Corman’s Death Race 2000 (DR2K) was an unabashed exploitation film (nudity and violence) within a tale of a dystopian future. The film is often classified as a sci-fi, though there is no real science elements in the fiction. The dystopian-future sub genre is a close cousin to sci-fi, so DR2K is included here. Roger Corman produced the film. David Carradine stars as the popular champion racers. A young pre-Rocky Sylvester Stalone stars as the champion’s ill-fated rival. As an exploitation film, there is implied violence, tacky gore, buxom blondes, some frontal nudity and lots of explosions. The gist of the film is a series of gags, vignettes and snappy lines, more on the order of a Coyote vs. Roadrunner cartoon, cast by the WWF. The plot is more of a framework upon which gags and dark humor are hung, so the plot synopsis will not sound particularly funny.

Quick Plot Synopsis
In the grim future of America, the oppressive dictatorship keeps the people distracted and amused with an annual “Death Race”. Five teams race from New York to New Los Angeles. Teams get points for arriving first AND points for killing pedestrians on the way. The teams in the year 2000 are: Calamity Jane in her bull-mobile, Nero the Hero, Matilda the Hun in her nazi-themed V1-mobile, Machine Gun Joe (Stalone), in his black gun-wagon and the returning champion, Frankenstein (Carradine) in his godzilla-mobile. Each driver has a navigator / paramour. Frankenstein’s navigator, Annie, is the granddaughter of Mrs. Pierce, the leader of The Resistance who seek to sabotage the race and rescue America. Annie’s role is to facilitate the capture of Frankenstein. The race begins and so does the gratuitous killing. The Resistance blow up Nero’s car first, with a bomb in a fake baby. At a rest stop in St. Louis, the drivers get massages, so the viewers get lots of nudity. The government covers up Nero’s death by The Resistance. Later, The Resistance kill Matilda with a detour off a cliff. Calamity Jane is taken out with a land mine. Annie leads Frankenstein into a Resistance trap, but the Resistance are too incompetent to capture him. Later, Lt.Fury of the Resistance tries to bomb Frankenstein with a small plane. This fails too. Annie asks why Frankenstein is so obsessed with winning the race. He confides that his artificial hand (always gloved) is a hand-grenade. (Get it? HAND-grenade?). He plans to blow up Mr. President and thereby free America. During a desperate driving battle between Joe and Frankenstein, Annie uses the hand-grenade to blow up Joe. Frankenstein arrives in New Los Angeles, the winner. Mr. President is there to congratulate the winner. Annie, dressed in Frankenstein’s black leather costume, mounts the podium with a knife, but Mrs. Paine steps out of the crowd and shoots at Mr. President, only to hit Annie instead. Amid the chaos, Frankenstein (now naked) revs up his car and rams the podium. Mr. President falls to his death. Fade to black, Fade in to Frankenstein and Annie in white, at their wedding. He is now President Frankenstein, who promises to many good things and restore America. In one last act of poetic justice, he runs over the whining and obnoxious TV reporter. Roll credits. The end.

Why is this movie fun?
DR2K is a comedy — albeit a very grim and dark comedy. Despite the juvenile gore-humor, there are some amusing lines and a few funny sight gags. The social-commentary part, while secondary to the blatant exploitation pandering, does give some fodder for musing.

Cultural Connection
Cannonball Run — In the 70s, there were several coast-to-coast unsanctioned amateur races from New York City to Los Angeles. They started as a sort of grassroots protest against stricter traffic laws. Speed limits were disregarded (though each driver was still responsible for his own tickets.) As such they began with an air of “stick it to the man.” With the oil crisis of 1973, its subsequent gas shortages and rationing, the “freedom” of the open road seemed like lost dream. In 1974, the federal government imposed the nation-wide 55 mph speed limit (on the pretense that it would save a significant amount of gasoline). The 55 limit was widely unpopular, seen as just another heavy-handed intrusion by “the man.” This was the background in which DR2K was released.

Note
Based on Print — Ib Melchior wrote a short story titled “The Racer,” published in the January 1956 edition of Escapade (a minor “men’s magazine). His story featured a transcontinental road race in which the drivers scored points for killing bystanders. It also suggested the idea of The Resistance, in passing. Melchior said the inspiration for his story came from a speedway race he attended and the crowd’s bloodlust enthusiasm for crashes. (A parallel to hockey fans who watch for the fights, not the game.) Melchior’s story also featured a woman who changes the protagonist, Willie, from heartless killer to caring human being. Melchior would later write Angry Red Planet (’61) and Robinson Crusoe On Mars (’64).

