Cast & Crew
In 2001, after man has conquered space and discovered that no life exists on the moon, Venus, Mars, or Neptune, Earth's governing body, the United Nations, sends a five-man international expedition to explore Uranus. They land in minus 200° temperature in a beautiful but eerie land where they encounter women they knew in their past lives. Further exploration reveals that the planet is controlled by a mysterious evil Being that gives reality to all subconscious thoughts, fears, and desires: when one of the astronauts recalls his fear of rats, for instance, a huge rodent-like creature materializes. Realizing that they must destroy the Being if they are to escape from their past and return to the present, the Earthmen hunt down the creature in its hiding place in one of the caves below the surface of the planet. Since the creature can exist only in the near-normal subsurface temperature of the cave, the men destroy it by freezing it with liquid oxygen. One of the women from the past pleads to be taken back to Earth, but her image disintegrates en route.
Annie Birgit Garde
Bent Barfod Film
Bent Barfod Film
J. H. Zalabery
TCM Remembers - John Agar
Popular b-movie actor John Agar died April 7th at the age of 81. Agar is probably best known as the actor that married Shirley Temple in 1945 but he also appeared alongside John Wayne in several films. Agar soon became a fixture in such films as Tarantula (1955) and The Mole People (1956) and was a cult favorite ever since, something he took in good spirits and seemed to enjoy. In 1972, for instance, the fan magazine Famous Monsters of Filmland mistakenly ran his obituary, a piece that Agar would later happily autograph.
Agar was born January 31, 1921 in Chicago. He had been a sergeant in the Army Air Corps working as a physical trainer when he was hired in 1945 to escort 16-year-old Shirley Temple to a Hollywood party. Agar apparently knew Temple earlier since his sister was a classmate of Temple's. Despite the objections of Temple's mother the two became a couple and were married shortly after. Temple's producer David Selznick asked Agar if he wanted to act but he reportedly replied that one actor in the family was enough. Nevertheless, Selznick paid for acting lessons and signed Agar to a contract.
Agar's first film was the John Ford-directed Fort Apache (1948) also starring Temple. Agar and Temple also both appeared in Adventure in Baltimore (1949) and had a daughter in 1948 but were divorced the following year. Agar married again in 1951 which lasted until his wife's death in 2000. Agar worked in a string of Westerns and war films such as Sands of Iwo Jima (1949), Breakthrough (1950) and She Wore a Yellow Ribbon (1949). Later when pressed for money he began making the films that would establish his reputation beyond the gossip columns: Revenge of the Creature (1955), The Brain from Planet Arous (1957), Invisible Invaders (1959) and the mind-boggling Zontar, the Thing from Venus (1966). The roles became progressively smaller so Agar sold insurance and real estate on the side. When he appeared in the 1988 film Miracle Mile his dialogue supposedly included obscenities which Agar had always refused to use. He showed the director a way to do the scene without that language and that's how it was filmed.
By Lang Thompson
DUDLEY MOORE, 1935-2002
Award-winning actor, comedian and musician Dudley Moore died on March 27th at the age of 66. Moore first gained notice in his native England for ground-breaking stage and TV comedy before later building a Hollywood career. Like many of his peers, he had an amiable, open appeal that was balanced against a sharply satiric edge. Moore could play the confused innocent as well as the crafty schemer and tended to command attention wherever he appeared. Among his four marriages were two actresses: Tuesday Weld and Suzy Kendall.
Moore was born April 19, 1935 in London. As a child, he had a club foot later corrected by years of surgery that often left him recuperating in the hospital alongside critically wounded soldiers. Moore attended Oxford where he earned a degree in musical composition and met future collaborators Peter Cook, Jonathan Miller and Alan Bennett. The four formed the landmark comedy ensemble Beyond the Fringe. Though often merely labelled as a precursor to Monty Python's Flying Circus, Beyond the Fringe was instrumental in the marriage of the piercing, highly educated sense of humor cultivated by Oxbridge graduates to the modern mass media. In this case it was the revue stage and television where Beyond the Fringe first assaulted the astonished minds of Britons. Moore supplied the music and such songs as "The Sadder and Wiser Beaver," "Man Bites God" and "One Leg Too Few." (You can pick up a CD set with much of the stage show. Unfortunately for future historians the BBC commonly erased tapes at this period - why? - so many of the TV episodes are apparently gone forever.)
