#Richard Derr

[lobbycards]

When Worlds Collide, Mexican lobby card, 1951

[weirdlookindog]

Terror is a Man, 1959 (R-1964)

AKA Blood Creature, Creature from Blood Island, The Gory Creatures

[sesiondemadrugada]

Terror Is a Man (Gerardo de Leon & Eddie Romero, 1959).

[gatutor]

Barbara Rush-Richard Derr-Peter Hansen "Cuando los mundos chocan" (When worlds collide) 1951, de Rudolph Maté.

[screamscenepodcast]

Your deadicated hosts close out 1959 with TERROR IS A MAN, the very first Filipino horror movie!

Directed by Gerardo de Leon and Eddie Romero, this Dr. Moreau adaptation feels more Tennessee Williams than H.G. Wells.

Context setting 00:00; Synopsis 33:22; Discussion 42:40; Ranking 59:12

[letterboxd-loggd]

A Gentleman at Heart (1942) Ray McCarey

May 16th 2023

[cultfaction]

Preview: The War of the Worlds (1953) (4K UHD) / When Worlds Collide (Bluray)

Preview: The War of the Worlds (1953) (4K UHD) / When Worlds Collide (Bluray)

Two of the most iconic science fiction epics from Paramount Pictures come together in this out-of-this-world double feature from producer George Pal. Making its 4K UHD debut, THE WAR OF THE WORLDS is an Oscar®-winning* adaptation of the chilling H.G. Wells novel. Then, get ready for impending disaster when a runaway star signals the destruction of Earth in WHEN WORLDS COLLIDE, included on…

[codycawdren]

When Worlds Collide (1951)

Director: Rudolph Maté Starring: Richard Derr, Barbara Rush, Peter Hansen As a new star and planet hurtle toward a doomed Earth, a small group of survivalists frantically work to complete the rocket which will take them to their new home. Long before Roland Emmerich brought us the modern-day disaster movies, director Rudolph Maté gave us ‘When Worlds Collide’. Back in 1951 the visual effects…

[naipan]

Do 30.11.2023 | 21:45 | Kontraste

Derr Aufstieg der Hamas

Es begann mit Nazi-Propaganda

Wer den Terror der Hamas verstehen will, muss ihre Ideologie kennen – und dafür fast 100 Jahre zurückblicken. Denn sie ist quasi der palästinensische Ableger der Muslimbruderschaft, die einst mit Hitlers Judenhass und Vernichtungsfantasien per Radio aus Deutschland gefüttert wurde. Die Hamas-Gründungscharta von 1988 ist eindeutig: "Die Muslime werden sie töten, bis sich der Jude hinter Stein und Baum verbirgt."

Beitrag von Georg Heil, Henrike Reintjes und Lisa Wandt

Anmoderation: Die Debatten, die über diesen Krieg geführt werden, sind selten sachlich und fast immer sehr emotional. Da hilft es, mal ganz kurz zurückzutreten, den Blick zu weiten: Denn auch wenn die Lage gerade hoffnungslos wirkt, es gab ja mal diesen Moment, in dem ein dauerhafter Frieden möglich schien. Warum ist er gescheitert? Wer ist diese Hamas eigentlich - und woher rührt ihr abgrundtiefer Hass auf die Juden? Das hat dann viel mehr mit unserer eigenen Geschichte zu tun, als vielen bewusst ist.

Der Terroranschlag vom 7. Oktober war nur der Anfang, wenn es nach der Hamas geht. Kurz nach den brutalen Morden kündigt der ranghohe Hamas-Funktionär Ghazi Hamad an:

Ghazi Hamad, Hamas-Funktionär

"Das war nur das erste Mal, es wird ein zweites, ein drittes und viertes Mal geben."

Wer diesen Terror verstehen will, muss die Ideologie der Hamas verstehen – und dafür fast 100 Jahre zurückblicken.

Kaum einer kennt Israel und die Geschichte des Nahost-Konflikts besser als Richard C. Schneider. Seit fast 20 Jahren lebt er in Tel Aviv, berichtete für die ARD und andere Medien, nun als Autor für den Spiegel.

