THE WAR CF THE WDRLDS

CINEFAN
Vol ume 5Number 4
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 Silil;ilIN
PUBLISHER
Frederick S-Clarke
CORRESPONDENTS
David B1‘"\°10m9W (New York)
Mike Chilcls (London)
J°§§"°‘§“fj Mgffl‘ (Pa?)
Dwegfapgegtti ?NZa“:F0£k)
Don Shay (Hollywood)
CONTRIBUTORS
31 EDITOR THE WAR OF THE WORLDS A Retrospect by Steve Rubin 4
George Pal's film made the H. G. Wells story oi a Martian in-
vasion of Earth a frighteningly !'€H|.l5ll(' spvcizil effects t<i_ur Q
force that has never been equaled. Stove Ruhin pieces together
the production history behind this great cini-nizitic achievement.
7 ‘
THE $25,000,000 TJNDERSTANDING by éaerick s. Clarke 24
Special effects expert Jim Danforth explains his resignation
from the Academy oi Mutinn Picture Arts and Sciences and
speaks-out on the travesty of Li\\'2l_1'(lillg the new KING KONG an
Oscar for special visual effects.
— ~

Richard Allison ~.
Kyle B.Counis ' ' '
Vincent Di Fate I]
Jeffrey Frentzen
Frank Jackson
Bill Kelley l
Tim Lucas
i
l
PeterSchmuck
s_w. Perakos KING KONG - ‘-‘ by Bill Kelley
-
20

NETWORK "by S. W. Schuniack 18

ACKNOWLEDGEMENTS: The Ackz-rmalv
sion, Columbia Pictures. Columbia Pit-'
tui-es Television, Lyle Conway. Bill Eat‘ WIZARDS by KY10 B. COUMS 19
ler. C-aumont Distribution (Nicole Sonne-
ville). Hal Roach Studios (Lee Roche), .___
‘ "W
Claude 8| Dania Heroux, Albert Nozaki,
Paramount Pictures (Howard A. Levine),
20th Century-Fox, United Artinl.
CINEFANTASTIQUE in pl-iblllbod quar-
terly at P. 0. Box 210, Oil Park. Illinois
60803. Single uupit-s \\'h¢~n puehqud
from the publisher are $4.00. Subscrip-
tions: one yen (4 umallilo, tut» _w~ar.~
. -. ".‘>l2 ..~.-.\
BOOKS a review of George Lucas‘ Star Wars by S. W. Schumack 30
. —— —
£;si.'<¥§Y..:.‘.a£ii:=h¢':ipii$n: arel 1»/.:.i1i.T.
.it the .~.nna rates, but plane ply by in-
iv-'.l~_lP0llllM0l‘Ey°l'd9i’~'\\l'-bl . . . . . .
,,_“.'K‘,§_‘ f},?_‘,. 0, mm, ,,,,__, ,,,’,,.,, 0,, CARTOON Richard Allison envisions Dino ])l1|ll'lOlll’lg Son of Kong 33
‘pl any Anivi-|<~.m ihinlr. Cnnlrihuli-ins of art,
ll M5 :- : ' ll ' films . .
some interesting find on the horizon 25
. - -
COMING
. 2

In... “,'§1‘..'>,,‘_."fT,,C1‘:;"§.f,;,§ we
pontage Jlld l‘|\\'l-14:]! With your submis-
sion. On substantial pru] -cis, a diocur '. .
u, in mam W,“ .,m§., W, .,m,¢ FILM RATINGS how to stop worrying and avoid the bombs 23
e ahl m.r 1 u‘\I'“'
time and eiiort. Advertising rates avail-
;,,¢B,‘:::':,', p,8:';§_“§°‘§.:,-,,‘;:,n§. LETTERS the readers tell us where we went wrong 32
.2
t egu aeamanszeredl :13: ii:-agmiurw
ina . I0 - essv IIIVI“ ,
cm; editorial rc-marks by Frederick Clarke 26
_

ion, paging i=_u4.¢cu

sgeqnd SENSE OF WONDER S.
P""'““"°"£ 2“;‘§%‘i“i‘;.€°?‘i"§'
v r re -
éiighsrrmrmnws is nliegir SHORT NOTICES short reviews oi genre films and television 22
I . . . .

»
tend lJ.8. Trademark.
R"A"~ 1>""'m""°"= M "MM Front Cover: THE WAR or THE wonnns by Vincent Di Fate O‘

iiiiliii iii
11-

§‘$'§'m'Zi.°N".m'“".y,”§§'i'§§§'§’§'-5-iii‘: Scenes from SINBAD AND TiiE_iz;yE or THE TIGER :Back Cover

iii iliilillli l
 Steve
Rubin
Bottom Facing:
The A-bomh is
used against the
Martians, an effect

... ‘S
created by colored
flash powders
exploding on a
Paramount sound
stage. Middle:
Filming the 75400!
mushroom cloud on
Stage 7. The effect
was later matted
into the desired
footage. Right: A
recent photo of
astronomical artist
>, Chelley Bonestell,
now 89, at his
studio in Carmel,
no--~ California. This
Page: Paintings
of barren Mercury
(Left) and Saturn’;
4>¢ rings (Right) Mlle
by Bonestell for
the film‘: prolog.
(Color photos are
provided courtesy
Stepien C. Wathen.)

_ :'/
THE WAR OF THE WORLDS A Paramount In the latter part of the IB90s, the most The late H. G. Wells fright), author of ie
Release. 2/53. In Technicolor. 85 minutes. frightening portrait of an alien presence i|i War of the Worlds, discusses his screen-
Produced by George Pal. Directed by Byron our solar system was created--a confronta- play with performers Raymond Massey (left)
Haskin. Screenplay by Barre Lyndon. Di- tion between aliens from Mars and the men and Pearl Argyle (middle) during the Iiliii-
rector of photography, George Darncs. ASC. of Earth: H. G, Wells‘ novel Q W;ir Q @ ing of THINGS TO COME (1936). During his
association with Alexander Korda on this
Technicolor consultant, Monroe W.Burb;uik. Worlds. Hailed as a brilliant work of fan-
Art direction, Hal Pereira and AIbert_No- tasy, Wells (already a well-known author film, Wells became intensely interested in
zaki. Edited by Everett Douglas. ACE. As- with published works like 'J\_l‘ TEE @- filinmaking and even journeyed to Ill llywood
sistant director, Michael D. Moore. Cos- chine and Til Island of Di; Iyloreau) was where he met Cecil I3. Dt-Mille, the produc-
tunies, Edith Head. Set decoration. Sam soon compared to the French author Jules er who originally bought the film rights to
Comer and Emile Kuri. Makeup supervi- Verne as the master of scientific romance. '11; _\tL;g Q the Worlds for Paramount.
sion, Wally Westniore, Associate producer, Over half a century later, Paramount - —/~ -—-——-———-—
Frank Freeman, Jr. Music score by Leith producer George Pal dramatized Wells‘
Stevens. Sound recording by Harry Lind- classic story and today it is revered as one get some material.
greii and Gene Garvin. Special photographic of the great science fiction films of all Fortunately, botli authors were familiar
effects, Gordon Jennings. ASC. Paul Lcr- time. PaI's te;uii of experts updated Wells‘ with I-jisenstein's proletariat and revolu-
pae, ASC, Wallace Kelley, ASC. ivyl Burks, post-Victorian tale of alien terror and gave tionary films and agreed with Montagu that
Jan Domela_ lriiiin Roberts. ASC. Astro- it a modern California setting. Elilivened by the man should go lo the United States. Shaw
noniical art by Cliesley Bonestell. Marti;u\ the flying saucer craze iuid the liewlound in- offered F.i5el\Stt'ilt an option on his play.
costume mid makeup by Charles Gemora. tcrcst in the stars, The Wtu" of the Worlds "The Devil's Disciple.“ and Wells presented
Hair stylist, Nellie Manley. Process |iho- had new significiuice. It was Ito longer |Iure- him with [lg ll/ir of lhi V@lgt§.
tography, Farcoit Edouart, ASC. Miniature Iy an indictment of Victorian ignorance ILIIKI With letters of introduction, and the five
construction, Marcel Delgado. Special ef- stubborn conservatism. hut a startling por- hundred pounds from Uncle Montagu, Ivor
fects, Waller lfoffiiiaii. Properties, Gordoli trait of the unknown dangers that could lie went to Hollywood. .lle soon discovered that
Cole. Stunt coordinators, Dale Van Sickel. outside nian's experience. At a time when Wells had long hi-fore sold the rights to his
David Sharpe, Fred Graham. Western E- science fiction films were accorded a limil- novel to I‘;u'amount in perpetuity tutd had
lectric Recording. ed budget, THE WAR OF THE WORLDS’ forgotten. (Ivor could not interest anyone in
success is a tribute to a crew which knew the Shaw play, either, alid it would lie thirty
Clayton Forrester . . . . . . Gene Barry how to conserve and yet he siniultzuieously years before it reached tln- screelt as a U-
Syl\'ia Van Buren . . . . . . . Ann Robinson innovative. [For a hiography of George Pal, nited Artists release in I959.)
General Mann . . . . . . . . Les Tremayne the dean of science fiction filmmakers. see Fortunately. Paramount was one of the
Dr. Pryor . . . . . . . . . . . . . . . Bob Cornthwaite our Vol I No 4 issue for Dennis .lo|inson‘s few studios interested Ill I-Iisenstein, and c-
article "The Five Faces of George Pal."] ventually -less Lasky went to Paris to meet
Dl'- 5lld\‘Fl"~'l'k - - - - - - - - - - - - - 5€\I\dX‘H Gitlllo
Pastor Matthew Collins Lewis Martin It was in I925 that Paramount film di- the Russian. Among the pron-cts Lasky of-
General's Aide . . . . . Houscly Stevenson, .Ir. rector Cecil B. Dcltlillc purchased the film ft-red was THE WAR OF THE WORLDS. But
Radio Announcer Paul Frees rights to @ IL“ o_f the Worlds. Deltlille after Eisenstein arri\‘ed and a sci'ipt had
Wash Perry . . . . . . . . . . . . . Hill Phipps was a showman as well as a director and he been prepared for its production, he with-
Colonel Heffner . . . . . . . Vl.‘l‘I\u|t Rich was forever iii love with the picturesque. drew from the |II‘tljt'(‘l and turned instead to
Cop . . . . . . .. . . . . . .. Henry Brandon exotic, colorful style in motion pictures. QUE VIVA MEXICO (I931) which was never
Salvatore . . . . . . . . . . . . . . . . . Jack Kruschen The colorfully violent tapestry created by to he finished.
Professor McPherson . . .. . . Edgar Barrier Wells appealed to DeMilles aesthetic sense. Only two years later in February I932,
Buck Monahan . . . . . . . . . . . . Ralph Dunike D1-Mille was also enthralled tiy costumes THE WAR OF THE WORLDS resurfaced as
and liked to dress up his actors. This fac- a Rohert Fellows production at Paraiiiount.
Dumb Blonde . .. . . . . Carolyn Jones
Man . . . . . . . . . . . . Pierre Cressoy tor alone leads us to believe that he would Dt-Mille was once more responsible for its
Martian . .. . . . . . . . . . Charles Gemora have retained Wells’ I9th century setting. revival. Fellows had been his "chair boy"
Sheriff Bogany . Walter Sande The choice of setting was a key factor and in I926. "CB," Fellows recalled, "always
Dr. James Alex Frazer would become a controversy in the next had a dozen people following him around
Dr. Duprey . . .. . . Ann Codee
. three decades. In any case, Deltlillc was not with scriins, pencils, mcgaphoncs and such.
Dr. Gratzman
. . . . .
Ivan Lebedeff destined to go further with The ltr if
the And when he got tired he ]l.|5l sat down. It
Ranger . . Robert Rockwell Worlds. While he continued to promote his was niy job to see that there was a chair
Zippy . . . . . . . . . . . . . . . . . . . . . Alvy Moore silent version of THE TEN COMMAND- under him every time he looked as if he was
Alonzo Hogue . . . . . . . . . . . . Paul Birch MENTS and ponder the rumor that sound going to relax."
Fiddler Hawkins . . . . . . . . . . . . Frank Kreig would soon revolutionize motion pictures, Fellows rose quickly in the studio ranks
Well-dressed Looter . . . .. Glass
. . . . . . Ned [lg @ Q tli_e Worlds was relegated to the and by the early 19305 was an assistant di-
rector. It was at this time that Frank Wells
M. P. Driver . . . . . . . . . . . . . Anthony Warde dust pile of unused material in the Para-
Woman News Vendor . . . . Gertrude Hoffman mount story department. and Ivor Mnntagu tried to sell Paramount on
Secretary of Defense . . . . . . . Freeman Lusk In I930, Sergei Eisenstein, the Russian their particular dramatization of The Wir
. . . Sydney Mason film director, indicated to friends, among gt: the Worlds. They interested Fellows who
Fire Chief . . . . .. . . . . .
Lookout . .. . . . . . . . . .. . Peter Adams theni Z6-year-old British filmmaker Ivor spoke to Dc-Millc and thc film was on the
KGEB Reporter . . . . . . . . . . . . . Ted Hecht Muntagu, that hc would like to go to Holly- verge of being produced when Fellows ac-
Japanese Diplomat Teru Shiniada wood where the sound film was now in its cepted an offer to go to Warner Bros as a
Chief of Staff . . . . . . . . . . . . . Herbert Lytton infancy. Montagu was a young filmmaker unit mzutager in charge of studio production.
Staff Sergeant Douglas Henderson who had met H. G. Wells’ son Frank in a He would work on 52 Warncrs films from
Reporter . . . . . . . . . . . . . Walter Richards Zoology class at Cambridge. Later when I934 to I939.
Dr. Hettinger . . . . . . . . . . . Alex Frazer
. both students dropped out, a small produc- While THE WAR OF THE WORLDS stall-
Rev. Bethany . . . . . . . . . . . . . Russell Conway tion company was formed with Adrian Bru- ed at Paramount during this period, H. G.
Looters . . . Dale Van Sickcl,
. Dave Sharpe, nel as the third partner. An American pro- Wells was constantly badgered by other in-
. . . . . . . . . . . . Fred Graham
. . . . . . . . . . . . , . . ducer then offered the unit financial backing terested directors who sought control of the
Ist Bunt . . . . . . . . . . . . . . . . . . . . . George Pal if they would get H. G. Wells to write three controversial project. On one of his excur-
Znd Bum . . . . . . . . . . . . . Frank Freeman, Jr. comedy stories that could be turned into sions to Nice in the early I930s, Wells had
lunch with a young English director who de-
Prologue Narrator . . .. . . . . . . . . Paul Frees screenplays. Wells was quite willing as he
Tl lg; g
i--i-—-ii
Commentary hy Sir Cedric Hardwicke was very keen that his son and Muntagu sired to adapt Q Worlds. Wells
make a career in films together. didn't even mention the fact that Paramount
In April I930, Montagu's uncle, Capt. owned all the rights. He siniply dismissed
THE WAR OF THE WORLDS is the fourth in Lionel Montagu, a racchorse owner and his story as "outdated." The young director
a series of science fiction film Retrospect partner in the family bank, offered to stake insisted, but could not convince the elderly
features written by Steve Rubin, who in past Ivor to five hundred pounds to keep him in writer that the novel could be modernized.
issues has covered THEM! (Vol 3 No 4), the United States for a year while he looked The mysterious director? None other than
FORBIDDEN PLANET (Vol 4 No I) and THE for a job and helped his friend Eisenstein. Alfred Hitchcock.
DAY THE EARTH S'I‘OOD STILL (Vol 4 No Montagu, who came from a nionied family In the summer of I934, H. G. Wells met
4). Rubin's next science fiction filni Retro- and was now well acquainted with both Alexander Korcla who had recently‘ come
spect will be George PaI's THE TIME MA- Wells and George Bernard Shaw, went to front France with his brother Vincent. A5
CHINE. the two writers on behalf of Eisenstein to 11 lg; Q tli
Worlds was unavailable,
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-~40 ‘
The film's only fleeting glimpse of the Mar-
tian invaders occurs when Dr. Clayton For-
rester and Sylvia Van Buren are trapped
within a deserted farmhouse crushed by a
landing cylinder (bottom left). The creature
is first seen as it scampers past a crack in
the farmhouse wall (bottimi right). The alien
was designed by art director AlNozaki front
the description in Barre Lyndon's screen-
play. Nozaki chose Charlie Gemora to build
————€ii—i——
the costume, in which he also appeared.
Korda purchased Wells‘ latest novel, ‘LIE
Shapg o_f Things lg Comc. lt was during this
period that Wells became totally involved in
the motion picture business. He spent two
years adapting THINGS TO COME. as the
finished film was entitled. He contributed to
the screenplay and the set design and he
was instrumental in hiring Arthur Bliss to
compose the musical score. He made many
new friends among actors and directors and
he was seriously talking about going on with
moviemaking instead of writing new books.
These new-found connections gave him the
idea for a trip to Hollywood planned for the
autumn of 1935 while the technical work was
being completed on THlNGS TO COME.
Wells arrived in California on November
26. 1935. At a rousing party at DeMille's
ranch in Tujunga Canyon. Charlie Chaplin
introduced Wells to the director. lt was to
be their only meeting. Wells discussed the
progress of THINGS TO COME and his fas-
cination with motion pictures. DeMille en-
cnuraged the writer to seriously explore his
fascinations. The stiowinan he was, DeMille
also arraiiged a tour of Paramount Studio.
Whether they passed by the story depart-
ment where three dusty scripts of THE WAR
OF THE WORLDS lay dormant is not known.
But Wells went back to London with ;Ul out-
sized portrait of life in the opulent film
capitol of the world.
Time passed. ;uid the world girded for a
new war. The quiet complacency of the Eng-
lish was replaced with a growing fear of
what was occurring on the mainland of Eu-
rope. Hitler's legions were on the march.
Dive bombers were over Madrid. There
were Italians in Ethiopia. China was fight-
ing Japan. All across the planet in cafes. on
street corners, in crowded bus and subway
terminals, there was talk of war. ln the U-
nited States the prevailing mood was isola-
tionist, as the country tried to fight its way
out of the depression.
It was at this time, nearly 40 years since
H. G. Wells first conceived of the Martian
invasion that another man named Welles de-
cided to jolt another complacent nation out
of its isolationist doldrunis and realize that
terror was at hand. Orson Welles. creator
of the poiltlar dramatic program known as
the Mercury Theater Group purchased the
radio rights to '@ War of th_e Worlds early
in 1938. He assigned Howard Koch to adapt
the circa 1890s invasion into a series of
modern news bulletins. On the night of Oc-
tober 30, 1938. at 8:00 PM. EST, appropri-
ately Halloween Eve, Orson Welles intro-
duced himself and initiated one of the most
terrifying moments in broadcast history.
While his Mercury Theater was broad-
casting to a rather small audience. the pan-
ic spread when Walter Winchell, then on
CBS. denounced the Martian invasion as a
hoax. One of Winchc1l's listeners was the
head of Warner Bros‘ special effects depart-
ment and the future director of THE WAR
OF THE WORLDS, Byron Haskin.
"Welles was broadcasting on some ob-
scure station," Haskin recalled, "that had
some national release into some areas but
certainly no large slice of the general audi-
ence. And they kept within the regulations
of the station, periodically announcing that
it was a fictional broadcast. But of course
people don't hear things when they're eating
or getting beer out of the ict-box and very
few heard the disclaimer at all.
"So someone told Winchell that there was
a lot of excitement being created by this
hroadcast on another chzuuiel. And Winchell
came on like gangbustcrs, saying that the
broadcast was not true and that it was only
a dramatization. And again people missed
the ‘not.’ They began to wonder what Wiii-
chell was talking about. And bani! Every-
body left for the mountains. lt scared the
hell out of America at a time when the news
from abroad was already frightening. Hell,
we were susceptible."
While radio broadcasting exploited ‘me
tla; Ltg Worlds to its limits making Or-
son Welles an overnight sensation. the filiii
adaptation languished. There was once more
talk about a rejuvenated production (by now
there were four different scripts) but the
fascination of the radio premiere soon wan-
ed. Between 1939 and 1945. film studios.
especially Paramount, were too committed
to the production of films that would bolster
morale. if not help win the war by depicting
the heroic sacrifice of Americ;uis at war,
to bother with science fiction. especially
such a frightening story like Ile liq; (Ll th_c
Worlds.
H, G. Wells died in 1946 and it scented
that the prospects for a filin adaptation of
his inost popular novel died with him. For-
tunately, filni producer George Pal had oth-
er ideas. While WHEN WORLDS COLLIDE
was in production. Pal searched the dusty
back rooni of Paramount's story depart-
nient for a new project. He soon discovered
the five adaptations of THE WAR OF THE
WORLDS. Pal took the project out of iiiolh-
balls and hired Barre Lyndon, ;ui acconi-
plished screenwriter who had just coniplet-
ed alt association with C. 13. Di-Mille on the
1atter's epic circus filin THE GREATEST
SHOW ON EARTH. "l conferred with inany
writers,“ says Pal, "but Barre came off
best. He had written a very suspenseful liliii
called THE HOUSE ON 92ND STREET [19-15,
a realistic senii-documentary detailing the
arrest of Nazi agents in Washington D.C.]
and on that basis 1 felt he would do well with
THE WAR OF THE WORLDS."
Lyndon was born in London on August 12.
1896 and in the 1920s and 1930s was iii-
creasingly successful in Britain as a ]our-
iialist zuid short story writer. as novelist
(Comba t. Circus E) alid playwright ("Hel1
for Leather"). His first big success was the
London stage production of "The Amazing
Dr. Clitterhouse" in 1936 in which actor lan
Fleming played the lead. The New York City
production later that year starred Sir Ced-
ric Hardwicke as Clitterhouse and was also
a success.
Lyndon left London and migrated to New
York in 1938. Two years later he was a
contract writer at MGM in Hollywood. lii
1941. he wrote the original script for Wal-
tcr Wangcr's SUNDOWN which had Gene
Tierney as a jungle girl tlltll Sir Cedric
Hardwicke as narrator and in lEl-13 tie wrote
the script for the highly acclainicd 20th
Century-Fox filin THE LODGEH. Again the
star was Sir Cedric Hzirdwickc. but the
laurels went to actor Laird Cregar for his
portrayal of the schizoid title character and
director John Brahin for his appropriately
fog-shrouded visuals. The success of the
filni prompted rival studio Paramount to
purchase the rights to a Lyndon play of a
similar nature, which they filmed in 1943
as THE MAN 1N HALF MOON STREET.
Between I944 and l95l, Lyndon shuttled
hetweeii 20th Ceiitury-Fox, where he did
HANGOVER SQUARE (1945) and THE HOUSE
ON 92ND STREET (1945), Warm-r Bros,
where he did THE NlGHT HAS A THOUSAND
EYES (1948). MGM. for TO PLEASE A
LADY (1950), and Paramount, where he
collaborated on THE GREATEST SHOW ON
EARTH.
Lyndon was no stranger to the literature
of Wells when Pal offered him the project
early in 1951. He was actually agrcat ad-
mirer of Wells, and collecting Wellsiana
was one of his passions. ln their first nieet-
ing. Pal spelled out the direction the re-
juvcnated project would take. He spoke of
the new interest in science fiction, the fly-
ing saucer phenomenon, the success of
f)ESTlNATlON MOON and the expert special
effects crew then finishing up on WHEN
WORLDS COLLIDE.
"THE WAR OF THE WORLDS," recalled
Pal, "was no longer as ancient as Wells had
once believed. With all the talk about ying
saucers, it had become especially timely.
And that is one of the reasons we updated
the story to the present and placed it in
California--the other being the obviously
limited budget and the costliness of a Lon-
don period film."
As he had done on his first two scientific
projects, Pal encouraged his screenwriter
to sprinkle the script with scientific termi-
nology, describing the movement of space
age hardware realistically, iuid to fully
draniatize the confrontation between the
scientists and the Martiauis. Pal knew that
he could fill movie houses with people al-
ready familiar with terms like nuclear fis-
sion, force fields. radiation and disintegra-
tion rays. Later when director Byron Has-
kin entered the project there were addition-
al story conferences on the film's anticipat-
ed perspective.
"The three of us." Pal recalled of his
collaboration with Haskin and Lyndon. "dc-
cided that we should do as much as we could
to make the audience feel that they're ac-
tually witnessing an attack and that the
Martians are really here. Of course they
are going to see a movie--they know it's
only make-hclieve. but ncvertheless.l think
we did capture in a small way the realism
of an actual attack.
"The success of the filin on this level
was partly due to two reasons. First. Byron
zuid l decided that we would never show the
point-of-view of the Martians despite the
pleas of the front office which kept demand-
ing that we stiool something of how they see
us. Throughout the filni, we held to that
concept. Secondly. to add realism. ease the
logistics and simplify the effects. we had
Los Aiigclcs always in the west and the
Martians always in the east. All of the
Itlti\’0|it1'Itl between the Army and the invad-
ers was east to west. This niadc a compli-
cated story easier to understand visually."
Since the attack would ht-gin in the east.
in the desert where the flying saucer craze
was strongest. Barre Lyndon went search-
iiig for the proper locale for his California-
based story. He didn't bother rereading the
original novel, he knew it well. illtd besides.
little of the 1890s scenario would remain in
the film. H.G.Wells‘ tale of survival in ruf
ral England under the Martian foot had be-
come a full-blown technological warfare
U

a
I

i/‘ I F
with a super-intelligent race froin across
the gulf of 5|1;tt‘t'.
An artists eoiieeptioii of thi- Martian war
niaehiiie |lt‘til|tll't‘(l iii the Paraiiiouiit Art De-
Yg ‘ lii early March 1951. Lyndon loaded up |i;ii-tiiienl under the SU])t'l'\'l5ltlll of art di-

his green Studebaker and aeeompziiiied by
Mrs. Lyndon. her sister and their blond
eueker spaniel. Mr. Corwin. headed south»
west towards San Bernardinn. After about
an hour drive. Barre stopped in a little town
i
rector Al Noxaki. The di'aw|iii1 has siiine
5ll“lhlll|., siiiiilaiitii-s to Boiiesti-ll's early
sketch sliowii at left and rt-fleets ;i iiiitlwiiy
|)ti|l\\ in the dt':ill:t1 of the Martian inaeliines.
after it was decided to aliandnii H. G. Wells‘

-ei-
nestled in the Chino Hills. This mis Linifii iiii~eli;uiiral stilt lt'}1l1l'(| t‘ttf\t‘t'])l. The tltllllvtl
4
"
Rosa. California. Population: 2000. There
was one iiiutel. two 5Pl'\‘lt't‘ stations. it new
tiizirket and a Sunkist ll[.Zt'llt'y. A niarki-r
poiiited towards the Linda Rosa eoiiveiit of
the Doiiiinicaii Order and froiii the inti-rSi-e—
f
t‘tillll'tll rooni at top is as dt-scribed in \hi~
i-iu"l)' treatnii-iil by seripti-i" l'!:u"ri- L_VI\(ltil\.
~’;— ~-
i|Ul|ll'll('t' ti-oin the titllltl|lllll'llt‘t' of the invad-
tioii where he stood. lliirrr eoultl see a
y. .

