Weekend Cinema Listomania (Special Flying Saucers Over Hollywood! Edition)
posted May 30, 2008 9:46 AM
No surprise: The video event of the week is the new two-disc Criterion Collection DVD of The Thief of Bagdad, Alexander Korda's gorgeous 1939 Technicolor Arabian Nights fantasy. Technically, the set is an incremental improvement over the last video version (on MGM in 2002), with sharper picture and brighter color; it also features two new commentary tracks, the first a fanboy chat between TTOB enthusiasts Francis Ford Coppola and Martin Scorsese, and the second a typically informative one by film scholar (and my old Video Review colleague) Bruce Eder. The second disc has a couple of de rigeur making-of documentaries; both are interesting enough, although my guess is you'll probably only watch them once.

In any case, the movie itself is the thing here; the special effects and art direction (it's hard to miss the uncredited influence of the great William Cameron Menzies) remain spectacular, the score by Miklós Rózsa is beyond fabulous, and if there's ever been a suaver villain than Conrad Veidt I have yet to see him. Menzies, incidentally, was also the visual genius behind the original 1924 silent version (with Douglas Fairbanks) and one of the biggest talents ever to work in American film; I can't think of a picture he was involved in -- even low budget mishegass like The Maze -- that isn't memorable on some level (this is hardly news, I know, but it behooves repeating nonetheless).
That said, the weekend is upon us and as usual things will be mostly quiet around here until Monday. So while we wait, here's an obviously relevant little project to tide us all over --
Best Pre-2001: A Space Odyssey Special Effects Fantasy or Sci-Fi Flick!!!
Pre-2001, of course, because the modern Special Effects era more or less begins with Kubrick's classic.
Okay, here's my totally top of my head Top Six:
6. Noah's Ark (Michael Curtiz -- 1929)
Still the most spectacular flood ever filmed, and the scariest. As well it should be -- three extras actually drowned in it.
5. The Fighting Devil Dogs (William Witney and John English -- 1938)
The fabulous Flying Wing, death rays, and a costumed villain -- The Lightning -- who looks suspiciously like Darth Vader.
4. Dr. Cyclops (Ernest B. Schoedsack -- 1940)
Courtesy of King Kong's co-creator, extremely mad doctor Albert Dekker shrinks some pesky scientists down to twelve inches. In gloriously unreal 40s Technicolor, which is why it's here instead of the equally worthy Incredible Shrinking Man.
3. First Men in the Moon (Nathan Juran -- 1964)
On balance, F/X wizard Ray Harryhausen's best. Certainly, it's his eeriest, and the giant caterpillar is still a wonder. (Don't blink, or you'll miss Peter Finch in a cameo).
2. Forbidden Planet (Fred McCleod Wilcox -- 1956)
Monsters from the Id!!!! Not to mention some Disney animators loaned out to create them.
And the number one pre-2001 special effects flick is --
1. The Wizard of Oz (Victor Fleming -- 1939)
Forget the great music and the fabulous performances (if you can) -- it's the flying monkeys, the witch skywriting "Surrender, Dorothy!" and the Wizard's disembodied head that really make you go "Cool!"
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Steve Simels has written about music and movies for Sound and Vision magazine (formerly Stereo Review) since the early 70s. He has also contributed to Entertainment Weekly, TV Guide and the Wall Street Journal. He’s the author of “Gender Chameleons: Androgyny in Rock n Roll” (Arbor House, 1985), and blogs at PowerPop.blogspot.com. His ambition in life is to play the Leslie Howard role in a remake of “Petrified Forest.”

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Sinfonian said:
Forget the great music and the fabulous performances (if you can) -- it's the flying monkeys, the witch skywriting "Surrender, Dorothy!" and the Wizard's disembodied head that really make you go "Cool!"
You ever drive the Beltway around D.C.? In Montgomery County, Md., just as you round the bend and spy the Emerald City-like Mormon Temple rising above the trees in the distance, you see the graffito on an overpass: "Surrender Dorothy."
TPTB keep cleaning it off, and it keeps reappearing ...
May 30, 2008 6:38 AM
ProfWombat said:
Yup. It's all about telling a story, in the end. 'Thief of Baghdad' does this brilliantly. It isn't about the ability to do special effects. They're aids to telling the story, not ends in themselves. That's why 'Thief' well outshines the vast majority of stuff made today, in which the effects get more thought than the plot or the acting.
May 30, 2008 6:40 AM
baba durag said:
I love Oz. But special effects means monsters to me, so I'm going with number three on this one.
The Thief of Bagdad. How timely. heh
May 30, 2008 6:44 AM
Mrs. Peel said:
"The Invisible Man" with Claude Rains (1933) amazed me when I was a kid ...
But, considering it was shot in 1902, Georges Melies' "Voyage dans la Lune" is incredible.
May 30, 2008 1:17 PM
Mrs. Peel said:
And, iirc, wasn't William Cameron Menzies also the art director for "Gone with the Wind"?
May 30, 2008 1:18 PM
l'atalante said:
Call me an arty snob, but I'm still a sucker for Cocteau's Beauty and the Beast.
May 30, 2008 5:31 PM
Nora Charles said:
I like Ray Kellogg's doggies (mostly greyhounds?)wearing rubber nose-hoses and hula skirts in "Attack of the Killer Shrews." So sue me -- then pour me a dry martini, Nick.
May 30, 2008 6:24 PM
dave™© said:
They're rather sparse, but I have to bring up the special effects in "Day the Earth Stood Still". Look at the saucer landing in Washington. It's broad daylight and the thing touches down on a grassy field seamlessly. It's the use and treatment of the saucer's shadow that seals the deal for me - perfectly done. Then there's the saucer itself, which has a door that simply appears. I've watched this movie again and again and can never see the opening before it manifests itself. And, of course, there's Gort - an even better robot than Robby, IMHO.
May 30, 2008 9:12 PM
Anonymous said:
Well, there's Metropolis for special effects.
And for the best film using special effects, there's Dr. Strangelove.
May 31, 2008 12:00 PM
drano said:
What I remember about "Thief" was the tempo, or editing, quite a different impression from other films. That alone made it magical.
May 31, 2008 3:07 PM
Whoamusanyway said:
Hitchcock freaked my young self out with The Birds in '63, & years later the local midnight movie showings of Fantasia did the same, although in the latter case it was only partly the movie's doing.
May 31, 2008 3:21 PM
Culture of Truth said:
There's some stuntwork, special effects of a sort, in "Ben-Hur" with Heston.
And speaking of Heston, I still like the parting of waters and staff that turns into a snake in "The Ten Commandments," even in Yul Brenner is not impressed.
Shout-out to "Jason and the Argonauts" (1963)
June 1, 2008 4:51 AM