ALL SCI-FI

[Eadie]

Taken from Sci-Fi Steve's video, who must have obtained the same copy as Butch:













I wonder if ANYONE (member or not) has a copy?
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Art Should Comfort the Disturbed and Disturb the Comfortable.

[Bud Brewster]

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Eadie, judging by the fact that none of the Blu-ray reviews I found say anything about it being colorized, and also by the fuzzy look of those screen shots, that appears to be the old VHS tape.

You mentioned that colorization has improved in recent years. Unfortunately, the colorization process used for that tape was from 30 years ago — way back in 1989 when this was sold, according to the TCM site.

A colorized version was released in color on VHS in 1989 by Turner Home Entertainment as an "RKO Color Classic".

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That also means it wouldn't even have the "restored" scenes included in the DVD which is currently sold.

Any DVD you get that's colorized is just going to be a DVD-R from that terrible tape. I'm sure you wouldn't enjoy watching a fuzzy, washed-out version of this movie when the old DVD looks so much better.

But some of the reviews (not all, but some) stated that the picture quality of the new Blu-ray is better than the old DVD. Read the reviews and you'll see what I mean about how folks don't agree that the BD is an improvement.

Perhaps Brent will give us the low-down on it soon. He's our resident expert in that area.
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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]

[Krel]

It's kind of interesting that "The Twilight Zone" episode "Two", wasn't filmed at the MGM Studios. For the abandon city they went to the dying Hal Roach Studios, which had a neglected back lot which was perfect for the episode.

David.

[Pow]

BTW, the episode featuring some excellent scenes of the demolished M-G-M back lot is "The Legacy" from October 11, 1974

The episode "The Trap'' may have also been shot on the M-G-M back lot as it was being torn down. However, I am not 100% certain about that one.

[Pow]

Legendary stop~motion animator Ray Harryhausen had prepared a test reel footage of Martians exiting from their space ships after landing on Earth. You can watch it on Youtube.

Ray was hoping to interest Paramount Pictures in producing a film version of the classic H.G.Wells novel "War Of The Worlds."

The studio was not interested in the project.

Then Ray heard about producer Howard Hawks producing "The Thing From Another World.'' Dimitri Tiomkin,whom Ray had met during the war,was composing the music for the film.

Ray gave Dimitri the test footage that Ray had done for "War Of The Worlds'' to show HH in the hopes that Hawks might want to do the alien Thing via stop-motion animation.

[Bud Brewster]

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I'm a devoted, life-long fan of Ray Harryhausen's work!

We should, however, bear in mind that there are situations in which his special effects techniques are absolutely perfect for the certain movies . . . and yet they just aren't the right choice for others.

In this cause I can't quite imagine a version of The Thing from Another World — or any other other variation on Who Goes There? — that would be best served by Harryhausen's stop motion.

The best examples of the most effective use of Ray's work are demonstrated by these pictures.









In these cases, Ray is depicting a large-scale event that doesn't require the close interaction of Ray's animation with people. But there are a few notable exceptions to this rule, like these.







At yet in these scenes we aren't really supposed to feel that the people are actually interacting with the animated elements. In fact, what amazes us about these scene is the fact that we know we're watching small animation models and real people together in the shots.

My point is that any movie based on Who Goes There? requires a story that puts the humans in close proximity with the alien creature, and all the scenes that show the aliens and the humans together MUST look absolutely convincing. Otherwise the audience spots the fact that they're suddenly seeing obvious special effects, and that disrupts their "suspension of disbelief" — something which is absolutely vital in a film of that kind.

Guys, I realize that Ray didn't really know what kind of movie The Thing from Another World was going to be, so he envisioned a version with an alien creature which threatened a group of people. But if he'd know just what Howard Hawks had in mind, he'd have realized that his animation wasn't really right for the movie.
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Is there no man on Earth who has the wisdom and innocence of a child?
~ The Space Children (1958)

[Gord Green]

Bud, I think the point is that Harryhausen's stop motion is basicly "Art" while CGI is "Realism".

Admittingly CGI is a type of art unto itself, but the striving for realism makes it more workmanship than "Art". Harryhausen's stop motion as did Willis's before him showed a touch of originality that captured "feeling" that is more lacking in CGI.
.
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There comes a time, thief, when gold loses its lustre, and the gems cease to sparkle, and the throne room becomes a prison; and all that is left is a father's love for his child.

[Krel]

Bud, from what I can remember of the description of the Thing from the story, if they were going to go with the story's creature, then stop-motion animation was the only way.

Earlier this year, it was announced that they found a novel length version of the story that John Campbell wrote. They are trying to get it published.

David.

[Pow]

Krel is correct, Bud, regarding how the Thing was written for the novel.

And I certainly can understand your point about scenes of stop~motion animation combined with scenes with real life actors not truly matching in perfect harmony with one another.

I just felt it was a shame that producer Howard Hawks had a marvelous opportunity to give the audience something fresh for his film.

The Thing could have been this shape-shifting aliens that was non-humanoid.

Instead we got the man-in-prosthetics almost human looking alien.