blacktop road rut into the Chino Hills aniiil

sniall oriuiize groves seatti-i'ed with nltl :i-
bandonedoilderrirks.
Pit-ring together the story behind L_vn-
dun's sereenplay proved difficult until his
wife led iiie to aeopy of his original treal-
nient dated Julie 7.1951. ft offers ii fast'i-
nating gliiiipse into the e;u‘ly (1ttyStifll\t‘ ;i-
dztptatiun when niueh of the drziiiiatizatioii
was different froni the final filnied t'tll\t'L'|l(.
lt was Lyndon who etigineered the filin‘s
unique tipt'f\lll[,Z (later coiii|ilt~nii-iited hy the
space paintings of Cl\t'S|l'_\' |'loiii-st:-ll. au;;<
iiieitted by the S|)t't'ltl| effects tit-|i;u'tiiit~iit)
where we visit each planet in our solar s_vs-
leiii [except for cloudy Venus) lit-fore we
eunit‘ to fertile, appt-aling E;u'tli»-tiirigt-l
for the Martian inviision.
lii the very first |ia.i'ai1ra|ili of the ti~i-iit-
_$ nient. Lyndoii writes. "A sky full of stars
with Mars showing ]l.lSt ;l|)ti\'t' the houses
and hilltops. The first page of l-l_G.Vt'ells'
book is superiiiiposed and a \'tllt't' with 1|
Wells-like accent [later L_viidoii‘s old ll‘lt'l\tl.
Sir Cetlrie H;u‘d\\‘it‘ke] quotes the opeiiiiii:
words. ‘No one would have lit-lien-(l in tlii-
niiddle of the 20th Century that hunian af-
fairs were lit-i|i|,: watelied kt'L'l\l_\' and elost-l_\'
by intelliizeiicvs |,:reater than ni;in‘s and yet
us mortal as his own."'
lii the filin. the arrival of the first rylin~
der is glinipsed hy a sinnll group leaving ll
iiiovie. Ly|idoii's oriiziniil opt-iiiiia if\\'Ul\‘l‘(l
Ll iiiuch more el;ilioi';ite lt1tllll;q,1t'. Siniult;ui-
eously. the meteor is spotted by a "lonely
lufty forestry lookout. ueop_ l2|\t'l\lIltlt‘}1t|-
ers who spot it from Los Angeli-s streets
and an air patrol pilot who is flying at
15.000 feet."
The pilot. Lyndoii‘s iiniin eli;ii'acti-i~. it
is explained. "is up in the rlouds |)t‘t‘llLl5l'
ruriuus things have been |lil]!|lt‘llIl\}1. Nothing
fanciful like [lying saucers. or \A‘l\il.Zitl|.{
discs. but radar screens are knocked hay—
wire at tinies. Nobody knows why. And
there is peculiar radio iiiterferi-nee. Sea
Lllld air defenses are alert all around the
eloek. Special patrols are up night and day.
Like this one." Lyndon inti'odu1-estlii- pilot
\__ as Greg Bradley. ;ui oil |)l'ti$|)t't'(0l‘ who puts
‘ \
in occasioiial flyini: hours to retain at M'.i-
_
](Il"S coniniissioii iii the air guard.
nip hliLf‘lll|llS.
Lyntloifs |ii'eliiiiiiiar_v l‘t't'lIl\l\;tlSSlAlll‘t' tn
Liiit|allos;i paid off liaiidsoiiii-ly. H.G.Wells‘
5l‘l\ll\}1 on the Woking eoiiiiiiuii traiisft-i's
nicely to California where the rural charm‘-
ti-rs who first \'l('\\‘ the eyliiirit-i~ later instill
§ltl“l' eniiii-dy into the filni's initial lilti-
nii-iits. While the store owners diseuss the
|ioti~iitial roiiiinereialisni of liarint: =1 H5111"
niett-or near the town, Lyiidoii introduces
the story's other inain t‘|Illl‘llt‘\t'l'. "xi strik-
in|.! lilonde wliose stiiarl fort-igii convertilile
liuiiips off the lilaektop. The |1ll‘l in it is
(l|‘l'5ht'il (by Dior) in an ash blonde lini-ii.
nrigiiiiili Not ll fifty dollar i-opy. Haiidhaa
and shoes in l‘ti])])t‘l‘ suadt-. She walks with
the air of a tluehrss. The slini zuid l)t'£l\l\ll\|l
kind. This is Sylvia Ashton. Bark Bay. Bos-
ton. Aristoci~;ilic. wealthy. Her faniily |i\\'tl5
the White Funnel Llllt'--Btisltlll. Bahaniiis
iuid the C;t|‘lt'...
"Greg eyes hi-r. She isn't his kind of
(lanii-. Sllt"S an orchid out of it hot huusr.
S|)\Illt'K| siioiity. Shi~ looks at hini. Slie's st-i-ii
his type ziroiind her fiithi-i"s docks. Crude.
Ruth-."
Gt-orize Pal lali-r found this l\lt'(‘llll|,1 of
o|i|io:~iti-s (ll2~’ll‘;l(‘lII\i1 .ui<| totally tllll\('l‘t‘$‘
sztrfi‘. liut he had no choice. Alllltltlllll it was
his |il;in to ;_{ti hack to the Wells lltl\‘l‘| lllltl
i-eeri-ale the story of ll l\l£U'l‘|t't| iiian ltttlklllll
for his \\'i[t-_ thi-re \\‘t't‘(' roiiiiilirat ions ini-
tiated by the Pttflttittilllll front office. as Pail
recalls:
"l was fresh at P;Ll‘tll'lltI\ll\l anti when you
first t‘II|tlt' in an awful lot of ]lt'ti|)lt' try to
_t1ui(le you. S\tlllt' of tht-iii nit-iui well zuid
sonie of tlieni tliil\'l. they're ]\15l tln-oii.-iiii;
thi-ir \\'t‘l|.1|ll ;\.l'UUI\(l. Aiitltlii-y ltvl‘l't‘(|4>l\ till‘
this ritlieuluiis stoi‘_\' of ;i St'lt'llllSl going on
a fishini: trip. nit-etiiii; it izirl and then after
only one l'\'t'lllll}.{. he |)t‘l1ll\$ this trenieiidnus
st-iirrh for lii-r. froiii eliui-eh to chureh."
Most of the t‘Xt't'Ull\'t' |ii"t~ssui'i- was coin-
ing front Don Hzirlnizut. then \'ict~ prt-sitleiil
in eh;u'i1t- of protlurtioii at plll'Lll1\ti\1lll and
foi-nii-r t‘l"t';il1ll‘ of iiiiiny of the Btih Hope
flint: Crosby "Road" pietures. Hllflltllllt Ii-It
that there must he a boy girl lI\|t‘l‘t'Sl in thi-
filin for hoxoffier reasoiis. He unlert-ti Pal
to give his iiiale li-iitl it feiiiale costar. Re-
luetantly. Pal passed the orth-r on toLyn-
dun who fasliiuiii-d the oil |)l"ti$])\'t‘ltil‘ soei-

‘ Later. George Pal decided tiiat Major

Top: Producer George Pal goes uver the
script with director of photography George
Barnes on the Paramount baeklut. Middle:
— An early oil skctvh by artist Chesley Bon-
estell of the Martian nest, as the aliens e-
merge from their cylinder to construct the
war machine. Bottom: Director Byron Has-
kin (holding script). correspondent John
Lake. producer George Pal. and associate
producer Frank I-‘reenian, Jr. Freeiiian was
the son of the president of Paramount.
Bradley was entirely the wroiip foeus in a
story that dealt with St'll‘I\t‘(‘ tuid woiizli-i‘.
rather thtui iiiilitary (‘tll\ll‘tiI\lll0ll. and Lyn-
don created for hiiii the role of Dr.Cl;iytoii
Forrester of Paeifie Tech, a iiuelear |ihysi-
eist. or as library student Sylvia Van Burt-ii
later states. "the iiian hehiiid the new atoin-
lC en1.!in('s."lt is through Forrestt-r's st'ien-
tific observations that the story of an alien
invasion obtains its true reiilisni as it did in
1938 when Orson Welles portrayed Pi'ofes-
sor Pearson of Princeton. The Bradley role
Pal felt was siniply tou iiiaehu when the true
niaehisniu was on the other side of the hat-
tlefield. He wanted nothing to distract the
ety queen l‘t‘l;llll|llSl\l]l wliieli was later tuni-rt
down to nueleau‘ nhysieist Clayton Forreslei-
iuid Sylvia Van Burt-ii. library student iuid
sinall towii tllfl.
Pal felt that it was logical lo ti-ll the
story froni ll seii-ntist‘s point of view rzitht-i"
th;ui froiii ii iiiilitar_v |n;in‘s because a sei-
entific a|iproarh would save pi-nductioii ex-
pi-iises iii the Iona run and would i\|I|)('lll to
the puhlie‘s iiisatialile taste for aiiytliiiip
seieiitifie. Pill yeariii-d to |ll‘tldLlt't' a s|ii-awl-
ing adventure filni detailiiig the full-scale
ll\\'llSlfII\ hut the a|i|iru|ii-iale funds were
laekiiig. He had to cut eorners. ehonSiii|; ln
go with a proveii forniula.
Further influeiiciiig Pal's final produc-

10
i
tlon design was the Lyndon treatment which
places Greg Bradley square in the middle
of the military defense against the Mar-
tians. lfe is all at once the principal nilli-
tary liason at hand. a chief intelligence
gatherer for the California Air National
Guard, an acting police chief, atraflic di-
rector and man about small town. The re-
cent DeMille experience behind him, linked
with his fascination with Wells, and the
challenge of transferring the locales suc—
eessfully. Lyndon at times could not help
but write dramatic but highly coniplex and
expensive scenes.
After thc Martians reveal themselves by
expunging the truce party with their heat
ray. Lyndon. in the treatment. switches to
the main street of Linda Rosa whcrc Brad—
ley is directing a desperate defense. De-
Mille would have been proud, as Lyndon de-
scribes it:
"The intersection in Linda Rosa is a
scene of disaster. Pumps at the service sta-
tion are burning like powcrtorches. Stacked
oil cans are going u|i. The new market was
caught by the Martian beam. So was the
crowd which was staring up the blacktop
road. People are dead un the ground. Oth-
ers are running. beating at blazing clothes.
The Presbyterian church steeple is flaming
against the sky. A police car screams into
the main strcct. rcd light and siren wurk-
ing. The local hook and ladder zuid chemical
fire truck race up and go into action. While
the ltine cop in the car hollers over his ra-
dio. 'Put out a disaster call. lgut dead peo-
ple all over the road!"
The latter exclamation suggests another
situation that called fur an immediate alter—
ation in the final shooting script: violence.
lf there was one clement that characterized
the original Wells novel. it was the author's
graphic study of death and destruction in
peaceful rural England. Dead people. dead
horses, rotting decaying esh, scavenging
carrion birds pecking at the remains. lt was
all grossly detailed. Lyndon's script re-
tained this graphic element in the carly
scenes of massacre at Linda Rosa, but Pal
later eliminated much of the violence. A-
side from the opening annihilation of the
truce party, the minister and Colonel Heff-
ner, and the later riot on a downtown Los
Angeles strcct where Dr. Forrester is beat-
en up and thrown off his truck, THE WAR
OF THE WORLDS confines its violence to a
machine versus machine reality.
Lyndnn's original scene of chaos in Lin-
da Rosa becomes even more elaborate when
the military arrives. While water is direct-
ed on the burning buildings. Marines ar-
rive front El Toro Marine Air Station in
Santa Ana. And then as radio commentators
descend on the scene, we are introduced to
local astronomer Professor Ogilvie, the on-
ly character Lyndon retained from the uri-
ginal novel (he was killed on Woking coni-
mun during the first Martian attack). ln
later drafts the character's name was al-
tered to Professor McPherson of the Can-
adian Meteorological institute.
ln the treatment, as in the completed
shooting script, the first skirmish occurs
when ti reconnaissance plane drops a flare
outside Linda Rosa amid the Martian nest.
In the film we do not see the nest. Whether
it was purely a question of budget or Pal's
aforementioned decision to enshroud the
Martian activities in a cloud of mystery, the
entire scene is played effectively from be-
hind the microphone of a frantic newsman
(Ted Hecht) on the scene with his communi-
cations truck.
12
ln the treatment we find the Air Guard
plane is being flown by a friend of l3rad-
ley's, a chubby ex-reconnaissance pilot
named Charlie Ryan. The flare he drops
lights up the entire gully and rcvcals a
scene taken right out of Wells‘ original no-
vel: "The meteurlike machine has been dug
clear ." writes Lyndon. "leveled off and
stripped of its oxidized shell. lt is rcvcalcd
as cylindrically rounded at the cnds and it
has bt-cn sliced into three segments. One is
on its side. with a dome half built on it.
Another section is ]llSldl"t)]l|)llt1,! into place.
Shimmering light is arcing over it as if to
seal the join. Thc finned snouted weapoit
which threw the heat ray is raised up. a
guarding sentinel. A handling iiiachinc—-all
rods and levers. is pulling the plates and
bars of tinted iiictal frniii out of the rounded
tail end. And in the gully arc thrcc li\'ing
creatures. Squat. everything about thctii
sagging downward under the weight of the
gravitational pull. Thcy are thick, reddish."
Moments later the recon ])l;|Iit‘ is destroyed.
Lyndon's first description of the Martian
war iiiachines is through a montage of tclv-
vision screens as groups cverywhcre watch
the strange alien vchielcs march out of
their gully. At this point, in the niiddlc of
May 1951, the war machines are pictured
as Wells’ mechanical tripodal gizuitsz
"Something is rising slowly from the
gully. A section of the cylindcr domed.
Mounted with massive l)tlSS(‘S like the one
that threw the heat ray. the Martian nia-
chine has risen hight-r on thrt-c lcgs. The
glistening metal has a rarc strange green
blue tint. The spider thin It-gs are vivid
red."
ln the shouting script, before the Ma-
rines can open fire. Sylvia Van Burcn's u|i-
clc, Pastor Collins walks out to thc gully in
a suicidal attempt to conimuiiicatc with the
Martians. By his own reckoning, the alicns
are from a more advanced civilization and
thus should be nearer to God for that rea-
son. Originally. Lyndon wrote atiiorc coiii-
plex scene which resembles a small rcligi-
ous crusade. After the Martians unveil their
disintegration ray by promptly cxpuitging
the first line of batteries, the convent nioit-
signur is given the Marine captain's per-
mission to appeal to the Martians and is ac-
companied by a rahbi. a Presbyterian niiti-
istcr and Lt group of Dominican nuns. Ly|i-
dun describes this "farewell" scene!
"While the group collcctivcly chants the
23rd Psalm all else is quiet. Soldiers with
ries, bazookas and mortars peer from
cover. Crowds are watching through field
glasses as they go along the blacktop past
scorched orange trees and burned wreck—
age. . . Past covered figures at the edge of
the road. Their pealing 'anien' draws out
through the quiet as they come with the
Monsignor holding the crucifix high--the
jeweled tips of the cross catching the sun
brilliant. The Martian crunches spider-like
still. There is a moment of suspensc then
comes that screaming magenta tinted ray.
lt cuts the ‘amen’ dead. And we know with-
out seeing what it had done to tht- Moii-
signor, his companions and the Dominican
Nuns."
Instead of engaging the Martituis iit a set
piece of battle with the Marine force. as is
depicted in the final shooting script. Lyndon
staggers the battle sequences into aseries
of sharp and short-lived encounters.
lnterestingly. in the treatment. the stilt-
legged Martian machines move along on
caterpillar tracks set on end. They burst
through the thin line of Marine artillery.
Top: Producer George Pal, production nian-
ager Kenneth DeLand. director Byron Has-
kin and art director Al Nozaki refer to a
production sketch during filming. Bottom:
Art director Al Nozaki refers to an early
prototype of the Martian war machine while
pruduciiig a series of continuity sketches
from Barre Lyndon's screenplay. The cobra
neck is placed far hack on the prototype
model. Later it would be moved as far for-
ward as possible.
---—--iL~——--i——-—
The conventional firepower camiot hit the
Martians since they have. as Lyndon de-
scribes. "put out short cobalt colored ](‘\S
which thin as they extend and merge to form
an umbrella-like envelope which drops a-
round the machines to the l-!I'"""d- This "'1'
palpable transparent covi-ring of electro-
magnetic energy passes over physical ob-
]L't'lS as if it wcrc no more than mist. Yet
bullets front the Marine Guards fail to pen-
etrate. they only make sparks."
While the shooting script rt-tains one
quick stock shot of the Air Force flying in,
acconipttnicd by a hricf yt-ll by airborne
Forrester ("There they art-I"). Lyndon went
into a detailed description of the desperate
air strike against the Martian nest:
"At Greenvalc. thc three Martians come
to the new cylindcr and whilc their rays
swecp the skics, their iiiagnetic umbrellas
('X|ltU‘ld spreading to cover the cylinder and
themselves as another wave of lllLU1f‘S roar
out of thc sky——1t-ts from George Air Force
Base.
"They makc a 600 milt--pcr—hour pass.
Rays shoot upwards like fciice posts merg-
ing to make a curtain into which the nia-
chines are taken by their own spccd. And a-
gainst which they die."
One of thc more interesting "lost" se-
qucitct-s is the one in which Lyndon treats
the naval attack on the Huntington Beach
cylinder, another sharp engagcnient which
aside from a quick iiientiun by General
Mann was also completely eliminated.
This particular sequence is vicwcd from
an aerial perspective where Bradley's T-6
trainer is scouting en route to Palm Springs.
Bt-low. the Navy is in action on the coast.
the Huntington Beach cylinder having beach-
ed itself by the mouth of the Santa Ana Riv-
er. ln'Wclls' novel. the brother character
also witnesses ii naval clash in his bid to
escape England, when the British ironclad
Thunderchild takes on three waterborn Mar-
tians. However, while the ironclad takes
two Martians with her before being ripped
apart. the Navy in Lyiidon's script has no
success at all:
"Two destroyers are racing in at it. Two
iiitire screen a flat top which stands off-
shore and is skating planes into the air. A
single Martian machine is moving to pro-
tcct the cylinder. coming from the meteor
that fell south of Corona. lt's :i Pentagon
order now. attack all cylinders as soon as
found. Before anything can get out of the
cylinder, rockets are from the bows of the
racing destroyers. The fighting ships are
close in when they wheel letting to with fore
aitd aft turrets and all of the forty niilliniet-
ers they can bring to hear.
“The cylinder is hiddcn by explosions
and a narrow hcant of glowing orange light
streaks from the Martian machine beyond
it. The beam seems to lay on the water--
stiff thin as a pencil. lt touches one of the
destroyers. A bolt of light streaks down its
shining length. lntcnsc. incredibly fast. lt
hits. Vivid yellow light explodes in great
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 star points that dissolve into a curtain of
spray. Through this. the destroyer shows.
ripped asunder. sinking. Above the wreck.
naval jets slash in from the flat top. Low
level. The Martian is their target and they
let go with rockets. They burst against the
envelope ineffectual. Rays lick at the planes
as they zoom away. but one pilot wheels
skimming the sand.
"He flat banks and attacks with his belly
scraping the roofs of the beach homes. The
Martians‘ attention is on other planes. The
machine is a sitting duck for the Navy let.
It comes in with the wick turned right up.
The pilot blazes with guns. rockets. They
do nothing and he sends his plane itself at
the Martian. lt hits the envelope, drives
hall-way in then crumbles as if flown into a
concrete wall. High above Greg sees a plane
below him caught by a ray. The plane skel-
etonizes as Greg wheels to escape the beam
but the edge of it )ust catches one of his
wings. Half the wing changes color and dis-
solves to nothing. The T-6 starts down flip-
ping around like a sycamore seed."
ln Wells’ novel, the main character and
a half-crazed curate discover an abandoned
house in Sheen on the road to Mortlake.
Shortly thereafter. the fifth cylinder crashes
nearby destroying most of their shelter and
burying them in the rubble. ln Lyndon‘s
treatment. Greg and Sylvia find a similar
dwelling outside Corona. They watch tele-
vision as a transcontinental relay takes
them to New York and Gabriel Heater who.
as he does so effectively in THE DAY THE
EARTH STOOD STILL. delivers a moody
foretelling of man's desperate situation.
I-‘or the most part. Heater's monologue
and the use of TV bulletins was later elimi—
nated from the shooting script. Pal feeling
that. although they were an excellent part of
Orson Welles‘ radio broadcast. their pro-
longed use in a motion picture would be dis-
tracting. Much of the worldwide situation
was reintroduced by narrator Sir Cedric
Hardwicke who describes the Martian plan
in a fascinating montage sequence which
later takes the audience around the world
using film clips and special effects.
ln the original novel. the scenes in the
ruined house where the ](l\1!‘fl§lll5l and the
curate hide from the Martians were written
carefully to symbolize the captivity and
helplessness of mankind under the Martian
foot. Through a solitary slit in one of the
crumbling walls. the pair watch as the Mar-
tians build their nest. construct their war
machines and devour the humans they've
captured The two captives are held in con-
-_4- ' 3 ' "-- ‘ . stant terror by the threat of discovery and
1'. at one time. a steel tentacle breaks through
one of the walls. searching for them.
\_ Lyndon chose this sequence as the prop-
Two preproduction sketches made by the
Paramount Art Department under the su-
pervision of art director Al Nozaki. Top: A
man is about to fire on a passing Martian
machine from the rooftops as Los Angeles
is destroyed. a scene not filmed. Bottom:
A failing Martian machine fires its destruc-
tive ray as it crashes to the ground. also
nut lmed. Note the far-back positioning of
the cobra neck and that tripodal ray sup-
ports were planned for the war machines.
Greg knows what's happening. He empties
his gun past her blasting whatever is beyond
the doorway. Then he chops at the arm and
cuts clear through. his axe head biting deep
into the doorpost and stopping there. An in-
human scream sounds outside. The suckers
still cling to the girl's shoulder. Greg pulls
off what is left of the loathsome arm. The
suckers tear away part of her blouse."
Pal later asked for changes in this par-
ticular scene. First. the scene called for
fascination as well as terror. ln the final
film. Forrester sees the collapse of the
house and the arrival of the Martians as a
stroke of luck. "We're right in a nest of
them. l most get a good look at them." he
tells Sylvia Van Boron. the nice library
student who would never even consider get-
ting her blouse torn. Even the Martian went
through a transformation. When his sucker
touches Sylvia it is a touch of curiosity ra-
ther than belligerance. Forrester still cuts
him down with an axe blade but the gun fusi-
lade was eliminated.
As Lyndon finished the treatment. a bas-
ic problem arose. The Martian's fate had
been prcordained in the H. G. Wells novel.
death by bacterial disease. But what of the
two main characters‘? Lyndon had no guide-
lines for this aspect of the script since
Wells‘ narrative concerned a single charac-
ter who in the last line is reunited with his
wife. Since Paramount executive Don Hart-
man had dispensed with this “non-commer-
cial" relationship. it was thus up to Lyn-
don to wind down the film with what George
Pal would later refer to as an "improbable
sequence."
ln the treatment. on the trek back from
the ill-fated A-bomb attack. a disillusioned
Sylvia Ashton recalls a childhood incident
of being lost and awfully scared. Seeking
shelter. she hid in a church until her family
discovered her. Lyndon. with this as a mo-
del, found it easy to create a sequence in
which the pair are separated for the first
time After a decision is reached to estab-
lish a base for further study in the Rockies.
Greg and Sylvia volunteer their services as
drivers to transport equipment to the base.
Unfortunately. the Los Angeles city streets

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\ er atmosphere for a quick glimpse of the

Martians. He replaced the probing tentacle
with acreeping electronic eye which is sev-
are in chaos and both vehicles are soon hi-
jacked. While Los Angeles crumbles around
him. Bradley searches for Sylvia. finding
her in a Lutheran church. Write_s Lyndon in
»

.. .. cred by an axe-wielding Bradley. While he

‘ ‘V
Top: Cinematographer George Barnes ex-
plains about the positioning of the cobra
neck to Ann Robinson and Gene Barry on a
small model made to evaluate the new front
positioning desired. Middle: A worker in
Paramount's plaster shop prepares a mold
form from which the actual war machines
will be manufactured. Bottom: The proto-
type model of the Martian war machine, as
it appears today. photographed outside the
California home of art director Al Nozaki.
V/' is examining the weird device and chipping
away at the ceiling so that the pair can es-
cape (earth has been piled against the four
walls of the house). "a hand on an arm that
isn't an arm comes through a broken glass
door which once led to the patio. lt now
leads only to a tangle of fallen roofing. With
the Martian machine beyond. The limb has
ribbed degenerate musculature. Thickveins.
lt ends in a hand shape with threefinger-like
suckers. These fasten on Sylvia's shoulder,
spreading. drawing her backwards towards
the door.
"She trics to scream but horror para-
lyzes her voice. She is at the door before
the trcatment's last paragraph:
"They fly into each other's arms. Love
is where you find it and they know they've
found it. A Martian machine comes into
sight around a turn. lurches against a build-
ing and caroms off. They run. Get to the
mountains maybe they can have a little time
together yet. Around a turn they run into a-
nother machine. It has no blued envelope
and its heat ray is licking out erratically. lt
is butting blindly into buildings. They come
upon still another Martian machine,as it
topples in a tangle of trolley wires falling
outside the church. its dome splitting open.
Greg looks inside the dome. He can see a