1928 gründet sich in Ägypten die Muslimbruderschaft, als Reaktion auf die westliche Vorherrschaft.

Richard C. Schneider, ehem. Studioleiter ARD Tel Aviv

"Die Muslimbruderschaft hatte sich schon sehr früh in den dreißiger Jahren mit dem Großmufti von Jerusalem, Amin al-Husseini, zusammengetan im Kampf gegen die Zionisten. Amin al-Husseini ist nach Berlin gereist zu Adolf Hitler, in der Hoffnung, dass die Nazis ihnen dabei helfen, die Juden, die Zionisten aus Palästina wieder zu vertreiben. Also es gab von Anfang an dieses antijüdisch antizionistische Element."

Ausgerechnet die Nazis waren es, die von 1939 bis 1945 den arabischen Raum mit ihrer Ideologie beeinflussten. Über einen Radiosender in Berlin. Radio Zeesen.

"Achtung, Achtung, hier ist Berlin Königs-Wusterhausen und der deutsche Kurzwellensender."

Richard C. Schneider, ehem. Studioleiter ARD Tel Aviv

"Der hat vor allem auch nach Palästina auf Arabisch die Ideologie der Nazis verbreitet. Das wurde zum Teil von der Muslimbruderschaft mit übernommen. Und der große Vordenker der Muslimbruderschaft, Sayyid Qutb, hat 1950 einen Text geschrieben, der hieß "Unser Kampf gegen die Juden", indem er antijüdische Elemente aus dem Islam, dschihadistische Elemente und diesen eliminatorischen, Antisemitismus der Nazis da zu einer neuen Mixtur zusammengefügt hat. Und das wirkt bis heute nach."

Die Hamas gründete sich als palästinensischer Ableger der Muslimbruderschaft erst Ende 1987, fast zeitgleich zur ersten Intifada. In ihrer Gründungscharta beruft sich die Hamas auf ein weit verbreitetes, dem Propheten Mohammed zugeschriebenes Zitat, demzufolge der jüngste Tag nicht kommen werde…

Zitat

"(…) bevor die Muslime die Juden bekämpfen und töten und bis sich die Juden hinter Steinen und Bäumen verstecken, und die Steine und Bäume dann sagen: Muslim, oh Diener Gottes! Da versteckt sich ein Jude hinter mir. Komm und töte ihn (…)."

Hamas-Gründungscharta 1988

Judenhass bis zur Vernichtung – das ist die Ideologie der Hamas. Doch zunächst sieht es so aus, dass es dazu nicht kommen wird.

Denn 1993 keimt die Hoffnung auf einen dauerhaften Frieden auf. Eine Zweistaatenlösung scheint in greifbarer Nähe.

Es kommt zum historischen Handschlag zwischen Israels Premier Yizhak Rabin und Palästinenser-Führer Jassir Arafat.

Unter Israels Hardlinern regt sich dagegen Widerstand. Auf einer Demonstration im Jahr 1995 spricht der Oppositionspolitiker und heutige Premier Benjamin Netanyahu, Gewalt liegt in der Luft. Rabin wird von Radikalen als Nazi portraitiert:

"Rabin Nazi, Rabin Nazi, Rabin Nazi"

Wenig später erschießt ein jüdischer Rechtsextremist Yizhak Rabin. Dessen Witwe beschuldigt die Radikalen um Netanyahu später, eine moralische Mitverantwortung an dem Mord zu tragen.

Leah Rabin

"I do blame them. They showed him in the uniform of a Nazi. So Mr. Bibi Netanyahu now he can say from here to eternity that he didn’t support it and didn’t agree with it. But he was there, he saw it and he didn’t stop it."

"Ich gebe ihnen die Schuld. Sie haben ihn in einer Nazi-Uniform gezeigt. Netanyahu kann bis in alle Ewigkeit sagen, dass er sie nicht unterstützt hat und damit nicht einverstanden war. Aber er war da und er hat es nicht unterbunden."

