Happy 50th Anniversary, Lost in Space!

 

Here’s yet another anniversary, hot on the heels of Star Trek’s 49th. This time, it’s the 50th Anniversary of Lost in Space. I remember spending quite a few Friday evenings and (later) Sunday mornings watching re-runs of this on UK television during the early 1970s.

Irwin Allen series were VERY popular on UK television during the late 60s and throughout the 70s, usually on ITV, in opposition to the likes of Star Trek and Doctor Who, which were the mainstays on the “other channel”, BBC One (we only had three channels on UK television back then).

Happy 50th Birthday to the Robinson family, Doctor Smith (“Oh the pain, the pain”) and the robot.

Again, this one comes courtesy of a reblog from Trek-extraordinaire author Dayton Ward and his excellent The Fog of Ward blog. Go read this blog. Seriously.

Leonard Nimoy (1931 – 2015)

The news of Leonard Nimoy’s death yesterday has had a strong impact on me in a way that the vast majority of celebrity deaths usually don’t. When I woke up yesterday morning and saw the news for the first time online, it was like a kick in the gut. I spent the entire day stunned, in tears, just sitting in front of my computer browsing the web for more news. Even though I usually don’t give a damn about the passing of most celebrities, this one has left me totally gutted. Why?

This sad news really should’ve come as no great surprise to anybody. Leonard Nimoy was 83 years old, and had been in pretty bad health for many years. But like a sick relative that everyone loves dearly, we’re still in mourning when they die. Leonard Nimoy, in particular his iconic Mr. Spock persona, was like a close friend or relative. His passing truly is almost like losing a member of the family. But why has the death of a television actor, someone I’ve never met, had such an effect on me?

To get an answer to that, we have to go right back to my early childhood, in the late-1960’s and early-1970’s, when I still hadn’t yet entered my teens (I turned 13 in December 1973). I’ve been a huge fan of the original Star Trek and Doctor Who since those early days, and back then I was totally obsessed with both shows, and both have always been a major part of my life, even to this day. But back to the beginning. My family life in those days was pretty rough, poverty stricken, constant domestic disputes and fighting between my parents, and all set against the dark, terrible earliest years of the Troubles, in Northern Ireland. Star Trek and other sci-fi was a way of escaping from real life and domestic problems into a much more pleasant world of make-believe, where Spock, and the Doctor, were major characters in my fantasy world.

I’d actually been a sci-fi fan since the mid-1960’s, that delicate age of 5-7 years old, where you start to really notice and get into stuff for the first time. I first began to notice Doctor Who on UK television about 1966 or so, and soon after that, sci-fi films such as George Pal’s The Time Machine, Irwin Allen’s The Lost World, and the classic film version of Journey to the Centre of the Earth also became favourites of mine. So the way was well-prepared.

Then in 1969, during the summer break between seasons of Doctor Who, something called Star Trek began its first run on UK television, making its debut on BBC1. I was a starry-eyed eight year-old back in 1969, and I’d never seen anything remotely like Star Trek. And this weird alien guy with the pointed ears, Mr. Spock, he made a huge impact on me right away. He immediately became my favourite character on the show, and has always remained the main man for me, in EVERY incarnation of Star Trek. He has always been my favourite Star Trek character, and more than any other character in TOS, he has always epitomized the whole ethos of Trek for me. Star Trek was always more than just a TV show to me, and Spock was always far more than just another television character.

Leonard Nimoy may once have written a book titled I am NOT Spock, but, as far as I’m concerned, he IS and always WILL be Spock. No disrespect intended to Zachary Quinto or any other talented newcomers who try to fill Nimoy’s huge shoes, but the man is irreplaceable.

Live Long and Prosper my friend, wherever you may be.

The Lost World (1960)

I was watching an old movie on Film4 on Sunday evening that brought back many good old memories for me. It was one of those oldies that I’d first seen way back when I was a kid, sometime during the first seven or eight years of my life, and is one that I hadn’t seen in many, many years.

The film in question was the second cinema version (1960) of Sir Arthur Conan Doyle’s classic 1912 novel The Lost World (the first version was the 1925 silent movie classic). The story involves an expedition to one of those “lost” regions of the world which were so popular back in the days before pretty much the entire world was explored and mapped. “Lost World” stories were very popular in the nineteenth and early twentieth centuries. Lost civilizations in the jungles of darkest Africa and South America, beneath the sea, at the Earth’s core, indeed anywhere as yet unexplored, which could still harbour exciting adventures and unknown mysteries.

Sir Arthur Conan Doyle’s story was originally published as a serial in the Strand Magazine during the months of April–November 1912, and it took an expedition of explorers and scientists to South America, and up into the deepest, most unexplored regions of the Amazon, to a previously undiscovered plateau, where dinosaurs and other extinct prehistoric creatures had survived and still thrived. There were also cannibalistic native humans, who proved to be more dangerous than the dinosaurs, and who had wiped out a previous expedition.