14
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Martian's triple-sucker hand and veined
head. But the skin has turned brownish yel-
low. The Martian is motionless, dead." For
a final tag, Lyndon removed the church
wedding of Sylvia and Major Bradley in the
treatment leaving only a stirring montage of
the world rejoicing at the downfall of the
Martian machines as the voice of narrator
Sir Cedric Hardwicke gives thanks to God,
saying: "And thus. after science fails man
in its supreme test, it is the littlest things
that God in his wisdom had put upon the
Earth that save mankind."
There was still a great deal of work to
be done on the scrim. what with the major
change in characters and general emphasis
on the Martian attack rather than a brawling
romance, but Pal was satisfied with the way
in which Lyndon had handled the material.
One morning late in June, l95l, Pal re-
turned to the office of Don Hartman to get
the executive's reaction to the script. Pal
was quite ready for the final confirmation
so that he could acquire his production team
and begin preparing the film. Pal describes
production chief Hartman as "a former
writer who was very good at developing dif-
ferent types of films but who had no appre-
ciation whatsoever for science fiction.
"He didn't understand it." recalled Pal.
"For instance he told us during THE NAK—
ED JUNGLE EPal's next project which was
released in 1954] to get rid of the ants and
make the romance between Charlton Heston
and Eleanor Parker more important! But
the picture without the ants wouldn't have
meant a thing. l had a big disagreement with
him on THE WAR OF THE WORLDS andf
almost lost the project entirely. We simply
didn't see eye to eye." On that early sum-
mer morning, Pal received quite anunex-
pected reception from the studio vice—pres-
ident.
"George," Hartman began, "this script
is a piece of crap and this is where it be-
longs." Hartman then threw Lyndon's treat-
ment in a nearby wastebasket.
Pal who was always a portrait of emo-
tional control exploded, stormed around
Hartman's desk and grabbed the vice-presi-
dent by the lapels and proceeded to call him
everything he could think of. While Hartman
suffered through a Hungarian tirade of ex-
pletives, Y. Frank Freeman, president of
Paramount walked into the room. He first
looked around for amovie crew thinking he
may have accidentally stumbled onto some
sound stage, but there being none, he quick-
ly pulled the two men apart and demanded
an explanation. Freeman, a 61-year-old
Georgian, had succeeded Adolph Zukor as
studio production head in 1938 and in the
thirteen years since had established himself
as one of the motion picture industry's most
respected executives. Both Pal and Hart-
man told their sides of the story and when
they were finished, Freeman turned to Pal
and said. "Go ahead and make your film, do
anything you want."
Unknown to Pal, Freeman had already
spoken to Cecil B. DeMille who had put in
several good words for Pal. DeMille had
confidence in the producer and voiced this
to the studio president. Hartman sheepishly
bowed to Freeman's authority and THE
WAR OF THE WORLDS was placed on the
production calandar. With a sigh of relief,
and a parting glare at Hartman, Pal left and
began assembling a crew that would finally
bring H. G. Wells‘ classic to the screen.
Having wound up the final editing on
WHEN WORLDS COLLIDE, Pal left for La
Paz, Mexico on the Baja Peninsula for a
15
week of vacation. Paramount had announced
THE WAR OF THE WORLDS officially on
May 18, 1951, almost a ntonth before the
Hartman/Pal collision. The studio predicted
a late summer start for the new science
fiction film but with script changes and oth-
er problems. there were going to be delays.
in La Paz, Pal relaxed in the pleasant
sun and contemplated Lyndon's completed
script and the enormous task ahead of him.
His immediate concern was for the rede-
sign of the Martian war machines. Before
leaving for La Paz, Pal had dropped off a
copy of the script with art director Al Nu-
zaki whose immediate job was to convertthe
words into pictures. And it was from Nu-
zaki's preliminary sketches that Pal realiz-
ed that Wells’ mechanical stilted war ma-
chines were going to be difficult to film.
Gordon Jennings confirmed this on Pal's
return to the studio on the 25th of .lune. At
a crucial meeting. it was decided that a new
concept was definitely needed.
As Nozaki put it. "When you draw illus-
trations in a book or when you use the
printed word, you can make the Martians do
anything. And in our early production draw—
ings. you saw the machines walking over
rough terrain, or crashi v through build-
ings. However. as Gordonntfennings] point-
ed out. if you tried to do things rt-:ilistical-
ly, in miniature as we planned. you were
going to run into definite problems. We
wanted the machines to be highly mobile but
with stilted marching machines it was im-
possible to be smooth while crashing across
gullies and wrecked streets."
To add still another creative mind to the
problem. Pal assigned director Byron Has-
kin to the project. At 53, "Bunny" Haskin,
the former head of the Warner Bros special
effects department, had been signed on as a
contract director at Paramount the previous
March and was in the midst of directing
THE DENVER AND THE Rl0 GRANDB. his
second Western feature for producer Nat
Holt. Before he left for his Rocky Mountain
location. he too offered his advice on the
design of the Martians: "Although we were
afraid to desert the entire Wells concept,
we eventually decided anything he may have
written about water tanks and towers walk-
ing slowly across meadows in rural England
was now ridiculous in a film sense."
While everyone was unanimous in con-
demning the original Wells concept, no one
could offer Nozaki any concrete solutions.
He simply went home and began sketching
and sketching and sketching, as any art di-
rector will do to keep the ideas owing. He
soon came up with the design for one of the
most sophisticated alien machines ever to
be seen on the motion picture screen.
Albert Nozaki was only three years old
when he came to the United States from .la-
pan in 1915. He came through Seattle which
was the port of entry in those days and then
headed south, first to San Francisco and
then to Los Angeles. ln his teens he decided
on architecture as a major and spent four
years studying it at Los Angeles Polytech-
nlc High. He later graduated USC with a
bachelor's degree but. unfortunately, the
timing of his graduation was wrong. lt was
1933 and you couldn't buy a job in the ar-
chitecture field. He soon left for the Mid—
west and spent the next year at the Univer-
sity of lllinois receiving a Masters in Ar-
chitectural Engineering. He spent the next
six months job hunting in Chicago, Philadel-
phia and New York but the picture Was so
gloomy that he returned home to Los Ange-
les.
Producer George Pal and Sir Cedric Hard-
wicke read over the script prior to a post-
production recording session of the film's
narration. The casting of Hardwicke as nar-
rator was suggested by his friend, screen-
writer Barre Lyndon. who desired to have
the words of H. G. Wells delivered by the
cultured tones of a fellow Englishman. The
narration was suggested by Pal as an alter-
native to the news bulletin/Welles-style
bridging device of the original treatment.
He soon entered the motion picture in-
dustry. totally by accident. As it happened,
a friend of his opened-a fruit and vegetable
stand on West Pico as part of a big open air
market (in those days all fruit and vegetable
markets were run by Japanese on a sub-
lease basis). His friend had acustomer who
each day would come in and purchase five
bunches of carrots and he insisted on being
waited on by Nozaki's pal. As it turned out,
the carrots were for the man's horse which
was tethered at Paramount Studios where
Set Dressing
this man was in charge of the
department. One day he asked the grocery
clerk whether he would like to come visit
the studio. This was in October. i934, and
Nozaki was invited as well.
"He took us through the lot." the former
art director recalled, "and in those days
there was a lot of activity in the studios and
l saw all of this construction. And l said to
myself there must be some work available
in drawing. From the set dresser l got the
name of the head of the Art Department,
Hans Drieir. So l called up his secretary
and she told me to write a letter. So l wrote
and 1 got a call from Drieir who told me to
come in a.nd bring some of my work. l
brought all of my school projects and son-
of-a~gun if he didn't give me a job. He said
come in next Monday. Asl went out, l told
the secretary that l had the job and she
pulled out a stack of applications six inches
high, all of people who had previously ap-
plied for jobs. ‘How did you get it?‘ she
asked, and l had to admit, 'l don't know!"'
Nozaki was hired as apprentice drafts-
man and his first project was Cecil B. De-
Mille's THE CRUSADES. "ln those days,"
Nozaki recalled, "you started out as an ap-
prentice. But the salary was $35 a week and
to me that sounded like a million dollars!"
He worked in Hollywood until the out-
break of the Second World War when he was
interned during the disgraceful relocation
period in California which uprooted thou-
Sands of loyal Japanese families from their
homes and their jobs. After one year, he
went to Chicago (he was forbidden to work
in California) and was hired as an industrial
designer. Between 1942 and i946, Nozakl
designed products for the manufacturers
who were readying their postwar markets.
He soon became a junior partner but he
missed the warm climate of southern Cali-
fornia. When the war ended in the Fall of
l945, he wrote to Drieir and was soon re-
hired at Paramount.
lt was early in July 1951 when Nozaki hit
upon the idea for his fearsome Martian war
machine. lt came as an inspirational flash
on a Sunday afternoon. Sasy Nozaki, "if the
idea came from any place it came from
something like the Manta Ray and originally
that cobra like control arm was coming out
of the rear of the machine, like the tail of
the Manta Ray. lt was one of those ideas
that instantly you know is right." '
Nozaki took his rough drawing to the
continued page 34
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Arthur Jensen . . . . . . . . . . . . . . .. Ned Beaitty triuiiics; he's ttillnwiiig his uwii svript. And CATCH -221’). ..ull lLl\Xlt‘ll£‘5ll"l1.I\(]l-llllZE‘d,
Great Ahiiied Kiihn . . . . . Arthur Burizhardt
4 reiility-—hunk riililieries--lierniiies luiitii4~:y all tiiirediiiii iuiiused.“ The iiiessage is
TV Direetur . . . . . . . . . . . . . .. Bill Biirriiws
4 tin the "Man Tse-tuiii; Hiiur." illld t;iiitasy-- t-le;i.r: l|\.\l' wnrld is dying. The earth is he-
Genrge Bust-h . . . . . . . . . . . .liihn Carpenter
4 sii-.i|i iipera i-nuitin|;--lieeunies l'L'iLlll)' in the lll|1 hiiuizht and <iur iiiiiids are ht-int: pulluted
Harry Hunter . . . . . . . . . .. .liird;ui Chztrney
4 Christiiinseii s(‘|lUllltlL'|I(‘l' lll\‘l' uair. with l)LU\L1|lllI‘5. Ultiiiiuti:-ly even the wild.
Mary Ann Gittiird . . . . . . . . Kathy Cronkite These theiiies -.i wiirld gtiuiiz iniid and the iiiiid iiidividualists play iltl the hands til the
I breiikdiiwii tit reality, t-ullirie in the stiiry iii Jensenst the luture gt-ds iit the tirave new
lt wuuld he fiuilisli In riill NETWORK Hnwurd Beale, the "iii;it'l pruphet ul the uir— wurld.
liuiltisy iUl(| eriiiiiiial Iltll tii. Like DAY OF w;i\'es" (ii hrilliant pnrtrayal by the lute Chayetsky gives the screw a tinal turn.
THE UOCUST, it is ii rt-ulistie wiirk wliiise Peter Fll\L‘h). The dlSllll1Si0nt=(‘|, ultimately Jensen answers Be;tle's "Why iiie?" with
lull iiiipart can iinly he lelt iltiiie is aware insane, tild iiian iii:i.kes a pt-rleet |)l'tl|)h(-‘I "Because yuu‘re uii televisitiii, duniiiiy."
iif the lzuittisy elements hleiided intu the szr lur the telt-visiiiii age. Alter ye;u's til play— ]u5l what Beale had ht-;u'tl iii his first revel-
tire. i|i|,: his rule nightly he dares tii he an indi\'i— atiiiii. ls this ct t-lever iiiiive by Jensen, ur
The best wiird fur NETWORK is :iput'a- dual--and the result is iiiudiiess lur hiiii iind is he as iiiiid, iir divine, as Beiilt-'.’
lyptir. lts mild i'agt- captures a Hllltld iit ini~ pseudu»rt-ligiiius frenzy liir his audit-iii-e. Instead tit lllllllktllllll Revelatiiiiis as THE
pending chiius; hiitidluiiis bl'l'UlllC‘ television When Beale raves agaiiist the eiirpiiru- OMEN did. Chayetsky izives us a new apne-
stars_ iiewsiiien tiet-nine prophets. and, in tiun behind the tjniuii Briiaduisting Systeiii alyiitie wiirk, tin t-let-tri-iiic gospel ul iniiiii-
the ultiiiiale iriiny. Aiiierit-iiii raiiitulisiii is (UB5) it heeiiiiies iieeessiiry iii whip the nent iiiudiiess. Taken iust as satire NET-
used tii huy Aiiit-rirai. ll this wasn't tiirettild ])l"tl|)|l(‘\ iiitii line. iind we rt-iivh the eiire Ill WORK ranks with the wt-rk tit Jiiseph Ht-ll»
in Reveliitiiiiis it 5|ll>Llld hiive been. The st-reeiiwriter PuddyChayelsky's \'l5l1II1 iintl er, Kurt Viiiiiiegul, and Th1l|lll.\5 Pyiit-hnii.
dnoiiisday mmid is t-iiiweyt-ti iii the iiiiirvel- the ]\lSll“l‘£llltIll fur NETWORK‘s exet-sses Ttiken as taiitusy it‘s J visiiiii iit the tuturt-—
and 1ll\|10l'. in as iiiui-h ais llIl\1\iX‘l"ll\\' lIlltl'I\lll|.! is the lu»
—— — ————~
'— ~ We expett the set Iur the "Hiw\';trd Bi-;ile ture.
St-utt Williani S('|lLll\\;lt'k lives in Miniie;ip<i- Shiivr“ iii lie i-xaggt-riited uiid t-liurt-ti~likt~, The linal iiiiatie siiys it iill. Hiiwiird
lis. zuid is ii iiieiiilii-r i-I the St-ieiire I-‘ietiiiii hut when Arthur Jensen [Ned Realty). the lit-tile. lllilX'l_\'l' llll‘ r.itiiii1s_ is .i {I'll/t\‘l\ ini-
Writers til Anieririi. His liniik review iii L'|l;lll‘lIl;Ul iii the Cuiiiiiiuiiimitiiiiis Ciii-|iiir;i- .tiLt- ~-ii iiur ti-li-vi.~ii-ii st-i-eeiis iusi as trui-
George Lut';is' STAR WARS appeiu-s else- tiiiii iil Aiiieriru. rails his i-iiiilereiit-e l'lV|>l\l i-r kilse as the l‘Hl\llt\(‘l'l'l.ll$ lll' sitriiiiis.
where in this issue. "Valh:illa“ he's unly hall |ltkl|l).[. lii tllll' iii \\‘i- si-i- "Ill .i re;il i-i-riisi-liut 1Lll\‘ll't‘ll‘lilllt‘
the must l'|(‘(‘lI‘llVlt\1.Z st'eni-s in iiiiitlerii i'iii- tzhusl t'l‘\'§l;lllll\‘(| in esriti-tl lliiufi-_\t'eiit
itu l\\lt .|l\ I-ii iteriiity--iii‘ iit li-iisi until
by SW Schumack l‘lt\J Iiiisen pint l.iinis tii Beale the ti<i~|i¢l the
i..;...:,j ’

18
-7-
'—t
WIZARDS
...the jump from art to hackery
WIZARDS A 20th Ci-iitui'y-f-‘ux Rl‘l\'l|5\'. 2
77. lii DeLuxi- Ci-lur. 80 ftlll\ll\lԤ. Written,
priiduceti iuid din-t'ted by Ralph Bakshi. Di-
rt-t'tui' i>l pliutugraphy, Ted C. Briitiller.
Edited by Duiiald W. Ernst. Music hy An-
drew Belling. Layuut, .luh|i Sparey, Se-
quenve iuiimatinn, lrvi-n Spenee. Vuices,
Bub Hull, Jesse Wells, Rirhard Rnnianus,
David Pruval, James Cumin-ll, Steve Gruv-
vrs, llarhura Sluaiie, Angeln Grisanti, Hy-
niaii Wien, Christopher 'f‘ayhat'k, Tina Buw-
nian, Mark Huniil, Peter Htll)lJ5.
Anitmg the lilinniakers trying tn breathe
lile itttu recent iiiiiss-prudured euiiiinereial
aniniatiun, Ralph Bakshi is perhaps the
must ll\dl\’idl|llli$llL' and Cniitruversial. At
28 he was head uf P:u"amtiunt's eartunn i-f-
fice in New Rueht-lle, New Yurk, ereatiiig
his vwii free-spirited animated figures be-
tween shifts un the graphiv asst-inhlyliiie. in
1972 he directed his first eartnun feature.
an X-rated versiun of Ruhert Crunih's pup~
ular undergruund cliaracter. FRITZ THE
CAT, which preiniered at Cannes and went
nn tu gruss uver $20 milliun, uf whivh a
niere 10‘? was Bakshi's take. ln a shurt
time Bakshi became the darling of the New
Ynrk press. Will! lauded him as the "X-rat-
erl Disney," a premature t‘iilIl|7;Ll'iSti unly
niade significant with the side-by-side re-
lease of his 5(‘l‘HI\d X-rated eartimn HEAVY
TRAFFIC and Disney's firmly G-rated RO-
BIN HOOD. As the new hrainrhild of exper-
iniental ('llll\lE‘l"l‘iI|.l aniniatinn, he was him-
ured with a special shuwing uf HEAVY
TRAFFIC at the New Yurk Museuniul Mu—
dern Art, typilyiiig, llIl(‘ assumes, the New
Relevant-e. "l want ti» dn pictures with the
sanie freeduni that a painter paints a can-
—*~ ~- ~—~~——e—
Kyle H. Cuunts is a eartimiiist and 1l!lll\lll-
tiun filnimaker, living in Berkeley, Calilor-
nia.
by Ky B ‘ O
0
tS
is blinding.
vats," he was quutvd as .~.iyint: ni .tlt inti-i"-
\’lt'\\'. As luttu as his lilnis ni.i<li- ni--in-y, ill‘
hail rarte hl;uit'lii-. \'t'ui'kiii_t; \\ith .i vren 4-l
refugees ll'<t|l\ ntlit-r sttidn-s tsiiiiir frnni
Disney), Bakshi l‘l'(;ll1‘(| t-.u~t<-i»n.~ that ~-l-
fern-d the wurld a |iai'tl-i-(lg:-ti visi-iii til-»ui‘
time, nne hriniiiiiiig \\iUi hlui- hunn-r, r;iii-
cuus eulluquialisiiis iuitt gr:-ss l‘X.|J1lll'l'.llll1ll
uf sterentypes. ll nh\'inu.~ in .~-it-ial .~iati»-
nieiits, at vi-i-y least, his llltrk hi-i-ught a
biting ltlld painfully real i-niis<'i|»u.~i\l ss luv
the 1U\lltlill\'(l l‘;tl'llNIl\. The >’\)'ll5ll l)lt'lltl til
live zutti aniniatett ti-t'hiiit|ue l\l.|ll|' thi t-ri|i-
pled )X'l'(‘t'|)llIIll> ltltIl‘t' |)alat.ihli- tn th--se
taken ahaek hy his Jarriiig na.ri'ati\'e.
Bakshi's lu\'t~ affair with the |)\.l|lll(‘ fadett
alter the sueress i-I HEAVY TRAFFIC. He
was l"t'flttI\'(‘d [Punt the inaking nl THE l\'lNf-T
LIVES OF FRITZ THE CAT, and ii '75 et-
ft-rt. COONSKIN, was !~lll'|\'\'(l by Paraninuiit
(pruving ynu eaii't git tinnie again, it set-iiisi.
whu |!Lmlt‘k9t1 tt\'l'l‘ bnmh threats and Blaek
aetiun prntest gri-ups. llis in-xt effi-rt, HEY
GOOD LOOKlN' fur Warner Brtvs, sits un
the shell, unreli-as:-ti. lt tn-t-aim~ eritit-.il
that Bakshi attempt In bridge the artistic
anti (‘<in\fl\t‘l"(‘lLll gap anti pruduee a film tn
reseue his faltering earet-r—-thus WIZARDS
(knuwn previously as WAR WlZA.RDS).
in the past, must nut-ahly in FRlTZ THE
CAT, Bakshi's wurk radiated with a sense
til wiiggishness, with iiielanehuly, street-
wise underpiniiiiigs. With WIZARDS he has
dune himself a grave dissei'vit'e by saeri-
living the lively anti-estahlishnit-nt attitude
that has eunie to be his tradeiiiark, ;uid re-
placing it with a banal TV earth-ni inlelli-
gent-e.
The sturyline, which is presented in dry.
patruniziiig "um-e upun a tinie" terms hy a
female narrator, is set in the afteriiiatti til
2l.l\ atuniie war, triggered by a terrnrist's
nuclear device, when all hunians have been
reduced to a niutant state. During a period
iif the Earth's restnratiun_ Ulll‘ uf the aging
fairy witehes gives birth to twin suns--nne
tiling (in th c
eu t e, one repe ll an t , syiii bil
must puerile and stereutypically dangerous
Sci-nes lruni
WIZARDS, currently C
in relt~asi- frmii
20th Ci-iitury-Fux.
ll N\'(‘I‘ltI\ 99, a
Blat-kwnlf assassin
mid his strange
$ll'l'(|. 2) Blatkwnlf
strides the length ul
his war iiiarhine
llll'l|>I‘_V- 31 f-Tlinur,
Avatar and Wt-ehawk
are l~iiti-rtaint-d hy
furt-st fairit-.~‘. 4)
The final hattle at
Hlackwi-lf's Set-rrli
l\t'£ldl]ll;\I'll'l‘5, as 1
Avatar eimfrtuits his
vvil hruther. <
(3%
niaiiin-rt \lIt' fni-rt-.~ uf guutl .uitt t'\‘|l. Over
the _vi-.ii~.-. the iwi» lil'tIl|\i'l‘.\. .-\\'at.u' and
nl-l\'k\\'l>li- t-:i‘i|\\- tn lN‘(‘ttl\lt' l)lHt'l‘ 1-in-iiiit-.~,
.\|itl .ll'l' .\||lll\ |lll|<'(lill.[Z\|l\Sl1||ll'£\4r|'1t‘l'[ll|‘
It-;nt<-rship VII 1|“. ,,,.w \\'||l‘l(|, A\'ata1"iiiain-
t.ii|is a humble fnllnwing i-l rightt-nus sul-
tin-rs .uid tr.ivi-is \\‘l|ll a li-iniile i-if iianiett
I-Ilinnr (an i-iiili.u'i'a.~siiig >yiitiie:~i> nf \\'un—
th-r Wt-man and ~l£l_\'lll' Mniisfii-ld) while
Blai-kwull eiilists the .|l(| nl tut army --l unh-
l|n.~ and slithi-ry l)i])\'(l aiiiphihiaiis. ln thi-
i-unis nl an iiiivieiit eity, Blil(‘lt\\'lt" tlisn-i~
hrs the key lu iiiiiinihiliviiig his hrutltt-i“:-
furt-i-s: ii iinn'ii- |)l"tI]l‘l'\lIr ttial spews iiiflit
hlaring Nazi pr:-|i;ig;uida films ta sadly
uiiurigiiial ideal. The reniaiiider til the lilni
lll']ll(‘l§ /\\'atar's lung nvuriii-y tu l]l;it'kwuH':~'
iI»l‘ll't'5S in the ltnpes uf tit-struyiiig the |)ti—
ti-nt set-rt-t wt-apun, wIn~ri- a linal shuwttnwii
takes plare iii the traelitiuiial t-nnie-upp;uiei-
iiwrziltty nl B-westerns.
lu his quest tn make WlZARDS appeal lu
the l;\l‘t1l‘Sl pussihle nuiiiher uf nnivie-gt»
i-rs, llakshi has rreuted an unsettling rlash
nf styles. He l'tIl\\lI\Lll\ll_V shifts frnni l\'atiim-
at lignigi irrevi-rt-iiee tu Disney cuteness,
stiini-thing particularly ulfeiisive in an artist
win» tvurpurts tn l)l'lil'\’l‘ tii l'§'t\l(‘1ll realism.
One niument he illustrates the amusing an-
ties uf a nt'r\'uuS Bliirkwulf sentry \\'htt at‘-
eidentally kills his patrt-I partner. then he
strains tu charm us with a gr-iup til tee-
heeing forest fairies whn are all tun uhvi-
nusly in:-defied tin Disney's Tinkerhelle. Di-
alugue and st-enes are shaped like vaude-
ville ruutiiies, with punt-hliiies prnvidiiig the
transilinns: SIIHH‘ nf them saltier than sit-
rum, hut few uf thi-in genuinely funny. As if
tn indieate a faltering eunlidi-iii'e iii his off-
beat t-haraete-rs, Bakshi lifts niiunn-risins
[rum Peter Falk's Culunibu fnr his sluppy,
i-igar-ehuiiiping Avatar.
Visually. thi- filni is equally erratic,
thnugh there are impressive flllIIlt(‘Ill5. Key
st":-nes t-untain the stark hi-auiy of Ringer
Dean's best alhurn l‘tlVl'l"S fur the Yes ruuk
'
[.,r‘()up: open l an d srapr s uith
eimtinued page 21 (‘trlumn
" t.niurled trees
3
T
S\‘l'l\¢.'h lrnm KING
KONG, ('\.lI‘!'l'l\ll)‘ ln
l'(‘lI.'£lS\' lrnm
P;lr:lnu>u|\l. l) A
(‘|u$|'lnlvk;lllh1“10
luul lllullvl hulll lul'
llu- lm ;ll 1| l'<|_~;l nl
Hllllllillh. mnsllv lur
puhln-lly hnllylum,
usud ln llw l\|\l.~lu~<l
lllm lur unly 1| ll-\\'
:~\-rullds. 2! l-'llmln;:
lln- |.u"ul- m\»:l<~l .ll
MGM lu ll|»|l\'\\'|md.
ll7l!nlu.\ h_\' R||ll\'l'l
Vlll.u'dl 3| Slu-nllm:
-l\~.-.~lr.l L;Ul),I\' m Hu-
urlp lll .| [ull»s|r.a-ll
ll\\'\‘l11U\ll'.\l zlrm. 4)
\Vllh.ln\ Sllr])|\£ll‘(l ;l.~.
Q Kung .lll;|l'kS .ll\ "L"
nu". 5lIl']Il\Lll'll |ll;l)‘>'
Kunl: ln .l|\ ;l)u- SUI!
ll\l'l|\.l|Ll\lIlll lho llllu.
Rlvk H.lk<-r \l<Il!lN‘(l
ll\I' Sllll .ll\<l nnlkuup
lnl‘ rl-».\vu|1.~" .lml
l.lrl.ll l'X]ll'l"S5lIll\S.
I

