Monster Month Review: Clash of the Titans (1981)

As Ray Harryhausen’s final collaborative effort with producer Charles Schneer, it’s needless to say that Clash of the Titans (1981) represents a significant high point in Harryhausen’s career. Unable to compete with rising technological innovations in film, Harryhausen retired in 1984, rendering this feature his final completed feature-length project. In addition, fantasy writer Ray Bradbury proffers that the scenes with Medusa represent some of his best photographic work*, and is consequently seen by some as one of his crowning achievements. Ultimately, this is a true monster of a movie, and one which demonstrates some of the best work of the late, great Ray Harryhausen.

The story is nothing overly innovative. Based upon Greek myth, the narrative follows Perseus (Harry Hamlin), son of Zeus (Laurence Olivier), in his attempt to save Princess Andromeda (Judi Bowker) from the vengeful Thetis (Maggie Smith), whose son Zeus transformed into a hideous satyr, leading to his eventual exile. Naturally, the film’s greatest appeal is its visuals. The plot, meanwhile, is fairly simplistic and derivative, but remains consistently compelling due to the painstaking work of Harryhausen, whose stop-motion techniques, by this instalment, had achieved near-perfection.

In terms of the visuals, there are more than enough scenes here that are of note. Amongst the highlights is Pegasus, the winged horse, representing a seamless combination of live action and special effects. By today’s standards, it might look somewhat jerky and stilted, but these hindrances aside, it is no less captivating. For me, personally, the highlight of the film is not Pegasus, however, nor is it the terrifying, blood-curdling Medusa, but the attack of the giant scorpions. Perhaps it’s because their juxtaposition with live action, sword-bearing actors is near-flawless, or perhaps it’s because their movements simply appear more convincing based on their anatomic structure and insect-like movements. In any case, the scene is nonetheless dark and gripping – not to mention that it represents possibly one of Harryhausen’s most exhilarating illusions on film, at least in this humble viewer’s opinion.

Furthermore, it has to be said that even the most advanced visuals of contemporary film often cannot appear convincing enough to make up for a plot devoid of originality. In that sense, the film itself does not date all that substantially. The armatured models in this feature are incredibly detailed, and the illusion glorious. Whereas previous films such as It Came From Beneath the Sea (1955) present us with the obvious alternating between small models and live action, not to mention the conspicuous use of a green screen, this feature, by comparison, represents a substantial advancement, in that the juxtaposition of actor and model is seamless; a tremendous feat considering the techniques applied and the film’s age.

Even by comparison with contemporary techniques, Clash of the Titans represents a tremendous effort. Not only is it Harryhausen’s swansong, it is a triumph in stop-motion animation history and one which, despite its frequent reappearance in TV afternoon schedules, is commonly overlooked. Perhaps it’s due to the fact that the techniques were already, by that time, becoming somewhat rather dated. In any case, even in retrospect, the techniques applied are noticeably painstaking, with such supreme attention to detail, and standards that today’s almost wholly digital environment would struggle to meet. The plot might not be anything overly memorable, nor is the acting of any significant merit, but the visuals truly propel the film to unprecedented heights; a fitting farewell to the hugely influential work of Ray Harryhausen, and one of many focal points concerning the evolution of the now-ubiquitous fantasy genre. Truly titanic.

Sources:

*Ray Harryhausen Biography: http://www.rayharryhausen.com/biography.php

Image Sources:

Clash of the Titans. [DVD] (2010) Warner Home Video, Burbank, California.