Short Take: Galaxy of Terror

(1981) Directed by Bruce D. Clark; Written by Marc Siegler and Bruce D. Clark; Starring: Edward Albert, Erin Moran, Ray Walston, Grace Zabriskie, Zalman King, Robert Englund, and Sid Haig; Available on Blu-ray and DVD 

Rating: ***

“…I came up with the idea of the monster, but each monster would be a different monster for each member of the cast and would be a monster coming out of their unconscious. This is part of certain Freudian theories I had.” – Roger Corman

“You’re trying to do a science fiction remote planet set on the budget of a cheese commercial. What more of a challenge do you want?” – Bruce D. Clark

After the box-office success of Alien (1979), it seemed as if everyone and their cousin wanted to duplicate that movie’s formula, combining sci-fi thrills and horror chills, but for a fraction of the cost (Saturn 3, Creature, Parasite, and on and on…). It was only a matter of time before Roger Corman and New World Pictures would try to get a piece of the peril-in-space pie. Following his Star Wars rip- (ahem) inspired Battle Beyond the Stars (1980)), Corman brought us Galaxy of Terror.*

* Fun Fact #1: Before it was known as Galaxy of Terror, the movie went through several titles: Planet of Horrors (pre-production), Quest (working title, suggested by production assistant David De Coteau), and was released in the American south as Mindwarp: An Infinity of Terror.

Stop me if this sounds familiar (on second thought, read on): At the behest of a shadowy leader known only as “The Master,” (think the Weyland Yutani Corporation in Alien) the spaceship Quest, crewed by a ragtag bunch of misfits is dispatched to an alien world to respond to a distress call. What they find there are their worst nightmares. Instead of an acid-spewing xenomorph, however, some unseen force is turning people’s worst fears against themselves. Much like Ridley Scott’s film, the crew members are picked off one by one. 

The cast is eclectic enough to keep things interesting, despite the underdeveloped characters. Zalman King is suitably intense as trigger-happy Baelon, who has an unspecified feud with fellow crew member Cabren (Edward Albert). Grace Zabriskie (who would later gain fame as Laura Palmer’s bereaved mother Sarah in Twin Peaks), sporting fake gray hair, is the grizzled Captain Trantor. Ray Walston is the enigmatic ship’s cook, Kore (considering the tech that would go into an interstellar craft, would there even be a need for a chef?). A pre-Nightmare on Elm Street Robert Englund appears as Ranger, a man whose worst enemy is himself. laconic Quuhod (Sid Haig), armed only with his crystal throwing stars, proclaims that he lives and dies by them (guess what does him in?).  

 

For all its derivative elements, Galaxy of Terror provides some innovative aspects as well. It looks like a more expensive production, thanks to inventive effects by a young James Cameron (who served as second unit director and production designer), Allan Apone (makeup effects),* and Dennis and Robert Skotak (who would collaborate with Cameron on several of his future projects). One of the standout pieces is a mysterious pyramid, made to look gargantuan through in-camera effects. The various gore effects are effectively stomach-turning.** Undoubtedly the most memorable effect (and the film’s dubious claim to fame), however, graces the silver screen when Quest crew member Dameia (Taaffe O'Connell) is sexually assaulted by a giant space maggot *** (shot in part by second unit director, James Cameron). 

* Fun Fact #2: Sergeant Apone in Aliens (1986) was named after the effects master, who worked with James Cameron on Galaxy of Terror. 

** Fun Fact #3 (SPOILER ALERT): For Erin Moran’s exploding head scene, the effects team used a gelatin head filled with Dinty Moore stew. 

*** Fun Fact #4: The one-ton space maggot served as a proof-of-concept for the xenomorph queen in Aliens (1986), which employed a similar rig: a giant puppet suspended by a crane.

Besides being a dress rehearsal for Cameron and his effects team (who would go on to bigger and better things), Galaxy of Terror is a reminder that cheap knock-offs can be fun too. Although it might not win any awards for originality, it helped launch the careers of several talented individuals in front of and behind the camera.* If you’re in the mood for something that’s more Corman than Criterion, it’s a decent cure for the late-night doldrums.    

* Fun Fact #5: In addition to the professionals cited above, Galaxy of Terror boasts a pre-acting-career Bill Paxton (carpenter).