KING KONG
KINLZ KONG .-\ l’.ll*.l|llull|\l Rl‘ll'.|$|'. ll! TU. l\\|vll_-lrl‘ nlu\'l<-. llllk lhv |Y\.llIlH' llllu lwlln \'- lln-url/mu ll\.ll lung:-ml l|u- KING KONG |llu\
ln l’.|u.l\'|,~l|m .lll\l l\l\~ll--H-<-11:1‘. lll~l mmuu-.~. lug lh.ll must ml (hr put‘):-l~l|-ml $24 ullllu-n luuvllu-r. And \\-Inlv, l.llll\l\ll in l|\:- l|‘L|(ll\l4Il\
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\\.l:~' .l
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In |'l\.\]'l1|' wl |u'~-llurln-ll, .I.|rk Ur--_~.>;|wl'-.1. but \||l.\\‘;ll JAWS .15 lhr .lll—\lnu» lm_\ nlllu \\.l.~ l‘u|»l\*(l ln |Il-lU.\l|Hll\}', lIu- =1-u'\' \\'.|> m
l\lu.~u- 1-|»|u]><-.~<~\l .|ml l‘\I|lll\l\'ll'k| hv Julm rl\.nn]l—-lhvn all lurk .uul \\‘.ll\ lwr lllr hm"k.~ \'\'l'l'\' |lll\|'l' .~<>n>-- l.lr='.~-1' lh.l|| llh-. .»\|||1r-~-
ll.ll"|')'. Fllm minim‘. R.ll]Ill \\'ln!<~l':~. ACE. ll-1*:-ll m. |n‘l.ll|-ly, |u-.u'lj; .lll llu l>l.uul l'Xll'l'lIIl'h
l’r~:lm-in-|| :lv.~l::l\~<ll hv !\l.lrl|» Ch|.u'l .llnl Tlu>r|-'> ]u.~l --uv l\l\ll\. Dunn Dr L.nl|'vn— \\|-r»~ lll'\'lbl'll \\llhm llu- <<vnllm>> <-I lIu- alu-
l).ll|- Ill-xu-.~>\'. l’l'<vll\u'll--n n|.l1\.u:vr. Tl-rry lll>' KlNU KONG, I-vr .lll lhr h\'|w, llw l).ll- lllll l\\lll1 l|lll'll'.lll' m.|ll|- \\'.-rk l’lI\\l||ll'lI\\'l\l'
(‘.ll'l". l‘l\ll 1|\.|1\.u!|-r.\. nflllll I-‘nmklsh 1H.l- lyhmv, lh|- lmll-In-1;. l_~ .l _~1><-rl.|n'ul.ll' lll.~.l_~— um |llu>l |-I lhv lln\llml_ .|<'lll.|l ll\1l\lHIIl' pim-
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rl-rn»r.~_ D.lvl<l L‘<-nsluhln-, r\.l'l‘l\ll' -L R.|\‘nl\, H\Ill\ll\1,L wul'k.~ ll":-m llvlllllllllll l-- 1-ml. 'I‘lw l-\'|-r l'|-.~|-|nhl»» ll\l- l.\lll.l.\ll|'. ]ll'll!Il‘\’;.\l wr-
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(‘.u"l\-l-ul l(--_\'|\~l\l.<. \\'lll1.lm Cruz. llluslr.l- rn-[ll-rl l\l'l\l\l'l' ll:--luzhl In-r l1'l‘llllLZ. .lmlll\<- 'I‘hl.~ \\‘.|.~ ]H'l'l\'l'l 1-.lrl_\'—'1‘lu|'llr.~ |'|\l¢-rl.lln~
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21
r_.
THE FANTASTIC JOURNEY An
NBC Television Series. Thurs-
days, B200 PM EST. 50 minutes
(pilot, ‘I5 minutes]. Color. Pru-
duced by l.eonardKatznian (Bruce
Lansbury Productions/Columbia
Pictures Television). Directed by
And-rew V. Mci..aglen. Teleplay by
Merwin Gerard, Michael Mirh-
aelian, Kathryn Michaelian Pow-
ers. With: Jared Martin, Siszui
Howard, lke Eisenniann, Scott
Thonias ll. to r. above), Leii Er-
ickson, Carl Franklin, lan Mc-
Shane, Don Knight, Gary Collins,
Mary Ann Motiley. .lason Evers,
Karen Sonicrville, Scott Brady.
For those ui us who wondered
what science fiction series would
appeal tu network executives, we
need wonder no more, NBC has
provided the answer.
Realizing the Bermuda Trian-
gle is "Big," having spawned sev-
eral best-selling books and nio-
vies, the producers devised a
story where the Triangle iigtires
prominently. A group oi marine
biologists (Carl Franklin, lke Ei-
senniann, Scott Thoiiias, Karen
Scmervllle. and Siszui Howard) on
a ship coiiinianded by a salty Leif
Erickson, encounter a strange
phenomenon. a weird green cloud
at the edge oi the horizon. Al-
though it interferes with radio
coniniunications and is aceonipa-
nied by ontinous background iiiu—
sic, no one heeds these warnings
and steadily. deliberately. the
ship heads on a collision course
--for over a day.
By n"htfall, lke lseiiiiianii re-
‘t~
marks ma, no.5 “curing hens. "0!
without cause, for indeed musical
bells and a chnrus of wailing lost
suuls who are niost decidedlytone
deal signal the disappearance of
our intrepid c!<|)ltirt:rs into the
Bermuda Triangle.
As the second hali—hour opens,
the survivors iind themselves on
an island that "shouldn't be here"
but is oblivious oi the fact. Thc
eastaways set about exploring the
new hunie, only to discover a
seemingly endless lzuidscape. Ev-
ery environment on earth is rep-
resented--desert, prarie, savan-
na, and rainforest. One could but
hope for an appearance by Marlin
Perkins to relieve the tediuni.
However, a refugee from an
Ed Antes luuk-alike contest, a
niute lndian clad only in soiled
lnin cloth, befriends young Scott
and reveals the "breath—taking"
9')
secret of the niysteriuus island.
First, he's no lndian. l-ie only
dresses like one during his off
hours, when he's not a “nian oi
the future." Yes, mankind in the
twenty~third century has achieved
true peace, happiness and har—
ntnny. This last iS possible bt'-
cause everyone carries a glowing
plastic tuning-fork which heals
wounds, stuns enemies, and could
concievably double as a nite-lite.
And he proudly shows ttie boy the
pinnacle oi his civilization, a
computer operated soda niachine
iiiade ui lucite, which dispenses
non-carbonated orange.
And the incredible secret? The
island is a "space-tinie vontinu-
-' Y . - . . _
the characters is a life spcnt
bouncing ironi time to lilIt(' like a
ping-pong hall with little chance
of going back home. What this
means to W!‘ll[‘l‘5 oi the stories is
that they can make use of every
lorniula known to the art of hack-
writing, tor the limbo which per-
vades the island pervades ideas
also. There will he no cliche un-
turned in the course of the ser-
ies, iiiainly since they wt-rc al-
most totally exhausted by the end
of the iirst episode.
Needless to say. ch;iraeteri-
zation was non-existant; woiiii-ii
were only around by virtue of
their hustline and the degree of
shrillness attainable in a scream.
in the premier episode the
cast battled pirates in a sensv-
less orgy of gratuitous "faiiiily-
hour" violence. lti the second t~p-
isode ;Ul l‘\'ll hrain which runs the
complex oi Atlantiuni (in actuality
a iuturistic hotel-coniplt-.\ located
in LA) set-ks to augnii-nt its w;ui—
ing energies with the power oi
young Scott's inind. Li-t‘s hope
that the writers sotiii follow suit,
and augment their own mental
capacity by consulting with a ten-
year-old. lt's a certainty he'll
have a hell of alnt greater iina-
ginatiun, ii not writing ahility.
Peter Perakos
’
THE LEGACY OF SATAN Daiiii-
anu Filnis. 9 'l6l'l3). 68 niiiiuti-s.
Color. Produced. written. edited
and directed liy Gerard Damiano.
li aned
THE LEGACY OF SATAN, t
.
With: Lisa Cristian, John l-‘ran-
cis, Paul Barry.
Gerard Daniiano‘s nanie nieans
niuiiey in the cineniatic n\arkt't-
place. Since this effort sneaked
into town unheralded, it's reason-
able tn assunie that it predates
his DEEP THROAT days--hut as
there's no copyright date (and no
distributor) listed on the print,
it's difficult to say liy how niueh?
Basically, it‘s ii standard tale
of Satanisni. with a tiewitching
young woiii-an heconiing initiated
into a demonic cult, with all the
attcndzuit pageantry and ritual.
Even though there's no hard core
sex or tiudity in this iilni (edited
out prior to release), the style is
- .. - I V
- -V - .
tains striking images (such as ll
painting wet-ping hlood) which ne-
ver seem to add up to niuch, ini-
aginative photography which at-
tempts to overcome the restrit'—
tions nl a low hudget, mediocre
to pour acting, and the pacing of
a crippled turtle (the filni set-ins
niurli longer thiui tilt niinutes).
This tiine around, a little sex
to go with the |>i||t|(l would have
been it \\‘t'|('\I\\\t' intrusion. Even
in this early work. it I5 obvious
that Dziiiiiaiio should tiavv in-en at
photngriiphi-r or ii st-t desigin-r.
not a writer, director, or editor.
Frank .liit-kson
*7 T
Till-I DEMON LOVER Wolf Lore
Cint-nia. 10 76. ‘ll minutes. ln
Color tt- Scope. Written, product-d
and directed by Donald G. .I;ick-
son and .Ierry Younkins. With:
Christnias Rolihins. Val Mu_vt-r-
ick, Guniiar lianseii. Toni Hutton,
Dave lloward, Susan Bull:-ii, Phil
Fort-inan, Linda Conrad, Ron lli-
veley.
Two young filinniiiki~rs. Jerry
Younkins ;uid Donald ti. -lacksoli
have ti-anied up to produce their
first feature tilni, and expectedly
have produced an aniateur affair
with the liudgi-t restrictions re-
vealed ui every seaiii that shows.
and there are |i|t'l\lV. The filni
displays the it-ndeiicy of iiiany low
hudget exploitation:-rs in depenti-
ing on violence and bloodletting to
carry it along. raising the spec-
lrt- of those Ht-rscht-ll Gordon
_
up porn ironi Gt. rard D.inii.ino.
§ '\
-~—
l
‘
i
Li-wis gore iilnis of the :~.txtit's,
Picture was filmed in and a-
round .laekson,Michig;ui and re-
voices around occultist, Laval
Blessing, who vows vi~iigi~;iiice on
his lollowers when they decide to
break off l|N*ll' ritualistic meet-
ings. Laval calls forth a |llll('IIL\S
hortied (lt'lt\tIl\ wliosc ill"i~l victiin.
l';inii~la Kirtiv. is torn to pit-t‘|'>
and lhrowii on .i garlizige ht-ap.
The l't'lll.|lllll\|l |\\t'l\\|)('l'S of tin-
dishalidvtt cult are also destroyed
by Bit'.§5lll|,['5IIl‘t't.lll powers. The
liliii is padded with irrelevant ac-
tioii. A long St'(]t1t'|\t't' at a karate
school followed liy a li;u' rooni
lirawl have l|lllt' to do with the
plot and a|ipear to he it gratuitous
stali at gaining thi- tr;iIlit- oi the
wiuiing kuiig lu trade.
The only nit-iiilit-rs of the cast
win-so l\illllt‘S niay he recognized
are Uunnar Haiisoii who app:-au'ed
as Lt'l\ll\t'l'i1lt‘i' in THE TEXAS
CHAINSAW MASSACRE ;uid Mar-
\'i-l ('till\lt' i|X'tl5l Val Maverick
who is credited with creating the
strange t'Hl\\lt' charzirter Howard
The Duck. Mayt-rick and Hansen
]tI\l\ it cast oi anizitcurs whose
|\\‘l'itIi"l\\1Ll\t't'S niatcii their acting
status. Christmas ltolihins, who
plays Bl(‘$.\Ut|1, the cult lt-adt-r.
iuid Toni Hutton as lit'l\'l‘tl\'\' i-‘ra-
1.t-tta have most of the dialogue
and their protili-nis with it art-
i-vidt-nt.
Sonic of llutton‘s lini-.~ art-
i~li~vi-r. i\HWt'\'\'l'. When he goes to
lll\t'l"\'lt'\4 Professor Pi-ekiiipah lo-
is asked ii hi- would ilkv .i bloody
MaryMrmldy to which hemmldyreplies. "No.
Punwh‘
PW um
Jan-
Al bloody ElL|ll\l' ;uid a liloody
is."ri~it-rring to the first oi Bles-
:~'ing's vicliiiis. Later when his
wife i|(illltiiliSi\t*5 liiiii for his lan-
Q guagc he veils "Who cures howl
talk. Pi-ople are heing niurdi-r-
ed!" Miiyhe the audit-nce. Adding
to the fitni's prolilenis are hack-
ground sounds which often detract
iroiii ll\i- Lll‘l|till itlld |i\\rutit- on
t'|||\\'t'l'&Ltllli|i.\.
The lltI\'\t't' t‘ililll'I‘Ll work is
puiictuatt-d hy overuse of the hand
held t'illllt‘l"il and paucity of set-
tips rlitiultlltii in
IPW i-no-. |)t't\A‘('t'll
zicti-r.~ in long coii\'t~r.sat|ot\ se-
qUt‘l\t'l'S. The lion's t'lVl\\lt' nook
inspirzitioii |'l'S\.Ili§ in a routine
story with one diiiiensi--nal char-
acters, situation further hin-
Al
tit-red |)_\' pt-rioriiia|\t‘i~s
H5 poor
mid inferior productioii valut-s.
Dan St‘a|l)it-rnlli
 1'_ol7 _R_ATl;n FILM§
MAN WHO FELL TO EARTH l3.0l
CARRIE (2.91
THE TI-INANT (2.01
THE OMEN l2.'ll
I Fl‘TL'RIjWORLD l2.5l
MURDER BY DEATH (2.-I)
FAMILY PLOT (2.3)
LOGA.\"S RI'N 12.21
Olll)‘ Illllls
l\1lI\\Il\£lIk'l| by Iuur Ful-
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HI-jAl'T\‘ AND THI-I III-IAST I~‘lv<I— 1
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grull-squv |IlI1-I£lI'l', ;l slluddvl-_v
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lung In =1-u Cl-clv;lu‘s snfl. Iurry
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|II\'\'l'5LlI, 2 ‘I7, I55 IIIIIIIIIPS, PHI’
nr. "F\'Illnl's In-sl Illm :~lm'l-
THE CLOWNS IS ;ll5u lllv nlual
lndollll-d lu I.ull;l.~_\' >lln-l~ Ills Pm-
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IIJB, ~21
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 Hollywood homogenizes Zelazny
Beyond the striking idea ul a
trip thrnugb an atuni-blasted A-
iiierica almnst nuthing til Ringer
Zelazny's nnvel Dgninatii-n
has survived adztplatiun tu the
ly
screen. Even Zelazny-‘ii pewerlul
title has been watered-d<iwii tu
SURVIVAL RUN, and alter LO—
GAN‘S, why would anyune want tn
use "run" in a science lit‘tinn lllnt
title?
Hell is the name til Zelazny‘s
bi-arded, brutal Hi~ll's Angel horn
whu ht-cuiiies the liliii's Air Eurce
oicer played by pretty .lan—Mi-
t'h'cl
.i Viiicen t. T h 1- ;irnur ed t'u|i-
1
voy Hell leads acruss a raditI;it‘-
tive lI\l9l‘I'lti tn deliver drugs tn
thc plague—ii\lestt-cl east cnast he-
C\III\GS one huge tank that Viiict-tit
and lellnw airman Geurge Pep-
pard use tn search pust-Wurld
War Ill Anierica lnr uther sur\'i-
vors. The girl huud Hell picks up
.
' ,. -4, Q .-
‘
-
4
_
-
--e.
'~~
"
,,.~
.=
* ,- '-,-1 .\c;-; ;,w-., *1,“ ._ ~,
-
-4 .~ ~>.‘a_,. *.'.~~--\-,
~._f_qB
‘
1'
I ’
._
'
.=
_,_ 1%." ,-* >1». -, .~--t,
as a cunipaniun b('t‘<lI\l(‘S the ex-
quisite French actress Duniinique
Sanda, lauded (or GARDEN OF
THE FINZI-CONTINIS and THE
CONFORMIST, who is making her
Hnllywuod debut lullowing Rusa-
lind Cash, Inger Stevens, Sisan
Douglas, and Betsy -lunes-Mure-
land by playing the Last Wunian
on Earth. Alsu featured are sea-
soned actnrs Paul Winlield and
Murray Haniiltnn and une ol TI-IE
BAD NEWS BEARS, Jackie Earle
Haley.
But the real "star" ul SURVI—
VAL RUN is the "Land Master
a sort til cuinbinatiun tank, bat-
tleship and Winnehagu caiiiper, in
which the hi-rues tuol abnut the
barren landscape of bombed-uut
America, supposedly searching
lur other survivurs whu might
have made the grade with iust the
family car. The vehicle is aliuge
prop, 35‘ lung, I0.6' high. l2.6‘
wide, weighing I'I\tll’l‘ than ten
tuns, built by stunt cuurdiiiatur
Dean Jellries at a cust ol sunie
$300 000.
26
Principal phutugraphy lur the
20th Century-Fux, seven million
dullar, Panavisiun. and DeLiixe
cnlur lilni was linished in August
but special ellects wurk has de-
layed the release nl the liliii until
the Christmas S(‘Z\S\)l'\, placing
SURVIVAL RUN in direct c<inipe-
titinn with CLOSE ENCOUNTERS
OF THE THIRD KIND, Ciiluiiihia
Pictures‘ science lictiun lilni hig-
budgetvr. Ol course, buth liliiis
will have li-ll<-wed DEMON SEED
(United Artists MGM lur April.
see 513237) and STAR WARS [20th
l"lIl\'
Ct-ntu ry -Fox In r .1 un e ), in d i .i i,
that I977 will be the year that
will iiiake ur break the science
lictiitii liliii buuiii iii l-lnllywuiid.
SURVIVAL RUN is directed by
Jack Siiiight whuse credits iii-
elude the excellent HARPER and
NO WAY TO TREAT A LADY and
the disappuinting tilni ;|d:i|)\atiun
»
..
__
"~ . ,f~.f**~.,"~<, '
_
‘cf.
..
t ~
_-
,. arr
. .
"“‘_,-Isé-.w‘
ol Ray Bradhury's THE lLLUS-
TRATED MAN. Copruducing are
Jerunie Zeitnian and Paul Mns-
lansky With Hal Landers and Bub-
by Rnberts as executive pruduv-
ers. Lukas Heller and Alan Sharp
1ld;\plL'd the nuvel tu the screen.
Special phutugraphic ellects are
being dune by Dun Weed, I-‘rank
Van Der Veer, and LIt\\l!l)0d Dunn
--whit started making lilnis in
I923 and built the lirst modern
uptical printer for ellects wurk.
Ken Middleham, who handled bugs
lur PHASE IV, THE HELLSTROM
CHRONICLE and BUG, and plants
lur MUTATIONS, is liliiiing iii-
sects lnr the picture, including
cuckruaches and scnrpiuns, the
latter tu stand—in lnr some giant-
sized mechanical nindels in the
action scenes. The lilni utilizes a
new quadruphunic suund system
called Sound 360 which will per-
niit audiences tu be ininiersed in
.lerry Guldsmith's score as well
as the Sound ul roaches as they
swarm arnund their victims. a
nice William Castle tuuch.
The lilin pruniises tn create a
pt|sl—hulot-aust wui-lditl lirt-hells,
buried (‘lllt‘5, bi/arre clnud [i>r-
niatinns. big bugs, huge craters.
and lurests nl \'yt‘lnnes. While the
press release statenieni that the
lilni will strive lur “scientilii-ac-
curacy" must he taken with salt
(the supposed translurniatiuii ul
Aincrira has taken only Z years]
the nmvie dues |)l‘ltll\|5P plenty Ill
thrills and action. Whether it will
be iui ilt\]ll'll\'l‘tl\l'I\l --ver the i|ri-
ginal l\41\'\'l I"t'lltLlill5ltil1t‘ st-en.
In the sixties Roger Zi-laziiy
as a t.'l"\'L.\l scii~iici- lic-
t-iiii-r'etl
t.
linti writer with nuvt-ls like Ims
liiiiurtal and Lllrd nl l,.igh_t and
shnrt lirtii-n like "A Ruse Int‘ Et'-
l'll‘$lL\5\l‘$" and "The Gra\'ey;irtl
Heart." Since I969 his wnrk has
lzickrd the huiiinr, iniagiiigilit-ii,
and hrilliant style that niarked
his early writing. hut ht-'s still
.
' Set-iies
,- '.
une nl the best active science lic-
tiun writers. He has won luur
Nebula and three Hugu awards,
making hint tine ul the niust hun-
tired writers in the lield.
Damnatiun Q;-y, written in
twu weeks, published in I969 as
Putnam hardrnver, was the
a
lirst ul Zelazny's books tn be
anything uther than a master-
piece. Still une ut the least ul his
l\n\'(\l5, it dues tell a gripping ad-
venture yarn even lhuugh it is
saddled with the 5Upl‘l"ll(‘ll\l, cli-
t‘hed plot ut the triiiiinal loner
who acquires social respunsibili-
ty under stress and becomes a
hero. Presumably what attracted
the lilnimakers tn the imvel were
the chances fur action and special
cllects the story ullers—-certain-
ly Zelazny's main theme, Hell's
relatiunship tn suciety, has been
discarded- -but oddly, except lur
the cyclone turest apparently su
have iiinst ul the ingenitius perils
Zelazny devised in the nnvel. Ze-
la.zny's giant Gila nu-nsters have
apparently been replaced by giant
sci-r|1iuns. (Swine peuple have no
respect lur Art.) Zc-lazn_v's giant
hats. glass deserts, and rainsnl
garbage will pruliubly have ti-
wait lur anuther lilni_
llupelully, t‘\'l'I\l|It>t.I|1|\ SURVI-
VAL RUN will have little tn dn
with Z1-lazny it will draw atten-
tinn ll) his wurk and perhaps lead
tn other liliii Litlaplatltins. With
his background in .l;icnhean and
Eli/;ibi*tha'ii drania and strung \'l-
sual lei-ling, Zi~liimy‘s ii-nrk is
21
natural lnr lilni. The cuniic strip
inythulugy t-I Lt|[§l it Qgl\_t and
Cl‘\‘;\l\li‘t'5 nl Li'lit
_i__ and Darkness.
g‘ swurd and st-rt":-ry
the [LIE
nl \|\l' “Ainht-r" series, tuid the
alinust Rayiiiiind Chandler inspir-
Ii
i-d niivurl ul
Q tll
Tg lniiiultal and
Dead wuuld hi- excel-
li-nt un [ilin it there were tilin-
iiiaki-rs equal In the niaterial.
A lew yi-.ii-s iign Zi-lazny stat-
lruni
SURVIVAL RUN, an
upcuniing liliii lruni
20th Century-Fux.
Lelt: Jackie Earle
Haley, Duniinique
Sanda, -laii—Mit'hael
Viiiceiit, Geurge
Peppard and the
"I..;uid Muster."
Right: A radiatiun
ravaged survivor.
Ti-p: A victim ul the
swarming niutated
cuckruaclies which
svnur the desert.
Middle: -lan-Michael
Vincent cycles
Di-iiiinique Sanda
thruugb 1! pack ul
giant St‘lIl’])IlIl\5-
Buttuiiit The "Land
Master" alsu takes
tn the sea, and is
equipped with an
arsenal ul weapons.
ed that '@ Dre-ant Master, an
\'Kl‘l‘ll('I\l nun-nielndraniatic no-
vel, had been uptiuned lnr film-
mg. Nuthing has been heard til the
|)l‘u]t?('\ since and that‘s tragic,
lnr this new-I. with its layers ut
Syl\\l)<lIISi't\, strong elements lrnni
Greek tragedy, and niind bending
articial dream sequences wuuld
make a great tilni; certainly it
wuuld help dispell the hug-eyed
niunster image ul the science lir-
llil lilni.
But, back tn bug-eyed mun-
sters, heynnd the prniiiise nl luts
nl ;\(‘lllIn and special etlects SUR-
VIVAL RUN appears lu have little
to tiller. Perhaps it will be til
passing interest tn see what Hul-
lywuud can accuniplish with a
niiiinr bunk by a top writer. We
can unly hupe that the lilniduesn't
end with Adam Jiui-Michael Vin-
cent and Eve Duniinique Sanda
I1Ilill|l‘(‘y(‘liI\|l lllln the multiculur-
ed sunset tn repupulate the wurld.
Hni, l‘tIIIl(‘ tn think nl i'l. that's
prnhably ]ust hnw it will end!
S. W. Schuniark
 1-
THE LORD OF THE RINGS iuii ;i
pink slip ;il MGM, liul ;iii|iii.ilnr
RLil|ili "Llk§hI ri-linuiidi-d with iliv
|li'u|i'l'l Alllll lniliiil .i imm-l ill l‘-
l\lli'(l :\.l‘ll§H~. il|lll'(| wiili pr--»
hi
_Z (lll\'l'l‘ Siiul Zi|l'|\ll.‘ \l‘l\li5l' I-‘;ii\—
ILISV Filiiis l1iilll\‘ ONE FLEW
In OVEN
THE L'l'CKOU'S NEST.
r]A Film hrllilll |)l’l|(|i.|l‘lIi'll -l;iiiu;u'y
I7 iii Livs Aiigi-lvs ll‘lIlIl >vri|ii
l)_\' Chris Ciiiiklllliii b‘l'i\llW|lll|‘,
(hr |)\l]J|Il'l i||i\l\\1lli‘4| Rilllklll l]L|>\2~'
|lI‘U(l\1i'l|lll\ ul THE llOHl'llT is
l\\'lU‘ll\}1 l‘ilI\\|lll‘lliIl\ [HF ii-li~<';isl
iii llir F.ill III! NBC, Vl¥ll‘\'5 fur
mp uo mmiiiv >|l\'i'lil| -ll‘\' brim;
.\U|l|Ilii'(l by ili'llI\ HUSIIIH lU1|l\-
(llllll, Ors--ii Hi-.ui (Bilhm. H.in:~
Cniiri-iil l‘|'liivrin|. Cyril llili'li.ii‘il
llilriiiiill. Ullii Pi":-iiiiiiuvr illll
Kllli{|1\ll(|Rli’llil1'(l nlIlIll\' |5|ii.iu;;,
lhi- i)r.i;;~-in i5:L!.3'i). . .
THE MANITUL Iiiib lwrii ;ii'qu|i'i-il
lur lilniiiu; ivy ])l‘lY!ll|l'l'l‘ Willi.iiii
Ull"(lll'l'. Prupi i'i_v lb .i ll\i\‘l'l in-vi
in p.ipi-rli.irk lflllll l’inn.irlv piiii—
|l_\lI||lL1 r-:iii|i.iiiy. wriiii-r by l;r.i-
li.iiii l~|il>l\‘l'\K|lli Hunk is l|'l'Hl\'\|
.i "ii-ri-iiyiiii; lilll' iii ihi- i-i-iiir;ii--
ii.ilinii<\l .ui .iii<'ii-iii liicli.iii |ll|'(l<‘-
i'lIli‘ m.iii l"l'l\ll'l\\'(| In i|\'\'|ll1l lhr
&l1lS Ill HUI" 4'i|l'l\' .>\lil(‘l'll',lll .~'i-i—
lll‘l‘>. A |)n\\'rI‘lL\l ii.»-.-1 (II ii--r»
rm‘. \*i-iii:i-.i|m-, Jill. .~ui-vi-i"\'."
T|ii- Miiiiiiiiu inssi-s.~;|~> lhr |lI|(l_\'
-il ;i \'iI\ll\l1 in-iii.iii. si-i~i ul .i iiiL\-
Superman ready to
/'“
A-'7
.'
,5
3'1"
, »
-‘?'-
y but can he act?
Pl‘i|(|ul‘i'|‘.\ ll\'.i .\.l\l| r\|l'\il|i(|i‘l'
#_ )~_
.'\ -/ S.ilkim| l\.|\'l‘ >l}1l\l‘il\1l\kl\H\A‘llNl'\\'
. r,/T» ,,_,, ' Yiirk .\l‘\lll‘ (‘Iii-isli-|ilii-r Hm-\-i~ lnr
llii - (illi -rnlr iii Sl'l’F.l(l\1AN. Tliv
,3’-.‘. JP >’ . l'LlSllli],; |iuhlii~ii_v mi l|\l' Iilni |l£|(|
. |I("\.ll\
|~ ti» liikr llll illiilllllllvlllill |ll'lY>
.1
9.
1‘ _¢<__,-‘ .; |)iil‘lh|Il.\ Lliiilii\ll'|i\'(l Sll\l‘(' l).A\'i(l
Q. A,
6A Si-lliiirk pul nui llil‘ il|‘;igiii~i
Inr Srzirli-i O'H.ir;i. Nuiiii-5 l‘l'-
pui'l('(|l_\' Ullllrl‘ i'Ivl\Sl(l1'l'11llUll ll\.ll‘-
lli|,Z ilii- )l;l$\ l(‘\\ niunl|i.~ Ii-r l)ii-
lillc rnlr |ll\'lU(li'(l RIIl)\'l'l Ri~d-
lnrd, Burl Rl'_\‘lllllKlS. -|2lll\l‘.\ Hru-
lm, .l;iiii1-s Cziain. S)‘l\‘(-sli-r Sl;il-
luiii-, Tl"l'l"\‘l\\‘A' Hill. Di-iiiiv l\lill—
l'l""\'\'l'|\ N1-il Dl.\iii|Il\(l. All wi-i'i-
i‘llhl'l‘ hvuiirl in liq; U|l.\'Ul\ill)l\'. ur
luriii-d duwn iiii- |1Lll‘l. ll i|ii-i-i--
[Ill'l' riiiiio us quiii- ll !~'\1l'|H’lS\' .il-
l('l‘ ;ill llizii iiaiiiu--dr|v|i|iiii|,1 win-ii
(ho |)X‘4I(lUl‘(‘l‘S .~ig|-vii ii i‘\llIl|ll\'l\'
unkiinwii lur UH: rulv!
l\l:ii‘ln|i Bi';uiil<- liiid lii~i-ii Sli1l\-
ed |!I"l'\'i1lU§l)' In |)l;l)' Supi~riii;iii'.<
lzilhvr Jnr-El. \\‘lii-divs wliriillir
|il:uii-i Krypiim vx|i]~-ch-.~. ivui um
ll(‘[lil'(' lii- §L\<'l'\‘\'(|$ in l‘lI('ki'l|ll(,1
lIl$ iiifziiii sun llV\\'l||‘d I-Ziu‘ili. Fur
wliiii aiiiinunis ll! nuiliiiiu l\\Hl"i'
lhiui ii l‘LllIli'iv l'Ii|l' Ilixiiiiin is |l\'l-
llllil $2 llllllliill. Aiiil l!ii- Kr_\'|ih>n
si-ls lnr HIS 5\'(1Ll1'l\l'l' will l‘\'-
piirli-dly WIS! sa hi 54 lllllllnli
iiii>ri~.
Fur ;U\lIll\l‘l' $2 llllllllill. Gi-nv
Hiirkmiiii has l)\'\'Il Sl|1I\i'(l .i:~ Lu-
lhur_ lllll‘ ul llli‘ liliii's |irim-i|i:il
lI(';l\'|\‘$. TIii- srripi ii-lluw.~ UN‘
curri-iii cuniir liimli |llIillll\l' iii
lli.il (ho Diiilv Pl.iiii-i li.is l|Il(ll‘(l.
.uid Cl.i.rk Koni is |!lI\l‘ .i nuli-cl TV
ii"
L\I\l‘l\nl'Hlll. Guy Hllllllllill, win.
diri-i'ii-d iii;ui_\' iif i)ii- \'lll"l_\' -l.iiiii-s
Q” ;_*‘:i~-
il—c-_..—T*‘_-‘_=»_&.¢‘!i=P*"“"";'/*_": ~'..::?~
lurv nl THE l'IX()R(.‘lST iiiitl liisl
§'i*:ir’>~ In-pill SHADOW OF THE
HAWK. Gll"!l|i'l‘ will (llTl'l'l .uid E
n.i.~. Si‘l‘l])|l‘ll mm -lIIl\ Ci'(|;u‘_ Thll
H
|lI‘ii|lui‘(‘I‘ l|lI‘('l'lIvl' |\Zl>(ll||ll' hl‘\'-
i-i'.il Iii-rrur llllllh iii l|ii- |i;i_~i.
iiiilli' ul ilwni iuiiul, ii~i.ihl_\' :\l'l~
‘
HY ilU'i4) -ll“. GRIZZLY ll‘J'1Gl.
Film rulls April lH iii $.iii Fl'ill\‘
l'lS(‘ll, wiili Iii-li-i;i';i1iliir viii-ri.~
i
|)\‘lll\1 ili-\'|-Iii]!-ll |i\' "II\1_\ll|ll |lI‘
l\'fll'iv|l|l‘.\ i-i-ni)i.iiiv. ..
MARTIN i> (hr uii>.|wriii<'ul.u' ii-
lli- ul ili|‘i-rh-I‘ (ii-|||‘i1|~ A, RIP
lIII'l‘iI'.\ lH‘\\‘ lli|i‘l‘|vX' mm. il m.._
llvrli \'.ilii|)|l‘\' li|l|'. “i|lIll'l'n |.~
l|ll' iiiri-i-i--r III iiii- mm l'|i|.\$l1‘
Nllilll‘ OF Till-I L|Vl\'\} DI-IAI).
l(\1llll'l'ii.\|liIl llli‘ lilui l.i.\l Sl'||—
ll |iihi»i' Ill .\l'\'l'll \\l'l'H.\ iii ilii- il---
i-.ivi|ii; .~ii-i-1 |Il'Iv||\|l'll\i'_ l'iillllllU|\l'
iy ill |lX'.lll(l|vi‘k, l\l‘l\|' |’ill,\llHl‘}1li.
Filiii i:~ iiui .ih|vi|i _\'vvU|‘ ui"(||I\.ii'\'
Fill!‘ - \\lJl'lll|1. Mllllllllll I1-.iri|\i'_
—
\’illll|lll‘\' l'l'l'i\l\1l'4' HI ll'l1I‘l\(l. hiii
is iii>ii-.id .ih--ui ll ll'l\|.|lll|'ll _\'--um;
i\\.in \\'lli| niii.~l l\;|\'¢‘ ivli-ml in I \-
isl. Tl\\' ><'i'ri-iipl.i\' is Ivy Nu-
nu-r--. .i |>('l ]Il'i\]i'i'\ Ill‘ llilh \\.iui—
I'll ii» xiii lnr vi-.ir.~. Film \\'.i.~
:~iii-i in hI.i:-k 5- \\'l\lll' ill J 1'1-M ..i
$7‘5.UUU .inil IS mm In-mi: X‘i'.|(|~
mi Iul‘ i:.i=-i--i- l'i‘l4'll$\',l|Iull|1lI lln
¢li>ii-ihiili-iii iii-.il li.i.~ In-i-ii .in-
l\|IUl\l'i'(l. Film iii.i\' l|l' RiillH'|‘iI'.\
BLOOD. iLlllllvll|li'i'(l .i> .i l‘l|>l\|‘K|-
13--mi ]\lI'l\ll‘l‘.\, llilll |N'i‘|\ hi‘! lu (li-
l'l'l‘l, lblil wlwn Ill!’ |)l‘ivll\li'l|ill\
.~liilli~<l Ir:-iii l(<-nii- in Ll||\(|li|l,
Hllllllllllll wiis lnrri-il ll. ll.Ai‘l( lllll
1lu<- In ilu» l‘XH'l'|lll' l.L\ liLll‘l'li'll Ill
Wlvfklllll illl lilh llllllll‘ luri. Rii-h-
mi . Dli1iill'l', win, lual (|lI’l‘i'll‘il
THE. OMl'I.\', Ii.i> |N‘i'l\ hl)L1l(‘(| in
l;U(\‘H\‘l'l‘.
.\|ZU'l|i Pi.il|i_ \A'lIl|.§1' -ii-ipiiiail
$\‘l‘i'\'ll]llJ_\' |iii:~ |)i'4'll ri-\~-vi-ki-rl by
Hire-i ullii-i" wrili-rs. ni.iinl.iii\s
ili.ii i|ii- .~.rri|ii lb Iinl ;i ]i1lf|v(l\' I-r
lii:hl~lii-;u*i¢-ml lTl'illlIl|'|\l. .i1ii| lli.ii
|i.i|ii.~ l\i|\'l' lwvii lilkl'l\ in |iuiii;iii-
i/|- llir M.in i-151:-i-I--in llli' pi-inl
i-I |1l\'lll\'ll\LI Iiiiii .~i-xii.ill\' uiili .|l'l‘
l'i'|II|‘H‘l' Li-i:~ Lillli‘.
Curi-i-iii i'5\llIlLlll‘ --I l|i|- ll\1ll;1i'l
llIvW rvsla ;il $26.5 lilllllll. wiiii .i
Iii-li_\' .iiin~uiil >1-l .i:-i<li- 1--i'i-iii-i-i.~
lll hi‘ |l1|.l\(|l|'(l by W.illi' v\‘l'\'l'l'.\.
Cnliii C|iil\'i-i'.\. l.i-> Iliiwiv -Ulll
Rm" I-‘ii-lil. Vi-v\'\-i".~ vs.i.~ Pill‘! Ill