Nach dem Mord sinkt Netanyahus Ansehen in Israel zunächst. Doch dann sprengen sich Selbstmordattentäter der Hamas in Jerusalem und in Tel Aviv in die Luft – die Stimmung in Israel kippt. Rechte Hardliner gewinnen an Einfluss.

Richard C. Schneider, Ehemaliger Studioleiter ARD Tel Aviv

"Diese Terroranschläge wurden der Linken zur Last gelegt und damit wählte man dann rechts, weil man meinte, wenn man rechts wählt, hat man dann die richtige Antwort gegen diesen unglaublichen Terror in den eigenen Städten und so kam Netanyahu an die Macht."

Netanyahus Aufstieg also auch eine Folge des Hamas-Terrors.

2000 dann kommt es in Camp David in den USA erneut zu Friedensgesprächen. Diesmal zwischen Arafat und Israels Premier Barak. Doch ein geplantes Abkommen platzt.

Bill Clinton, ehemaliger US-Präsident, 2016

"I killed myself to give the Palestinians a state. I had a deal they turned down. That would have given them all of Gaza and between 96-97% of the West Bank."

Übersetzung: "Ich habe echt alles gegeben, um den Palästinensern einen Staat zu geben. Ich hatte einen Deal, den sie abgelehnt haben. Der hätte ihnen den ganzen Gazastreifen sowie 96-97% des Westjordanlands gegeben."

2005 wird unter Premier Ariel Sharon einseitig der Rückzug aus dem Gazastreifen beschlossen. Netanyahu, der nun Finanzminister ist, stimmt erst dafür, tritt dann jedoch aus Protest dagegen zurück.

In Gaza selbst beginnt nun der Machtkampf. Auf der einen Seite die Fatah von Arafats Nachfolger Abbas, auf der anderen die Hamas.

2006 wird gewählt:

Hamas-Sprecher Hamad, der kürzlich erst weitere Anschläge wie den vom 7. Oktober ankündigte, gibt sich damals im Wahlkampf lammfromm.

Ghazi Hamad (2006)

"We are a moderate organisation. Really, we are not a radical organisation. And we are not extremist or fundamentalist. No. We are an open-minded organisation. We believe in democracy and freedom and political pluralisation"

"Wir sind eine gemäßigte Organisation, wirklich, wir sind keine Radikalen, Extremisten oder Fundamentalisten. Wir sind eine weltoffene Organisation. Wir glauben an Demokratie, Freiheit und Pluralismus."

Die Hamas wird im Gazastreifen stärkste Kraft – und geht eine Koalition mit der Fatah ein. Doch diese hält nur kurz.

Richard C. Schneider, ehem. Studioleiter ARD Tel Aviv

"Und dann kam es 2007 zum sogenannten Putsch, wo die Hamas die Fatah aus Gaza gewaltsam in einem Bürgerkrieg rausgedrängt hat. Ich war damals in diesem Bürgerkrieg als Korrespondent. Die berühmten Bilder, wo die Hamas Fatah Leute auf die Dächer der Häuser geholt hat und sie von dort einfach runter geworfen hat, das sind Bilder, die man wirklich nicht mehr vergisst. Und das war's. Und in dem Augenblick, wo die Hamas das Sagen hatte, wurde natürlich der Kampf gegen Israel verstärkt intensiviert."

Die Hamas kam manchen israelischen Hardlinern gerade Recht, weil sie mit ihrem Terror gute Argumente gegen einen Palästinenserstaat lieferte.

Bezalel Smotrich, Knesset-Abgeordneter

"Die Palästinensische Autonomiebehörde ist für uns ein Hindernis und die Hamas ist für uns von Wert. Es ist eine Terrororganisation, niemand wird sie anerkennen."

Der Mann, der das 2015 offen einräumte, ist heute unter Netanyahu Finanzminister. Ein Radikaler, dem die Extremisten auf der anderen Seite offenbar gut zu Pass kamen.

Ein eigener Staat – der Terror der Hamas hat die Palästinenser diesem Ziel kein Stück nähergebracht.