Political Statement — Despite the trappings of comedy, DR2K makes dystopian warnings about America becoming a dictatorship under a president who uses crises as an excuse to remain in office. Mr. President sponsors the gruesome annual race as a sort of “bread and circus” distraction to keep the masses minds off the oppression. Note how the government is constantly trying to control the media and what the public hear. Note too, how “France” is blamed for just about everything. France as the evil empire? That’s funny by itself.

Evil Media — Where DR2K can be seen as an indictment on oppressive government, it is even more of an indictment on the entertainment media. In a rather fitting commentary, even for today, is the sinister collusion between Big Media and the oppressive government.

Virgin Sacrifice — An odd, and somewhat disquieting scene features Lori. She is the “chosen” fan from the Frankenstein fan club. She talks with Frankenstein so that he will know her and remember her. The next day, the fan club has her set up in the middle of the road, dressed in a flowing white “virgin sacrifice” dress. She will give her life for Frankenstein to get more points. He coldly runs her down. Why? asks Annie. “Because she said she loved me.”

Euthanasia Day — On race day, a hospital sets all it’s old infirm patients out in the road. That way, the racers can get some valuable points and the hospital clears out some beds. In a foreshadowing of Frankenstein’s change of heart, he drives instead behind the hospital, running over several of the doctors and nurses who were trying to thin the geriatric wing.

Inept Resistance — Of some comic value is the bumblings of The Resistance. They talk in high-sounding phrases, but are poorly organized and inept. They do manage to blow up Nero with the baby bomb, get Matilda to drive off a cliff and blow up Jane with a land mine, so they do manage to strike a blow at “the man,” and his Race. Their leader, Mrs. Paine’s announcement over hijacked TV waves was “The Age of Obedience is Over!” Surely a motto that resonated with young drive-in audiences.

Spawning Sequels — DR2K managed to spawn remakes and sequels. There was a video game named “Carmageddon” in the late 90s. The movie Death Race in 2008. Death Race 2 in 2010 and Death Race 3 in 2012.

Mad Before Max — The Mad Max movies did not invent the trope of tricked up cars covered with spiky and jagged things, as featured so prominently in the second Mad Max film, 1981.

Auto Trivia — DR2K feeds on the muscle car mindset which the oil embargo was emasculating. For those into automotive trivia, Frankenstein’s car is a modified Corvette. The cars of Jane and Joe were heavily costumed Manta kit cars (fiberglass “Mclaren” bodies on VW Beetle running gear). Nero’s car was a gussied up Fiat 850 Spider. Matilda’s car is a Karmann Ghia with much added bodywork to make it resemble a nazi V1 buzz bomb.

Plane Crazy — For aircraft fans, there is good footage of the Rutan VariViggen 2-seater. it is a pretty cool looking machine, so it is a treat to get to see it doing so many fly-bys.

Bottom line? DR2K is a pretty flagrant exploitation film. The female announcer’s name, Grace Pander, makes it clear that the movie makers knew they were pandering. The gore and violence are juvenile. The nudity is gratuitous. The film amounts to pro-wrestling in cars. Still, the dystopian elements and social commentary between the humor, do make DR2K worth sitting through.

Digby: The Biggest Dog in the World

MGM distributed a children's film produced by Elstree Studios in England in 1973. It came to America in May of 1974. Digby: The Biggest Dog in the World was marginally a sci-fi film in many of the same ways others have been over the years. A little bit of sci-fi sets up the story, which continues with fairly conventional tropes. Jim Dale stars as the good-hearted, if bumbling scientist. Agela Douglas co-stars as his love interest and Billy's mother.

Quick Plot Synopsis
Jeff Eldon is well-meaning, if somewhat accident prone scientist at a N.A.T.O. lab in England. The lab is working on a special secret formula: Project X. The formula grows foods to enormous size, so astronauts can have limitless food. The next step is an antidote that will shrink them again, for easier packing. Meanwhile, Billy, the son of the lead Project X scientist Janine, gets a fluffy english sheepdog as a pet. But, Digby pees on grandpa's carpet, so must go. Billy brings Digby to Jeff. While that was going on, Jeff stole a few grams of the Project X powder so his roses might grow bigger. Janine gives the formula to Digby unawares. Some bumbling crooks hide in Jeff's apartment, but leave their stollen silver behind when they sneak out. When the crooks return, Digby has grown to the size of a horse and scares them off. Jeff, realizing he must hid Digby, puts him in a horse trailer to take to his Aunt Ida's house. The crooks return with a trailer, planing to sell big Digby to a circus. Through comic hijinx, the trailers are switched. Digby is sold to the circus. Both Billy and Jeff see the TV commercials for the giant dog act and come to the circus. Digby is put on display, but escapes in Kong-like manner. He runs off and bothers the countryside. The government decides that Digby is a monster that must be destroyed, so they deploy the bumbling army. Billy and Jeff catch up with Digby, now hiding in a gravel pit. Jeff goes back to the lab to get some of Janine's untried antidote. He returns and gives this to Digby.(Actually Billy does this while inside a giant dog's mouth prop.) The army finally has the gravel pit surrounded. Jeff is told to get Billy out of there because the bombers are coming. A Harrier jet drops several small fireball poof bombs and everyone is sad. Jeff says he'll buy Billy a new dog, but normal-sized Digby barks and runs through the smoke to Billy. Everyone is happy. That is, until a giant chimp named Clarissa (from an early scene) shows up to chase the bumbling Colonel Masters. "Oh no. Not again…" Roll credits and ballad. The End.

