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Shadow's Title: "Here's Mud in Your Eye...and Your Ear...and Your Large Intestine...and.." |
Single
sentence synopsis: After a fissure opens
in the Scottish countryside, something strange and deadly emerges from
the Earth’s depths to roam the land in search of radioactive materials
to ingest and unlucky locals to melt into goop. |
| The Basics |
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| Title:
X The Unknown Year Of Release: 1956 Running Time: 80 minutes DVD Released By: Anchor Bay Entertainment Inc. Directed By: Leslie Norman Writing Credits: Jimmy Sangster Starring: Dean Jagger, Edward Chapman, Leo McKern
Tagline 1: It Kills But Cannot Be Killed! Alternate Titles: None Found Review Date:
3/20/05 |
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| Forward |
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When most people think of the British studio
known as Hammer Films, images of Vampires, Mummies and
Frankenstein’s Monster usually are what spring to mind. And why not?
Films featuring such things were a studio staple for nearly a decade
and half and the name Hammer was synonymous with gothic horror.
However, before such genre icons like Christopher Lee and Peter
Cushing made a name for themselves in numerous such projects, Hammer
films produced a few small science fiction thrillers in the 1950’s.
One of the earliest (if not the earliest) was The Quatermass Xperiment. This film itself was based on an earlier serialized TV play that aired on the BBC in 1953 in six thirty-minute installments known as The Quatermass Experiment. In the United States it was known as The Creeping Unknown and told the story of a rocket ship returned to Earth, the horrible fate of one crewmember and the efforts of one Professor Quatermass to combat an alien menace. Suffice it to say it was a hit with audiences. The original television play had spawned two sequel series featuring the dour Professor Quatermass and the studio made every effort to translate those for the big screen as well, which they eventually did. However, in the time between the first and second Quatermass feature films, the studio wanted to get something out there to attract the same audience back into the theater. X the Unknown was that quick and cheap something. The studio called upon a production manager named Jimmy Sangster to write his first feature length film and recruited American Oscar-winning actor Dean Jagger to fill the shoes of the scientist hero, no doubt in part to help sell the film later in the United States. The production benefited from being written by a production manager, as he knew exactly where the money would go and how to achieve the best results. In the end, the film belies it’s frugal roots with a slick, well plotted and acted science fiction/horror story that took one of the key words of the era – radiation, and ran with it into new cinematic territory. |
| The Plot |
| While training in the
proper use of Geiger counters, some British Army soldiers are present
when an earthquake causes a large Y-shaped fissure to open in the
ground, spewing forth flames and unseen radiation. All too soon, one man
is dead from lethal radiation burns. That same night, two young boys out
on a dare encounter something odd in the woods and one youth manifests
similar burns the following day. Dr. Adam Royston is an American scientist working in Scotland and is called upon to help investigate the odd occurrences of radiation burns, but he is baffled as to what may be the cause. Circumstances around another death in a nearby hospital as well as a theft in his own lab point him toward an inescapable conclusion – something has emerged from the depths of the earth in search of radioactive materials to ingest as sustenance, and anyone unfortunate enough to be nearby when this unknown life form puts in a appearance suffers a lethal radiation exposure. The army is called upon to kill this unknown “X” but conventional weapons are unable to prevent it from venturing forth again in search of more food and finally revealing itself as a giant mass of radioactive mud, animated by some primal intelligence from the earth’s core. It is up to Royston and his allies to perfect his own method of using sound waves to neutralize radiation and utilize this approach before X the Unknown grows too large to be stopped. |
| Main
Characters |
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| Walk-Thru
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| The film opens in the
Scottish countryside where a small group of British Army soldiers are
learning how to use Geiger counters. A small metal jar containing some
harmless radioactive material is buried in some mud and each soldier has
a go at trying to locate it with a Geiger counter. The commanding
officer, a Lieutenant Bannerman is ready to pack it in for the day but
one man, Lansing claims he has not yet had a turn and thinks that he
should. Bannerman agrees and the container is hidden again, to the
accompaniment of moans and groans from the rest of the unit, who no
doubt want to get back to wherever they call home. The Sargent hiding the container is instructed to place it somewhere where Lansing won’t take all day to find, and we get the impression that Lansing is the odd man out among the men and something of a geek (in those days before geeks were called geeks). As Lansing stumbles around the big muddy field trying to locate it, two other soldiers sitting atop a nearby hill discuss the proceedings. Though the film won’t reveal their names for some time, they go by Haggis and Spider. Spider is bitching because their delay in leaving means they will be last at the cookhouse. Lansing continues to wander around and Bannerman briefs his men again on the use of the Geiger counters, reminding them that in the future they will no doubt be dealing with harmful materials and should only mark the place where such stuff is located and leave it for others to deal with. Everyone is ready to leave but Lansing is still wandering that big muddy field like Richard the third looking to trade his kingdom for a horse. Spider doesn’t want to be out there any longer and tries to give Lansing some hand signals, pointing him in the right direction. Finally, it’s apparent that Lansing is taking waaay too long and Bannerman jogs down the hill and out into the field to see what the problem is. It appears that Lansing is detecting a very strong reading. In fact, what he is registering is far stronger than the small container should be emitting.