iPii' iiim ll'iLl'll(l.|l'\' Z00] rlli-i'l.~
ii-uni. .uii| !1<»wii- |i.i.~ lli'l‘ll .i wu-
ul.ir vlli-i'l.~' SLl|l])|ll'l‘ I-ir HlllI\ilH'l'
l"'ilui>. wlii-rr lu- iii-vrr ll.\(| .i hurl»
i1\'lllk\'\lil.\:
Tho Iilm's \'\'l'l"|'\'l l‘(lll\Ll Sl-ll‘!
ii;ili- ii-r ]!l‘1IdU('l|Hl\ ii.i.< ll'I\\ >li1i-
pi-d in M.u'<"li 2‘J. hut I'll‘ ]ll'il]I'i'I
$l~i'l\\S llli-illv I‘l';|Kl)' 1.. Lin,llll‘|'
lllllfl‘ iiiiin iwu ll! i.ilk .iml
_\-i~.ii~.~
|l|£l1ll\lI\§1. “'iU'lll'I‘ Hr:-s h.i.~ lurk-
(‘Kl-ir\'l'l' .i lli'll_\' hui uiiili.~i'lii:~<-ii
Liiiinuiil l--r lllSll‘l|Illlliii\ i'ii1hl.~ in
ll\i~ U.S.i Cilliild-L Fl‘;lIll'i‘ .uizl.l".i~
piiii. Tlir ]Iill"\'l\l i'<viIl|l.||l_\', W.ir-
iii-r Ci'llllIlll|l|l'JUlIIl.\. <mii.~ l)(‘. '
ihr ]YLl|)llSlli‘l" Ill ilii- Siipi-i-iii.i|\ I'll’
iiiii'hi»<-ks,
l)-iii S|li|'v'
,i_.
Welcome tu the twentieth is-
sue of CINEFANTASTXQUE lsin-
vh-iaun-tass-took’). tho lllLl|lIlZlt\(‘
with a "sense ni wnndvr_" devntod
tu tho cxaniinatinn ut hnrrnr, t;ui-
tzisy and sviunco liriinn in tho
cinema and related nit-dia.
Steve Rubin‘S greatly i\tll‘I-
pated Rt-triisiiert ni THE WAR OF
THE WORLDS iiiakc-s its .ip|x\ar—
um-v at last in this issui‘. And
Rubin has nutdniio hiiiisvli agaiii
this tiniv in prnvidiin; tilt‘ iiinst
K‘(llil|!i(‘lE and ('tllIl|li’1'|\\'l\Sl\‘\' .ir-
W
ticle nti tht- iiiakinig iii lht- lilin
i 9\'t.‘t‘ pulilishud.
Ruliiii unt'n\-i~ri-d the sinrylic--
hind thi' tiliiiing nl THE WAR OF
THE WORLDS with the hi~lp ni
iiiiuiy nl thnsc wliu wnrkvd nn thv
tiini. Chief aninin.: l|\l‘|ll was the
l1l""dU\'t'l‘. Gvt-rut‘ Pal. whn rt--
niaiiis Llt'll\'l‘ ti-day in thr sanir
genre ht- piniirt-rt~d iio;i.i'Iy lili“t‘l‘
d(‘¢'1.\dl‘$ aizn, i‘\'1|ti)'lllt1 ast-qut-1 tn
his I960 prntiuctinii ni THE TIME
MACHINE. Pal rnniriliult-d alnt
nl lllttt‘. ansvi'i-riii|1 t|ut-stinns till
i-vvry .is|x-rt ni tho lilni, and
iiL‘i)lt‘(1ltIt‘L|\t'tll|\('l'5 whn wt-rv a—
iiinni; his |irndut'tinii loatii.
Dirtwtnr Eyrnti Haskiii is nnw
iiviiii: in l‘(‘lll"(‘t\\t'l\| in Mniitt-ri~)',
Caliinriiia, alinut 20 iiiili-s snuth
ni Santa B&\l"b;i.t'1i. ilaskiii rvtxilli-ti
'
his wnrk nii tht- tilni and tho Or—
sun Wvllt-s iii-iiiidrast that ins|iii'—
rd P;U‘;|ll\lIlllll Pit'tui't-s tu rt-\'i\'(~
thi- tiliii prnit-i't hrivy in tlii~ latn
'30s. l\lit'kt-y Mnurt-. Haskiii's
-@483 Christo her Lee plays Dracula
for the ast time. . .a ain!
w )llt‘l‘ (';.\|lt'Kl "Thu Cnuiii" in thi-
QQ
J" a.
\,-\
i" ha?‘
54'}:
"gt
28
dirtwtnr, tnld abiiut thi-
LlSSlSt;Llll
sot-niid unit wnrk t‘ttt\i|)i(‘lt‘d nut-
sidr Flnrviirt-_ Ariznna iii tht- [all
nl 195i.
Albvrt Nnzaiti, tho tilni's art
dirt-t-tnr. is iinw l'(‘tl!‘\‘KlLLtl(lil\’-
Hit! in thi- Silver Lake distrii-t nt
Lns Aiigi-it-s. Hr was a virtual
tllltii‘ nt intnriiiatinn. A5 rhwt
])t"tl(lut'lii|I\ liL‘5I|ll\('l" Nnzaki was
invnlvi-it ill \'\'\'I')' an-a nt |irndut--
tiun, lrniii t-nntiiiuity skt~ti'hini: tn
thi~ tit-siuii nl rarh sttt, tho Ma.r-
tian niiiiiaturt-s. and thv Martian
itsrlt. li was ti'ai:ii- tn it-arii that
tnday thi- B5-yt-ar—nld lnrnii-r art
dirt-rtnr is alninst intally blind.
Cniiinii-iilinp nii Nnz;iki‘s sail
alit-tinii, vlt\t‘L'lI| Di Futtu this
issui-'s t‘tl\'l‘l" artist, nnti-ii: "l ani
nnly l\|I\\' llvlliltlllllll tn rt-ali1.i~ thi-
|>ri»ti-uiirt ll\ilLl\'t\t‘\‘ that Nnzaki's
\‘l$i.t;til7..ttliiti nl an alit-ii ti-t~liiinln-
has had nii iiiy iiWll ritn-ct‘.
igy
Thv igrart-iul, l'"i\'i('t1| hnrrnrnt
ii li|\|1I‘l'S iii iii_\' tt\t‘tt\til'\'. it‘tltt\
tho (lay l. as aii ;iwi~—struck 7-
yi-ar-nki tiny. sat in a rlai'ki-in-ii
llltl\'ll' tht-ati~r. Tn niy way nl
thinkuig. thi- itrttatvst rri-dit lnr
thv tiliii's suvvvss guns tn Nt|L;l-
kt’:-1 li-thally vii-izaiit warships and
(Znrdnii .lt-iitiini:s' rt-snurrvtul anti
lIl\'\'l\li\'l'h]l('t‘l1\l\'[[(‘t'lS. Tn tiiiiik
tiiat a uiaii ni surh visinn shnulil
nnw lii~ sn:htli~ss. pains lIll' (|t't‘]l'
ly."
s|)(‘l'lL.ll cllvvts t1t'l\i\l5 Gnrdnn
.It-iitiiiips Klimt nt .i |\t';lIl zittark
sunii aitvr tlii- iiliii was t‘tIlt\|)|(*l\'d
in i953, but Ill[‘Il\|)('l‘S tit his t'i-
torts t-row survive and wore ln—
ratt-d by Rubin. W;tllllt'0 Kttllt-y,
-Ii-iinini:s' 5|>t'i'i;il 1-tivrls t'aiiii-ra-
tililll is rt-tired and iii-mi; in Sher—
niuii Oaks. Culiinriiia. H0 dis-
russcd th1- tiliii‘s usv nt ininia-
turv |ihntni:ra|ih_v. Paul Lt'rpa<'_
.lt-nnings' nptival t'Ht't'ts t-xpt-rt,
explained thi- tvrhiiiqut-s us;-d tn
('!'l‘Lllt' many nl tho tilni‘s six-vial
plintnigraphir (‘"l‘t'l$. Lvrpav iinw
lives iii i't'iirt-int-tit in sunny Palni
S|iriii|:s.
ltuliin inuiidniaiiynlttir iilni':~'
tu~iiiiit'i;ii\s still at wnrk at l‘ara-
iiinunl Stutlins. L0i- V;l$t|\ll‘_ iinw
iii i'liarut- ni P:u'aninuiit's prnp
5linp_ was a prnp torhiiiriaii in tilt‘
i-ai‘l_\‘ '50s when lit- wnrki-zl nn thi~
M;u'tiaii iiiathiiir iiiiiiiaturvs un-
tit-r ti-yl Burks‘ su|x-rvisinii. iiliititl
with Rnniaiiiv [ii'i<'knii-yt-r. whit
alsn wnrks iii thi- ]lrt|]i siinp tu-
day. Gl't\l‘ G:u'\'in and Hnward
nal \\'i~i't~ iilsn at P£U'ill\\ttt.|l\l, and
tlii-ir it\\.|t.!ltlLt|i\'t‘ \l‘\‘|\*
|-i~t-.illrrl
tllt|L\t'S iii t'i'i-atiiii: snuiid i-tin-ts
it|l'liit‘illl\\.
Rutiiii i'niit:i\"li-it .isti'niinniit~ai
artist C|\l‘Sll')' Bniit-sit-ll at his
hnnu- iii C.it't\\\'l, Catitni-iii.i. tn
disruss till‘ £-|11tt‘t' art usvil in thi-
lilni. Thr B9-yi~.u‘-nlil artist hati
hi-i-n a in-qui~nt i'nllalinr.iinr with
Gt'i|t"gi‘ Pal until his I‘\'ll\'(‘llli't\l
in tlit- niid-iiitit-s,
S¢'riptwritt-r Barrv tsay iii-rryl
Lyndnii (lit-ti in 1912. hut his wi-
dnw. Chi-rrv. wlin |i\‘\'S in Cnltl-
cill‘l$ltI|l|\t'I‘ Lt-v plays a \‘;\tl\_
Gauniniil ltitvriiatinnal Prudurtinn
Z000 Iiliii railoli DR:\CL' LA. FERE
ET FILS tDi'.i\"ula. Fathi-i" and
Sn“) shnt last yt-ar in Fraitrv by
dll"l‘t'ltvl' Ettnuard Mnliiiarn. l.t-i-
has nti Sl‘\'t'l'.ll twriisintis vnwi-ii
never tn play tilt‘ Drurula t'li;ir.it"-
tor attain. unit-ss thv |l\‘i|(i\.|t‘lilit\
\\'as niuuiitt-ri "|irn|i(-rly.“ DRAC-
ULA, PERE ET FlLS is a rnnit-~
riy. Hnwcvcr. pvr iliructnr .‘\lnli—
ii:u'n_ "This snrt nl Dracula is
t|l\t't‘ i~i-iiin\'i-ii," l‘(‘f('t‘l"lt\t1 tti tho
iilni's seiid—up tiuturt-. "and its
Lvv refuses tn play the rnlo again
this is his nttit-ial tarowt-ll tn Thi-
Cnunt,“Waiiiialiol?
Film, Wt‘llt(‘l1 tiy Mnliiiarn with
.lcan<Mari0 Pnirv and Alain Gn—
dard and hasctl innsi-ly nn tho nn-
\’t:l P;g_j§ M113 writtt-ii by
Claude Kliintz, lnlltiws the Pl"ll'lL‘t'
ni Darkiit-ss and his snii, as they
are drivt-ii irnni lht‘iI‘ 1-astlo in
Ti'ansyl\';uiia try the Cniiiiiiuiiist
|,Ztt\‘(‘l"lll\ll‘l\l. The‘ Cnunt t-nds up
in Lnndnn whi-rt- hv ht-cunii-s a
star cit hnrrnr iiliiis, while iht~
snii iiniis his way tn Paris wht-rv
él i~- if
no lit-viii-iii-s an ittilllltll“-Nil lalinr-
*,A V
Christnpht-r Lvr iii DRACULA.
PERE ET FILS. Whit. iiic'.’uiiiiit-s
L00. "l dnii't even liink ilki‘ hini."
wutvr Canyon, it-ti Rubin tn the
tilni's nriizinal stnry trcaimi~nt--
an ilt\'2l]tlilil|\‘ tinrunit-tit whit-h do-
tailcil Ly|idnn‘5 nriiziiial rnnct-pl
(nr thi- draniatizatinn nt Wells’
|ltr\‘l‘i.
Rulini miitartc-ti Frankwolls Ill
Lundnii, thi- snti iii H. G. Wt-lls
and aui authnr in his nwn l'i|,!i\l, tn
invi-sti|,:att- thv histnry lit-liii.d till‘
sale nt thi- nriuinal nnvi-1 tn Par-
aninuiit.
.-\ctur Gt-iii~ Barry was happy
tn (|\St't.t$5 his i-nntriliuiinn in tho
lilni. Ruliin alsn l'tltlt1lt‘l\‘d
zuid
Li-is Tl‘l't\\&l)'I\t'. Min |ll.|)‘l'd Gi~n-
t-ral Miuiit, llnusvlvy Sli'\‘t'IlSilI\
.Ii-,_ whn pl.i\'i-ii tho G(‘|\t'l’;li'$
aidt-_ Airy lilnnrt-, whn plaiyt-d tho
ynuni; hnt-rniizit-r whn spnts thi-
first Martian vylititirr. and iiar»
ratnr Paul Fl‘\'('h.
Thr dI$;||I|\t‘iL|"£\l\t'\' nl artrt-ss
Aiiii Rnliinsnii was tlii- Hill‘ mys-
THI-I WAR OF
tvry SUl'l'II\il\t|lIli1
THE WORLDS that ltuhin t't|\.li(i
iint rli-ar-up. r\t‘t‘i>|‘t||l\t1 tn thi-
iili-s nt tht~ .-\<'atit-iiiy nt Mntinii
i’ii'tui-i-.-\i'ts.uitlSt-iuiri-s. shutti-
\'I|t't‘('l| lltlliiitililvl‘ -laiiiiu Bravn in
l‘J66 and hasn't ilt't‘ll hi-ard trniii
5lt\t‘t"
Finally, it is littiiii; that iii an
issuv sn iii-vnti-ti in b|h't‘i.ll ri-
li-rt» wv have» |iulilishi~tl ;ui iii-
lt'l'\‘l\'Vt‘ with aiiiniatnr .iiiii Dan»
lnrth. "Thi- $25,000 .000 t‘ndi'r»
staiitling," which lalii-is thi~ spo-
cial vlii~i't.~ Oscar t1l\‘(‘l\ ti» KING
KONG ti-r what it is: .i sham.
\‘l". A t'hain"t- lllt‘(‘l|I\|1 |)l"lt\l.Z5 tlii~ni
inizt-tlior again. anti L\'\‘ srts nut
tn sti*a.n4liti~ii-nut his niislit Still,
|ila_\‘t-ti ii)’ Bi-i‘ii.ird Mciii-1..
Ct1|I]IlI\\1 his pli-a ahniit tit-iii;
Hit‘ ])lt‘ltlI‘t' Lt't- inaiiitaitii-ti ili.it
iii- tnuulit attaitist lht- titliiii: nt thv
tilni tn i-xiilnit his Driirula tiii.ii:i-
lit was urn: uially rallrtl siiiiiily
PERE l-IT FILSJ. sayini: “it is tu-
tall)‘ l\\l5it‘L1(|ltl|1. I min nnl play lilt‘
part iii Drarulai in the |)ll'l\1l‘t‘. l
tlun't |l;\.l‘llt'\ll;U"i)‘ lunk lik(- hint. l
play i-niiit-dyl l aiii iint ll'l|L|\ll'l\|l\|l
nr SLl\':i;1t- nr ti-rnt-inus nrtt-rrity—
iniz. l ant Sad-—| iiiii rniiiuntir--l
ani t'tIllltt‘--l ani aniusiiig--l ani
l)’i"i\';\i-~l ant t-harming. . Yi-s.
hut is hi- lii~lit~\'alilt~‘.’ Lot-, whn
has nitrti said, with siiirority
d|'i|)|lil\lL lrnni 0\'t*ry wnrd, that hi-
has niily tltIIll' aiinut a dn1.i~ii hut‘-
rur liliiis in his ran-i~r. whi~nht-
has dniii~ tnur S('til‘(' at it-ast. is
tit'\'t'|ti|!il1|1 a \'l't'(‘ilili|il)‘ gap that
wnuld niakv t-iihcr Lyiidnn .lnhii»
sun nr Richard Nixuii tilush.
Li'(' ignus nn tn say, "Tho ft‘-I"
sun t did it was nut in |lLlX'tit‘i)' my-
st-ll. whii'ii l tin ni-t rln, but bu-
raust-\ by dninu this l can dis;
ilii~t1nni- wry I rnily tlll the vaun-
pirt-. Lot's put it that way. Anti l
ti-i-t [hi5 is my last wivr tin tho
SL\|)]t't'l. it l iiiay say st-'.“' Yes,
Chris. hut is it ynur last )‘)l\'lL\I‘('
nn l|\l' sulm-i't‘.’
l-!arryhausenS
Slnbad for ]une
SINHAI) AND TH!-. l;\'F Ul-'
TIIE Tllll-IH h.\> In-1-|\ >4-I I-»r 1'r—
ll-.1.“-l|1|.~.Iu||v ||\' ('\>l\|mln.| I'|r—
mun->, nun! m .1 .~~-r1~-_- -.1hlm.~
h\‘ .<p\-r1.\l 1-Ih<r1.~ m.|.~lvr l(.\\'
ll.u'l'\‘|\.\u.~<-u u-_uuml \\’|l|\ |Irw\l\|r—
1-r L'l|.u'||-5 H. $\'|||\rm', TH!‘ hlm
mks lln hr.~l um<- lln |1.||r
V1‘ ||rmlur|-<1 .| >m|n-‘l l|,|\'}:~l~-
Inn-k, h.|\'|m; m nu |».|.~\ <1.-ml» .1
nu ;| murv \'.|r1r\! hlm|\\.Lk|m1 .v
g1-nd;|.hul Sinh.ul |> \\‘h.|| l|ll' |\u|r-
hr \\'.ml:~ .-r .n l.-.\.~l \\|1.n (‘--lnm-
|)|;|w.|sl\u\'||\;L.
Pallrlvk \\‘.|)'|\-- |:l.\\'> S1nh.\\|.
.n|(| -l.\n<- S|~\'m-mr. 'l‘.|r\'u l'~>\n-1'.
.\|\(| l\l.u'y;.u'<-I \\hll|ln1 h.||\\l]|> ||u-
.|\.~\.\|n~-»1<->. \\m1.- m.- mm |1r:>—
nusrs 1.. I»-~ _~|u\1l.n'\ul|w |n'|-\'|-
<-us hlm.~ m |!\1- A1-.|m.u\ f\w_||l.~
.\r1‘u-.\,ll|1nlI|l||| \\|1llu- Sm!-.ul‘_~
hrs! l'lH'lI\|l\ll'l‘ \\-uh .| \'|ll.um-.~.~.
(hr |-\'|l .|m| .uuh1n~u.~ ‘/.rnu|n.1.
pl.l\'|-ll hy M.|l‘LL.ll'n| \\'l\|l|l\;:. S!\<-
r.|sl.\ .\ .~1~-ll -1|\ .1 \'~u||u L‘.\l|p|\
wlnrh ll'.Ul.\|ul‘|\\.\ Ium lnln _| hm
hm-n. S1nh.u|,||\lu\'r\\1lhl|n~('.|—
l1ph's .~|.~'l|-r. >'|‘(.\ uul 1|» hn-.Lk
lllr .~p<»ll \\|\|| nu- .||\! ~! M:-l.m—
l|\1u.~. lhv ll:-ruul -1| L'.|.~\:.n'. Sm~
i —
T|\l'l'4' Dyn.u‘.m\.\ >1».-.-...| --Ir--.1.~
Ir:-|n L'<\lun\h|.|'.- SIN-
:~|-qu|-n<~\-.-
BAD.~\ND'l‘Hl".' FYI‘. UF THE TI-
GER. "r-1|‘; Tln- \\1m-.1.\m- |mp..h-.~
unv <-I sm1>.|<|‘.~ r|'|-\\- \\1lh .. 1.“. -
lm. l\hzk||r: A uunl \\.|lru_~, K-nlv
nnc nf nu- n\r|l.\<‘\-5 1-In":-\||m1'|-\1
by Sm|1;m 41 mm» X--rlh Plvlr. mu.
nun: Thl‘|'\' wr.u\l\—l|l-u> .1:-.~'.|.~._~|n>
4-|\lvr smh..<1'_-1.-m 1-. \‘llp!.QL<' hun
wn|\bl.1dv. .\.\|- .uul n\.|\'v.
&|UL‘lI|||| wnh .11-_~.-ph In-~'|\|\-~1-‘.~
N1-w\‘urk (hSll"I|Il'I'\' in l'J'|'51_~;v|-
~l:Il:'l6l. In-\\'v\'<-I‘ Hru-nlu-r \\.|>
|‘<-lurl.u\l l-- d|_~ru.\.~" mp m.nl<-r,
§i\)'1l\); --my lh.n llu 1-.< \\.|> ..
"¢‘nI\l&'l" un l|u' ])|‘n|z‘|‘| lhmlull
"|( |.- sill] nu llw hm-k_~," Thr
runlllrl XHl‘Hl]|vll\'(| r||\1|\| hr R|v-
nu-|'||‘S u>\- ul |1l.|<'k 1 \\‘l\1lc-lllln.
s|-nu-num; .h_~'lr1l»uu.r.~. hum r|\.-
mu;-»r.~ .u\L| nu» mm.->. |u.~l .1-mu
w.ml ln l|.\mll\-. H-||\u-r--1.~l|v1x\;;
\*\-|‘)'n|ur.|,\;:-~1u.\, .u'n.~ur.\lly, m
l'llnIvs1||L' 1|. L;-1 wnh hl.u k k \\|nh-
mu u \'lI\.|ll‘ pr:-\'vm m.\ mm
[rum l‘\'.|1‘l\Il1ll \'<>||\I\\I'|'l'l.|] .m-
(|ll‘IH‘\'5. . .
LOGA.N'S RUN \\'|ll (urn-up wu TV
tins mu, 1..-1m.\x1uz\n-v..uu-.»..1
lust )1-;u', hut .| 60 mmuu- lnlul
1--r .1 u.-1.-\-M.-H .~--m-.~ rmwn .11»
lhr hlm. bvllu: |1l'||¢Iu&'1-(l by MUM
T1-1|-\'|s|un. Tlw |)l|4>\ ls \\’r1ll\'n
by Saul Duvnd, whu |!|‘:-4|u|'r11 l|u-
MGM fl‘Lll\1l’\'. and \\'1lh.|n\ F.
Nul;A.|\, l‘H>nul|m|* 1-I (hr I-|'|LLll\.ll
|\u\.‘('l nu wh|\'h .Al| HI Hus la b.l.\'-
ed. Duvld was :11» 1.» prmlucr
lhP |)ll<1l_ hul rxm-d, ur \\.|.\
uuslrd [rum his puslln-|\ .|l .'\JGl\l
m .I;u1u;uy In .| l|~|:.|l luasslc nu-r
n\0rc"I\;u\d|s1m; l‘l|1|\lbIIl\l|\r .\"|>r-
ms. Hr 15 uurrn-nlly suing MGM
l|.ul'> \--\.u'|‘ L01:-.~» Hun l-- H1-»
l.||\<l |n‘\'-||ul l|\r .'\url|| \\1|\:l whl-n
lu- |'|\\’~u|\l|‘l‘.~ .| Iluuv 1\|u\\u-rm|'.
]1|'<-In.-l\-x'u \\.\l|u.~, --up .-I rh-
hlm‘.~ |n.u1\' .~|1-.|.|I -ll--\l> \'|'| —
.|l|-<l \\|l!\ H.u'|'\'||.|u.~~ H'.~ l)\1|.\—
l'.uu.| ||1'--\<>_~——|u-H~-r k|\~\\|\ .|.~
|||:-ulvl.||\1m.|l|u|\.
Thv hlu\'.~ ~l|u-r 1H4-41>. up
rlunl-Y .| !\h|\-.1.mr. lh. ||\_\'l|\\»1~U.|—
ml I 1'1-.\lur| -»l .u\<-1» m ('ll‘ll' “uh
lln h~\l\' I-I .| m.\|| .||ul lhr In .u1~l
_| hull. ur r_|l||: r .1 1|-n l--.-I h|~|\.'|
:~l.\lu<- -vi :-.|n\: \\hu'!| |.~ !|r:»\u',hI
l\- l1l~ \'1.| In-1|-r\v1.|‘> m.»'||. .| I- -
l‘Iv\'lI|u.\—h|IvklInZ hm .uu|.|||I- Irv-x'—
|--.|-.'u- 1'4-|u1l\l.~||nl --| n|- \,\|||~||,~
.‘w1~|-> \]||rl\n'1<l|>.u|-.v-|\-1' M-1.
.| h\n'_- n--rm»: \\-|n| .| -1- .ull\ .~nm;—
-1-, .|n|! _| \\|Il'I"l~I'!|l|<| nu-1 -»1
1|“ ulh. r: \'ul- \| ll'u||1 .m nrv
v_r.|\.' h\ /.- n.-|||.| 1.. ||\\\.|rx Sm—
||_|d, uh-V 1.~ r-‘.~\\|-d hy 111- lr~u_-
l-ul\'h\ A|r|\'ll1l'|'<l h_uli |'|-\’I'l‘ In-l—
I-‘ml. 'I‘h<- l|'.nl|ll\-1\.|l l)\'|\.|l'.|||\.|
.~\\'--rd Iuzlul _~-‘||\|mu~ lh1.~ lum-
|»|\.~ $1|\I>.u| .w_.uu_~| .1 1-_r~u|» .-l
.~|>.\lr.\l :|\\»ul.- \\|||vh hm}; l|k<- .|
rn-.~.~ I||l\\-4-|»|\ r|1<- .~k\l-»\..|\.~ .u\<l
$<-l| mu».~ Ir-nu |-rm‘;--\|_~ |Lu'r\‘—
h.|u><-11 (|hn>,
I’-|l.n' .~r|-|\<'.~ In I‘ lhv lllm \\| 1‘:
>1...‘ .|l~||:|\. |=»-1--1...». :\x......1..m.~
lI\ .| rvnx--u |_1l.\\'|.\l 1'u;|~\|\ kn-\\\u
.\> ]’|<||.~ \!<- I-\||'v.|:.|. I-'\lv|\.~|\'|
M m.-.,-..l |1||..\...;1-..|-|\\' 1...». |1l.u:
1|\ S||.||n. ..1.|\--.n|~'1-».-..1- -.1 |11'--—
dm-1-1 >1 h|ll'l 1-. .-\ll|\:-\n4!| Im .|< —
u--n !|lmm~.: \\_\> r'~||\||l1-lvll l.\.~|
v\'|-.|r_ H.\1'l'\|\.|\|.~<-n ~|\1\- l|m.\h| .1
\\--rk --n m. hl|n‘.~ »![| .!.~ .~.~--
.,u.»m-..>1|.,.~ Fvhru.u'\'.
Inn 5- .\|-|>--r-»|u
[nl'§'.Z,lIl)ll_l)(IU--\'|-1'lh: .m.nr. In
lhn ||u-.u\l\|n- . I\'.u\ (5-vll .||nl H1-u
H-vh\‘l'l.~ !|.|\'v I‘|‘]vl.u|-H Inm .u|\l
|||'|||.\l‘.|lh-n 1~r (llm|m'_ -~m|n-
\u->. u.-n .unl I{~I>.r1.~ ]vl‘~»\|uv|-ml
MANNIX .u|\l lhv |nl--I Iur lh1.~
\‘v.\1"> lul Cll.»\Rl.ll'.'.\' .-\I\(}l-ILS.
Plllll hlln 1.~|||-\m1 ||\.ul-\ I--r (‘HS
In-I1-\'.|.~\. .u|\l lhr m l\\->x k I1.» wr-
.1.r.-\| lln'<-|~ .~|'1'||»|.~ Aw. l-»|»~.|
In y..1.<1 m-- |-11-.1 1|\ -»...~| up v .2.‘-
rnlv in u_|\'v lh|- >vru-.~ .| ;;r<-1-n
11-.'_lu I.-r pmdu-1|.-|\_ \\1ll1.||n F.
Nnl_u\ |.~ v\urk|m1 ~11 .\ .~|-ruutl
.~--r||.\. .m pl.»-..4. ull:-<1 “rm.
l‘!\um|<-r S|»x|l||\vl>" 1x|\~1l.\)>m‘.\-
I1:-n\\1lh D4'lllIl.\ El\'h|_~|-ll. . .
SHI~Il{L()L‘K HOLMES AND S.-\l'('\'
.lAl‘K .5 .. .~.-1-W1 by .l|»h|\ "up-
km.~ ulnrlx gnu h<-u<-n'.~. ur:».u-».~'l
(lrlrn'(|\'r ..¢.un_\»\ .1.“ m-- R1];-
p1-r. A STYDY IN TPINRUR ¥l'J66l
dud lh.|l :~u|\\| )1-.||'.s_|;;|v, hul m-w
hlm ls h.nu-d uh IL'|l1||]Lr I-L‘;
I1)‘ F.l\A)'n .Iun<-.s and .|~|||\ Lh-vd
\A‘I\|\'|| |ln]>lll‘.|l|-5 lhr Dukv III
Cl.u'rm'|' .u\(l ll\|- Hl'|l|.\'h RH)'11l
F.mnl)' Ill \l\<- lh1v|u~r munh-r.~.
Huh L‘l.|rk |.~ srl ln nllfml {hr
A1|;;lw—C.\n.|1l|.\x\ l'II||!'v|l‘Ul'UlI|\ In
hr hlnlrll nu L<-miun m .-\u\;u.\l Mn
.| hu<|.u<-l ->1 >1-ulv S-4.uuu,uuu.
Cl.u*k (hr:-rl\-nl l|\|- h--rr--r .~l\-1~||-
29
Star Warsr Space Opera Clrafitti
A tall, ttittssive ligure Sll‘l(l\‘S
lll(‘lILlllSlll the Death Sl;u',lht'ul—
lllI\3lll‘Wl‘il]ltl'l. lie steps lit-loreu
huge wall |lrll]el-tlllll ul the i:;ll-
axy; the stars he hopes to kill are
rei'll-eled lll his bllll-ll lu-lnl-r lulli
skull itiusk. lit‘ is Darth Vader,
Dark Lord til the Sith. l'l'llt'|L£l(lt*
Jedi Knight. and the dt-ucllit-st lil~-
inl: alive. Opposing him are .l
t~r;iLy olti ulait. ;l elllli looted larni
blly. at spoiled rlrh girl. it rllklsh
piratlt-. ll l'Ul)lIl lop, at lIl\‘t‘l‘lillllt">ll
ash can. and ulzizint Wllllkie.
Director Gt-urge Lueus and his
producer Gary Kurtz were Ul\L\'
w;u'e that the liliu they were
niakillg. AMERICAN GRAFITTI,
would be one ul the ;lll>tillie til-st
illoney nulkers when they dis-
russed how ntuvh luii it would be
to do ll nluderu version of Flush
Gordon. Four rewrites anti nine
Y,
lllillion dollars later STAR WARS
is relldy tu bring space operll ln
the srreen lor the first tiiiie.
ll Lucas‘ novel \'erslun til his
screenplay (Ballentine Books, Z20
pagt:-5. $1.50) is areurate, STAR
WARS will be the must important
science lictiun lilul since 200l
and potentially the worst since
the appearance ul TEENAGERS
FROM OUTER SPACE. Fur Lu—
cats hasn't stupped at "merely"
presenting a space upera. a large
stale space adventure; he has
reached lot‘ a delicate mood and
style. and the results will walk
the narrow line between the V;.\-
pid and the sublime. ll he suc-
eeeds STAR WARS will be a grip—
ping lantasy ol power and adven-
lure--the Wizard ul Oz meets 001
--but il he lails it will he at elmlp
niunstrusity. an opulent joke like
Dino De L:tui't‘ntiis' KING KONG.
The stury told by the novel is
|1tre wish lullillillent lantasy. A
larnlboy on a backwater |il;lnet.
Luke Skywatllter, and his menlur,
:t desert rat who ls really rhiel of
the Jedi Knights. light tu save a
30
prlneess lroui tut evil Will‘ lord.
Jtiiiied by lwll roliols guid suule
$Illl.l|1|1l(‘l'5. they li;lltll~ ;l liuiw
5]ll|t'\‘ lllrl and lllll llit- \'ill;tiii'>
pl;uls lor ]lllLlll‘\;L\‘_V |;l~nol-llll~.
Clearly L\Jl'il>' lulows the |ltl-r-
ary lnrtilwztrs til the l[l‘lll‘\‘. ills
s|i;lt'l- battles l‘l't‘;tll llit- y.tX‘|is
ol Etlulnllll Haltiillutt ;uiti -lohu W.
Canlptiell were spllllling ill t|lt-
lltll'llt‘$, and the -It-di Knights t'l--
st-nlble ;\lllI\ll(‘l' corps lll psnllllr
lawllwtt. Edwatrd E.Sluitli's Lt‘llS-
inell. The devil-r oi a l\Lll\‘\' boy
who is Ll pttwtl knight in $[lJt't'
war luld |lUllllt'S t-oulrl h;t\'t- bl-en
lillt-cl lroiii Rlllit-rt A. l>lt-iiilt-ill]u-
veliill-s like l'§et\t1e_n Pig ets and
Citizen it thfe Gal1t:§y. Lttltt-‘s
planet, Tatlmine, blends Arlikis.
from Frank Ht-rbt-rl's Dune. with
the sordid worlds lrequouted by
Leigh Br:tvkelt's Erie Jlllln Stark.
Tlle tyrztnnieztl lgalut-tie l‘lll|!ll‘(‘
and rebel worlds hllekl;rllulitl 5u|,:-
lzests lsaatt‘ Asiniov's Foundalilin
Trilogy or Poul Anderson's Ter-
ran Empire. The ray gun lights
tutti alien thugs would lit llllo 11ll_\'
issue ul the old P15 ngl Stories
pulp illugllzine ul the '40s.
ln short. the novel is rt huge
t-lirhe, and a poorly written ell-
the at that. A prulilenl is Lucas’
pom‘ pruse style. He is wordy ;|.nd
alniust always overwrites; while
saying a lot he nddly lails to give
much visual feeling. lle is annuy-
ingly llrrh and sellellnsrlllus; he
olten deseribes aliens as "uut-
landish" or "llloiistrous." 0ut-
landish tu whom’? Certainly not to
themselves nr the other 'lnhllbi-
lants ol this t-oslllopolitlln ulll-
verse. They gig; outlandish to
Genrge Lucas. who should he iii
the l);lt‘lq,{l'tlUlld where it stroytl-ll-
er belongs.
y Wggs is one ol the lew
lilnl nuvelizlltions to have been
written by llnyone involved ill the
movie being adapted. ll is ple;ls-
lng that Luezts evidently cared e—
lltlllllll lllr tltt- story ll» tlo the .i—
tliiplliilz liittist-ll-—liut llltl ill"? A
rt-port lrlllli lll'\‘ll2ll)ll'5lIl.|I‘t't' iu—
diriili-s the hook \\';|S l,:lulst-\t-rit-
tl~n by sl-llil~olu- else. ll Luras (llll
l‘tll"\' Ill-yt-nzl set-ill|,i ills own ll,lllll-
llii llil- t'o\'i~r, lie iillglil have l)l'('ll
lwllt-r till rt-liltquisliiiig t't't-tlit lot‘
llll‘ liuvl-I ilutl wllrkiiil; with an l-x-
|X'l‘ll'l\t'l'tl|ll't|§l‘\\'I'Ill‘l'.
Bl-ylllltl tlit- slylislir lltlws Ih
l.ut~;ls' ltlll'll utisiitislylilll l\lIl|tIll
ol a(l\'t-nture. Too ilillrh -ll lltv .tt~-
tlon l-onslsts ol l\‘|1lt|Il5 lll l.ll-t--
l\‘5S 5|ll‘lU‘l';lI'fl\'l‘$ llt‘lll|,1 lll-.lstetl
by ht-rues who l\t'\'l‘l" t‘\'\'l\ gl-t
their eyl-lirows sittlzvtl. Tlll~ Deiltll
St-.lr. a plallr-t-si1.l-ll ll-rtress, ls
.l poll-litiillly last-llnltllll; (ll‘\'lt‘(',
llut ll \'l|I\ll‘5 .it"ro5s till p;i|M'i" .l:~
|ust zi iiioliile zirtliy liaise. llild tlil-
way the heroes roalll it lllIdl‘ll'l‘l-
l-rl and tiell-at llorlil-s. III trtmps on
tlll-lr II\\'ll lgrl-llnd ls uiilil-lit-l~;lllle
and tll\llllPl‘l'SllIlll.
l)l‘S|)ll(' these litults tlie STAR
WARS ill! roulri lie S(‘llSlllll|IlJl.
Repeatedly while l-elldllilz the llook
one has lu reniititl out-sell that
this is a lilui: tl Lurtts puts hall
tllt- book's aetnln, spectllele, and
izinlnlickry on the st"r(-en the rl-<
sull will he llverliowerinlz. Silllply
nothing like it has ht-en done he-
lure. The possibilities lor $|ll'l'l;ll
ellet-ts, l'll&Lk(‘\l|l. st-ts, and all
the other trappings ol elnellla are
limitless.
in prose S('lt‘llCl- lletlon the
story ls olli llat: on it ls u-lillll
nique. S|ittt'e opera has lll'l'll ;t-
nlunll slnee Ed\\';|.l'(l E. Sluith‘s
mly lLl
lillll
§|1§t'_l=ln l92ti, hut
has (‘tll'l\l' tn this
the t-lusest
llllll:-lllstilllg 5t‘l('Ill‘l‘ lil‘lltvIi sllh—
genre is FORBIDDEN PLANET
ttttd odd iteuis like BAR BAR!-ILL.-\
.ind MOON ZERO TWO. On tell--
vision only STAR TREK hits |1|\'t'Il
t-low ol the
41 hatllwiiy t'tIll\‘ll‘ll‘ll\l.!
split-e opera world lll l-ollllllon-
|)l:1t'(‘ spat-e travel. ultl~r|il;llll-l.lry
vl-zu" luirl polities. and t-llsllillpo||-
‘\u‘ lllllllilll .tlil-u l'l'll\llt>l\hlll|l>.
For |iist;t|\t'l-, Liil'.l.~‘ t'llllllll"
til- :|l.lt'l' ll.llllt- llllh l)t'l'll lllllll‘
lJl'lll'l' .l llUll(ll'l'(l tutu-.s lll |ll'lrPtl‘
st-ll~lll~l- lll-tl--ll. ln lillll tlll» mil)‘
t-l-lli|l.lrl.~oll is lln- lights lll -lJ|l-
tl|l\'.\l' liio\'ll-.~ like HATTLI-I IN
OUTER SPACE.
l~‘t'oiii the |l|v\'t'l STAR WARS
ellullt tll-st lll~ t'1lllt'tl Al t-ollll-lly-
¢\(l\'l'lllUl't'. I-Isl-t-pl lilr tlll- l-lllllll.~
ll\l‘l'l‘ ls llttll~ lll llll‘ story tll.lt ls
S|)l‘l'lllt‘.lll)' roulir. llut ll) Slll‘l‘l'\'(l
tlll- llllll will nt-ell 2| lllllll-lll'LAl‘lt'tl
.lli- that will st-tlurt‘ the ;lLldll‘lll‘l‘
luto ;ll~t-eptiill; till~ story wlllle thll
\‘|SULtl |kiWt'l‘ tl\‘\'l‘\\'ll\'llllh lln-ill
lnto tll-lllg illl- saint-.
ll Wtrtlltl lw llarll t'lllIUL[l\ ln
lillll .l :ill‘ill|,lll\ l~.p;ll-l~ opt-ra: Lu-
rats is trvinlz bIllIll‘|llll\|,Z lllt" lt.trtl—
er. STAR WARS is ilitl-il|illn.lll\'
ll|Ikt‘)'. lle speaks lll lt as. "A ro-
" St‘l‘llt'§ lrtvlll STAR
warts. <;l-..l-l;l-
Lut';i:<“ llvrlltrtvtiiiltti
S])L|l‘t' llll‘r1\
spl-l~t.lrul.lr l|‘lilll
2tJtll Cl-iitui'\'-l»'l-x.
Lvlli l\l.u'k ll.itti|ll
as Luke Sl()'Wlllkt'l'
\u\d Ills lurrv ltllir.
ll wt...i<ll-. lllllllll
r\lt~t' Uuittvss tlt-(ll
\'rlI§h\'l~ swllrtls with
D;t.t‘tli Vltdvt‘.
'r..|l; A |)l‘iIll\l<‘lltill
|lllllllll\lI li)’ Ralph M.
Mt'Qu.iri'il- rll-pirtlilg
liukt-. his Wllllkie
.llltl l-ollot .lllll-i~'.
.|LZ.llll§l tht- l-iliinous
\'lS.ll[l' --1 n.ll-til
Vzlrit-r. rl-iil-l1.irll-
.ll-di Knnilit. Rl-ttolll.
CLll"l'll' Fistll-r .lii(l
l\l.u'k Httulill lllsltll‘
lllt' l)l~;ltli St.ir. Fillll
\\'lll st'rt-t-it lll ~lUll\'.
ln.lntlr lJll\il§)' .l.llIvLll as st-rlllus
as il splllzlletti \\'l~stl~ru. A SlAlil‘(l-
.uid-sllrrt-ry liliu." Ozl<ll\'. [lit-
llulst |)t‘t'lt‘lll|tIU!~' wtiils are lllten
llle llill"(lt'5l lu rl~;it~ll: l-llllsidl-r All-
most all ol \\'ll;lt iiasst-s as t‘llll-
drt-it's l-ilterttliitliivnt. l.ul'.ls is
allllllll: ll-r ll t~;lrl~-lree. Klll)'(ll’l';ll\l
nlootl. A l;Ll"llll)lI_\‘ sitves the prin-
l't~ss lronl all l~l-it wt/.lrd. No tillt'
\'IIUl(l ttlkv it st-rtllusly. liul isn't
it sllllll-lhiin; we li.l\'l~ all dl"l'Lllt\t'tl
about‘! Ideally llltl\'l|'5 slloulrl l)|'
able to re-.lll1l~ pt'il|)lt'S' drt-.illl:~.
and AMERICAN GRAFITTI |ll"ti\'t'd
Lul-its t-llpullle ol lLl|l]lll\l,[ nostal-
gin and l1lll|llS_V wishes. but lltIlA'
lllleu ll l':ipturl-d dl'l'Lllt\ looks sil-
l\' luitl l-lllluu-rllssiiilzi
ulilld llrt-allls are l';U‘t‘ today.
l‘lLll tllll_\' hllpl- Lul-as lulows
we
ll-tl.lt ht-‘s tloillp. ll he does, uur
l;l\‘lIl'lll' llllfy |£ll('S will ll\' \\‘t~(l-
tied Wllll 5\'ll'l\l'l‘ lirlioll by nut)‘ lll
t|ll- l'ltl\\ll' lnloks, and the st'rl-en
will again he .l sullurh lll that ;u'-
l~;l ol illl- llllllll will-re lliltl guys
lost-, in-on guys will, alllftht-rl~'s
.llwa_\-s rlilllll lor .l sequel.
S. W. Sl‘llL\lllJt‘li
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Trumbull on
Close Encounters
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ln a genre that is olten re1uvenat-
ed by sequels and remakes, it
strikes me as absurd that a genre
magazine like yours would be-
come as hostile as it has to a re-
make of KING KONG. Your ad-
iniration tor a classic fantasy
\
1976 such technology and Anieri-
can enterprise has given us the
ry's driving, incessant orches-
tratiun, quite literally put the 1l\l-
client-e on the edge oi its scat.
IDS I t:tA$SIf|tn IDS I Cl.
World Trade Center and oil coni-
parties like Petrux. Contrary to ltelilakcs and sequels in the Ads are $2 per lilie i-I 30 spaces
Mr. Scapperotti's snide remark
(523135), l [ind it extremely Iit-
ting that Kong should climb the
lantasy genre are part oi its lite-
blood. lt is l‘l(llt'LlltItlS and rather
tiaivc toassuliie that a remake Ill
7-» 7'—-
and are payable in advant-e.