Richard C. Schneider, ehem. Studioleiter ARD Tel Aviv

"Wenn die damals keine einzige Rakete abgefeuert hätten auf Israel. Und die enorme Unterstützung der internationalen Staatengemeinschaft auch die finanzielle Unterstützung genutzt hätten und hätten Gaza, ich sag jetzt mal ein bisschen salopp, zu einem palästinensischen Singapur aufgebaut, dann hätten die wahrscheinlich längst ihren Staat. Weil die internationale Staatengemeinschaft dann wahrscheinlich ganz anders hätte Druck machen können auf egal welche israelische Regierung und hätte sagen können: Guck mal, geht doch!"

[project1939]

Day 15- Film: Something to Live For 

Release date: Mar 7th, 1952. 

Studio: Paramount 

Genre: Drama 

Director: George Stevens 

Producer: George Stevens 

Actors: Joan Fontaine, Ray Milland, Teresa Wright, Richard Derr, Douglas Dick 

Plot Summary: Alan is a recovering alcoholic who now helps others though AA. One night he is called to the hotel room of struggling actress Jenny Carey. Both find the encounter helpful and begin meeting regularly. Inevitably they fall in love, but Alan is already married with 2 children. How can they stay sober and live apart? 

My Rating (out of five stars): **½ for the actual quality of the film, **** for my enjoyment of it (up until the last 10 minutes!) 

I was looking forward to this one for awhile now, being very curious to see how Hollywood would tell this kind of a story. The actual film was interesting and engrossing to me... but its genuine quality as a film wasn’t really up to par. (some spoilers)

The good: 

The fact that a Hollywood film tried to tackle this subject. It was rare for an addict or a drunk to be a fully fleshed out protagonist. They tended to be either villains or comic relief, so showing a guy in AA trying to help someone else struggling was really commendable. 

Ray Milland. He’s just a very appealing actor. Charming and sensitive, he always has a sweetness about him. His most iconic role was in the 1945 film Lost Weekend, where he played a sympathetic drunk struggling to stay sober. Having him now play a character 14 months into sobriety felt very fitting. 

Milland’s acting when his character was falling in love. The way his entire body language and tone of voice changed, you actually felt as if you were watching a person experience the giddiness that comes with the first flush of love. His flirting with Fontaine was surprisingly affecting. 

Teresa Wright’s PTSD reactions whenever she thinks she hears her husband stumble in the background. It was smart writing to remind us of how much Alan’s alcoholism devastated their lives. 

The bad: 

Poodle hair! Why did they give Joan Fontaine that horrible poodle cut? She’s supposed to be a young actress, but the hair makes her look like she’s in her 40s. It looks so bad on her that at least a dozen times I was pulled out of the story to swear at the hair and wardrobe department! Teresa Wright, as the actual mature housewife, had shoulder length hair with a soft brush out, and she looked younger than Fontaine. 

Some of the overly melodramatic, almost soap opera-y moments. When the story was simpler, it was emotionally effective, but when it bled into melodrama, it lost some of its power. 

The ending! I really hated the ending. I knew he wouldn’t leave his now pregnant wife and two children, but the way the film tried to neatly tie everything up felt almost disrespectful to the audience! 

[hbhughes]

Donna J. Phillips

Donna J. Phillips, 71, Kingston, passed into the arms of her Lord, Tuesday, May 30, 2023, at home surrounded by her loving family following a brief illness. Donna was the daughter of the late Jonathan and Anna Sudosky Higgins. She was a 1970 graduate of Lake-Lehman High School where she excelled in gymnastics. Throughout her lifetime she unselfishly gave to others, working at several personal care homes until her marriage. Donna often fondly talked about growing up helping out at the neighboring Kasko farm tending gardens, in the barns with the farm animals and in the kitchen assisting her dear “adopted’” sister Irene. Following her marriage to Roy Phillips, on October 31, 1970, Donna embraced being a homemaker and later a mom to children Tracy, Roy, and Donna Michelle. She rarely missed one of her children’s school activities and sporting events, saving all of their report cards, artwork, and photographs. She found time to work at Abe’s Hotdogs, Kingston, for several years. Donna continued her dedication to helping where needed as she provided care to her mother, and others, during her illness. She and her husband Roy enjoyed traveling to Florida to visit their daughter Donna Michelle and her family. She and Roy celebrated 52 years of marriage in October. She celebrated her 71st birthday in April. Following her husband’s illness she provided for his care. He thanks her for her loving companionship, support, and dedication for a lifetime of sharing their love.  