Long about now Major Cartwright shows up in a
jeep and trudges out to talk with the Bannerman, asking him why he
hasn’t got his men moving. Bannerman explains about the odd
readings. Bannerman has Lansing mark the spot where the anomalous
readings were taken while he leads the Major off to locate the
container with the harmless amount of radioactive crap. While this
is going on, Haggis and Spider engage in a little more whining and
bitching to each other.
Meanwhile, Lansing notices that the small puddle at his feet is beginning to boil. He tries to call to Bannerman to let him know, but Bannerman is busy with the Major and brushes him off. Soon the earth begins to split at Lansing’s feet. He calls out again and now everyone can hear a low rumbling sound. The order is given for the men to evacuate the area and everyone gets their asses into gear…except Lansing. Now we see why everyone groaned when he was given his turn. The man is a complete idiot. Soon enough the ground begins to shake and everyone is high tailing it out of the field and over a nearby hill...everyone except Lansing. He just stands there looking at the ground and then falls over as the shaking increases in intensity. The ground splits wide open and a wall of flame shoots up and blocks the idiot’s escape as the others look on in amazement. Most people would look on in horror I suppose, but when someone is that freaking stupid, all you can do is stand dumbfounded at their sheer idiocy. Now the scene changes and we see a sign on a fence forbidding anyone to pass. It was put in place by the Atomic Energy Establishment and as the camera pans away from it we see a large facility partially hidden behind some trees. Within, scientists are walking about amongst all the high tech (for the 50’s) gear and engaged in whatever things scientists do. My bet is that they trade Star Trek jokes in between rounds of Doom and marathons of The X-Files. A female voice over a loudspeaker pages a Dr. Adam Royston to the director’s office. One guy is in the middle of some project involving a container of cobalt. This is Peter Elliot and his old man is the director of the facility. The woman’s voice breaks in again with her call for Dr. Royston and a second scientist remarks to the first that his father must be out for Royston’s head. All too soon his father, John Elliot, shows up and grills his son on the whereabouts of this Royston fellow. Peter offers up some excuse and his father chews him out for not doing his own work before walking off to track down Royston. A brief exchange between Peter and another scientist reveals that Royston is engaged in some private project in his lab. Now we cut to said lab where Dr. Royston has turned on a radio and jacked the volume to near deafening levels. He checks a few more instruments nearby then takes cover in a shielded room nearby. Manipulating some controls, he opens a container in the other chamber and using a magnet, lifts out a small metal jar very similar to that being used by the military out in that muddy field. As soon as the jar clears the container, which no doubt must be made of lead, the music on the radio is filled with static. Royston then passes the jar back and forth between two objects that for all the world look like miniature radar dishes. He consults some notes, but nothing seems to have changed in the other chamber. A knock at the door interrupts his thoughts and a worker asks if it safe to come in. Royston allows him in and the guy instantly remarks that the radio should not be making sounds like that and needs fixing. When Royston returns the radioactive jar to the lead container, the radio signal clears up instantly. The Dumbass remarks on how clever it is, but Royston retorts that when he is able to clear up the radio signal without having to put the radioactive crap back in the lead container – that will be clever. Dumbass now tells Royston that the Director wants to see him and we gleam from the next few sentences that Royston’s lab is not part of the complex seen earlier and is in fact some ways away. Far enough that Royston is slightly bummed that Dumbass has come by bicycle and not a car, which means he will have to walk. He gathers up his jacket, cane, hat and scarf and is on his way. It should also be noted before going any further that Dr. Royston is American. Why he is working in Scotland is never mentioned, but he is the sole Yank to be seen in this film.