The 1960 film adapts the original novel very loosely, taking a lot of liberties. And it was produced by Irwin Allen, king of the cheap and cheerful (in other words, terrible) special effects. Huge chunks of stock footage were later lifted from this film and just plonked down wholesale into several of Allen’s 1960’s television series, notably Voyage to the Bottom of the Sea, Land of the Giants and The Time Tunnel. Irwin Allen was the biggest cheapskate ever in the history of sci-fi television and cinema. He’s right up there alongside Ed Wood and Plan 9 from Outer Space. 🙂

Did I mention that the SFX are dire? Even for 1960, the special effects are terrible, and, by comparison, the ancient 1925 silent version, with the legendary Willis O’Brien producing the effects, was far superior technically. And O’Brien’s dinosaurs were proper dinosaurs, too. The 1960 film? Dinosaurs? Don’t make me laugh. The “dinosaurs” were a bunch of iguanas, monitor lizards and a baby alligator, all with bumps and horns glued to them. “Triceratops” was the baby alligator. “Stegosaurus” was a monitor lizard. “Iguanodon” (a bipedal dinosaur) was a four-legged iguana lizard (Allen must’ve looked at the names and thought “Iguana = Iguanodon”). And worst of all, “Tyrannosaurus”, the most famous dinosaur of all, the fearsome alpha predator, was played by a four-legged monitor lizard with glued-on horns and fins (Tyrannosaurus was two-legged and had neither horns nor fins). Even as a seven or eight year-old child, I knew my dinosaurs, and found these pathetic attempts totally hilarious. Anyone over the age of five these days would be howling with derision.

After all that slagging off, what is there good that can be said about the film? Granted that it is pretty lame by modern cinema standards, most of the criticisms are on the technical and SFX side of things. There is still an old-fashioned charm to this old movie, and it is certainly fun to watch. And even the so-called “dinosaurs” are hilarious, in a rather pathetic (“they aren’t dinosaurs!”) way. But the biggest redeeming feature of the film is definitely the cast, which included a number of big names – Michael Rennie, Claude Rains (as the cantankerous and hilarious Professor Challenger, the real star of the film), David Hedison and Jill St. John. They all played their parts straight and extremely well, which most likely elevated the film to a higher rating than it should otherwise have received (in my book, at least).

But most of the attraction for me is certainly on a personal level, namely the life-long nostalgia effect that links me to this film. I saw it at a very early age and it left a lasting impact on me, which led to bigger, better things. It lead directly to me reading the vastly superior original novel shortly afterwards at about age eight or nine, just as seeing George Pal’s classic 1960 cinema version of The Time Machine had led to me reading the original H. G. Wells novel a year or so before reading The Lost World.

Watching The Lost World for the first time all those years ago, was one of those formative encounters that helped lay the foundations that made me the geek that I am today. The film may not have dated very well by twenty-first century standards, but it still holds that old charm and nostalgia for me, and I’ll always make sure to watch it occasionally on TV when it gets shown every few years.

Sci-Fi on Television (Part 1)

I’m a big fan of sci-fi on television, which I almost always refer to by its “proper” name, telefantasy. The 1950s-1990s were, in my opinion, the Golden Age of telefantasy, and the first real telefantasy started about a decade or so before my birth (in December 1960), when Captain Video and His Video Rangers first appeared on US television in 1949, followed closely in the early 1950s by the likes of Space Patrol, Tom Corbett: Space Cadet and Rocky Jones: Space Ranger.

UK telefantasy was slightly slower to get off the mark, and it was mostly with one-offs like the 1949 adaptation of H. G. Wells’s The Time Machine and the prestigious 1954 adaptation of George Orwell’s 1984. The first ongoing, serialized sci-fi productions of any note were the three Quatermass serials which aired in 1953, 1955 and 1958. These were the first real stars of pre-Doctor Who UK telefantasy, and, in my opinion, the classic 1958 six-part serial Quatermass and the Pit remains, to this day, one of the greatest examples of telefantasy ever produced.

But those were all produced and televised well before I was born, and it’s only really been in more recent years that I’ve discovered and begun looking back at some of the much older telefantasy series, which aired in the years between the first appearance of Captain Video and His Video Rangers in 1949 and the very first episode of Doctor Who, in November 1963. It would be the mid-1960s before I started to show the first glimmers of interest in any kind of sci-fi on contemporary television.

I’ve been an avid viewer of sci-fi television of all kinds ever since the time that Doctor Who first began to register in my very young and impressionable mind around 1966-1967. But it was when Jon Pertwee first fell out of the Tardis at the beginning of Spearhead from Space, in January 1970, that marked the moment where I can definitely say that I made the leap from merely enjoying Doctor Who, to becoming an obsessive, life-long fan.

I also became a huge fan of the original Star Trek, which first appeared on UK television channel BBC1 in July 1969, and also the new live-action Gerry Anderson series UFO, which first aired on ITV in 1970. I’d previously watched, and enjoyed, the various Anderson puppet shows such as Captain Scarlet, Thunderbirds and Stingray, but I preferred the live shows, and UFO was where I first became a real Anderson fan.

By December 1970 (when I’d reached my tenth birthday), with Pertwee almost a year into his tenure on Doctor Who, Star Trek at the height of its popularity on BBC1, and UFO featuring prominently on ITV, I was now old enough to really start understanding and appreciating television sci-fi in general. These were the first three telefantasy series that I really got into, and it’s no big surprise that these series have always remained right at the very top of my list of favourites.

As I moved into the 1970s, things really started to heat up. I began to get heavily into other UK telefantasy series such as Timeslip, The Tomorrow People, Space: 1999, Blake’s 7 and Sapphire and Steel. I was also hooked on then-current 1970s US telefantasy such as the animated Star Trek, The Six Million Dollar Man, The Bionic Woman, Kolchak: The Night Stalker, Wonder Woman, The Incredible Hulk, Buck Rogers and Battlestar Galactica. And, of course, UK television was also awash with re-runs of the various Irwin Allen series, Voyage to the Bottom of the Sea, Land of the Giants, The Time Tunnel and Lost in Space, plus re-runs of other classic US “cult” TV sci-fi series such as The Invaders, The Twilight Zone and The Outer Limits.

Take all these great telefantasy series, and the fact that the early 1970s marked the time that I was moving into my teens, and it was a great time for a young fan of sci-fi television like myself.

To Be Continued…