Edgar G.Ulmer‘s The Man From Planet X (1951) was the first released movie depicting an extraterrestrial visitation. Although it was shot for peanuts, this Mid Century Films production is a lesser known cult entry in the sci-fi genre. Being the first of its kind, The Man From Plant X established many archetypes to come.
The studio wanted an exploitative film, tagging their alien invasion opus as “the weirdest visitor the earth has even seen!” True to his nature, Ulmer instead delivered a tight little mood piece. It does have a (considerably) weird alien, but the finished film is probably not what the studio anticipated. Ulmer douses the film in glowing mist, dim lights and masterful compositions (his expressionist roots are still intact).
Professor Elliot (Raymond Bond) and his daughter, Enid (Margaret Field, mother of actress Sally Field) have set up shop in a Scottish castle to monitor UFO sightings. Journalist John Lawrence (Robert Clarke) is on hand when an alien craft lands on the moors (the ship is patterned after much in 1930s modernism).
The first appearance of the E.T. is a jolter. Ulmer’s eerily mute, Bauhaus alien looks like it might have been designed by Oscar Schlemmer. It is a masterfully surreal design; a gnomelike child that is simultaneously benign, fragile, and aggressive. The alien from a dying, freezing planet pre-dates Nicolas Roeg‘s The Man Who Fell To Earth (1976). Sci-fi fans may see the influence Planet X had on later films like Invaders From Mars (1953), War of the Worlds (1953), and Close Encounters of the Third Kind (1977), to name a few. The alien is vulnerable, falling prey to a faulty breathing apparatus, which puts him at the mercy of the quietly malevolent Dr. Mears (dependable character actor William Schallert). Human avarice rears its ugly head and reaps havoc. The alien is exploited and provoked, the military called in, and…
Plot-wise we have seen it a hundred times, but it was done first here. The main difference is that Ulmer tells his tale without bells and whistles. With the exception of Schallert, the cast is unexceptional. However, Ulmer’s protagonist (Clark) is commendably intelligent and genuinely moral.
There is no cinematic chest-beating here. With meager shells, Ulmer and company produce a film adorned in his usual themes of ambiguity and self-destruction. Stylistically, The Man From Planet X is dreamy and understated. Perhaps too understated. Despite some beautiful shots (alien in the moors, intense close-ups) and (now) familiar elements (the alien can only communicate via musical sounds, can control minds, and plots an invasion) The Man From Planet X is a commendable, atmospheric entry in the science fiction genre, but little more. Ulmer does wonders without a budget to speak of, but is clearly hampered by the six day shooting schedule. Pacing issues are not resolved and the film has little flow.
Next Week: Ida Lupino’s noir The Hitch-Hiker (1953).