In 1957, Forrest Tucker played opposite Peter
Cushing in Hammer’s THE ABOMINABLE SNOWMAN OF THE HIMALAYAS, a film
set largely in the mountains of Tibet. These mountainous regions make
the perfect backdrop for a horror film, because the locations are
desolate, atmospheric, and far removed from society. Forest Tucker
returned a year later for another man vs. monster tale, this time set in
upon the top of a huge mountain in the Swiss Alps called Trollenberg
(hence the film’s original moniker, THE TROLLENBERG TERROR). Like
Tucker’s previous film, THE CRAWLING EYE is a British production
filmed on location in Europe. The film was produced by the team of
Robert Baker and Monte Berman. Together they gave the world such genre
fare as BLOOD OF THE VAMPIRE (1958), JACK THE RIPPER (1959), and THE
FLESH AND THE FIENDS (1959). They hired British director Quentin
Lawrence to helm THE CRAWLING EYE, whose previous credits include U.K.
TV shows like THE AVENGERS, DANGER MAN (live-action), and EDGAR WALLACE
MYSTERIES. The cast is rounded out by Lawrence (THE TELL-TALE HEART)
Payne, Jennifer (DR TERROR’S HOUSE OF HORRORS) Jayne, Janet (THE DAY
THE EARTH CAUGHT FIRE) Munro, and character actor Warren (THE CURSE OF
THE WEREWOLF) Mitchell. The intelligence and atmospherics of THE
CRAWLING EYE left a lasting impression on the consciences of Americans
when it played on the Drive-In circuit. So much so that it became a cult
favorite—MYSTERY SCIENCE THEATER choose THE CRAWLING EYE to skewer on
it’s inaugural broadcast. The movie ultimately became a part of the
Wade Williams Collection and it was only a matter of time before it
emerged on DVD through Image Entertainment.
A series of unexplainable deaths (resulting in
decapitations of the victims) in the Swiss Alps leads Investigator Alan
Brooks (Tucker) to one of the world’s tallest mountains, the
Trollenberg. Joining him in the journey are two show business sisters
Anne and Sarah Pilgrim (Jennifer Jayne and Janet Monroe, respectively)
who are on vacation from their stressful traveling roadshow, where they
display their psychic powers. When Alan and the Pilgrim sisters arrive
at the chalet, they are greeted by undercover newsman Phil Truscott
(Payne). Alan soon travels to the research facility of Professor Crevett
(Mitchell), who is charged with investigating cosmic rays from his
Avalanche-proof laboratory in the Alps. It seems that Alan and Professor
Crevett have worked together before on cracking a similar missing
persons case in the Andes mountains. Professor Crevett explains to Alan
that a mysterious radioactive cloud has appeared on the Trollenberg,
that moves every time there is a disappearance. They speculate that this
cloud is the same unearthly entity responsible for the deaths in the
Andes incident. Soon, Alan and the Professor’s speculation is proven
correct when more bodies of mountain climbers turn up. Meanwhile Sarah
(who is telepathic) detects the presence of extraterrestrial
intelligence. The aliens target Sarah because they believe she will
expose them. They use re-animated corpses to do their dirty work.
Professor Crevett alerts Alan that the clouds are splitting up and
moving down the mountain at a rapid pace. The clouds cover the road
ways, cutting off the escape route of the guests staying at the Chateau.
As the aliens (who are finally revealed as tentacled orbs) prepare to
attack the Chateau, Alan and Truscott gather up the people and send them
up to Professor Crevett’s reinforced laboratory. The creatures climb
back up the mountain seeking to destroy the humans inside. But, Alan
discovers the aliens one weakness—fire. Alan and his comrades are
forced to battle the alien orbs to the death!
THE CRAWLING EYE is another intelligent science
fiction thriller in the Hammer vein, thanks to Hammer screenwriter Jimmy
Sangster, who penned CURSE OF FRANKENSTEIN, THE MUMMY, and X THE
UNKNOWN. Even though the aliens do not show up until the last twenty
minutes, THE CRAWLING EYE never gets boring. The tension and suspense is
generated with the power of suggestion and atmosphere. The script
explores some cool subplots like why the aliens’ have contempt for the
telepathic Anne Pilgrim. The characters are always referring to the
events of the Andes Mountains situation, which is only implied but never
shown. Director Quentin Lawrence handles the entire telepathic angle
very well, and it never comes out cheesy. The only thing about THE
CRAWLING EYE that is cheesy is the low budget effects. The miniatures
are fun and the monster designs are fearsome, except when the monsters
go into action in the conclusion. The tentacles are obviously animated
by strings and the monsters look silly when they move. Thankfully, the
fog that accompanies these creatures also hide the effects defiencencies.
The acting is the usual British caliber, and much better than similar
American films of the time. Forrest Tucker is great in one of his best
genre roles, and both Jennifer Jayne and Janet Munro deliver commendable
performances. Quentin Lawrence proves to be a talented director with a
talent for atmospherics and suspense. It’s a shame that he never
really followed up on the success of THE CRAWLING EYE.
Image presents THE CRAWLING EYE uncut in the
original widescreen ratio of 1.66.1, with 16x9 enhancement. It appears
Wade Williams is in possession of a mint master copy of this film, as
the source print exhibits minimal flaws. The transfer is clear and
sharp, allowing the viewer to bask in the detail of the mountain
cinematography and the meticulous production design. The black &
white hues are capably reproduced and perfectly balanced making for
truly outstanding transfer for a film of this vintage. The special
effects are weak at times, but always atmospheric in glorious B & W.
The soundtrack is Dolby Digital 1.0, and it is nearly as good as the
video. Image took the time to remove the hiss, crackles, and drop-out
that plague these old movies. THE CRAWLING EYE is a dialog driven film,
and the soundtrack recreates the dialog without distortion or background
noise. The movie also uses audio cues to generate suspense, and to
simulate the attacking aliens (by using primitive but creepy sound
effects). Stanley Black is the composer who weaves a subtle but
effective score to accentuate the horror and drama. From the Special
Features menu, you can view a beat-up theatrical trailer that really
makes you appreciate the bang-up job Image did on restoring the film
itself. The trailer is full frame, mono, and runs 1:27. You can also
access the Still Gallery containing several production shots.
THE CRAWLING EYE is another jewel from the Wade
Williams/Image Entertainment joint distribution deal. Wade Williams has
the rare prints and Image has the DVD know-how. I’m rather surprised
though at the lack of extras for some of these classic titles. Anchor
Bay usually manages to gather supplements and sometimes even audio
commentary like with Val Guest on THE DAY THAT EARTH CAUGHT FIRE disc.
But you have to give credit where it is do; Image delivers another fine
transfer of a genre classic, and THE CRAWLING EYE has never looked
better.
THE
CRAWLING EYE is available from DVDEmpire.com