Moore's first feature film was the 1966 farce The Wrong Box (a Robert Louis Stevenson adaptation) but it was his collaboration with Peter Cook on Bedazzled (1967) that's endured. Unlike its tepid 2000 remake, the original Bedazzled is a wolverine-tough satire of mid-60s culture that hasn't aged a bit: viewers are still as likely to be appalled and entertained at the same time. Moore not only co-wrote the story with Cook but composed the score. Moore appeared in a few more films until starring in 10 (1979). Written and directed by Blake Edwards, this amiable comedy featured Moore (a last-minute replacement for George Segal) caught in a middle-aged crisis and proved popular with both audiences and critics. Moore's career took another turn when his role as a wealthy alcoholic who falls for the proverbial shop girl in Arthur (1981) snagged him an Oscar nomination as Best Actor and a Golden Globe win.
However Moore was never able to build on these successes. He starred in a passable remake of Preston Sturges' Unfaithfully Yours (1984), did another Blake Edwards romantic comedy of moderate interest called Micki + Maude (1984, also a Golden Globe winner for Moore), a misfired sequel to Arthur in 1988 and a few other little-seen films. The highlight of this period must certainly be the 1991 series Orchestra where Moore spars with the wonderfully crusty conductor Georg Solti and leads an orchestra of students in what's certainly some of the most delightful television ever made.
By Lang Thompson
TCM Remembers - John Agar
Sidney Pink (1916-2002)
Born in Pittsburgh in 1916, Pink graduated from the University of Pittsburgh with a bachelor's degree in business administration. He began his film career as a projectionist in a theater owned by his wife's family. Moving to Hollywood in 1937, Pink was hired as production budget manager for Grand National Pictures, where he worked on the Tex Ritter musical western series. He later moved to Columbia and worked as a budget manager on Lost Horizon (1937) and many small scale westerns. After a disagreement with Columbia studio mogul Harry Cohn, Pink returned to the theater side of the business as the owner of a circuit of theaters in Los Angeles where he imported foreign films.
He soon hooked up with Arch Oboler for the production of two films, Five (1951), an offbeat feature about five survivors of a nuclear war and the irredeemably strange The Twonky (1953) about a professor (Hans Conreid) whose TV set becomes possessed by a spirit of the future and takes over his household.
Pink and Oboler would strike gold with their third film, the first full-length 3-D picture, Bwana Devil (1953). With television' popularity on the rise, a movie gimmick that advertised "A lion in your lap" or "A lover in your arms!" were promotional tag lines that came on like a carnival barker in a sideshow. The story about British railway workers in Kenya falling prey to two man-eating lions, and a head engineer (Robert Stack) bent on killing the lions before they feast on his entire crew might have been routine; but the movie, which required audience members to wear cardboard 3-D glasses as lions were jumping into your laps, spears were flying and people were coming toward you in hordes was a real hot ticket. The process, which was shot in Hollywood with two enormous cameras with polarized lenses, one for the left eye and one for the right, proved to be a surprising hit; enough so that Jack Warner came out with his own 3-D production at Warner Bros. with House of Wax (1953) starring Vincent Price and dozens of 3-D films followed in the ensuing decades.
After the success of his sci-fi cult hit The Angry Red Planet (1959), Pink found himself in a quandary. By the 1960s, Hollywood was having union problems, making it difficult for an independent producer like Sid Pink to be hired by the studios. Ever resourceful, he relocated to Denmark to produce and direct Reptilicus (1962 about a pre-historic monster that comes back to life and terrorizes Copenhagen! It may have not been high art, but it proved to be popular fare at drive-ins and its success allowed Pink to pursue film production in Europe throughout the remainder of the 1960s, including one of the earliest spaghetti westerns, Finger on the Trigger (1965) starring Rory Calhoun. Pink had one more fascinating footnote to fame when he discovered Dustin Hoffman in an off-Broadway production and cast him in Madigan's Millions (1967) as a U.S. Treasury agent sent to Italy to recover money that had been stolen by a murdered gangster (Cesar Romero). Pink soon retired from the film industry and eventually returned to the United States in the mid-1970s where he settled in Florida. He is survived by his wife, Marion, his son, Philip, a daughter, Helene Desloge and four grandchildren.
by Michael T. Toole
Sidney Pink (1916-2002)
When officials at American International viewed the completed film, they decided that some of the Danish produced special effects were so poor that they needed to be replaced. Two members of the independent special effects company Project Unlimited, Jim Danforth and Wah Chang, shot some new footage to replace some of the Danish special effects. Some of the deleted footage was also replaced with tinted black and white monster footage from _Earth vs. the Spider (1958)_ .
Among the replacement footage used in the American International version was a brief special effects shot from _Angry Red Planet, The (1959)_ .
The major contribution made to the American International version by Jim Danforth and Wah Chang was the giant cyclopean rodent monster. The monster's roar was actually Rodan's roar taken from _Sora no daikaiji Radon (1956)_ .
Filmed in Denmark.