We now are in Director Elliot’s office where he is
reminding Royston that he is in charge and will decide what projects the
Doctor will or will not pursue. He asks him to not waste his son Peter’s
time. It seems Peter’s job is in administration and he only has
scientific interests, rather than credentials. Royston has been
nurturing those interests much to the chagrin of Elliot the elder. Then
the Director mentions that the army has phoned in and is asking for an
authority on radiation to help them out. Royston wants somebody else to
go, as he is busy with his current project, but the Director makes him
go.
Now we see a nurse marching down a hospital
corridor, carrying a bottle. She enters a room where Royston and a local
medical doctor are examining young Willie, who is laid up in bed and
looking like hell. The boy has first degree radiation burns, which is
the reason the local medic has called for Royston. They talk with the
boy’s parents, who are naturally quite upset, though they have no idea
what has happened to their son. Royston tells them that he was burned
and is trying to figure out what exactly burned him. Willie’s mother
informs Royston that her son had the burns on his body that morning when
she went to wake him. Royston asks where he might have been the night
before but they don’t know – though they do know that Willie was out
with Ian. If anyone knows what happened to Willie, Ian would be the one.
Now we see Royston back in his lab, which is in a
sorry state. The place is a mess, with the glass window that separated
the two main chambers now in numerous pieces, and a visible scorching on
a worktable. Peter comes in, having been called by Royston and has a
look around. The lead box, which originally held the small jar, has been
melted to near slag and is coated with an odd residue. Royston says it
was also covering the jar when he found it at the tower. It seems all
the damage was caused by someone who was solely interested in stealing
that small jar. What is even more odd is that the material contained
within the jar would normally take twenty-eight years before the
radioactivity died away, but Royston has Peter use a Geiger counter to
take a reading and show to him that it is now quite inert. The day
before the material exhibited dangerous levels of radioactivity, but
now…nada. The energy from that material has been drained away, and given
that the windows were barred and the door locked when Royston returned,
then whoever broke in must be most unusual.
Some time later the hospital director leads
Royston and McGill into the Radiation Room. He points to a vault and
tells them that this is where they store the radium. The vault door has
large hole melted through it and the radium is gone. Royston notes that
it was obviously the target. Other things they note are the fact that
the heat requires to melt through the vault door must be hotter than
anything they know, the theft must have taken place in just a mere few
minutes and that same odd residue is covering everything in the room.
McGill wants to talk to the nurse and find out what she can tell them,
but Doctor Kelly arrives and informs him that the nurse is so
traumatized that she won’t even be able to tell them her own name. The
hospital director asks Royston how anyone could get in with so many
people out in the hall. Royston points to a metal grill cemented into
the wall and says that this is where the intruder entered. The others
seem taken aback and one reminds him that whatever it was that burned
through the vault and took the radium was too big to fit through a
grill. Royston comments that ten thousand gallons of oil can take up a
large amount of space yet still fit through the grill. Then he realizes
that this is the same method the intruder used to break into his lab –
it came in under the door. Obviously, Royston reasons, the intruder can
take up any shape it needs to in order to achieve it’s goals. Now this
is the point where most rational people would look at him, point their
index finger towards their temples, make a circular motion and go
“coo-coo…coo-coo,” but McGill does not do this. He simply asks where
“it” may be now. Royston theorizes that it is “somewhere out on the
ridges” and is glad that Major Cartwright did not take his advice and
station a couple of men out there. “But he did,” McGill intones
ominously.
Once he gets to the top he confirms Royston’s
theory and tells them of the body he found below. He is a bit shaken up
and can’t accurately describe what he saw, so Royston takes him away by
car so he can calm down. At this point Major Cartwright informs them
that his orders are to kill whatever is down there and concrete over the
fissure. He plans on getting started immediately and walks off to get
things underway.
Everyone has heard the alarm and Royston tells
Peter to check the main gate and see if he can spot it. It is now too
late to move the cobalt and Royston begins hustling everyone out of the
area. Peter climbs a ladder so he can see over a wall and look towards
the main gate. He sees a huge mass of mud slowly but surely rolling up
the driveway towards the reactor. He runs to warn the others and arrives
just as X begins pouring over the roof of a nearby building. They take
refuge in another building close by and watch as X consumes the Cobalt
and grows larger by the second. Royston says there is nothing they can
do to combat it here, but since they know the exact route it will take
back to the fissure, they should clear the way.
Peter continues to gun it and finally gets the
damn jeep moving just as X clears the top of the fissure. The huge mass
of radioactive mud follows the jeep and Royston orders the scanners
switched on. They make a loud humming sound as they go to work. After
numerous tense seconds, the large glowing mass that is X bursts into
flames. I know, I know…it is mud. How can mud burn you ask? I don’t
know. The scanners are turned off and as everyone approaches with Geiger
counters, one last explosion erupts from the fissure.
|
| Review |
| In essence, X the
Unknown is a cheap, by-the-numbers monster film indicative of it’s era.