SUPER 8 SOUND MOVIES FOR

——-

tilni seems to have degenerated
into a kind of tanatic idolatry.
Mr. Mandcll's (5:l:40) dogniatisni
in presuliling that the oily way to
accomplish a remake is to eni-
ploy the same methodology used
in the original--methodology that
he assures us probably cannot be
equaled anyway——unly serves to
reinlorce his bias that nu remake
should be attempted. He wuuld
turther have us believe that any
methodology other than stop-rno-
tion animation such as lite-size
models or liveraction in niinia-
turlzed sets is doomed to tailure
because previous ettorts in these
4
areas tailed. The assumption is
ridiculous to tiegili with. and it is
totally untounded in light ut the
t
satisfactory results achieved by
DeLaurentiis and company.
KING KONG '76 is a great pic-
World Trade Center, nut only her
cause it synibulizes the kind oi
"world trade" that otten exploits
third world countries (iiiCllldll'\(.Z
Kong's homeland) tor the heneiit
of the richer nations. Likewise]
lound it easier tu identity with an
updated Kim Kong, especially as
he is trapped in the enipy hull of
a huge super tanker, his late tlike
ours) in the hands oi the nil in-
dustry!
As tor the technical ettects,
the new lilni has its dis:ippoint-
ments, including. yes, Mr. War<
ren t5:3:34) the scene with the gi-
ant niodel, but niuch lit the live-
action scenes and lite-size hand
holding Jessica Lange were abso—
lutely terrific. l especially tilted
the little touches like the wiggling
toes ot Kong as Dwan walks away
between his legs in the hull of the
KING KONG--even one technically SALE. Many horror and sci—Ii.
less perfect than the original" Niles, Viat-oni, Ken and Coluni-
st-niehow prostitutes the genre bia. Features and digest prints.
and taints the original. ll luiything Send 50¢ tor catalog. MOVlESlNC
it will give the lantasy industry a P,O.l3<ix 54484, Atlanta GA 30308
shut iii the arm and spur interest ———————} ——
in the original. Thus my advice to Nt-ed SABU or other original nio-
Mandell, Scapperutti and Warren vie props. ll you have original
is to 1) at least see the Iilni be- props or into about how to lind,
tore panning it, and Zlahandnii the write Paul Schartnian, 320 West
myth that the only guud reniztkc is
an exact replica oi the original.
TERREL Pu: AN
End Ave, New York NY l0023.
—-—i—
Famous Monsters ol Filniland. A
+-
L‘ TEM M cuniplete collection nt issues l
2302 Kemp through 100 in niint condition.
Miss“ I, MT 59801
4
u “ Best otter over S500. Sam Kent.
~— ———-i———— I603 Grove St, Boulder C0 80302.
———— - ~~—~~——
Even with all its advertising, it FXRH 'l,Z,3 wanted; please send
De L:iurentiis' tilni were called price and condition to D Bryant,
something other than KlNG KONG
would people still [lock to see it?
Are crowds lining up to see the
- ~ Ii-A
2520 Moanii Ln Reno NV 89509.
--~—
lD MONSTER color 8xl0. S4. Gi-

