ALL SCI-FI

[Bud Brewster]

Ignore any unfavorable reviews you might read about this unheralded gem. I saw it in 1958 as the first feature at a drive-in, and I shouldn't have bothered to wear socks that night — because this movie just knocked 'em off anyway.





Ross Martin plays a renowned scientist and humanitarian with big plans to end world hunger by developing techniques to grow food in desert and polar regions.





He's got a wonderful son and a lovely wife — but he dies in a tragic auto accident, and his father (a famous surgeon) removes Martin's brain so that his other son (an automation expert) can construct a huge robot body which will allow Martin to live and continue his humanitarian research.









Martin's wife and son aren't aware of the bizarre experiment. They both think he's dead.




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Trapped in the unfeeling robot body, longing to see his family again, the sanity of the poor man begins to deteriorate, and his former humanitarian nature changes drastically.





He also develops paranormal powers; he can "see" events which occur many miles away and he can kill with deadly rays from his glowing eyes (great special effects by John P. Fulton).





The exciting climax takes place when the robot/man smashes his way into the United Nations building during a meeting of top scientists. Death rays abound.


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The death ray effects are the most impressive I've ever seen — and all this in a low budget movie that didn't get released on DVD until 2011!







The robot/man's young son (Charles Herbert) plays a key role in the exciting climax.


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Mala Powers is both attractive and effective as Martin's grieving wife.


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John Baragrey is superb as the jealous and ill-fated brother who has designs on Mala. Otto Kruger portrays the brilliant, atheistic father who learns a hard lesson about what makes humans act humane.

The robot body (worn by Ed Wolff) is an awesome creation, one of the best robots Hollywood has ever produced. The Colossus of New York was directed by Eugene Lourie, who did Beast from 20,000 Fathoms, Gorgo, and The Giant Behemoth.


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The screenplay is by Thelma Schnee, based on a story by Willis Goldbeck.

Despite its modest budget, the movie delivers more than its fair share of genuine suspense, as well as being intelligent and thought provoking. The strange and beautiful music score is by Van Cleave, who did The Conquest of Space and The Space Children, the latter of which was specifically made by Jack Arnold to serve as a second feature at drive-ins for The Colossus of New York — one of my absolute all-time favorite science fiction films.
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Is there no man on Earth who has the wisdom and innocence of a child?
~ The Space Children (1958)

[Krel]

See, this is what happens when you go too far!

Robotic body for the brain of your dead brother. Good decision.

Not asking his permission to put his brain into the body. Questionable.

Building death ray eyes into the creation. Do I really have to point out the poor thinking here?

Building a robotic body with death ray eyes for your dead brother, WHILE putting the moves on his wife = Natural selection in action.

The movie has a real interesting soundtrack. I haven't seen the movie in years, but as I recall, it was an all piano soundtrack.

David.

[Bud Brewster]

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A most excellent assessment of this movie and it's interesting premise, sir. As you noticed, I'm sure, this one is a special favorite of mine, and I thank you for showing such a keen appreciation for it.

You mentioned the soundtrack. Take a look at THIS! I've been meaning to order it, but I keep forgetting. So . . . I just did.



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Is there no man on Earth who has the wisdom and innocence of a child?
~ The Space Children (1958)

[orzel-w]

I've been rewatching Colossus of New York because of this renewed thread. What's struck me so far is the level of thought put into the debates between the characters over the morality of putting this guy's brain in an artificial body. It's a bit more thought out than the usual '50s sci-fi fare.
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...or not...

WayneO
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[Bud Brewster]

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Quite true, Wayne. In fact, it's the focus and message of the story, reiterated in the films finally line of dialog. The atheistic father's cold remarks denouncing the existence of the soul because it can't be measured scientifically is what this story examines with great skill.

The thing which makes The Colossus of New York the perfect second feature for The Space Children is that it delves into the darker aspects of human nature, whereas The Space Children presents the other side of the coin -- the idea that people are essentially good, and we might have non-human brothers among the stars.

Watch 'em both, Wayne, back-to-back. That's what I did in 1958 at the drive-in with my family. It changed me forever.
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Is there no man on Earth who has the wisdom and innocence of a child?
~ The Space Children (1958)

[Doctor Kaiju]

I just found out about this movie this year, why didn't they show this in school instead of "The Apple Dumpling Gang?"

The robot looks fantastic. I've got to see this.
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The Giant Giant Monster Movie List

[Casey62]

THE COLOSSUS OF NEW YORK (Paramount,1958), is a thoughtful science-fiction tale about a Nobel Prize winning scientist (Ross Martin) who is accidently killed, and whose brain is transplanted into a robot by the dead man's father (Otto Kruger) and brother (John Baragrey). Unable to endure his wretched existence, the mechanical man decides to unleash his frustration upon humanity.

Directed by Eugene Lourie, this exceptional little B-film is as good, if not better, than most movies of this type, and yet it's not given the attention it deserves. COLOSSUS' strength is in the characterizations, particularly Otto Kruger as the well meaning but ultimately misguided father, John Baragrey as the envious other son, and Mala Powers as the dead scientist's wife whose worst suspicions are disregarded by everyone.

The robot in this film is pretty ominous, and the later scenes of it walking under the water, then rising to the surface against a backdrop of the Brooklyn Bridge has a genuinely eerie atmosphere. It also unexpectedly shoots laser beams from its eyes; this it does quite mercilessly at the climax of the film which takes place in the United Nations Building. The economical production methods are actually a plus factor in giving COLOSSUS its particular brand of effectiveness. A further addition to the creepiness is a stringent, all piano music score.