Why is this movie fun?
It's supposed to be fun. It's a light-hearted kids' movie aimed at seven-year-olds. While most of the humor is slapstick on the Three Stoogest order (or lower) -- someone does slip on a banana peel -- there are some little gags that can still bring a smile to a weary adult's face. Then too, adult fans of the Golden Era of sci-fi can appreciate the Giant-Something premise which was much more common in the 50s. Digby is, in part, a parody-homage to that sub-genre.

Cultural Connections
Superlatives -- Child experts say that after children become aware of the wider world around them, they tend to become fascinated with superlatives. The fastest this, the grossest that, etc. So, the Digby movie certainly played into sound child psychology. Kids would not be interested in seeing a movie about a really big dog, or the fourth largest dog in the world. But the "Biggest", would intrigue them.

Notes
Based on the Book -- Cartoonist Ted Key (famous for the Hazel cartoons) also created several children's books. One of them was "The Biggest Dog in the World" in 1960.

50s Monster For Kids -- In general, Digby is the board-book version of the classic 50s giant-monster story. Something vaguely science makes something ordinary grow to tremendous size, which then makes it a monster which frightens the rest of the wee people. The basic premise mirrors that of The Beginning of the End ('57) which has a secret plant growth experiment accidentally applied to animals -- in that case, grasshoppers. Digby is the same big-thing idea, but in a totally harmless (and fluffy) form.

Better Big -- The techniques used to make the ordinary sheep dog appear big on screen were not new, by any means, but in Digby, they were reasonably well done. One facet the director got better than others had, was the a huge dog would appear to move more slowly, since it was supposed to be physically large. "Big things" at normal speed is what usually makes a low-budget Giant-Thing movie look cheap.

Kong Homage -- Something veteran movie watchers would appreciate, was the homage to King Kong. Giant Digby is put on display in chains. He's even named "King". The promoters themselves even remark that Digby would be like King Kong, but he'd be okay because they didn't have Fay Rea atop any buildings. As per Kong, Digby is spooked and breaks his chains. The audience flee and scream, all per the Kong-esque motif.

Strangelove II -- Another something more amusing to veteran movie watchers was Spike Milligan's portrayal of German scientist Dr. Harz. It is quite reminiscent of Peter Sellers' Dr. Strangelove -- though more overtly comic. Harz takes up the conventional role of befuddled-neighbor, long a staple of TV sitcoms, but adds little else to the plot.

Bottom line? Digby more fun for kids in the six-to-ten age range. Most of characterizations are shallow and stereotypic. This can become tedious to adults, but obviously new and fresh enough for kids. The sci-fi part exists only as a plot necessity, with little to make one muse. Some of the comedy skits are amusing, though not perhaps enough to merit a long search to find this film to watch.

Dark Star

This film started out as a film school project for two film college students: John Carpenter and Dan O'Bannon. Both would go on to create landmarks of 1980s cinema, Alien and the many Halloween films. Dark Star (DS) is a dark comedy sci-fi with some subtle social commentary. It caught the attention of Hollywood producer Jack Harris (of The Blob fame). Harris convinced Carpenter and O'Bannon to shoot some additional footage so the boys' 45 minute project would be feature film length. They did, and DS was released to theaters in the spring of 1974.

