i don't have a nose: Monster Month Review: 20 Million Miles to Earth (1957)

By this point, Harryhausen and producer Charles Schneer had made a name for themselves as the creative force behind the modern monster flick. And 1957’s release 20 Million Miles to Earth certainly didn’t disappoint, at least where visual effects were concerned. It’s a pity the same cannot be said for the rest of the film, whose narrative, script and acting comprise what it quite possibly one of their most abysmal efforts.

The story revolves around the discovery of a cocooned Venusian creature off the coast of Sicily following the crash of a government spacecraft. A small boy retrieves the specimen and hands it to Dr Leonardo (Frank Puglia). Meanwhile, his granddaughter Marisa (Joan Taylor), a medical student, takes care of Colonel Calder (William Hopper), who commandeered the craft, inevitably leading to a predictable and ultimately pointless romance. Late one night, Marisa encounters the creature after its hatching, and before long the creature grows at a rapid rate, until it becomes a giant, wreaking havoc on Italy, resulting in a memorable finale atop the Colosseum.

There’s no denying that the visual effects steal the spotlight in this feature. Harryhausen’s armatured creature would perhaps be regarded as one of his most memorable offerings, had the story been engaging enough. The sad fact is that it’s not, for the scenes in which the creature is absent are flat, bland and, at times, tedious. What’s more, the Venusian ‘monster’ causes no harm whatsoever, at least without being taunted or captured first. The animation itself might be impressive, but the creature is hardly menacing, despite its hideous appearance. On a related note, the ending is altogether rather rushed, and its accompanying moral far too ambivalent to be taken seriously – the film’s resolution is horrifically unjust considering the fact that the Venusian alien doesn’t inflict any unprovoked damage throughout the entire feature. Perhaps this was the intention – to depict humanity’s uncomfortability with anything ‘different’ – but the film concludes on far too abrupt a note for that sentiment to be conveyed effectively.

Colorised version, 2007

Regardless, Harryhausen’s animation is expectedly effective nonetheless – even if nothing new or notable is showcased here. The concluding battle atop the Colosseum is filmically masterful, reminiscent, almost, of the quintessential monster movie King Kong (1933). Narratively, however, the film flounders considerably. Calder and Marisa aren’t even present for the final battle; they merely turn up at the end before heading out to dinner. No, really. Worse still, Marisa’s pointing to the beast and shouting ‘LOOK!’ after having entered the scene is equally ridiculous. I’m fairly certain everyone had already noticed the gargantuan lizard man wreaking havoc on the city.

In conclusion, yes, the script is at times laughable, and the story is surprisingly less-than-gripping considering what it’s about. One can perhaps assume that the film is supposed to maintain a moralistic standpoint on the reluctance of man to move forward – a narrative that resonates even in today’s culture, perhaps more so. But its moral gets a bit hazy amid all the special effects and faux-scientific jargon. It’s not a complete waste, however – rest assured Harryhausen’s effects render watching this film a less-than-monstrous experience.