All in all, this is one underrated 50's sci-fi gem that you'll be watching again and again.

[Bud Brewster]

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Casey, you nailed it. Your review is flawless, and I'm sure that people who haven't experienced this wonderful movie yet will feel compelled to do so because of your glowing recommendation.

This would make a great feature for one of All Sci-Fi's Friday Live Chats.

What about it? Shall we talk it up and see who we can interest in doing that soon?
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Is there no man on Earth who has the wisdom and innocence of a child?
~ The Space Children (1958)

[Casey62]

I agree Bud - this one would make for a good round of chatting. I've got the DVD, of course.

[Bud Brewster]

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Great! I was delighted when the DVDs of Colossus and The Space Children came out a few years ago, and I bought them immediately.

About six months later they released the Blu-rays of both movies. So . . . I bought them immediately too.
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Is there no man on Earth who has the wisdom and innocence of a child?
~ The Space Children (1958)

[Bud Brewster]

Here's an idea I had today for a sequel to The Colossus of New York, based on the strange powers which Ross Martin developed after his brain was placed in the robot body. The complete sensory deprivation which Martin's brain experienced inside the mechanical body — along with the energy which the body generated and the brain controlled — somehow bestowed several remarkable abilities on Martin.

The first one to develop was his ability to see events which were occurring many miles away. Two ships at sea collided in a thick fog, and Martin received visions of the event as it happened.


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Later in the movie, he learned how to control this ability, and he was able to "see" where his treacherous brother was located so he could ambush him after he was caught telling Martin's wife that he loved her and wanted her to go off to Hawaii with him!

In the scene where Martin's brother calls his father on the phone to beg him for money so he can escape from his scary robotic brother, we see the second power manifest itself.

Martin causes his glowing electronic eyes to blink rhythmically while he hypnotizes his father and commands him to tell his terrified son that the money would be sent to him late at night in a remote location near New York's East River.





In an incredible scene, we see Ross Martin actually walking underwater along the bottom of the East River until he reaches the location where his brother is waiting for a courier to deliver the money from his father. He climbs a concrete stairway which leads down to the river, and suddenly his brother is surprised to find himself face-to-face with his worst nightmare!





When Martin shows up and surprises is brother, we get our first taste of Martin's third and most impressive power — the spectacular beams of energy from Ross Martin's eyes which kill his brother!





So, what would an imaginative sequel to this movie involve? Here's what I propose.

After Martin dies in the United Nations building, the authorities investigate the incident and learn all about the bizarre experiment which Martin's father and brother performed, along with the incredible abilities the unfortunate genius developed during the year his brain was imprisoned inside the huge mechanical body.





And then . . . Bingo! The military comes up with a brilliant plan! In a top secret project, the military uses soldiers who volunteer to become . . . super-soldiers!

Their brains are transplanted into new-and-improved robot bodies, and then these men are trained to develop the same abilities which Ross Martin had.

Imagine robot bodies which are more hi-tech than the one in this classic movie, equipped with the brains of trained soldiers who develop the ability to see events taking place miles away. They can also hypnotize people to give them post-hypnotic commands and (best of all) kill with lethal rays from their eyes!

I would suggest that this sequel NOT have these robotized soldiers look convincingly human. In other words, just actors pretending to robots . . . boring.

The improved versions of the Colossus of New York would be somewhat smaller and more advanced, naturally, since the Ross Martin body was built by his brother, using his industrial connections as an automation expert. He probably had the components built to his specifications by different companies (as experimental prosthetic parts for disabled people, for example), and then he assembled the robot body with his father's help.

The super-soldiers would be slick, hi-tech machines, but still bigger than normal humans . . . just because that would be cooler.





And what would the basic plot of this sequel be?

Well, it could go in many interesting directions, but the one I like best would mirror the tragedy of the first film by having the robotic super-solders (about six, I think) begin to suffer the same mental deterioration that plagued Ross Martin as he became increasingly psychotic.

The difference here is that (a) they can communicate telepathically, unbeknownst to the scientist and the military, and (b) they work together to achieve their own evil agenda . . . which I haven't figured out yet.

Whatever their collective plan is, it would definitely involve raising their status from "obedient order takers" to "ambitious order givers"!
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Is there no man on Earth who has the wisdom and innocence of a child?
~ The Space Children (1958)

[orzel-w]

[Krel]

I remember seeing an "Outer Limits" episode which echos some of this. An Ill Astronaut has his brain removed and put into a machine for a mission to Mars. He starts developing all sorts of abilities due to his brain being isolated in the machine. He eventually becomes a danger to his wife, who believed he died, and to those around him.

David.

[Gord Green]

Great idea Bud! But I'd love to see it done in a retro style....like the robots in SKY CAPTAIN, but done in good old basic B&W with echos of THE DAY THE EARTH STOOD STILL.





Understand, during WW2 there WAS a super soldier program on both sides.

The American project determined that methamphetamine worked to activate a soldiers abilities.

The Nazis used a form of crystal meth to enhance the abilities of their forces so a storm trooper could march a hundred miles and still blitz krieg their destination.

Your proposed human-robot warriors could have taken a command augmented by a drug enhanced environment to act in a way that was excessive.

Your "Colossall Force" could have taken a command to prevent violence to the next level....to prevent ANY actions that may be considered anti-social.

Give it a Bernard Hermannesque sound track and it would be AWESOME!

[Bud Brewster]