Quick Plot Synopsis
The ship Dark Star has been on its mission for 20 years, although the crew has aged only three. Their mission is to destroy unstable planets in distant solar systems that might someday get colonized. Aboard the cramped ship are Lt. Doolittle, Stg. Pinback, Boiler and Talby. Their commander, Powell, died earlier, from an exploding seat back. The four find an unstable planet and go through the familiar routine to drop Bomb #19. They do, then hyperspace a safe distance away before it explodes. En route to the next system, the crew go about dealing with abject boredom. Talby stays in the observation dome, watching the stars go by. Boiler occupies himself with target shooting (n the hallways) with the ship's laser rifle. Doolittle reminisces about his former life, especially surfing off Malibu. Pinback is a moody gadfly trying to be sociable, but only achieving annoyance. Pinback goes to feed the alien they rescued/adopted. It's a mischievous beachball thing, which escapes. Pinback has to pursue it through the cramped passages. A tranquilizer dart actually kills it by deflation. At the next unstable planet, the boys go to drop Bomb 20, but while downloading to the bomb its programming, the laser comm link was interrupted by Talby who was trying to work on a malfunction. The bomb then won't drop, but its detonation sequence continues. The three boys are in chaos to find a solution. Pinback and Boiler fight over whether Boiler should shoot out the link pins. Doolittle consults with "dead" Powell, kept in a cryogenic vault below decks. The "spirt" of Powell (after some self-absorbed distractions) tells Doolittle to talk to the bomb about phenomenology. Doolittle dons as space suit and goes EVA to talk to the bomb. Boiler and Pinback wrestle over the laser in the hallways. Doolittle talks phenomenology with the bomb, causing it to doubt its order to arm. The bomb puts itself back in the bomb bay. All seems fine. Doolittle tries to enter through the airlock, but this just ejects Talby who was lying in there. Doolittle jets out to rescue Talby. While he's away, the bomb starts thinking it is God. When it gets to "Let there be light," it blows up. Talby drifts away and is "taken" by the glowing Phoenix Asteroids. Doolittle, drawn back to the planet, surfs down on a hunk of ship debris, ending in a fiery poof. The End.

Why is this movie fun?
Of course, it's a comedy, so it's fun. Some of the humor is physical and slapstick (like the naughty beach ball alien). Much of the humor is dry and subtle (like the "dead" Commander Powell not being very worried about the bomb going off in a few seconds (he's already dead, you see), so kvetches on and on about not getting many visitors.)

Cultural Connection
John Carpenter and Dan O'Bannon would go on to make significant names for themselves in 80s cinema (and beyond), so it is intriguing to see what amounts to the "school project" film.

Notes
2001 Homage -- DS, as a project, was begun just two years after Kubrick's 2001 had rocked the sci-fi world. DS's plot is not especially similar, except for the deep, lonely space mission setting. One scene, however, is obviously an homage. When Talby is woodshed out of the air lock and goes spinning off into space, Doolittle goes after him. It would be hard not to see the paraphrase of Kubrick's scene in which Dave goes after spinning Frank. Where Kubrick's vision of deep space was clean, crisp and almost spacious, Carpenter and O'Bannon made theirs cramped and malfunction-prone. Where Kubrick's astronauts were nobly exploring "where no man has gone before," Carpenter's astronauts amounted a blue-collar demolition crew on an underfunded banal job. An interesting "compare and contrast."

Proto-Alien -- The scene in which Pinback (O'Bannon) hunts for his lost alien, was the additional footage inserted to bring DS up to Feature Film length. Viewers will note how no other actors are really involved in the scene, making it easier to graft in mid-story. Note too, how the beach ball alien thread has no bearing on the overall plot. It's just filler. It is, however, a prototype, of sorts, for O'Bannon's later epic, Alien (1979) -- just from a decidedly comic point of view instead of the horror point of view.

HyperWoosh -- Note the "woosh" of the star field as the Dark Star jumps into hyper-space. This seems like one of the first feature film occurrences of this visual effect prior to Star Wars ('77) making it famous (and ubiquitous). Perhaps not coincidentally, Dan O'Bannon was on the effects crew of Star Wars, providing computer animation and optical effects.

Sophomore Self-God -- The collegiate roots of DS are humorously on display in the "phenomenology" banter between Doolittle and Bomb 20. The whole "how do you REALLY know" gambit is straight out of Philosophy 101 lectures. In a rather penetrating bit of social commentary on the upcoming "ME Generation," Carpenter has his ego-isolated, self-aware bomb decide that if IT is all there is, then it must be God. Pretty deep satire for a comedy.

Bottom line? DS lacks big-budget polish for sets and special effects, so if that sort of thing is a turn-off, then avoid DS. It's a pretty elaborate class project, but that's still what it is. Viewers that can get past that, will find witty writing and actually pretty good acting, given the college-boys cast. DS as sci-fi comedy, is worth seeking out.

The Invisible Woman

Universal produced another invisible person film late in 1940. This was the same year as their sequel, The Invisible Man Returns (January, 1940). As such, one suspects that IMR was enough of a financial success that Universal sought to crank out a quick variation on the theme. The two stories are completely unrelated. The Invisible Woman (TIW) is a sci-fi comedy romp, light on the sci-fi. Writer Curt Siodmak, who worked on The Return…, is credited with the story for TIW, though other writers with more a penchant for comedy did the bulk of the screenplay.The cast included many talented, if second tier, actors and actresses. John Barrymore, the big famous name, starred as Professor Gibbs.