+-
ture, nut only in ternts ol its tanker. lwas also impressed with new tilni on its own merits or be- ant SF still catalog, 50¢. All the
best scenes. Still Things, 13343

7
sheer entertztinment value but a]- how much oi Kong's size and puw- cause ol their love altair with the
so in the way it complements and er were conveyed with close-ups, original’? The answer is obvious. llunibay St, Sylniar CA 91342.
expands on the themes oi the uri- subiective shots, and sound et» '—~

ginal. Indeed the new version is u
kind of sequel to the original in
tiie sense that it lollows up both
on a modern technology that was
epituniizcd in 1933 by the brand
new cnipire State Building and on
the exploitative pursuits of Am-
erican enterprise, nianilested in
the original by Carl Denhani. ln
lecls rather than tull-body shots. LEO D°R°5C"ENK° Children ol the Night -3 is so pp.
One OI the must eective scenes :'m_c:_‘l5Bux;?:)7Oz9 un slick paper with tullcolor cov-
in the lilnt is the buildup to “" ' ers. Ctli'il('lil52 SPACE 1999 pro-
Kong's grand entrance, in which ducer interviewed. Makeup genius
a series oi cuts troni the altar up William 'hittle. SCARSOF DRAG-
to the trees, to a pair ul eyes 55"” C°'*"5"°"“E"C5 T°= LJLA lilnthtitlk. KING KONG, o-
moving along at tree level, to a Cl-‘Q LETTERS MEN. Send S3 plus 25¢ postage to
subjective shot as Kollg nears the P 0 5°‘ 779- oak Pi-Pk IL 59303 COTN, Box BIB’!-CF, Pl"L\l‘l9 Vil-
altar, underscored by John Bar- lage KS 66208.

33
continued from page l6
studio the next day, had a model made and
then showed the strange little machine to
Pal, Haskin and Jennings. Everyone bought
the concept immediately. As special ef-
fects men, Haskin and Jennings admired its
uid simplicity and Pal was impressed by
the ominous manta ray quality as well as its
alien design. Haskin who refers to the ships
as "tear drops" agreed with Jennings that
they would build the machines in miniature
and hang them from wires suspended from
the roof of a sound stage, like puppets. Pal,
a veteran puppeteer, was delighted. He ee-
cretly confided to himself that THE WAR
OF THE WORLDS was on its way.
While Nozaki reworked the film's con-
tinuity with a new series of sketches, Has-
kin returned to his Western in Colorado,
Pal began casting, and Jennings, with No-
zaki‘s little plastic model tucked under his
arm, took over. His special effects crew
consisted of Wallace Kelley, a special cf-
fects cameraman who had replaced Jen-
nings' brother Deveraux when the latter had
died, lrmin Roberts. another cinematogra-
pher whose job was to photograph glass
shots, still drawings and many of the com-
posites arranged by the crew's resident ar-
tist, Jan Domela. it was Domela who ar-
ranged Bonestell's paintings in the film's
opening prologue. When mattes were involv-
ed, Jennings relied on Paul Lerpae, a2'1~
year veteran who handled the film's optical
effects. Finally, Jennings was forever al-
lied to lvyl Burks‘ prop department which
constructed all the film's miniatures. Under
Burks were special effects men like Milt
Olson, Charlie Davies, Lee Vasque and Ro-
maine Brickmeyer.
First. Jennings took NoZaki‘s model to
Burks who assigned a modeler to construct
a 42-inch clay composite from which to
mold the three articulate war machines, at
semi-disk shaped objects (that Pal hoped
would convey the flying saucer image) with
three distinct operating features: a long
movable cobra neck which emitted the heat
ray; an electrical TV camera-type scanner
which emerged from the body of the ma-
chine; and wing tip skeleton rays. Although
each machine had a rotating neck, only the
main machine could drop its neck as it does
when it cinders Pastor Collins, and only one
machine had the TV scanner. used during
the ruined farmhouse sequence.
Burks fashioned the machines out of cop-
per which gave them areddish tint symbolic
of their origin. And it was the use of color.
in almost every facet of the special effects,
the colorfully yellow heat rays, the rainbow
effect of the pulsing cobra neck, the green
disintegrator beams, and later, the multi-
colored Martian, that gave the finished film
a distinctly alien feel.
Lee Vasque worked on the electronic
hardware that went into each machine which
possessed thousands of dollars worth of in-
tricate wiring and circuitry connecting the
motors and lights to power generators hid-
den in the rafters.
A concept which was later abandoned as
being too dangerous involved the use of e-
lectronic beams to simulate the war ma-
chines’ means of support. The idea was to
use a high voltage electrical discharge of
one million volts, fed down into wires sus-
pended from overhead generators to form
leg-like electronic beams. Jennings tested
the effect near his office on Stage 2 and it
worked fine, however, the concept was lat-
er abandoned as Pal explains: "lt would have
been too easy for the sparks to jump to any
34
dust, metal or dirt on a large stage. lt
could have killed someone, perhaps set the
studio on fire. so we reluctantly gave up the
idea although a great deal of hard work had
already been done."
But the electrical experience was not en-
tirely wasted as each vehicle was expertly
attached to fifteen hair-fine piano wires that
connected to a device on an overhead track.
Electricity was fed through these wires to
the operating mechanisms. Other wires lat-
er transported the machines across sound-
stages where effects cinematographer Wal-
lace Kelley recorded them on film with his
high speed cameras.
For closeups, Jennings had Burks con-
struct out of plaster a larger model of the
triple-leased, pulsating scanner with hex-
agonal holes cut through it. Behind these in
the plastic shell, his electricians placed ro-
tating light shutters and an electric fan
which gave off the ickering effect.
ln the Lyndon script. the Martians were
equipped with two distinct weapons: a fiery
heat ray which was used in the destruction
of the cities; and askeletun beam that dis-
integrated man's conventional weapons. Al-
though Lerpae handled must of the optical
work which matted in the effects of these
powerful alien weapons, Jennings used live
burning welding wire to simulate the fiery
heat ray on the miniature stage. As the wire
melted. a blower set up behind the ma-
chines forced sparks toward the camera.
As the machines were being constructed
in the prop shop. Nozaki completed his con-
tinuity sketching for the miniature sets, al-
ways mindful of Pal's limited budget. Still
it was to be an expensive film, thanks to
the success of DESTINATION MOON. the
anticipated success of WHEN WORLDSCOL-
LIDE, and the support of Y. Frank Freeman.
which allowed Pal ubudget of$l million, a
sum that indicated that major studios were
beginning to accept the science fiction genre
seriously. Typically, Pal allotted the major
portion of his budget to special effects.
"With a wizard like Jennings, you did the
best you could to give him all the money he
needed," recalled Pal.
ln May Paramount reported in the trade
press that Pal intended to use as his princi-
pal actors members of Paramount's young
stock company. "The Golden Circle." Says
Pal. "l have always been partial to working
with unknowns because they give more real-
ism to the story line. especially in a film
like this where the Martians are the real
stars."
Throughout the late summer, Pal looked
at actors and actresses for his two leading
character parts: Dr. Clayton Forrester and
Sylvia Van Buren. in late September. Para-
mount signed a Broadway actor named Gene
Barry on his first film contract. After years
on the New York stage, Barry was hardly
a edgling, and his first contract offered
him $1000 a week based on that experience.
Pal soon grabbed him for the role of For-
rester.
For Sylvia, Pal asked Barry to read with
several young starlets from "The Golden
Circle." For the test, Pal placed his actors
in the "fishbowl"--a soundproof glass-par—
titioned stage which allowed the audience to
observe without themselves being seen. By
looking at the actors in this way. it gave Pal
the impression of looking up at a screen.
The producer decided the best test scene
was in the farmhouse where a frightened
Sylvia recalls the childhood incident of be-
ing lost.
Pal and director Haskin were both im-
i-
The Martian war machine miniatures, each
suspended from fifteen fine piano wires. op-
erated from overhead tracks placed in the
rafters to guide their movements and supply
electrical power. The three 42" models
were constructed of copper by lvyl Burks’
prop shop, each with a remote-controlled
rotating cobra neck. The miniature set of
the gully is dotted with the smoking craters
of some of the 200 explosive charges used
in the sequence, a special effects milestone.
pressed by a young girl named Ann Robin-
son. At 24, she was mature enough to play
a rural school marm and yet she was pretty
and appealing as well. A native Californian.
the young actress had made her debut in
George Stevens‘ A PLACE lN THE SUN and
had just completed a part in Buddy Boot-
ticher's Western CIMARRON KID. She was
quickly signed to play Sylvia Van Buren.
The delay in designing the Martian war
machines had cost Pal a good month. Para-
mount had postponed the film's start to De-
ccmber l. 1951. Meanwhile. so as not to
keep their new star idle, Paramount gave
Barry the leading role in Joseph Sistrom's
LOS ALAMOS. Barry would return from the
New Mexico location in mid-October. Pal
was now also working on a new ])f‘H](‘Cl, a
film dramatizing the life of turn-of-thc-
century escape artist Harry Houdini. How-
ever, he continued to cast THE WAR OF
THE WORLDS.
Les Tremaync. a prominent star in ra-
dio and considered by many in the early
1940s to be radio's top dramatic actor. was
signed to play General Mann of 6th Army
Command. Pal was searching for a person-
ality who not only looked like a general but
who spoke with authority as well. Mann‘s
lecture in Washington describing how the
Martian machines link up in groups of three
and sweep across the country like scythes
was to be one of the film's key dramatic
scenes.
"Les Treiiiayne." recalled Pal. "gave a
speech about the Martian strategy which
must have read very boring but it is a per-
fect example of how a script can offer only
one perspective. That scene had lu be acted
out to convey interest. it was difficult to
convince executives like Dun Hartman that
this material would make an involving film
and there were long stretches in the script
where there was no dialogue at all. But
once you had Les Tremuyne. on film. in
uniform, sweeping a piece of colored chalk
across a blackboard. we convinced every-
one."
Another "voice of authority" was that of
Paul Frees who was signed for a part as
narrator as well as an on-camera role.
Easily one of Hollywood's most renowned
narrators and presently noted for his com-
mercial voice-overs the is the voice of the
Pillsbury doughboY)- Frees‘ authoritative
speech was a featured part of films like
THE TIME MACHINE (where he gave Voice
to the talking rings), TARAS HULBA, AT-
LANTIS, THE LOST CONTINENT, and re-
cently MIDWAY, in which he dubbed the
voice of Admiral Yamamoto. "l'm George's
good luck charm," says Frees today, "and
he has had me in every film since 1952."
ln THE WAR OF THE WORLDS. Frees
opens the film as the "voice of doom" nar-
rating Pal's precredits newsreel montage,
Frees speaks while the drums of war pound
forth in the background. Later in the film,
Frees appears as the radio commentator
broadcasting from the A-bomb site. His au-
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dlence: "Future generations, if any."
One vestige of H.G.Wells' original coti-
cept was retained when, on Lyndon's ad-
vice. Pal hired venerable Sir Cedric Hard-
wicke to narrate the film. lt is thus an Eng-
lishman who speaks Wells'very words about
the coming of the Martians. against a vivid
background of space paintings created by
Chesley Bonestell. Lyndon's information on
surface conditions on seven neighboring
planets was later corroborated by Dr. Ro—
bert Richardson. solar specialist at the Mt.
Wilson Observatury. Bonestell's excellent
space paintings were also based oti the lal-
est data as researched with Richardson.
Al Nozaki had spent a great deal of time
in designing the Martian that frightens Syl-
via in the farmhouse sequence. The art di-
rector had two basic guidelines. The Mar-
tian had to be cheap, but realistic. ln Lyn-
don's script. Nozaki noted that the Martians
were physically weak but possessed tre-
mendous mental capacity. Lyndon had also
established the concept of a three-lensed
eye and long sucker-like limbs. Once more.
he went to the drawing paper and this time
sketched out an alien being. The next day he
approached Charlie Gemora with his rough
sketch of a mushroom-like creature.
Little Manila-born Charlie Gemora was
noted for his expertise as a sculptor‘paint-
er and had been working in makeup at Para-
mount since 1932. Shuttling between makeup
and the plaster shop. he had worked on
films at every major studio and had helped
design the Notre Dame Cathedral miniature
for Universal's remake of THE HUNCH-
BACK Of-‘ NOTRE DAME in I939. ln 1945
his reproductions of "Blue Boy" a.nd"Pinky“
were featured as the works of Gainsborough
in the Paramount release KITTY. Alter
THE WAR OF THE WORLDS. he would dun
a gorilla suit many times and continue to
work on films like Warner Bros’ THE
PHANTOM OF THE RUE MORGUE until his
death in i962.
ln a little shed behind Stage 5, Gcmora
gathered together his materials for the
Martian invader--chicken wire, latex rub-
ber, tubing and red paint. Ho constructed a
little costume with added features like a
wire control that allowed him to operate the
fingers and make them pulsate. It was a
strange mound of rubber that Gemora even-
tually carried into Pal's office one morning
in late October I951. Nozaki was there ;uid
expressed his delight immediately. Pal was
equally pleased and since Gemora had de-
signed the costume for someone his own
size. Pal asked him to play the part of the
Martian in the film.
ln early November, Pal left Hollywood
for a ten day eastern tour promoting WHEN
WORLDS COLLIDE which premiered in Buf-
talc, New York on Nnvember 6. 1951. With
principal photography on THE WAR OF THE
WORLDS now set for January 14th, Byron
Haskin began his own preproduction work.
Lyndon's original script concept had been
toned down considerably. Considering the
cost of the special effects crew, there was
now little money to spend on sweeping De-
Mille-like location work. Economy was the
prime factor and a search had already be-
gun for newsreel and stock shots to drama-
tile the rout of mankind. Haskin had enough
money for a limited amount of location work
and several factors allowed him to make the
most of it.
As in many of the early science fiction
films of the period, Haskin needed military
cooperation. The final Lyndon screenplay
had eliminated all references to the Navy,
36
all but a few stock shots of the Air Force
but the Army was still needed in strength,
especially for the key confrontation against
the first cylinder outside Linda Rosa. Un-
fortunately, there was a problem. The Cali-
fornia National Guard which offered combat
units to film crews as "traitting exercises"
(they had most recently journeyed to 20th
Century-Fox to greet Klaatu) disapproved of
THE WAR OF THE WORLDS.
Ever aware of their national image as it
appeared ir. countless films, the California
military retreated from a project which de-
picted a helpless military, especially at a
time when American soldiers were fighting
in Korea. Haskin suggested to Pal that they
instead contact the Arizona National Guard
which later proved more gutsy than their
California comrades in arms.
ln December, Haskin. Pal, assistant di-
rector Mickey Moore, director of photogra-
phy George Barnes and a small crew left
for Phoenix and ten days on location. Lyn-
don's rural Linda Rosa was duplicated about
50 miles southwest of Phoetiix near Flor-
ence. Arizona. Here arrived elements of
the National Guard headquartered in Phoe-
nix proper. Haskin was interested in niove-
nient and night after night he filmed speed-
ing armored columns crashing dnwn rural
tracks. tearing into tree-sheltered groves
where guns were unlimbered, men scurried
for cover and preparations were made to
give the Martians a warm reception. Each
night and sometimes. as Moore recalled,
early in the morning, they drove back to
Phoenix to prepare another shooting day.
The Phoenix based military units offered
them everything they needed.
On his return, Haskin took another crew
up into the hills surrounding Sinii Valley,
about 40 miles northwest of downtown Los
Angeles and filmed the exodus as well as
scenes of people waiting for the A-bomb to
explode. Process photography, courtesy of
Lerpae's optical team, later multiplied
Haskin's extra contingent, making 50 look
like 500. in January only a few weeks be-
fore principal photography would commence
on Stage 18, where lvyl Burks‘ prop shop
crew was now digging out a simulated gully,
Haskin was able to film a segment of the
exodus on an unfinished portion of the Hol-
lywood Freeway four-level interchange.
Clearly the most interesting location
work was done in downtown Los Angeles
early on a Sunday morning after Christmas.
While he planned to shoot much of the action
in a hastily evacuated Los Angeles on Para~
mount's New York Street. a standing set on
the hacklot, Haskin wanted to take a crew
out with Gene Barry and show an actually
deserted metropolis.
ln the film's most atmospheric sequence.
ironically one of the few involving a princi-
pal actor in an outdoor setting. Gene Barry,
as Clayton Forrester. after being thrown
off the Pacific Tech supply truck, begins a
desperate running search for Sylvia. Later
many of the scenes showing Barry racing up
deserted boulevards, down sidestreets, past
smashed automobiles and unheeded traffic
signals, were matched on the backlot.
To create such a lonely sequence. Haskin
asked for and received permission from the
Los Angeles Police Department to rope off
a section of Hill St. between midnight and '1
AM. Haskin‘s crew arrived in the darkened
downtown section promptly around ll PM
and began dressing their huge set. Acrew
from the prop shop began spreading select-
ed bits of trash on the street. Assistant di-
rector Mickey Moore set up a camera on a
Top: Effects technician Chester Pate (left)
assists special effects director Gordon Jen-
nings (right) itt assembling a Martian war
machine. Bottom: Filming the Martian nia-
chines as they fan out across a bean field iti
the Chitio Hills: adjusting Martian machine
tl.t.r.) Bob Springfield, Eddie Sutherland.
Charlie Davies; kneeling left, effects tech-
nician Milt Olson: at the catnera, Wallace
i~ —~—i—-ii;
Kelley: kneeling right, gaffer Soldier Gra-
ham; standing right is Gordon Jennings.
high-rise building. Byron Haskin readied
his principal crew alioard a utility cantera
truck to filtn Barry. both iti the Pacific
Tech truck as it was tearing around cor-
ners. and oti foot.
By 5 AM Haskin was ready and police of-
ficers with walkie talkies informed him that
the streets were clear. So as to look prop-
erly disheveled. a tnakeup titan touched up
Barry's black eye and once more tore his
coat. The camera truck was cranked up and
Dr. Clayton Forrester began his desperate
search. fhtring momentary breathers, Has-
kin would offer bits of advice and then send
the |);Utlll\[.Z professor tiff once more. Barry
would dodge across boulevards. race across
sidewalks, jump curbs, lean on lamp posts,
and call Sylvia's name in a rapidly dimin-
ishing voice. After each successive take,
the prop crewmen would dash around like
halftime basketball cheerleaders, picking
up the hits of debris that symbolized aban-
doned Los Angeles. Later, on the Para-
mount back lot. the Art Department created
the actual "wreckage" through which Barry
passes on his search. the overturned cars.
cracked windows, crunihling buildings. fall-
ing debris and looted stores.
After the New Year, Haskin prepared for
principal photography on Stage 18. Visible
over a great expanse was the handiwork of
lvyl Burks’ prop shop. the set dressers. the
scenic painters, the nursery specialists and
many others who had been working diligent-
ly for three weeks. Here under the artificial
lights was the Linda Rosa Gully into which
the first cylinder would fall. Earth was pil-
ed everywhere. trees had been planted and
it was becoming a believable rural road-
side. There were cars parked off the side
of the -road and a scenic backing showed the
Chino Hills off in the distance.
“On Stage 18 we built a basic set." re-
called Nozaki who designed the stage set-
ting. "lt's a matter of economy because a
small picture doesn't get too many sound
stages from which to operate." Nozaki de-
signed the layout with a ramp platform on
the south side which went the entire length
of the stage. This was to allnw for the gully
where the meteor landed.
Burks‘ Prop Department and other spe-
cial effects technicians responsible for the
set revamped the scene each time the script
called for a change in the setting while re-
taining the same sky backing and scaffold-
ing. Here Haskin finished shooting of the
landing sequences, the headquarters of the
Marine detachment under Colonel Heffner,
the bean field into which the Forrester air-
plane crashes, and the short sequence in
which Forrester and Sylvia are racing away
from the doomed farmhouse.
At different times. autos and trucks
were driven up the ramp and in the military
sequences. a half track and a dummy rocket
launcher were used. By utilizing diffgrent
types of brush and scenery. the changes
appeared more realistic. The studio nur-
sery provided scrub brush, eucalyptus. bean
 E

“iii-’ .8‘,
 iields and some oak trees. The wrecked
iarnihouse was constructed on another stage
where liaskin planned to use real lath and
plaster.
"There are various ways in which to
wreck a house," explained Nozaki, "but as
we were using real materials it would have
been too expensive to shoot a reconstru<‘t-
ablc set. We decided to shoot one take and
create the most realistic crash possible. ll
was risky, considering that anything can go
wrong, but it eventually saved a lot oi time
and money. lt all comes down to the direc-
tor, he knows he's got to do it in one shot.
so he rehearscs it very careiully. lie com-
niunicates this to everyone working on the
stage so everything is checked and recheck-
ed." ' gold mine in our own back yard." The latter
Using wires which were attached to ev-
ery movable prop, llaskin‘s crew simply
collapsed the set around the two principal
actors. Earth was also thrown up against
the walls to simulate the crash ;uid skid oi
the new cylinder. Gene Barry and Ann Ro-
binson actually appear only ior a second in
the crash sequence with much oi the demo-
lition being put in later when they appear
surrounded by the wreckage.
Since economy was the order oi the day,
Nozaki improvised wherever he could, us-
ing as much oi the Paramount back lot as
possible. While the dance hall was on the
same stage as the wrecked house, the ex-
terior was out on the New York street, a
standing set at Paramount used whenever a
city street was needed. Since the camera
was lacing the street. there was no need to
create the iacade oi the dance hall building.
Nozaki simply created a raised platiorm
which became a porch, stuck up a couple oi
porch posts iuid that was the entire set.
Down below the camera scanned the ap-
proaching police cars and the rush oi peo-
ple. The same setting was used in the be-
ginning oi the iilni when the iirsl meteor
ilashed over Linda Rosa. Only this time
there is a little iacade oi a movie theater
complete withabox oiiice, the camera tak-
ing in the silhouettes oi buildings across the
street as well. Nozaki had the A-bomb
bunker constructed at the south end oi the
New York street under the scenic loit which
appeared as the mouth oi a highway tunnel
in the Chino llills. The exterior oi Paciiic
Tech was actually the Paramount Lemon
Grove Gate oil Van Ness Avenue. Again e-
conomies were utilized. All Nuzaki did ior
the closeups oi the Tech exterior was make
a stairway and have the camera pan down it
toward the loading trucks. Says Nozaki,
"You never see the building irom which the
stairway came. You simply see the people
coming irom camera right and taking their
(_ equipment and boxes and things down the
stairway. AS iar as the audience was cun-
cerned there was an actual building."
Aiter Les Tremayne was signed to play
General Mann on December 24th the had
just completed a starring role in Univer-
sal's FRANCIS GOES TO WEST POINT), the
producer iound the ubiquitous Lewis Martin
an excellent choice ior Pastor Collins.
Continuity skecthes prepared by the Pa.ra- Martin was appearing in his twelith iilni in
eight months.
mount Art Department irom Barre Lyndon‘s
screenplay under the direction oi Al Nozaki. Beiore the end oi January, Pal would iill
The sequence illustrated depicts Pastor the remaining roles with Paramount cun-
tract players. On January llth he signed
Collins confrontation with the Martians. l)
Scene 128, Martian sinks, SPD (Special William Phipps tu play store owner Wash
Perry, a volunteer iireman who greets
Photographic Department). 2) Scene 129,
Clayton Forrester at the scientists’ camp
Pastor brings out cross. 3) Scene l33 cun-
and who later becomes one ui the iirst cas-
tinued, SPD plus live iigure, continues a
ualties oi the heat ray. On the 22nd he sign-
pan shot irom the Pastor to the Martian. 4)
strikes, SPD. ed Paul Birch who played another heat ray
Scene 134, Ray
38
Former art director Al Nozaki poses with
the prototype model ior the Martian war
machines outside oi his Los Angeles home
in 1976. Working under Art Department head
Hal Pereira in 1951, Nozaki served as the
iilm's chiei production designer and was in-
vulved in nearly every iacet oi its plan-
ning and execution, irom preproduction con-
tinuity sketching to the design oi each set,
the Martian machine miniatures and even
the Martian itseli. Nozaki is 65 and retired.
i———--l~————-—-——
casualty, storekeeper Alonzo Hogue. Ralph
Dumke was also hired that day to play Buck
Monahan, the man with 'a shovel who consi-
ders the meteor's arrival like "having a
three supporting players were signed iirst
because shooting was ready to begin on the
gully sequence.
Monday January 15,1952 dawned cold and
rainy. lt had been a stormy weekend in Los
Angeles, especially ior lead actor Gene
Barry whose home in Benedict Canyon was
struck by a terrible mud slide. Since much
oi the highway into Hollywood was washed
out, Paramount sent a surplus weapons car-
rier up into the mountains to take Barry to
the studio. Scenes oi his wrecked home
were later ieatured in Time. Haskin was in
his third day oi shooting when the head oi
the legal department came running onto the
stage.
"You have to stop shooting--right now I"
Pal who was nearby came rushing up.
"What's the matter?"
"There's been some kind oi oversight,
Mr. Pal. Paramount doesn't own the talkie
rights to [M War o_i lg Worlds."
"What?!" shouted Pal.
"That's right." the nervous lawyer re-
peated. "DeMille only purchased the silent
rights in the ‘Z05. We have no legal right to
do a picture based on the Wells novel."
lt was true. Pal, however, told llaskin
to keep shooting while he phoned the Wells
estate in London. Wells‘ son Frank was
very cordial and quickly arranged ior the
sale oi the needed rights. Delighted that
work was iiiially progressing on a proiect
he had once been involved in hiiiiseli, Wells
asked a reasonable S7000 ior the controver-
sial rights. Because oi his iascination with
the ])l"tl]t.‘t'l, the younger Wt-llsliecame im-
mediate irieiids with Pal, a iriendship that
would later be instrumental in securing ior
Pal the rights to Wells‘ earlier novel. ‘IE
Time Machine.
Legal hassles out oi the way, Pal watch-
ed as Haskin scurried through the liriei
shooting schedule. By the llth day oi shoot-
ing (Friday, January 25th) the military had
arrived and Les Treniayne, Housely Stev-
ensoii, .lr., and Vernon Rich (as Colonel
l-leiiner) began organizing the desperate de-
iense against the Martians.
Thanks to the prop shop and special ei-
iects department, proper realism was iii-
stilled on the set where Marine headquart-
ers is annhilated by the iiery heat ray.
Stuntman Mushy Callahan, a iornier pro-
iessional boxer, portrays the lone soldier
struck by iire. He had come over irom Co-
lunibia where he'd recently taught Mont-
gomeryCliit how to box ior scenes in FROM
HERE TO ETERNITY. in the lire sequence,
Callahan wore an absorbent suit. The iire
spread too quickly however, and it was only
through the quick thinking oi Les Tremayne,
who came running with blankets, that saved
the stuntman irom serious iacial burns.
On Monday February 4th. Haskin having
Q1