    Donna was a member of Forty Fort United Methodist Church where she volunteered for special events including helping prepare fundraising dinners and rummage sales. She also relished hosting and planning gatherings for her family and friends. Her biggest joy was her family and as it grew to include seven grandchildren and four great-grandchildren, she rarely forgot a birthday or failed to attend a special event. Adopting a special friend, “Snickers,” a rambunctious Dachshund, who became her best buddy, provided her with many hours of fun, entertainment and companionship. Donna was especially dedicated to supporting special charitable organizations generous in her giving to St. Jude’s Children’s Research Hospital, Wounded Warriors, Shriners Children’s Hospital, DAV, Luzerne County SPCA, among others.

    Donna, in addition to her parents, was preceded in death by brothers, Edward Higgins, James Higgins and sister Violet Milbrodt, infant brother Jonathan and infant sister Mina. Surviving in addition to her husband, are daughter Tracy Derr, (her companion Howard), Luzerne, son Roy Phillips, (Tricia) Dallas, daughter Donna Michelle Brown, (L. John), Melbourne Beach, Fl., grandchildren Katelyn, Samantha, Jonathan, Julia, Bryce, Andrew, and Lola; great-grandchildren Hunter, Reid, Karee and Lennon; special cousins Ted and Debby Higgins, nieces and nephews.

   Donna’s family would like to thank the doctors, nurses and staff at Geisinger Wyoming Valley for their compassionate care and support as well as family, neighbors and friends for their assistance during her illness. A special thank you goes to Residential Hospice and the dedicated care givers who provided comfort and concern for Donna and her family.

    A viewing will be held Thursday, June 1, from 5 to 8 p.m. at the Hugh B. Hughes & Son Inc. Funeral Home, 1044 Wyoming Avenue, Forty Fort.  

Funeral services will be held Friday, June 2, 2023, at 11 a.m. at the funeral home, with Rev. Richard Bradshaw, officiating.  

Per Donna’s request memorial contributions may be made to the Luzerne County SPCA, 524 E. Main St., Wilkes-Barre, Pa. 18702.

[lobbycards]

When Worlds Collide, Mexican lobby card, 1951

[tcm]

Richard Derr, Peter Hansen, and Barbara Rush in WHEN WORLDS COLLIDE ('51) #31DaysofOscar

[badmovieihave]

Bad movie I have Terror is a Man  aka Blood Creature 1959

[dweemeister]

When Worlds Collide (1951)

Stop-motion animator György Pál Marczincsak garnered pan-European fame for his pioneering Puppetoons series of short films in the 1930s. Sensing tumult in continental Europe, he fled his native Hungary to Britain as the Nazis rose to power in Germany. With the assistance of Walter Lantz (the creator of Woody Woodpecker), he moved to the United States, changed his name to George Pal, and attained American citizenship. In America, Puppetoons resumed with Paramount Pictures’ financing until 1948. Puppetoons, unlike most stop-motion films, utilized “replacement animation” – a form of stop-motion animation where a new hand-carved, wooden puppet would be used for each photographed frame rather than modifying the same figure for each successive frame. Though Paramount discontinued the series due to its increasing costs, Pal nevertheless remained in good standing with the moviegoing public and the studio’s executives. Transitioning from an animator/director to producer, George Pal took an interest in a genre that – since the silent era’s end – had been relegated to low-budget serial films and comic book stands.

As the world’s nations shuffled to take sides for the Cold War, the United States and the Soviet Union’s greatest engineering and scientific minds were imagining new possibilities in aerospace. The renewed interest in space flight and scientific discovery led to Paramount’s Destination Moon (1950), produced by Pal. Destination Moon was the first film released by a major American studio to consider a speculative human landing on the Moon. For Pal’s follow-up, he purchased a science fiction property gathering dust at Paramount. The property: When Worlds Collide, based on Edwin Balmer and Philip Wylie’s novel of the same name. With acclaimed cinematographer Rudolph Maté (1928’s The Passion of Joan of Arc, 1940’s Foreign Correspondent) as director and providing aesthetic expertise, When Worlds Collide is the origin of all subsequent apocalyptic movies where a celestial body smashes into another celestial body. In two inconsistent films that deem their characters’ humanity as secondary, George Pal rejuvenated an entire film genre in the United States – and Hollywood has never looked back.