Quick Plot Synopsis
Richard Russell is a playboy whose penchant for gold digger women has left him flat broke. His long-time butler, George, threatens to quit, city Richard's profligacy. Among those is financial support for a wacky old scientist, Professor Gibbs. It turns out that Gibbs has developed an invisibility machine, but needs a human to test it on. So, he places a want ad in the paper. The ad is answered by Kitty Carroll, a fashion model at a big department store. Kitty and the other models are oppressed by their tyrannical manager, Mr. Crowley. She wants to be invisible for just a few hours so she can kick his butt. Gibbs makes Kitty invisible, but she escapes and goes and tyrannizes Crowley, telling him she is his conscience. The want ad was also noticed by a criminal boss hiding in Mexico. He sends his bumbling henchmen to get Gibbs' machine so he, Blackie, can return to the states. Invisible Kitty overhears all this, but Gibbs ignores her warning. She becomes invisible again. Meanwhile, Richard and George have left for a fishing trip to a remote lodge. Gibbs and Kitty drive up to meet them. While Gibbs is gone, the henchmen steal his equipment. Gibbs somehow makes Kitty invisible again, to prove to Richard that he has a million-dollar invention. Zany hijinx ensue per the usual invisible person gags. Kitty over indulges in brandy, which prolongs her invisibility. Despite early animosity between Richard and Kitty, they begin to like each other. They all return to Gibbs' lab to find his equipment gone He muses that without the special drug, the machine alone will do unpredictable things. Blackie has the machine set up and tests it on his lead henchmen. He comes out with a high girlish voice, but still visible. Blackie sends his henchmen to kidnap Gibbs for the secret. They kidnap Kitty and Gibbs. While in Blackie's hideout, Kitty drinks more alcohol, knowing that this will cause a relapse of invisibility. While invisible, she conks all the villains on the head with a big mallet. Richard arrives at the hideout. She lets him "save" her. Fast forward. Richard and Kitty have been married long enough to have a baby. George is rubbing alcohol on it's back. The baby disappears. "It's hereditary!" The End.

Why is this movie fun?
It's a comedy! Granted, it's not a particularly deep or clever comedy, but it is "good clean fun." Some of the writing gags are amusing, since they're delivered with such straight faces. For instance, George saying: "These days you can't believe your own eyes, even if you don't see anything."

Cultural Connection
War? What War? -- By late 1940, the war in Europe had been raging for over a year. France had fallen to the Nazis earlier in 1940. The Battle of Britain had been raging since mid summer. America was not inclined to get involved in another european war, The bombing of Pearl Harbor would be yet another year in the future. In TIW there isn't even a hint or mention of any war -- no spies, no "foreign powers" trying to get the machine, etc., even though the war was in full swing in Europe. The spirit of American isolationism can be felt.

Notes
Subtle Sexism -- Whereas the two prior feature film Invisible Men had waxed maniacal about ruling the world, when a woman was given the same ultimate power, her big dream is to kick her mean boss in the butt. Women just don't think big, don't ya see? Where the nakedness of the two prior Invisible Men was taken as just a matter of fact, several innuendo and allusions are made over the fact that Kitty is naked while invisible. Also, when Kitty gets drunk on brandy, her big concern is vanity, taking great umbrage that Richard implies that she's invisible because she's not pretty and probably stout. She shows off her legs to prove him wrong. At one point Gibbs says, "You know, if more women were invisible, life would be less complicated."

Star Gazing -- John Barrymore is the famous name. One of the three famous Barrymore acting siblings, this film came near the end of his life (ruined by alcohol). TIW was a bit of a slumming job for someone of his fame. Watch for Charles Lane as Mr. Crowley. People who grew up watching 60s TV comedies, such as The Beverly Hillbillies, Bewitched, and Petticoat Junction will recognize him. Also playing a minor role as Mrs. Jackson is Margaret Hamilton -- forever famous as the Wicked Witch of the West in The Wizard of Oz. Also note Shemp Howard as Frankie, one of the bumbling henchmen. Shemp, brother of Moe and Curly, was not part of The Three Stooges act again until Curly's stroke in 1946. TIW was one of Shemp's solo acting gigs.

Bottom line? TIW is lite-fare as far as sci-fi goes. As a slapstick comedy, TIW is good ol' fashioned fun so mild that the kids can watch it. They won't get the oblique references to a naked woman (which is all fine), but they can laugh at frumpy men falling down on their back-sides, or bumbling crooks knocking over tables, etc. TIW maybe isn't worth a protracted search to find, but it came across one's path, it's not a bad way to spend 75 minutes.