 

Sources: Shout Factory DVD commentary by Taafe O’Connell, Alec Gillis, Allan Apone and David DeCoteau; “Tales from the Lumber Yard: The Making of Galaxy of Terror” (2010)

 

 

Planet of the Vampires

(1965) Directed by Mario Bava; Written by Ib Melchior, Alberto Bevilacqua, Callisto Cosulich, Mario Bava, Antonio Roman, Rafael J. Salvia, and Louis M. Heyward (English version); Screen Story by Ib Melchior Based on the short story “One Night of 21 Hours”: by Renato Pestriniero; Starring: Barry Sullivan, Norma Bengell, Ángel Aranda, Evi Marandi, Franco Andrei and Federico Boiso; Available on Blu-ray and DVD 

Rating: ***½

“Do you know what that mysterious planet in Terrore nello Spazio was made of? … A couple of plastic rocks – and I mean ‘two’: one and one! – that were left over from some mythological picture made at Cinecittà. To assist the illusion, I had to fill the set with fog!” – Mario Bava 

“I'll tell you this, if there are any intelligent creatures on this planet... they're our enemies.” – Captain Mark Markary (Barry Sullivan)

Mario Bava had a knack for making low-budget movies look much more expensive than they really were. Undoubtedly, his prior experience as a cinematographer informed his directorial decisions, regarding the film’s appearance with a critical eye. Planet of the Vampires (aka: Terrore nello Spazio), a co-production with American International Films, is no exception, with imagery that could have been in a multi-million-dollar Hollywood production, instead of a movie made for a scant $200,000. Reflecting the international flavor of the production, Planet of the Vampires* boasted an international cast, including American actor Barry Sullivan,** his Brazilian co-star Norma Bengell, Spanish actor Ángel Aranda, and a host of Italian performers. The title (imposed by American International) is a misnomer, since there are no vampires in the film. As many have pointed out, a more accurate title would have been Planet of the Zombies, although in all fairness, either title indicates the sci-fi/horror hybrid that we’re about to see. 

* Fun Fact #1: Before it was known as Planet of the Vampires (or its Italian moniker, Terrore nello Spazio), the film’s title went through multiple iterations, including: Planet of Terror, The Shadow World (Bava’s preferred title), The Haunted World, The Outlaw Planet, The Warlords of the Outlaw Planet, and The Warlords of Planet 7. 

** Fun Fact #2: Mario Bava was reportedly unhappy with AIP’s insistence on casting 53-year-old Barry Sullivan, whom he considered too old for the lead role.

Two spaceships, the Argos and Galliot, answer a distress call from an alien planet. After Captain Markary (Barry Sullivan) loses contact with the Galliot, he and his crew land on the fog-shrouded planet.* But from the moment Markary and his team touch down on the barren, mist-covered wasteland, there seems to be a malevolent intelligence guiding their actions, prompting fear, anger and belligerence between the astronauts. The crew members manage to rein in their impulses long enough to investigate the condition of the Galliot and its occupants, only to discover that their counterparts are dead, including Markary’s brother. The corpses are buried, but to Argos crew’s horror they begin to reanimate, propelled by an unseen force. Before too long, the Argos crew begin to experience the fate of their sister ship, with confusion, violence, and death. Looking for answers, Markary launches an investigation of a nearby ancient alien spacecraft. They explore the derelict spaceship, discovering its fossilized pilot within, along with a voice recording from countless centuries ago.** Markary soon learns about the invisible alien intelligence that first lured the abandoned ship, along with the Gallion – a dying race known as the Aurans. Living on a different plane of existence, they embed their consciousness in the living or dead. Led by Markary, the dwindling crew of the Argos attempt to fend off their zombie comrades and Aurans long enough to escape the planet. 

* Fun Fact #3: The landing scene was shot in an aquarium filled with water. Colored chemicals were added to the water to simulate dust clouds. 

** Fun Fact #4: Bava and crew cobbled together many of the set pieces from found objects. One piece of “alien” equipment in the derelict spacecraft was the taillight from a 1956 Clipper (Packard). 