In South Africa, astronomer Dr. Emery Bronson (Hayden Rorke) instructs American pilot David Randall (Richard Derr) to pass along confidential, unsealed photographs and research to his American counterpart, Dr. Cole Hendron (Larry Keating). Drs. Bronson and Hendron will warn the United Nations Security Council (UNSC) that a star named Bellus will strike and destroy Earth within a year. Shortly before the projected impact, Bellus’ sole orbiting planet, Zyra, will pass by Earth close enough to wreak gravitational and geologic devastation before the Earth’s ultimate destruction. Bronson and Hendron thus propose the construction of human spaceships – “arks” – to transport human survivors to Zyra just before Bellus arrives. The astronomers are not taken seriously by the UNSC. However, private donors such as wheelchair-bound businessman Sidney Stanton (John Hoyt) provide the necessary funds for the ark’s construction. 

Various arks are assembled across Earth, but When Worlds Collide concentrates on the effort spearheaded by Drs. Bronson and Hendron and financed by Stanton. This American ark will also include co-pilot, Dr. George Frye (Stephen Chase), and Dr. Hendron’s daughter/assistant, Joyce (Barbara Rush). Joyce is attracted to David because 1950s science-fiction films always seem to have an obligatory romance.

With an acting lineup filled with B-movie stalwarts and future television stars (who may be recognizable by those who know their ‘50s-‘70s television), When Worlds Collide is hindered by stiff line readings and an emphasis on the mission rather than its human characters. Screenwriter Sydney Boehm (1952’s The Atomic City, 1953’s The Big Heat) has written a procedural screenplay, one where decisions about the ark’s construction, its flightpath, and the selection of its passengers are the film’s primary drama. From that screenplay, only John Hoyt, as the irascible Sydney Stanton, distinguishes himself in the film with his patrician sneering. Disaster films and invasion literature during and prior to the mid-twentieth century typically did not privilege individual viewpoints, and that trends continues in When Worlds Collide.

That is to the film’s benefit and its detriment. It is a mechanical motion picture, with the occasional reminders that humanity, collectively, is staring down its certain destruction. Once Drs. Bronson and Hendron have made their presentation to the UNSC, every character in the film is henceforth defined by the looming apocalypse. Whatever lives they lived outside their work are extinguished in service of constructing the arks. All over the construction facility, numerous signs read:

WASTE ANYTHING EXCEPT TIME TIME IS OUR SHORTEST MATERIAL

The privileged few tasked with the ark’s construction and its piloting are but a fraction of a fraction of humanity. Even among the several hundred persons (unsurprisingly, due to a complete lack of imagination, they are all white) involved, everyone reacts differently to the situation they all share. Some are despairing, believing they have not lived a fulfilling life; some commit to their final purpose, subsuming their emotions in service of a space age Noah’s ark; some are possessive, concluding that their involvement with the ark makes them more worthy than others to embark the ship come doomsday. With precision, the elements comprising the ark’s first and final flight are assembled. Perhaps the most unrealistic aspect of When Worlds Collide is the uncritical adherence to the scientists by the faceless masses who construct the ark (the scientists’ hand-picked survivors are few, but these individuals’ placement on the ark is somehow never questioned). Interpersonal and inter-group conflict does not appear until far later than is realistic – the film’s romantic triangle is devoid of comprehensible motivation other than the fact that the film’s top-billed actor and actress should end up together somehow. Anyways, When Worlds Collide is not depicting a humanity akin to Star Trek at its most utopian. Thus, one must assume there will be at least some level of destructive human ego that confounds the ultimate task. Here the film falters, as the characters become the means to the end.