Sleeper

Woody Allen's Sleeper is a sci-fi comedy -- a small sub-genre. This United Artists film was co-written and directed by and stared in by Woody Allen. Normally, this much one-man-show-ness spells doom for a film, but Woody makes it work. His deadpan style of humor and witty one-liners are abundant. Diane Keaton co-stars as the hapless woman of the future and Allen's love intreats. The plot of Allen's story toys with elements of older sci-fi classics. His direction mingles all that with old style comedy from the 1920s (sight gags) and slapstick. Broadly speaking, Sleeper is a blend of 1984 and the Keystone Cops.

Quick Plot Synopsis
In the year 2173, a lost cryogenic capsule is found by some doctors sympathetic to a revolutionary underground. Since the frozen man will have no official ID, he can be used to infiltrate government facilities. The frozen man, however, is MIles Monroe (Allen), a nerdy former owner of a health food store in Greenwich Village. HIs reawakening does not go smoothly, with many comic moments. The doctors take him to a moderne home for reintegration into 22nd century reality. Police raid the home. The doctors tell him to flee west and find out about The Aries Project. He escapes via comic chases, eventually hiding in a van of domestic servant robots. He dresses up as robot from spare parts and gets dropped off at the home of Luna (Keaton). She takes him to the repair shop for a better head. Much hilarity ensues. Miles then kidnaps Luna, trying to enlist her help. She plays along until they get to another house. She calls the police. When they arrive, a chase ensues with Miles in an inflated rubber suit. The police take Luna, to erase her brain for having been in contact with the alien. Miles rescues her via his inflated suit as rubber raft. They get back to the house Miles was first at. The police raid it. Miles hides Luna so she can find the Underground. MIles is captured and taken back for reprogramming. More absurdity follows. (Miles as Miss Montana) Meanwhile, Luna tries to become the forest denizen with comedic results. She is captured by Erdo, leader of the Underground. She becomes a guerilla fighter, eventually recapturing MIles. Luna and Erdo try to break Miles reprogramming via staged Jewish suppers. This leads Miles into acting as Blanche du Bois. Miles wakes up cured. He and Luna then sneak into a government hospital, posing as doctors. They are mistaken for a pair of famous doctors and attend a briefing. The totalitarian Leader actually died 10 months ago from a rebel bomb. All that was saved was his nose. Miles and Luna are expected to clone from the nose, a new Leader. More silliness results. They escape yet again, and discover that they both love each other. Kiss. The End.

Why is this movie fun?
It's a comedy. Allen's one-liners are fun. The slapstick and sight gags are fun too. Also fun for sci-fi fans are the many tie-ins to some classics. More on those below.

Cultural Connection
Period Humor: Many of Woody Allen's zippy one-liners depended on his audience being steeped in early 70s American culture. Those born after that period would likely not find them so funny. For instance: in the "History Lesson" skit, Allen identifies (or misidentifies) several photos of celebrities. Of Charles DeGall he says he was a famous french chef. Of Norman Mailer, he says he donated his ego to science. Of Richard Nixon, he says the secret service had to count the white house silverware. Shown a video clip of a Howard Cosell commentary, Allen says watching it was a state torture for dissidents. Someone who did not know these people (beyond name and face) would not get the jokes. It's hard for humor not to be zeitgeist-centric. Consider the sci-fi comedy Just Imagine ('31) with its references to Henry Ford, Prohibition, etc. There's much humor in the moment, even if the moment is fleeting.

Notes
Sci-fi References -- The overall plot of Sleeper roughly parallels that of H.G.Wells' novel "The Sleeper Awakes," (1897) except that MIles does not wake up rich. At one point, Miles says he feels like Flash Gordon, though his situation is more like that of Buck Rogers -- awakened into a new age with tyrants to fight. The heavy-handed police state and reprogramming of dissidents, there are strong allusions to Orwell's 1984. Allen included a nod to Kubrick's 2001 with the surgical assistant robot. Allen hired the same voice talent (Douglas Rain) who was the voice of HAL. Allen also included close-ups of the robot's green glowing eye. With the nose of the Leader to be cloned to make a new Leader, these is even an homage to such silly films as They Saved Hitler's Brain. All these are touches a sci-fi fan could enjoy.