Seemingly, all the stock components of a classic 50’s monster romp are
present: a sparsely populated rural setting, a temperamental scientist,
secret lovers and kids having deadly run-ins with the monster, the
heavily used presence of radioactivity and a technobabble scientific
weapon utilized to battle the threat. However, don’t let all of that
fool you at all – the movie is also an efficient thriller with a couple
moments of genuine creepiness. For the most part, the cast of characters are portrayed as somewhat dry and bland. This is no more apparent than in the lead, Dr. Royston. He comes off as nonchalant as events unfold, hardly ever seeming too invested in the fight against X. This may be explained by his scientific mindset: a dispassionate view of the facts before a cold and logical hypothesis on how to deal with the situation. While, this is not always the case with his character, and there are some instances where he shows a little emotional fire, for the most part he comes across as a precursor to Mr. Spock. On the opposite side of that coin is the character of Director Elliot. Now this guy seems a likely candidate for a Prozac prescription. His response to just about everything is laced with his emotions. From his resentment stemming from his son’s admiration of Royston to his flat out refusal to believe the Doctor’s explanation for all the strange occurrences, he just comes across as an emotional, knee-jerk reaction type of guy. Adhering to the stereotypes so often seen in such films is the character of Major Cartwright. While being supportive of the scientific community, at heart he firmly believes in the might is right approach and gladly unleashes his stock of weapons against the threat. Not that it does much good. At least the viewer is spared the militarism vs. intellectualism arguments that often occur in such films. Despite their differing views, the soldiers and scientists get along with one another quite well here, which is a refreshing change of pace. The film’s use of the Haggis and Spider characters to help convey both a little humor and an “everyman’s” view of the proceedings helps somewhat in reducing the military’s role as blundering knuckleheads. Depending on one’s sense of humor, their actions will be seen as either slightly amusing or just fairly dull. One stand out among the characters is that of Inspector McGill, played by the late Leo McKern. Best known for the starring role in the long running Rumpole of the Bailey television series (or the creepy old guy in the first two Omen films) McKern turns in a subtle but amazingly distinctive performance here. While Royston is somewhat cold and reclusive, and Major Cartwright has an itchy trigger finger, it is McGill who comes across as the perfect balance of the two, and by far the most human. He is equally prepared to give either party the benefit of the doubt and willing to go to bat for them, yet the first to insist they take action when he perceives them to be lackadaisical in their approach. It’s a pity that he did not feature more prominently in the film. Centering the story on his investigation rather than Royston’s own efforts to uncover the truth may have made for a more grounded narrative. The film’s production values are an excellent example of spending the budget wisely. As noted elsewhere, writer Jimmy Sangster was a production manager for Hammer films before being recruited to write this film. With that type of background, he knew what was and what was not capable of being captured effectively on film, and thus wrote the script accordingly. The end result is a film that looks remarkably polished for being a low budget affair. This is exemplified in the realization of the title monster on screen. For much of the film the creature is not seen and only represented by POV shots a couple times as well as flickering lights and odd sounds. While this approach is the most economically feasible, the film makers make excellent use of such constraints to make these moments quite creepy – instilling a healthy fear of the unknown into the film by leaving the nature of the monster unclear. When the beast is finally revealed, the scientists have already reviewed the evidence at hand and come to a conclusion as to what they must be facing. Thus, the audience is somewhat prepared for the initial sight of X. Plus, taking into account the very nature of the monster and one can see how such simple methods of portraying it are still effective. Sure there are some obvious uses of miniatures, but these are used sparingly and don’t really detract from the suspension of disbelief. It seems that hardly a science fiction or horror film was produced in the 1950’s without some variation of the word “radiation” being used. From giant slumbering behemoths awakened by atomic bombs, to normal sized insects mutated to gigantic proportions