Maté and Pal choose not to show Zyra’s passing and Bellus’ catastrophic impact. Only their aftermaths are shown. On paper, any similar decision in a modern apocalyptic movie would be hounded across the Internet – but it works for When Worlds Collide. Here, the aftermath of Zyra’s passing is portrayed in a montage of film miniatures, matte paintings (mostly of the ark and its surroundings), and tactful slow-motion. With no computer-generated imagery to assist these scenes, the special effects team outdo themselves. Special effects artists Harry Barndollar (1946’s Cloak and Dagger, 1956’s The Ten Commandments) and Gordon Jennings (1942’s Reap the Wild Wind, 1953’s War of the Worlds) contributed to the miniature-heavy montage of Zyra’s approach. Their colleague, artist Chesley Bonestell (known as the “Father of Modern Space art”, Bonestell also worked on 1941’s Citizen Kane, Destination Moon, and 1953’s War of the Worlds) provided the novel idea of the ark beginning its launch on a one-mile mostly horizontal ramp (the miniature of this ramp was an enormous 700 feet long) rather than the conventional vertical launch.

Zyra’s approach is visceral terror in its timing (the effects are felt several seconds after scientific projections), sharp editing, and mass bedlam. Where the impacting sun will vaporize the Earth’s remaining inhabitants instantly, the passing planet will leave survivors left to wander or repair, perhaps futilely, the pre-apocalyptic wreckage. When Worlds Collide’s final minutes are special effects wizardry, partially redeeming the film of its ill-conceived storytelling and sketchy science. Yet, there could have been more in the film’s final minutes. George Pal envisioned a scene featuring an ark miniature resting on the surface of Zyra. Due to success of Destination Moon, Paramount expedited When Worlds Collide and rejected Pal’s request for an additional $5,000 (almost $50,000 in 2020’s USD) to cap off the Zyra scene. This forced Pal to utilize a Bonestell concept painting instead for Zyra’s surface – and it is too obviously concept art.

When Worlds Collide solidified George Pal as one of Hollywood’s best producers, and Pal already set his eyes on a sequel: After Worlds Collide (based on the novel’s sequel of the same name). But the failure of Conquest of Space (1955) led Paramount to nix the idea. The coming decade saw the Space Race between the Soviet Union and the United States and an explosion in American science-fiction films. Whether these 1950s sci-fi features contained spacefaring, exploration, or alien invasions, they invariably influenced succeeding entries into the genre that have made it dominant in contemporary Hollywood. George Pal, as a producer uniquely suited to special effects animation, became a science fiction and fantasy film innovator in the second half of his career. When Worlds Collide, though seemingly primeval compared to its sci-fi contemporaries a decade or so after, was fortuitous in its timing and for having George Pal as its producer.

My rating: 7/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[byneddiedingo]

Richard Derr and Barbara Rush in When Worlds Collide (Rudolph Maté, 1951) Cast: Richard Derr, Barbara Rush, Peter Hansen, John Hoyt, Larry Keating, Rachel Ames, Stephen Chase, Frank Cady, Hayden Rorke, Sandro Giglio. Screenplay: Sidney Boehm, based on a novel by Edwin Balmer and Philip Wylie. Cinematography: W. Howard Greene, John F. Seitz. Art direction: Albert Nozaki, Hal Pereira. Film editing: Arthur P. Schmidt. Music: Leith Stevens. This is the way the world ends: not with a bang but with a bunch of white folks rocketing off to another planet that looks like it was painted by Chesley Bonestell. Well, that's the way it ended in 1951. Today, one hopes that the survivors would be a good deal more diverse and the preparations for their flight a good deal better organized. (Actually, today it looks like it will end with a lot of coughing and political posturing.) When Worlds Collide is very much of its era, sacrificing plausibility for sentiment (small boys and puppies) and romance (tinged with much self-sacrifice). It's a movie that can't be taken seriously for a minute, which is part of its enduring charm for many people. I find that, after many years of serious science fiction, the charm has worn thin. I hunger for some serious treatment of science and for some semblance of actual human behavior. Even though I was 11 years old in 1951, I can't believe that we were dumb enough to swallow what the movie gives us.