Selected One-Liners -- Allen is famous for his one-liners. Here are a few.
Rebel Doctor:"If they catch you, they'll simplify your brain!"
Miles: "My brain? That's my second favorite organ."
Rebel Doctor: "Haven't you ever taken a political stand?" 
Miles: "Yes. Once, I refused to eat grapes for 24 hours." 
Luna: "What does it feel like to be dead for over 200 years?"
Miles:"It's like spending the weekend in Beverly Hills."
Luna: "Do you believe in God?" 
Miles: "I believe there is an intelligence in the universe, except for certain parts of New Jersey.
Luna:"I believe there's someone out there who watches over us."
Miles:"There is. Unfortunately, it's the government."
Miles finds Luna completely wrapped in tangled magnetic tape. "For a minute there, I didn't think you knew how to work the machine." 
Luna: "Do you want to perform sex with me?"
Miles: "I don't know if I'm up to performing, but I'll practice with you."
Luna: "What do you believe in? (Not God, science or politics) 
Miles: "Sex and Death. Both come to you once in a lifetime. But after death you're not nauseous."

Sight Gags -- Allen paid great homage to the early comedy films of Charlie Chaplain, The Keystone Cops, Laurel and Hardy, even the Three Stooges. Watch for the giant banana peel that Miles and the guard keep slipping on. Watch for the police bazooka which keeps failing spectacularly. Watch for the silly chase scenes (there are many) The bickering Jewish tailor robots (with large noses) are a treat.

Future Home Of… -- The film was shot in and around Denver. Several local landmarks show up, such as the NOAA Research Center in Boulder (the radar dome) and the Mile High Church of Religious Science's swooping arched entry as a future McDonalds. The "Sculpted House" on Mount Genessee is the place Miles is taken to after he wakes up. This futuristic house was built in 1963, but the designer (Charles Deaton) never got to live in it. Due to financial troubles, the house remained unfinished inside and unoccupied for decades. It is during this period that Allen used it for his movie. In 1991, a buyer bought the house from Deaton, but did nothing with it. In 1999, a new buyer purchased the house and spent millions finishing the interior. In 2006, he sold it. This owner actually lived in the house, but then sold it to a Denver real estate investor for $1.5 million at a foreclosure sale. A futuristic house with a troubled past and bleak future.

Bottom line? Woody Allen's humor isn't for everyone. His period humor will likely elude younger viewers. The slapstick, however, can be enjoyed by kids of all ages. The many allusions to other sci-fi movies are like "easter eggs" for the serious sci-fi fan, but not seeing them does not detract from the film. Sci-fi comedy is rare enough to make Sleeper worth seeking out.

Toomorrow

Both obscure and unusual, Toomorrow is a british sci-fi musical comedy. The film was intended to launch the pop rock group of the same name, (trying to repeat the Monkees' success) but the band's career never took off. The movie does star a young Olivia Newton John, many years before Grease ('78) would launch her stardom. The real band, Vic Cooper, Benny Thomas and Karl Chambers, play themselves, as art college students. Val Guest, writer of 50s sci-fi such as The Quatermass Xperiment ('55) and Quatermass II ('57), both wrote and directed Toomorrow.

Quick Plot Synopsis
An Alphoid space ship comes to earth orbit. It summons a man, Williams, living a genteel life in rural England. Williams is an Alphoid, in disguise as a human. He's been studying Earth for thousands of years, but has nothing interesting to report. The other Alphoids report that a crisis has developed in Alphoid-dom. Their "music" has lost its ability to soothe or stimulate. There is a growing "sterility of sound." Galactic Computer has picked up new "vibrations" which can save the Alphoids from blandness. The source is a group of London college students who have a band named Toomorrow. Williams must arrange their abduction so they can teach Alphoids this new vibration. Meanwhile, on earth, Olivia's alarm goes off. She makes breakfast tea for, Vic, Karl and Ben, all art college students. They are embroiled in the usual trite romantic complications of youth. They get a chance to play an important gig that evening, but need a place to rehearse. Williams offers his country home. They take him up on it, but as they leave, are beamed up to the ship. There, they get the whole back story, but refuse to be play on command. (chase around ship, some fake weightless effects. etc.) The Alphoids let them escape, deciding that they need a full-tilt concert with band AND audience to really get the vibrations they seek. Relationship trouble between Vic and his ballet student girlfriend Amy threaten to scuttle their big gig. Williams conjures up a blonde floozy to seduce Vic (and forget the petulant Amy) hoping to get the concert back on track. Various silly hijinks ensue as the floozy isn't too well programed. (Everyone she meets, she thinks is Vic Cooper). The many loose  plot threads resolve themselves and the band plays their gig. The audience is all grooving to the harmless pop tunes. Williams has them all beamed up to the ship. The band keeps playing, the audience dancing, despite being lifted into space. (fade to black) Olivia's alarm goes off, she makes breakfast, just like at the start of the movie. It was all a dream? Or was it? Vic finds the floozy's glasses on his keyboard. The End.

