Keep Watching the Skies! American Science Fiction Movies of the Fifties, The 21st Century Edition (2 vol set)

Keep Watching the Skies! American Science Fiction Movies of the Fifties, The 21st Century Edition (2 vol set)

Bill Warren

Language: English

Pages: 1040

ISBN: 1476666180

Format: PDF / Kindle (mobi) / ePub

Booklist Editors' Choice. Honorable Mention, Rondo Hatton Award. Booklist Starred Review.

Bill Warren's Keep Watching the Skies! was originally published in two volumes, in 1982 and 1986. It was then greatly expanded in what we called the 21st Century Edition, with new entries on several films and revisions and expansions of the commentary on every film.

In addition to a detailed plot synopsis, full cast and credit listings, and an overview of the critical reception of each film, Warren delivers richly informative assessments of the films and a wealth of insights and anecdotes about their making. The book contains more than 270 photographs (many rare, some in color), has seven useful appendices, and concludes with an enormous index.

Regional Horror Films, 1958-1990: A State-by-State Guide with Interviews

Behind a Velvet Trap: A Filmmaker's Journey from Cinesound to Cannes

Film: The Key Concepts

The Art of Pixar: The Complete Color Scripts and Select Art from 25 Years of Animation

24P: Make Your Digital Movies Look Like Hollywood

Charlie Chaplin: Intimate Close-Ups (Scarecrow Filmmakers)




















some rest,” Hauron suggests, lifting her chin with a finger. Acting on those orders for more Earthlings for their experiments, Hauron and Nadja capture Bob (Gary Travis) and Shirley (Thelaine Williams), pals of Tom and Sally. After Bob and Shirley are caught by the aliens, there’s a moment of desperation as Tom and Sally search for them to get the car keys. But poor Bob and Shirley are doomed. Hauron and Nadja disrobe Shirley, then wrap her in metallic cloth and put her upright in a clear tube

is distinctive enough that this isn’t readily apparent. He keeps moving both physically and as an actor; his heavy features and large frame make him masculine and brooding, and yet he’s sensitive and witty when necessary. Judd is just fine in the role; too bad his career as a leading man petered out so fast. He’s worked often in science fiction and horror films, perhaps because of his memorable work here, but rarely had leads in major pictures after the early ’60s. He played opposite Susan

believability is achieved by careful control of lighting. Occasionally, other means than mattes were employed. When Scott demonstrates to Tony how his hand passes through the steel block, a cartoon of Lansing’s hand is used. When he reaches through the windows on the street, a thin line of bright blue light is projected down on Lansing’s hand and sleeve, representing the window glass. Whenever Scott pulls a 4D stunt, we hear a musical trilling. Though tired, this device is used wittily a couple

transformation scenes.) Trudy is upset. Still a monster, Gil rushes home; a dog chases him and he kills it. Somehow the police identify Gil, and come after him for killing George. When the police arrive, he has turned back into Gil. Ann tries to stave them off, but Gil jumps in his car and roars off, right over one cop, whose cap poignantly spins to a halt in the street, signifying death. A manhunt is launched, far out of proportion to Gil’s crime. George’s killing was self-defense, and the

are, according to those who’ve seen both films, better used in The Magnetic Monster. It provides an eye-popping spectacle of a climax, one of the most satisfying and epic of any 1950s SF film. The Deltatron of the explosive climax of The Magnetic Monster may have been from footage borrowed from an earlier film, but it provides a spectacular climax. Some fudging was necessary match the 1934 German footage with the 1952 American footage. Carlson wears a dated overcoat and fedora to match German

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