Over the ensuing decades, there’s been debate ad nauseam about how Planet of the Vampires inspired Alien,* but little agreement about how much was lifted from the original film. After years of dancing around the subject, Alien scribe Dan O’Bannon later confessed that the derelict spacecraft and its skeletal pilot provided the idea for the latter film’s “space jockey” sequence. Director Ridley Scott, on the other hand, adamantly denied he ever saw Bava’s film. Whatever extent was copied or who allegedly saw what, it’s safe to say that Planet of the Vampires’ DNA is in Alien. But that doesn’t necessarily imply that Alien is a “rip-off,” if we look at the history of movies (especially genre films) as a continuum, consciously and unconsciously recycling specific themes and imagery. Both Planet of the Vampires and Alien differ significantly enough in most respects to ensure that seeing one doesn’t guarantee you’ve already watched the other. 

* Fun Fact #5: While there’s much open to debate, there is one indisputable link between the two films. The 20-inch model ship (used for both Argos and Galliot) was fabricated for the shoot by effects maestro Carlo Rambaldi, also responsible for constructing the xenomorph for Alien (1979). 

Although few would attest that Planet of the Vampires is a paragon of performances, plotting, or story, few would deny it’s a great looking film. The costume design for the Argos crew is particularly memorable, with their black, high-collared uniforms that exude a cold, authoritarian appearance. The spacecraft are filled with cavernous gothic spaces – impractical where room would be at a premium, but effective from an artistic standpoint (if you think of the Argos and Galliot as flying castles, not scientifically accurate spaceship designs). Likewise, the surface of the planet takes on an unworldly aura, with its tentacle-shaped rock formations on the surface of the planet appear to have been alive at one time. The pervasive unsettling atmosphere running throughout the film reaches its apex in a scene when the reanimated corpses of several crew members rise from their graves, covered in ghostly plastic shrouds. 

The restored print is lovely to behold, with its saturated colors and noirish shadows (red and green gels create an eerie, atmospheric look). It’s easy to appreciate Mario Bava’s eye for aesthetics and endless ingenuity, making Planet of the Vampires look like an expensive production, despite using mostly in-camera effects. It’s unfortunate that the same attention wasn’t applied to other aspects of the production. Considering the number of screenwriters associated with the movie, the film is noticeably thin in the characterization and dialogue. Characters exist to move the plot along, but accomplish little else, with few standouts in the performances. Barry Sullivan looks suitably authoritative as the commander, however, and co-star Norma Bengell manages to bring glamour and gravitas to her somewhat underwritten role. Ultimately, I admire the film more than love it, but in the same breath can’t deny its impact on the genre. Faults be damned, it just looks cool, and few have done it as well as Mario Bava. Planet of the Vampires is a master class on doing more with less, and one of the most notable Italian sci-fi films of all time. 

 

Sources for this article: Radiance Blu-ray commentary by Tim Lucas; “Mario Bava’s Chthulucene - Terrore nello Spazio (Planet of the Vampires) from H.P. Lovecraft to Donna Haraway,” by Alessandro Brunazzo, Science Fiction Film and Television (Volume 16, Issues1-2, 2023)

 

 

In the Dust of the Stars

 

(1976) Directed by Gottfried Kolditz; Written by Joachim Hellwig and Gottfried Kolditz; Starring: Jana Brejchová, Alfred Struwe, Ekkehard Schall, Milan Beli, Silvia Popovici, Violeta Andrei and Leon Niemczyk; Available on Blu-ray and DVD

Rating: ***½

Akala (Jana Brejchová): “Our first law asks that no human may oppress another.”

Chief (Ekkehard Schall): “A nice thought. But the Turi have no culture. You see, by the time you are on your way home, the Turi will believe they were dreaming. Gods descended from heaven, they were friendly, and then they disappeared. They will likely pray to these gods. Their modest lives may become a little brighter. Nothing More. But that is a great deal.”

East Germany’s state-owned DEFA studios produced films in a wide variety of genres, including fantasies, westerns (no, really!), dramas, and a handful of science fiction movies. Their best-known production was probably the lavish (at least by East German standards) The Silent Star (aka: First Spaceship on Venus) (1960), which provided a visually impressive, albeit sterile vision of the future. Towards the tail end of DEFA’s small cycle of sci-fi movies was In the Dust of the Stars (aka: Im Staub der Sterne),*/** directed by Gottfried Kolditz (best known for his East German westerns). The 1976 East German/Romanian co-production begins conventionally enough, before veering off the rails, creating an experience unlike anything that preceded it. 