Why is this movie fun?
As a comedy, it's supposed to be fun. The humor is largely adolescent, so not all that funny. Olivia is best part. She's bright and perky and looks good in short shorts. The time-capsule aspect of the film, capturing the bopping innocent mid-60s is of some historical value.

Cultural Connection
Don Kirshner created a music commodity (perhaps not quite intentionally) with The Monkees in 1966. The TV show about a pop rock band actually generated some sellable music. Kirshner sought to repeat that success, but more deliberately with Toomorrow. The world depicted in Toomorrow is a clear example of the giddy, silly, pop days of the mid-60s -- an era of beach party movies, go-go dancers, tall boots, miniskirts and Volkswagens decorated with flowers. The band drive a yellow '64 Ford Cortina Estate, festooned with the stereotypic stick-on flowers. All this still exudes a vestige of the "innocence" of the 50s -- as viewed from a writer in his mid 50s viewing the youth culture of mid-60s. This was the "lite" world before the grittier Woodstock era reveled in grunge.

Notes
Lost Film Mashup? -- Imdb contains a curious "trivia" for this film. It says this movie was based upon an unreleased movie titled "The Gang" from 1967. Scant corroboration exists for this trivia. This date would be about right for a Monkees sequel, as they hit the scene in '66. So, it may be that Don Kirshner began his second movie-band project in 1967. Olivia said that it took two years to make the record. One setback came when the original drummer -- Chris Slade -- left the band and Karl replaced him. Any footage shot with Chris had to be replaced. The project may have also suffered from too many cooks and Kirshner not giving it his full attention. He was busy with another pop-band fabrication project, The Archies, in 1968. When Kirshner re-focused on Toomorrow again, he was disappointed in the direction it was going (without him) and left the project. Bruce Welch (Olivia's boyfriend at the time) tried to rescue the project, but the film company balked at expensive re-shoots. The result, appears to be the film we have now. Not terrible, but not that good either, and fatally passe by 1970 standards. One visual clue to the earlier-than-1970 filming was the car that Susan drove. She gets into a VERY new looking '67 Ford Anglia. (with its distinctive reverse-rake C-pillars) That model was discontinued in '68.

Irony Abounds -- In the movie, the band gets it's big break to stardom and succeed almost literally (stars). The movie was supposed to be the real band's big gig to stardom, but it failed. Cutesy pop with bright colors, gee-whiz smiles and tidy haircuts (The Monkees motif) were very mid-60s. Rock culture tastes had given way in just a couple years to grunge, angry eyes, shaggy hair, tie-dye, Hendrix and brutalism. Little wonder the market showed no interest. The band's name, Toomorrow, being ironic for a very yesterday look and sound. Ironic too, that the advanced aliens needed Formula Pop music, to re-invigorate their civilization.

Industry Parallel? -- Perhaps Val Guest wrote Tomorrow is a sort of metaphor for "garage bands". They dream of satisfying some need "out there" for their special blend of "vibrations." Young musicians (with a dash of youthful conceit) often imagine that they have the fresh new sound to replace the old "sterile" music of those who came before them. The climax of the movie -- when the aliens beam up the whole concert -- can be seen as a metaphor for the indie band fantasy of being discovered and "taken up" into the glittering universe of the music industry.

Neo-Bacchinal -- Another scene full of irony and revelation for our modern music-addicted culture, is at the Round House concert. The crowd (of extras) are directed to dance eagerly and 'really dig' the music with an almost bacchanalian zeal. Classical-fan Amy casts off her shoes and bops. Even Williams, the stoic alien, can't help but grin and dance all enthused. (From the Greek: en + theos = filled with the god -- in this case, the god of rock n' roll). Modern cultures since the 60s have elevated "their music" to demigod status. The irony is that the music they are supposedly so enthused by, is mediocre formula pop from middling staff writers -- not too far above elevator music.

Bad Timing -- A bit of silly script writing comes early on. The Alphoid captain tells Alphoid-Williams that he must hurry to abduct the band. They must leave orbit in 17 hours. "I hope there's time," says Williams. He then corrects himself to say that "time" means nothing to the Alphoids. Then why the deadline of 17 hours if time means nothing? Not one of Guest's better scripts.

Bottom line? Toomorrow is "lite" fare and mild entertainment. The sci-fi element is also "lite" and formulaic. The humor is juvenile and predictable. Fans of Olivia Newton-John may enjoy the film. She gets a good role and plays it well. Viewers who were alive and aware in the mid-60s may have some nostalgia value. If born later, one's inner-anthropologist can be intrigued studying the ancient lost civilization that was the mid-60s. Those lacking an inner-anthropologist will likely be annoyed.