H.G. Wells Movies

The DVD Bookshelf release The Time Machine (not to be confused with the 1960 George Pal film or the 2002 movie directed by Simon Wells) features a dramatized reading of the classic science fiction novel by H.G. Wells, accompanied by vivid onscreen illustrations. ~ Nathan Southern, Rovi

In the '50s, Bert I. Gordon made a career out of sci-fi movies about gigantic mutated insects (Beginning of the End, Earth vs. the Spider), lizards (King Dinosaur, Serpent Island), and even people (The Amazing Colossal Man), and in 1977, he was still up to his old tricks with this picture, loosely adapted from a story by H.G. Wells. Marilyn Fryser (Joan Collins) is a less than scrupulous businesswoman who is trying to sell shares in a worthless Florida housing development to a group of naive souls. However, both Marilyn and her potential customers have bigger things to worry about than low property values, when they discover that a large stock of nuclear waste was dumped near the development site, and the result is a pack of gigantic mutated ants with a nasty disposition and a taste for human blood. The supporting cast features Robert Lansing, John David Carson, and Albert Salmi. ~ Mark Deming, Rovi

Based on a novel by H. G. Wells, a group of bloodthirsty, oversized creatures (including rats, chickens, wasps, and worms) have taken over a remote island after ingesting a mysterious growth known as "Food of the Gods." It is up to an unusual group of people to put an end to this animal threat. ~ Iotis Erlewine, Rovi

The last of veteran moviemaker Marcel Carne's theatrical films, La Merveilleuse Visite was a surprisingly restrained film by one of the most colorful filmmakers in France. Jean (Gilles Kiher) stars as an angel who has fallen from heaven and landed in a picturesque French village. Nursed back to health by the local priest and his helper, he returns the favor in a surprising fashion. La Merveilleuse Visite is based on a story by H.G. Wells. ~ Hal Erickson, Rovi

British musical star Tommy Steele had starred in Half a Sixpence in London and on Broadway, thus he was first choice for this garish film version. Based on the H.G. Wells story Kipps (previously filmed in 1941 with Michael Redgrave), Half a Sixpence tells the tale of a humble London drapery clerk (Steele) who inherits a fortune. He briefly forgets his old mates and his faithful girl friend (Julia Foster), but soon discovers that High Society isn't his cup of tea. Filmed during the "monster musical" cycle fostered by The Sound of Music, Half a Sixpence isn't really suited for the spectacular approach dictated by co-producer Charles H. Schneer. Fortunately, the guiding directorial hand is the film's other producer: George Sidney, a veteran of MGM's Arthur Freed unit, who knew how to successfully weld music with story. Thanks to Sidney and star Steele, Half a Sixpence never gets too out of hand, though we'd argue with some of the eyestrain-inducing color choices in the bigger numbers. The film might have done better at the box office had the score yielded a few hit songs. ~ Hal Erickson, Rovi

First Men in the Moon is an H.G. Welles cinemadaptation from director Nathan Juran. When scientists in the year 1964 are confused by evidence of a long-ago space flight, nonagenarian Arnold Bedford (Edward Judd) explains all. Back in 1899, Bedford, eccentric scientist Joseph Cavor (Lionel Jeffries) and heroine Kate Callender (Martha Hyer) took a trip to the moon in a home-made space vehicle. Once on the lunar surface, they encountered an alien civilization resembling an ant colony, complete with "queen," soldiers and workers. How they returned, and the aftereffects of their journey, comprise the film's final third. Peter Finch appears briefly as a messenger; he happened to be visiting the set when the actor hired to play the bailiff's assistant failed to show up. ~ Hal Erickson, Rovi

In George Pal's version of the H.G. Wells classic, Rod Taylor stars as George, a young scientist fascinated with the concept of time travel. On December 31, 1899, George seats himself in his jerry-built time machine and thrusts himself forward into 1917. A dyed-in-the-wool pacifist, George is distressed to see that World War I is raging all about him. He moves past the 1920s and 1930s into the 1940s, only to be confronted by another, even more terrible war. Next he stops in 1966, just as London is destroyed in a nuclear explosion. Retreating to his Time Machine, George is sealed in his cellar by molten lava. By the time he and his machine manage to escape their tomb, the year is 802,701. Looking around, George observes a seemingly idyllic world populated by gentle people. But he also notices that the citizens of the future, known as "Elois," behave more like mindless sheep than human beings. Befriending the lovely Weena (Yvette Mimieux), George learns to his dismay that humankind has forgotten all that it has learned through the centuries, preferring instead to frolic endlessly under the sun. Plot holes and inconsistencies abound in The Time Machine, but the film's true selling points was its Oscar-winning special effects; in this respect, producer-director Pal succeeded beyond anyone's wildest dreams. Another plus: the haunting musical score by Russell Garcia. ~ Hal Erickson, Rovi

Mexican filmmaker Alfredo B. Crevenna directed this sci-fi thriller loosely based on the classic H.G. Wells novel. Augusto Benedico stars as Luis, a scientist who gives his new invisibility formula to his jailed brother, Carlos (Arturo de Cordova). Carlos escapes and is reunited with his beloved Beatriz (Ana Luisa Peluffo), but the invisibility potion turns him into an insane megalomaniac who plans to rule the world. The invisible madman murders Luis and begins committing acts of sabotage until Beatriz tricks him into a standoff with police. This overwrought version of the tale makes an interesting contrast with James Whale's 1933 version of the same story, which seems positively subdued by comparison. ~ Robert Firsching, Rovi

H.G. Wells's War of the Worlds had been on the Paramount Pictures docket since the silent era, when it was optioned as a potential Cecil B. DeMille production. When Paramount finally got around to a filming the Wells novel, the property was firmly in the hands of special-effects maestro George Pal. Like Orson Welles's infamous 1938 radio adaptation, the film eschews Wells's original Victorian England setting for a contemporary American locale, in this case Southern California. A meteorlike object crash-lands near the small town of Linda Rosa. Among the crowd of curious onlookers is Pacific Tech scientist Gene Barry, who strikes up a friendship with Ann Robinson, the niece of local minister Lewis Martin. Because the meteor is too hot to approach at present, Barry decides to wait a few days to investigate, leaving three townsmen to guard the strange, glowing object. Left alone, the three men decide to approach the meterorite, and are evaporated for their trouble. It turns out that this is no meteorite, but an invading spaceship from the planet Mars. The hideous-looking Martians utilize huge, mushroomlike flying ships, equipped with heat rays, to pursue the helpless earthlings. When the military is called in, the Martians demonstrate their ruthlessness by "zapping" Ann's minister uncle, who'd hoped to negotiate a peaceful resolution to the standoff. As Barry and Ann seek shelter, the Martians go on a destructive rampage. Nothing-not even an atom-bomb blast-can halt the Martian death machines. The film's climax occurs in a besieged Los Angeles, where Barry fights through a crowd of refugees and looters so that he may be reunited with Ann in Earth's last moments of existence. In the end, the Martians are defeated not by science or the military, but by bacteria germs-or, to quote H.G. Wells, "the humblest things that God in his wisdom has put upon the earth." Forty years' worth of progressively improving special effects have not dimmed the brilliance of George Pal's War of the Worlds. Even on television, Pal's Oscar-winning camera trickery is awesome to behold. So indelible an impression has this film made on modern-day sci-fi mavens that, when a 1988 TV version of War of the Worlds was put together, it was conceived as a direct sequel to the 1953 film, rather than a derivation of the Wells novel or the Welles radio production. ~ Hal Erickson, Rovi