to it’s use by unscrupulous scientists in odd experiments, radiation was blamed for it all. This is understandable when looking back on the era. So soon after the second world war and the horrors made real by the use of two atomic weapons on the nation of Japan, the fear of radiation and what it represented – the advance of mankind’s knowledge beyond his ability to control – was all too real. X the Unknown plays upon these fears as unabashedly as other films from the same time period. In fact, if anything it plays upon those fears a little too much, misrepresenting the effects and dangers of radiation. In the end, the approach taken by Royston and the others to defeat X seems much more blatant than other films in it’s anti-militaristic stance. While another film would caution against mankind’s tampering with things it did not fully understand, laying the blame for the dire consequences on Humanity’s ignorance of how to use the tools at it’s disposal (radiation), but still exhorting the need for progress in the face of possible dangers (I.E. communism); X the Unknown seems to say that the very tools (radiation again) we may use should be abandoned or they may be our undoing. The fact that X was not created by radiation but was just a naturally occurring lifeform drawn to it, along with the idea that simply eliminating the radioactivity would solve the problem seems to support that idea. Who knows. Lastly, let us talk about the tone of the film. Despite the few brief moments of subtle humor provided by Haggis and Spider, the movie maintains a gloomy undertone. The mystery and inherent scariness of an unknown killer stalking the land is well crafted throughout the film. This is aided greatly by the scenery – mist shrouded woods, lonesome moors and old castles – who could not find that creepy? In such scenes the cinematography by Gerald Gibbs stands out much more than in the more claustrophobic interiors. The film also does not shy away from the brutal moments. The hideous melting deaths of some people are shown on film and the death of a child from radiation burns are used to help fuel the atmosphere of dread and fear. James Bernard’s original music contributes as well in a couple of key scenes, helping to raise the heartbeat. In all, the film is quite effective in achieving it’s aims, despite the lack of a large budget. |
| Content
Breakdown
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| Extreme Violence While the violence is not graphically displayed or shown, there are some rather nasty deaths in this movie. I mean anytime people are melted, it must count as a rather violent demise...and plenty of people get the wax candle treatment here. | |
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Giant Monsters – The monster here only qualifies for this icon because it grows to humongous size, but it did not start out that way. The monster is also an unusual one – a mass of radioactive mud that is animated by some primal energy intelligence. Not exactly the easiest thing to kill. |
| Gore Remember that this film was made in the 1950’s, so explicit gore should not be expected. However, given the time period there are still a couple of shots of flesh melting from people’s skulls that must have been considered quite vomit inducing for the day. | |
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Science – Here science comes very much to the rescue. As X cannot be killed by any conventional weapon, it seems somebody had to devise of a way to stop it. Why not those scientist fellows? Somebody needed to get them out of their labs and away from their D & D sets. |
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Technology – Going hand in hand with the above icon, this one signals the use of technology by those scientists in combating the X critter. However, it seems technology is represented here by gizmos that resemble radar dishes and that can zap radioactivity into non-existence. Now if those scientists could only invent something that does that to Yanni albums… |
| Immortal
Dialog |
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xtheunknown1.wav |
(156 KB) Haggis and
Spider discuss Lansing’s burns.
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xtheunknown2.wav |
(124 KB) Royston grills
Ian on his whereabouts the previous night.
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xtheunknown3.wav |
(339 KB) Royston puts
two and two together to get ten.
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xtheunknown4.wav |
(136 KB) Director Elliot
in full Doubting Thomas mode.
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xtheunknown5.wav |
(48 KB) Peter returns
from spelunking.
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| xtheunknown6.wav | (78 KB) Major Cartwright
advocates the easy way of doing things as his men proceed to bomb the
fissure.