Films have been doing that since Frankenstein, Wolf Man, Dr.Jekyll & Mr.Hyde, the Mummy and so forth.

Now those make-ups for those films (as well as others) were magnificent to behold. All those characters were humans to begin with, so they were required to maintain certain human characteristics & body type.

Here was a movie that did not have to rely on that concept at all. Hawks could have taken us in an entirely different direction.

If you look at an excellent print of the scene of the battle between Sinbad & the skeleton in 1958's "The 7th Voyage Of Sinbad" it is an amazing blend of live action & stop~motion animation.

Now I won't try to sell you on that it is like looking at all live actors facing off against another live actor (Jim Arness) in scenes from the film.

And who knows, perhaps the technical tools for Ray pulling that off in 1951's "The Thing From Another World" were not available as they were seven years later for his Sinbad movie?

If we look at the action scenes involving the Thing moving there are three.

Our first horrifying scene is when we are surprised as the soldiers open a door to find the alien standing there staring right back at 'em. The alien swings at the men as the door is hastily slammed shut on the creatures hand.

Scene over.

I would submit that could have been done via Ray's magic given he had ample time with the shooting schedule and a decent budget.

Imagine the men opening that door and seeing a truly alien appearing monstrosity?

The scene is brief enough and yet powerful.

The interaction with the alien and the men is minimal. So yeah,stop~motion could have been performed.

The scene that involved the men setting the alien on fire was astonishing to see.

No, I don't see how Ray might have executed it via his animation as dramatically as having the stuntman set on fire for real for the gag (stunt).

I think such a scene probably could not have been done technically as well as it was done live.

So perhaps here we accept the Thing as shape shifting into a humanoid form. The creature has now seen us previously in the doorway scene. It may have also slaughtered offscreen 2 of the scientists at this point but I might be mistaken. That could have come after the awesome fire scene.

My point being that if it did occur prior to the fire scene then the alien would have had time to examine humans & morph its DNA, or carrot juices,t o become similar looking to us.

That would explain why the Thing is not longer the alien looking blob creature we first encountered at the door and now appears more human in appearance.

Dialogue could explain this to the audience as the scientists speculate about why the creature looks different from the first time we all saw it.

The finale could easily resort back to Ray's stop~motion creature.

We see the alien at the end of a darkened corridor.
Easily a stop~motion.

Dr.Harrington (or was it Carrington?) runs up to the creature to attempt to appeal to it with reason and thus prevent the military men from springing the electrical trap that they hope will destroy the creature once and for all.

The scene with the good doctor is a brief one where he and the alien are together before the Thing knocks him backwards.

I believe that Ray could have done like Sinbad fighting the skeleton. And the scene with the scientist was far shorter.

Next, the Thing begins its walk towards the men. They have to get him off the floor and onto the walkway which is rigged with cables that they can fry him with according to the plan.
One man throws some kind of tool (pick?) down the floor at the alien's feet. The alien jumps up onto the walkway.

It continues to walk towards the company when they throw the switch and electrocute the Thing.

Other than the scientist pleading to the alien,all the rest of this had the creature alone. Animation could be done for it.

So my opinion is that with the exception of the fire gag, stop~motion animation could have been done. And in doing so it could have created chilling scenes that were not just an actor with make~up.

Perfect for an alien life form.

Again, I am not claiming for an instant that Ray's animation scenes would be as realistic as having a living actor as the Thing doing scenes with the rest of the cast.

However, given that the audience's exposure to the Thing are done in shots that don't last very long, coupled with having the lights turned down or off in the finale. I believe that stop~motion animation would have been a viable choice

Perfect? No. Entertaining, yes.

[Gord Green]

I don't think Howard Hawks ever used much in the line of effects other than matte paintings and "practicle" effects, preferring "in camera" over post production.
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There comes a time, thief, when gold loses its lustre, and the gems cease to sparkle, and the throne room becomes a prison; and all that is left is a father's love for his child.

[Krel]

Pow, the fire scene could have been done with a combination of a stop-motion creature when the door opens, and a full-size creature on fire. While on fire, the creature wouldn't need to be perfectly detailed, and movement could have been motorized. Careful editing would have hid the switch between the two.

When they open the greenhouse door, they blur the Thing, so you don't get a good look at it.

David.

[Bud Brewster]

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Pow, your analysis of a stop-motion version of The Thing is extremely well thought out. Bravo.

I guess my lack of enthusiasm for a Harrhausen "Thing" stems from the fact that this movie's major strength is the way we only get a few brief looks at the alien — and that was deliciously scary. Your suggestions are all about giving us plenty of good looks a detailed alien design.

But you seem to think that would have been a much better movie than what Hawks made. I'm afraid I just don't agree with your initial premise.

[Gord Green]

I have to agree with you, Bud. "Less is more."

The real horror of the Thing was that he was mostly an unseen menace ...viable mainly by his murderous deeds , and just when you do see him he looks all too human. All too deadly.
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There comes a time, thief, when gold loses its lustre, and the gems cease to sparkle, and the throne room becomes a prison; and all that is left is a father's love for his child.

[Bud Brewster]