'3
completed his interiors took his crew out-
doors to stage the attack on the Pacific Tech
trucks and several other key sequences
which were to be filmed on the Paramount
back lot.
Thanks to the Art Department which had
transformed a segment of the New York
Street set into a riot torn Los Angeles
thoroughfare, Haskin was able tn recreate
one of the original novel's most terrifying
moments, mankind reduced to a panicky
rabble. The fight was staged in the morning
with extras who would later report to Billy
Wilder for outdoor work on STALAG 17.
Principal photography on THE WAR OF
THE WORLDS was completed during the
wcek of February l6. 1952. No sooner were
the live actors through than the special ef—
fects crew began bulldozing the full-sized
gully on Stage I8 and constructing a minia-
ture set of their own. One of those present
was a set dresser and prop man named Ro-
maine Brickmeyer who worked under lvyl
Burks' supervision.
"Wc constructed an entire set." recalled
Brickmeyer. "on a miniature scale. We
hauled in dirt, brush and rocks. Much of
this was built up with lumber and chicken
wire and plaster was used to create the lit-
tte mountains that would represent the Chi-
no Hills. There was also a sky backing."
Stage 18 was actually divided into four
miniature sets. the gully where the Ma.r-
tians are first seen and attacked by the Ma-
rines, the crash site of Forrester's private
plane (fortunately, as Forrester remarks.
"the insurance was paid up"). the farmhouse
where Clayton Forrester and Sylvia Van
Buren are trapped by the Martians. and the
downtown Los Angeles street through which
the Martians rampage until they finally fall
from the sky riddled with disease.
The prop shop crewmen planted their
brush carefully, recreating the gully in all
its realism. The wrecked farmhouse was an
exquisite miniature, complete with picket
fence, graveled walkways, smashed weath-
ervane and trampled gardens. The down-
town street was constructed on a raised
platform which allowed the special effects
cameraman. Wallace Kelley. a street level
perspective.
Kelley was a twenty-ycar veteran of spe—
cial effects at Paramount. He had started in
i933, running the optical printer in the old
transparency department where rear pro-
jection was revered as the premier optical
process. Kelley's first problem on the n\in-
iature set was to find the proper position
for the camera. He was using the same type
of camera as principal photographer George
Barnes except for one major modification.
Kelley could shoot four times normal speed.
a technique intrinsic to miniature photogra—
phy.
"Now this was athree strip Technicolor
camera." recallcdKclley. "which meant that
even if you set the camera on the ground it
would still be two or three feet high. in
Scale with the miniatures. that would be a-
bout six feet high. much too high for this
kind of setup. So one of the first things l did
for Gordon [Jennings] was develop a tech-
nique for lowering the camera. After all we
couldn't dig a hole because we were work-
ing on a stage and. besides. the camera had
to move around to keep close with the min-
iatures.“
To solve the problem. Kclley designed a
first-service mirror that was attached to
the camera lens and rt-flected ill! image
down to another mirror very close to the
ground, a technique that effectively lowered
40
the lens height. Like a periscope, the
strange but valuable modification proved an
important aide in filming realistically on
the varied miniature settings.
For the downtown sequences. Kelley took
advantage of the miniature's built-up nature
and was able to shoot them without mirrors.
He also worked out the lighting for the en-
tire stage with studio electricians like Sol-
dier Graham who was chit-f gaffer on THE
WAR OF THE WORLDS. The miniature set
required a high levcl of light hct'uu5t= of the
high speed cameras.
The brilliant lights coupled with the fast
shooting smoothed out the jerky movements
of Jennings’ Martian machines. With a var-
iety of lenses that presented different per-
spectives. Kelley was able to capture au-
nique sense of realism while filming the
movement of the Martians. a deliberate.
though cautious movement that kept the au-
dience guessing. He had to be careful how-
ever. especially of the wires that suspended
the machines. Says Kelley: "Naturally you
had to camouflage the wires so they don't
pick up on camera. You simply paint them
so they will blend into the background. Also.
you try not to cross the wires in front of a
light source. That would have revealed them
immediately."
in the finished film. the Martians are
viewed for the first timc rising from the
gully and moving against the Marine posi-
tions. To simulate the violent confrontation
between conventional weapons and Martian
supertechnolugy. Jennings. Burks. and Bl-
year-old powder man Walter Hoffman began
preparing the miniature stage with explo-
sives which were buried in the ground.
strung on thin wires or simply lofted into
the air like hand grenades. Eventually the
special effects team would plant 200 of
them. To protect their machines front harm
the Martians employ electromagnetic fields
which form impenetrable barriers. To sim—
ulate these. the prop shop designed agroup
of three lucite domes. These were first
filmed on the stage alone as they battered
away each and every explosion. The Martian
war machines were matted into the film lat-
er as it was impossible to shoot the explo-
sions and the Martian machines at the same
time. The miniatures would have been blown
to bits.
Sound effects and classy matte processes
that gave the machines thcir high powered
heat rays and disintegration beams. helped
make successful this powerful opening se-
quence. Later the prop shop and special ef—
fects departments paid similar attention to
the spectacular Martian invasion of Los An—
geles. The powder experts blew buildings
(such as the eight foot miniature of the Los
Angcles City Hall which was ignited on a
raised platform in the train shed). water
tanks. and power lines and spread fire a-
mung the miniature strcets. The city se-
quences were also enhanced by sound and
visual effects as well as Haskin's inter-
spersed live-action on the back lot where
the New York Street was buffeted by ying
debris and raging fire.
One of Jennings‘ more difficult assign-
nients was to simulate an atomic bomb blast
on a sound stage. On Stage 7 he gathered
his powder experts who came up with the
proper mixture. and then. to align his cam-
cras and lighting. Jennings found a l0x40
foot nylon sleeve as a standin for the cloud.
When he was ready the nylon sleeve was
rolled away and with his cameras grinding
at four times nortnal speed. the explosion
was ripped out of an air-tight metal drum.
Top: A closeup of a Martian war machine
as it lowers its Scanning electronic eye.
Only one of the thrcc machine models was
outfitted to perform this operation. Left:
Two machines reconnoiter at the site of
Forrester's downed Piper Cub, one of four
detailed miniature sets constructed on Stage
l8 by lvyl Burks‘ prop shop. Right: The
first view of the sleek Martian craft. as
they ascend from the cylinder pit and fan
out to survey the gully.
————:—i—-i-——i—-"
The colored explosive powders reached a
height of seventy-five feet, creating a per-
fcct mushroom cloud which was later matt-
ed in with stock footage of the real thing.
By the middle of August 1952 work was
already beginning on the film's optical ef-
fects. Paul Lerpae. Aubrey Law and Jack
Caldwell would be the principal matte pho-
tographers while Jan Domela, lrmin Ro-
berts and Chesley Bonestell were the paint-
ers. lt was the latter's paintings that open-
ed the film. showing the individual surfaces
of eight planets (including along shot of the
Earth) with added special effects that gave
the space paintings a three-dimensional
quality.
Chesley Bonestelt was nine years old and
living on Nob Hill in San Francisco when the
l-l.G.Wclls novel was first published. Three
years later he began drawing pictorial
scenes for a little magazine published by
the Southern Pacific Sunset Railroad. He
was paid in free passes and on one trip he
and a friend traveled to Mt. Hamilton where
Chesley visited the world famous Lick Ob-
servatory. Through the wonderful magic of
a l2-inch retracting telescope, young Ches-
ley was mesmerized by all the planets and
their unusual characteristlcs—-the redness
of Mars. the rings of Saturn. the clouds of
Venus. and the darkness of the outer plan-
ets. Uranus and Neptune. He had always
been fascinated by the heavens. and each
evening he would walk home from hisgrand-
father's wholesale paper warehouse in San
Francisco and watch the skies. But the pic-
ture painted for him by the Lick Observa-
tory left a much deeper impression.
Bonestell lived through the terrible San
Francisco earthquake of 1906. though his
house was gutted by fire. While his parents
rebuilt. Chesley contemplated a career in
architecture. While studying in New York at
Columbia University in 1907, he began to
draw pictures of the planet Mars, inuenc-
ed primarily by the teachings of Percival
Lowell who believed there were water ca-
nals on Mars. However. Lowell's theories
were dismissed by Columbia's professors.
as were Bonestell's fanciful drawings.
Bonestell continued his education in Lon-
don from 1922-26 and returned to the United
States during the Great Depression. Like
Albert Nozaki. he too entered the movie
business by accident. William Van Allen.
the architect who had just designed the
Chrysler Building in New York. was im-
pressed by Bonestell's architectural work
and through his contacts with the General
Electric Company found him a job in the
RKO Art Department in 1938.
His first picture was William Dieterle‘s
remake of THE HUNCHBACK OF NOTRE
DAME (one of his colleagues was Charlie
Gemora). it was Bonestell who painted the
matlt‘ depicting the entire front of the fam-
ous Notre Dame Cathedral to coincide with
the lower half which was actually consfruct-
ed on the RKO back lot. l-ie later also de-
signed the interior of the Hearst-inspired
 _
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Continuity sketches prepared by the Para-
mount Art Department under the direction
of Al Nozaki. Two sequences illustrated are
the Martians being attacked as they leave
the pit in the gully, and the destruction of
Los Angeles at the end of the film. 1) Scene
l45b, Martians with explosions lessening,
SPD. 2) Scene l45e, Martians start into ac-
tion. 3) Scene 2'l6c, Bldgs. collapse, SPD.
4) Scene 216d, City Hall background as Ma.r-
tian Mach. enters right, locat. + SPD.
42
Xanadu for Orson Welles’ CITIZEN KANE.
In I939 he drew the coast of Chile for How-
ard Hawks‘ ONLY ANGELS HAVE WINGS.
He also designed the family house for 20th
Century-Fox's THE MAGNIFICENT AM-
BERSON5, several mattes for SWISS FAM-
ILY ROBINSON, and was credited for work
on HOW GREEN WAS MY VALLEY in I941.
In I949 he began work with George Pal on
DESTINATION MOON and it was Donestell
who designed the rocket in WHEN WORLDS
COLLIDE.
THE WAR OF THE WORLDS was one of
Bonestell's last filiu projects. He complet-
ed eight different paintings de|ncti|ig the
surface of Pluto, Mars. Saturn, Neptune.
Uranus. Jupiter. Mercury ;U\(l the Earth.
as seen jrom out in space. In several, iii-
eluding the M;u's painting. the special ef-
fects department created a little live set
into which were |ilaced the ;ippro|ii'iate
rocks, Stllld and smoke to give the paintings
a three-dinieiisioiial quality. As in most of
the films he had worked on. the studio tani-
pered with Roiiestcll's work.
"Mars." he laments. "was depicted by
large lumps of coal. hunks of broken glass
and red dyed sawdust. I told theiu Mars
looked nothing like that but they paid no at-
tention."
In the case of gituit Jupiter. Bonestell
painted on glass, creating a mural seven
by four feet. showing .lu|iiter's rugged ter-
rain leaving cut-out areas in order that the
special effects department could insert life-
like streams of molten lava coursing down
the mountainsides. added via cartoon ani-
mation.
Considering his slim budget. George Pal
decided early to utilize matte paintings,
stock shots and trick photography to create
the general effect of a plaiiet-wide invasion.
His optical team had the critical task of
matching Jennings‘ special effects with live
action photography supplied by Haskin. and
Pal himself. who had been combing Holly-
wood for the proper stock material. The
optical team was also in charge of Martian
weaponry--they would create the rays and
their effects on Marine tanks and artillery.
For these assignments, Paul Lerpae's
optical effects team was well prepared.
Lerpae himself was a veteran of nearly
thirty years in the photography department.
Hollywood had come a lung way from the
days of plain front and rear projection. Now
technicians were using optical printers,
mounted on lathes, that could position pho-
tographed images to a tolerance as small
as I/l0,000th of an inch.
Recalled Lerpae, "We shot THE WAR OF
THE WORLDS in three strip Technicolor,
which was a method whereby you used three
different strips of negative film, each rep-
resenting the primary colors. It involved a
very bulky camera which shot through a
prism. separating the primary colors into
three distinct images and projecting them
onto a piece of film.
"This procedure, though expensive, per-
mitted a tremendous color control. You
could always go back to your negative and
make color corrections, especially if sonie-
thing went wrong. That's why the later
Technicolor was so beautiful, you had this
control. You could shade the film over to
whatever color you wanted, in the lab. And
then as an offshoot to this we discovered the
blue screen.
"Hollywood discovered that if a certain
color blue was used in the backing, it would
provide an automatic traveling matte. You
could get the image of your live action on
Lee Vasque, one of the technicians working
under l\'yl Burks’ in the Paramount Prop
Shop, installs the electrical wiring and
mechanism which operates the Martian war
machine's rotating cobra neck. While all
machines were fitted with rotating cobra
necks, only one machine was equipped to
-4
also raise and lower its neck as happens iii
the scene in which Pastor Collins is blasted
by the Martians. Vasque now heads the Pi-op
Shop at Paramount himself.
»- ~~--~-e-------e
the filni, but the blue screen would negate
everything else. As a result you could use
the blue screen method for all of the minia-
ture work, which we did iii THE WAR OF
THE WORLDS.
"Each time you see the Martian nia-
chines with live action in the foreground you
are seeing the blue screen process. We
were \'ery concise on THE WAR OF THE
WORLDS because we had Nozaki's continui-
ty sketches gllldlllll) us. telling us when and
where a matte was called for."
Lerpae's crew eventually painted be-
tween three and foui' thousand single frames
to create everything from the fiery flash of
the Martian heat ray. to the disintegration
of an Army tiuik, to the bi'ief scene where
Colonel lleffiicr (Vernon Rich) is blasted by
the Martian ray. The latter effect took ex-
actly I44 inattes of the Coloncl‘s inked-in
figure to accomplish the skeletal transfor-
mation which reduces the poor officer to
flaming dust.
The rough cut of THE WAR OF THE
WORLDS was completed a week before
Thanksgiving I952. Sound departinent chief
Tommy Middleton, Gene Garvin. Howard
Heal '.uid others then sat down to discuss the
sound effects with George Pal. The Para-
mount sound engineers were by now well a-
ware of the effect achieved by electronic
oscillation, the type of "music" that would
soon be featured so well in MGM's FOR-
BIDDEN PLANET.
The alien sounds produced by the Mar-
tian war machines. the sinister power surge
and resulting enfilade, was an effect a-
chieved entirely liy electric guitars. Garvin,
Beal, dubbing mixer Dan Johnson (creator
of the Johnson pet door) and Walter Oberst
would record the high pitched electronic
screeching and edit it down, playing it back-
wards as well. adjusting the volume and
tone until they found the proper effect.
Meanwhile, in the oscillation room, a care-
fully created panel of sound apparatus was
duplicating and perfecting alien sound-feed-
back. Using these sound circuits, the engi-
neers perfected the spine tingling "Ping,
ping, ping" of the heat ray generator as it
prepares to fire, the steady "thump, thump"
uf the skeleton ray, the searching sound of
the electronic eye, and the electronic whine
of the crashing war machines.
To recreate the unearthly scream of the
film's only Martian, the engineers simply
recorded the voice of a Paramount actress
and slowed it down to give it a more manly
quality and then speeded it up. playing it
backwards as well. Certain sound sequences
were aided by a proven method, the scrap-
ing of a contact microphone on dry ice. This
effect was used primarily to complement
the guitar-produced wailing of the heat ray.
When Pal had a rough cut ready for
viewing, with the completely integrated
soundtrack (including an evocative musical
score by Leith Stevens) he took it to a'chil-
dren's matinee for a preview at the Para-
dise Theater in Westchester, California.
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41
 Far Left: A martian war machine
glides supremely down a mined
Los Angeles street, leveling
whatever stands in its way. The
wires suspending the five-foot
copper model appear as light
vertical streaks, and while often
visible in still photographs they
are generally undetectable in the
film. The heat-ray emanating
from the ship's cobra neck ls
added in post-production with cel
animation. Near Left: The Los
Angeles street miniature, built on
a raised platlorm on Stage 18 at
Paramoiuit. From scafiolding
surrounding the set, technicians
manipulate the Martian machine
with wires, ignite buildings on
fire and create other effects as
needed. 'l‘he camera (not pictured)
is at hr right and below the set to
position the lens for a street-level
perspective. The miniature is
filmed at four times normal speed,
and requires highly intense
lighting. Below Facing: Colonel
lieffner (Vernon Rich) in caught in
a Martian “skeleton ray ," so
named for the imaginative effect
pictured. In a series of 140 eel
drawings, the actor brightens up
like an x-ray picture and then
fades away into nothirgness. Below
Left: Charges are planted on the
nix-foot, hollow plaster miniature
of Lon Angeles City Hall by 81
year-old powder man Walter
Hoffman. Below Right: The
spectacular result, filmed at high
speed and lighted to simulate the
glowing presence oi it: Martian
destroyer.

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I
i WORLDS. Like STAR TREK, Pal‘s concept
Top: Producer George Pal today, the dean
of science fiction filmmakers, still active
in the field at the age of 69. currently pre-
paring the filming of TlME MACHINE 11.
Middle: Charles Geniora, the makeup ar-
tist and modeler who played the film's only
Martian. working on an unidentified '30s
mm Pl'°l°"- G9"\°l'il 1135586 away in 1962.
Bottom: Screenwriter Barre Lyndon, circa
1940. Lyndon's last film was THE lNTRUD-
ER (1965). He passed away in 1972.
45
The sounds created by the Paramount teeh-
nicians were so terrifying that half the
frightened parents ed the theater with
their children.
lt was film editor Everett Douglas who
cut the footage down to an extremely tight
eighty-five minutes. Haskin had maintained
a driving pace throughout the live action
shooting schedule and Douglas retained this
quality in the finished film. Instead of shift-
ing settings by the use of awkward pauses.
Haskin had used Lyndoii's dialogue to intro»
duce new scenes.
At the gully, Pastor Collins (Lewis Mar-
tin) mentions "square dance" and we are in
the middle of une. At the press coiiference
in Los Angeles, areporter mentions Clay-
ton l-'orresler's disappearauice and we are
rocketed back to desolate Corona where
Clayton and Sylvia are trapped in the farm-
house. At the gully. Heffiier mentions rein-
forcemeiits and they are already on the
highway. Haskin, today. is still impressed
by the film's pace and realism: "1 still feel
that if you took the Martians out we could
have easily inserted the Red Chinesi- or the
Russians. the battle sequences were that
realistic."
Pal officially premiered THE WAR OF
THE WORLDS in Hollywood on F(‘l)1’UtLl‘_V 20.
1953, although it would not screen n;ition—
wide until the Fall of 1953. The film was
released in a process known as l"anoramic
screen which cropped the normal 1.33:1 as—
pect ratio down to approximately 1.47:1,
making for a wider screen image. The pic-
ture‘s soundtrack was also recorded on
Western Electric_'s new ltlulti-track Mag-
netic Stereophonic Sound System. a m;u'\'el
that few filmgoers would appreciate because
only a handful of theatres nationwide were
equipped to play magnetic stereo prints.
lt should be pointed out that in moderni1.—
ing the 1896 H.G.Well5 novel. and subiiiit—
ting his |)l'U]k‘t.‘l to the whims of the Para-
mount frunt office. namely Dun Hartman,
Pal was constantly handicapped in atteiiipt—
ing to bring realism to the film's character
portraits. And in a film which featured such
impressive special effects. it was nearly
impossible to maintain the level of height-
ened realism during the live action.
THE WAR OF THE WORLDS was both a
commercial and critical success iuid it af-
fected its participants in differing ways.
For George Pal. it provided continued ac-
claim but no new—found freedom at Para-
mount. With only tentative creative control
he remained at the studio until 1957, figlit-
ing interference and producing HOUDlNl.
THE NAKED JUNGLE. and CONQUEST OF
SPACE. During this time he developed ideas
for TOM THUMB. THE TIME MACHlNE.
THE WONDERFUL WORLD OF THE BRO-
THIIRS GRlMM and ATLANTlS. all of which
Paramount declined to sponsor but which
were later produced by Pal at MGM.
Inspired by the success of STAR TREK.
in 1970 Pal prepared a television series
proposal based on THE WAR OF THE
followed the adventures of a starship, the
Pegasus. and its pursuit of the invaders,
who this time hail frinii Alpha Centauri, not
Mars. But the series had little to do with
the original Paramount film. other than its
proposed use of Al No1.aki's wonderfully
menacing war machines. and it failed to
sell.
For director Byron Haskiii. the success
of THE WAR OF THE WORLDS gave his di-
recting career a needed shot in the arm. lt
was indeed a turning point and he soon turn-
Top: An artist's preproduction sketch of the
Martian machines rising out of the nest in
the gully to cmtfront Pastor Collins, pre-
pared in the Paramount Art Department un-
dcr the supervision of art director Al No-
1.aki. Bottom: Diagrams of the Martian Cyl-
inder zuid the Martian Eye prepared by No-
L? iii?
zaki‘s Art Department. Curiously. the dia-
grams were done after the props had been
constructed, and no pliuis at all were ever
made for the machines themsclvt-s.
-4- ~ -—-
ed full force ltlliv the science fiction genre,
collaborating on three other films with Pal,
including CONQUEST QF SPACE (1955) ;uid
TllE POWER (1967). Haskin also directed
ROBINSON CRUSOE ON MARS (1964) and
"Demon With A Glass Hand" (1964) the
most acclaimed episode of tele\'ision's THE
OL‘TER LIMITS. written by Harlan Ellison.
Despite renewed interest now shown in
THE WAR OF THE WORLDS. to Al Nolaki,
its art director, it was simply one of many
films he did for Paramount. He would next
spend two years on Cecil D. DeMille's THE
TEN COMMANDMENTSfor which he would
be noniinated for tut Academy Award.
For Gordon .li-nnings success came post-
humously in the form of his third Academy
Aw;u-d, for supervising the film's special
effects. .1i~nnings had died shortly after the
filo". was t'uti\plclt~d in 1953, the victim of a
hi-;u't attack.
For Gene flurry, THE WAR OF THE
WORLDS did lllllt' to further his film ca-
rt-er. Although he starred in several other
films, including THE 27TH DAY in 1957,
another science fiction entry. it was clear
that liy the end of the decade his destiny lay
in another medium entirely, television, in
which the popular BAT MASTERSON show
would boost him to eventual stardom and
other series like BURKE'S LAW and the
critically acclainied THE NAME OF THE
GAME.
Barre Lyndo|i's work on THE WAR OF
THE WORLDS is overshadowed by the film's
spectacular special effects. However, the
film's success is a tribute to ll15 prowess
in adapting a pro]:-ct that was once called
archaic and out-of-date. which had re-
iiiained on the dusty shelves at Paraniount
for nearly three decades. While he would
later vary his writing from the spectacular
study of Attila the Hun in SIGN OF THE PA-
GAN to the subtle intimacy of THE LlTTLE
SHEPHERD OF KINGDOM COME. Lyndon
could never quite shake a premier fascuia-
tioii with the thriller genre. THE LODGER
type of character so popular in the 19405
would appear in three of Barre's last seven
films. THE MAN 1N THE ATTlC (1954).
THE MAN WHO COULD CHEAT DEATH
(1959) and Lyndon's last film, DARK IN-
TRUDER H965). He passed away in 1972.
1t has been a quarter of a century since
THE WAR OF THE WORLDS went into pro-
duction on that rainy morning in February
1952. And yet. like other classic fantasy
films. KlNG KONG. THE WlZARD OF OZ.
and THE DAY THE EARTH STOOD ST1LL.
THE WAR OF THE WORLDS continues to
cnthrall iii-w audiences every year. Given
m;ui's everlasting fascination with the hea-
vens, this imaginative science fiction film
generates a sense of wonder at a time when
our space missions are actually finding the
solar systeiii in which we llt't' a very sterile
frontier. Thank you. Mr. Pal, for that al-
ternative. '
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