Beauty and the Sea Devil

The Russian film poster for the 1961 fantasy THE AMPHIBIAN MAN.

Science fiction and fantasy films have always been a popular staple of Russian cinema but, during the first half of the 20th century, very few of these genre films found theatrical distribution in the U.S. Among the handful that did make to American screens are Yakow Protazanov’s Aelita, the Queen of Mars (1924), Vasily Zhuravlyou’s Cosmic Journey (1936), Planeta Bur aka Planet of Storms (1962), which producer/director Roger Corman raided twice, using footage from it for Voyage to the Prehistoric Planet (1965) and Voyage to the Planet of Prehistoric Women (1968), and Ilya Muromets (1956), an epic fairy tale adventure from director Aleksandr Ptushko that was released in an edited, English-dubbed version entitled The Sword and the Dragon. Some Russian fantasy titles later popped up on American television and second-run houses in poor quality English language dubs like Sampo aka The Day the Earth Froze (1959) but my all-time favorite from this period is Chelovek-Ambibiya (English title: Amphibian Man, 1961), co-directed by Vladimir Chebotaryov and Gennadiy Kazqanskiy.

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The Insect and Animal Conjurer

Stop motion animator and entomologist Ladislas Starewicz is busy at work on a new flight of fantasy.

Ladislas Starewicz is generally acknowledged as the first person to create puppet animation but he is barely known except among other animators, film historians and movie buffs. Yet this self-taught Russian entomologist might be the most brilliant stop-motion artist that ever lived.   Continue reading

The Lost Films of Audio-Brandon

The Sleeping Car MurdersBack in the days before the VHS home video market exploded and Blockbuster became the obiquitous rental store, the 16mm film library was still a viable business in the non-theatrical college and educational markets. The decline would begin in the early eighties and by the end of the decade most 16mm distributors would be out of business. But during the peak years, this film format was affordable and easily accessible to all types of organizations (churches, schools, businesses and prisons) and also individuals who ran private film societies.   Continue reading