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Images |
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![]() The secrets behind the origins of New Coke are at last revealed. |
![]() "We found him clinging to life. It appears he is the only survivor of a Yanni concert…poor bastard.” |
![]() Efforts to build a fusion powered bong were doomed to failure. |
![]() “Sir, I regret that I must inform you that the locals have been having a bit of fun with you. That wasn’t a plate of haggis you just ate. It was a plate of horse shit.” “There’s a difference?” |
![]() Lucy fell for Dr. Martin’s monthly dental exam line each and every time. |
![]() “Don’t ask, don’t tell! Don’t ask, don’t tell! Don’t…aaaahhhh!!!” |
![]() “One small snip and Dutch boy here will be painting the caves red.” |
![]() Disaster struck the truck stop when the toilets backed up on chili night. |
![]() “Ok, shortest straw has to go get the plunger.” |
![]() “Niall, are you seein’ what I’m seein?” “Aye, Conall. Tis heaven on earth…a brand new donut shop.” |
![]() This is your brain on B movies. |
| Video Clip |
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xtheunknown.wmv (4.53 MB) |
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| Don't Forget |
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| Shadow's Commentary |
| 01:30 – You really
don’t have to be a farmer to be outstanding in your field. 06:32 – Maybe it’s a Graboid! 09:40 – That music is almost as bad as a Yanni album. Almost. 17:50 – What the hell? Somebody tell these kids to get their cracker asses home! 19:34 – Is he being stalked by a forest gnome or something? 23:26 – Be vewy, vewy quiet. I’m hunting isotopes. 30:45 – That kid is either very cold or very dead. 33:50 – This is beginning to look like a Naughty Nurses film I saw once. 35:30 – Yikes! Did it get hot in there or what? 38:18 – Oh look, Redshirts. 47:17 – You know, parachutes work better than ropes. 49:50 – I’ve heard of fighting fire with fire, but do these dorks actually think it will work? 54:33 – Nasty brown stuff oozing from a crack in in the earth. Why do I sense a scat joke? 58:40 – Sauron attacks from the East, Saruman from the West. We’re screwed. 61:50 – Get that poor bastard an ice pack, quick! 62:52 – Holy crap! It’s a 70 foot piece of shit! 66:17 – Are they blind? How can they miss seeing that child? 68:58 – POW. 76:28 – Ok, who did not see that coming? I didn’t think so. 78:56 – POW…again. 79:45 – The End. |
| Unanswered Questions & WTF Moments
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| If X only
traveled in straight lines to it’s destinations, then why was such
a massive evacutaion necessary after it devoured the Cobalt at the atomic
Energy facility? Wouldn’t it have taken that exact same route to get
there? So would not all those endangered people already be dead…or
at least severely burned? Everyone who got anywhere near X ended up burned worse than a weenie at a fourth of July picnic, though it took a while for some to manifest their fatal burns. Does this mean that the Minister and small girl who had a close encounter with X as it retreated to it’s hole ended up the same way? Likwise, Peter was awfully close to X at the end when he was in the jeep. Did he go all Freddy Krueger as well? At the end after X is dead, Royston remarks that the final flare up should not have happened. WTF? How in the the hell does he know that it should not have happened? Maybe he is comparing it with all those other dozens of times radioactive mud monsters were destroyed. If that was not supposed to occur, then just what was he expecting? Trumpets blaring? |
| Trivia
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| The movie began under the direction of Joseph Losey (working as Joseph Walton), exiled to England because of the Hollywood blacklist. He shot for a few days, and his footage must be in the movie, but when Dean Jagger arrived, he refused to work with a director he thought of as a Communist sympathizer, and Losey was replaced by Leslie Norman. Losey's departure was publicly attributed to "illness". |
| The Final Word |
| X the Unknown may be one of those cheap films made to cash in on a trend, but it still manages to set up and carry out an effective mystery, complete with some chills. While it is long on talk, the film still moves at a brisk pace and wastes little time in getting to the main points. The film also evades the cheezy monster syndrome that befell so many films from the 50’s. The movie stands up well to this day and B-movie fans should by all means check it out. More mainstream fans may want to take a look and see how an older and inexpensive film can still be well crafted and keep the audience engaged. |
| Rating |
| Eight
Popcorn bags
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| My Personal History with this film |
| After spending most of the 1970’s growing up on a steady diet of old black and white horror films from the 1950’s that were rerun on TV, I had developed a sixth sense when it came to channel surfing. These were the days when there were no onscreen cable guides, so knowing what was on was not always possible. Hell, we didn’t always get TV Guide so knowing what was on ahead of time was only made possible by seeing a commercial for something. Thus I cultivated the ability to spot a genre film by just looking at it. I could channel surf and after seeing just a few seconds of a film, I knew it was an old monster flick…even if I had never seen it before. I just knew. Such was the case with X the Unknown. I was flicking through channels late one night in the mid 80’s and came across the scene where Willie Harding is stumbling through the woods in the dark, trying to sneak to the tower and see Old Tom. I saw this and instantly knew I had to stop flicking channels. Puns aside, there was an “X” factor to what I was seeing that instilled in me the knowledge that this film was a monster movie. Sure enough, a few seconds later the POV shot of X closing in on Willie confirmed my suspicions and I gladly settled in to watch the remainder of the movie. Looking at the clock I saw it was only twenty minutes past the hour, so I figured I had the bulk of the film to go. I watched the rest of the movie and was quite impressed. A few years later, during a time when we did subscribe to TV Guide and I went through the week’s movie listings in advance so as to find the date and times for movies I wanted to see, I saw this film listed. This time around I recorded it and over the intervening years I have watched that tape literally dozens of times. While the film is a favorite, I didn’t obtain the DVD until I decided what would be the first film to review under the letter X category for this site. |
| Extras |
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Buy this movie. |
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