* Fun Fact #1: In the Dust of the Stars was the end-product of the DEFA Futurum group, an organization dedicated to creating films that were accessible to a wide audience, envisioning a positive future. Only two feature films (neither of which were well-received by critics at the time) were produced under DEFA Futurum: In the Dust of the Stars (1976) and the fountain-of-youth-themed Das Ding im Schloss (1979). 

** Fun Fact #2: Although not considered a success at the time, In the Dust of the Stars drew 800,000 East German filmgoers in the first 13 weeks.

A team of cosmonauts from the planet Cynro respond to a distress signal from the planet Tem-4, nearly crashing their spacecraft in the process. They meet with Ronk (Milan Beli) a representative of Tem-4,* who informs them that the signal was a mistake. While Captain Akala (played by Czech actress Jana Brejchová)** accepts an invitation to a party in their honor, her second in command (and love interest), Suko (Alfred Struwe), stays behind to test his doubts about the Temians’ sincerity. Meanwhile, the rest of the crew enjoy the wild celebration, including scantily clad dancers, drugs in aerosol spray cans, large snakes, and a feast fit for royalty. Suko determines that the party was an attempt by the Temians to divert the crew from the grim reality of the situation on Tem-4. The Temians are not the original inhabitants of the planet, but the peaceful Turi (who covertly initiated the distress call), have been enslaved to mine raw materials.*** Akala and her crew are faced with a dilemma: intervene between the Temians and Turi, or return to Cynro without taking action. 

* Fun Fact #3: Much of the film was shot on location in the otherworldly region of Pâclele Mari, Romania – home of the Berca mud volcanoes. 

** Fun Fact #4: Jana Brejchová was once married to the famous Czech director Miloš Forman.

*** Fun Fact #5: The Slănic salt mine stood in for the underground quarry where the Turi labored.

Most of the characters are not fully fleshed out, but archetypes to illustrate their differing ideologies. Captain Akala is conflicted about the correct path forward, doubting herself and their mission. Suko, harbors a healthy dose of skepticism about the Temians, Crew member Miu (Regine Heintze), who does an impromptu erotic dance (tastefully depicted in shadow), sides with the rest of the crew, seemingly content to enjoy herself and remain neutral about the Temian situation.

If you think the characters are too vanilla (minus Miu’s dance, of course), hold onto your hats, because you won’t be prepared for the Chief, played with zeal by noted East German stage actor, Ekkehard Schall.* The flamboyant Chief (who makes James Bond’s most memorable foes seem humdrum by comparison) represents a vision of capitalist decadence, enjoying the fruits of the Turi’s labors. In contrast to the enslaved race, he indulges in a hedonistic lifestyle with disco-punk aesthetics, sporting alternating hair colors to mirror his capricious moods and wearing costumes that would make Elton John jealous (I wish an entire movie had been dedicated to him and his wacky exploits). When he’s not barking orders to his lackey Ronk, he orchestrates extravagant music and dance displays** with his electronic console.   

* Fun Fact #6: Schall was married to Barbara Berg, daughter of noted playwright Bertolt Brecht.

** Fun Fact #7: The film’s standout outdoor dance scene was filmed at Romania’s Măgura Sculpture Camp.

It’s unfortunate that In the Dust of the Stars concludes on a less-than-satisfying note, raising more questions than answers: Did the workers start a successful revolt? What will happen with Akala, who stays behind on Tem-4? Will the remaining crew return with military reinforcements from Cynro? Don’t bother looking for answers, since no sequel ever materialized. Ultimately, the film’s parts are better than the sum: notably, Ekkehard Schall’s over-the-top performance, eccentric costume designs, and spirited dance sequences. Despite (or maybe because of) its initial critical and box office underperformance, In the Dust of the Stars should have been the perfect candidate to become a cult movie, running the midnight movie circuit. While it has yet to make much of an impact on audiences, it’s never too late to discover this amusing curio from a bygone era. 

 

Sources for this article: Blu-ray commentary by Rolland Man (presented by David Melville Wingrove); DEFA at the Crossroads of East German and International Film Culture, Edited by Marc Silberman and Henning Wrage; “East Germany's Werkstatt Zukunft: Futurology and the Science Fiction Films of defa-futurum,” by Sonja Fritzsche, German Studies Review (May, 2006, Vol. 29, No. 2)