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The nascent and sudden re-invention of the science fiction film in the 1950s does inevitably draw on film noir style when need be.
And although the themes are of a universal and global nature, not quite the subjective and local tendency in film noir, there are still film techniques and themes aplenty which crossover between the film noir of its day and the science fiction.
Directed by Robert Wise The Day The Earth Stood Still (1951) is spritely, earnest, playful, philosophical, funny, serious and has distinct Bernhard Hermann music, as well as the most irresistible use of the theremin in film history.
So yeah a soldier gets spooked and shoots the spaceman. Bernard Hermann elevates the appearance of the robot in an immense moment, supported by an immense piece of music. As with a couple of other famous Bernard Herrmann scores it's hard to see the film doing as well as it did without it.
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| A saucer lands in The Day The Earth Stood Still (1951) |
It is still remarkably noir-like of this movie to invoke public panic and the cinematographer often shoots the spaceman business like the dark mystery he is. Director Robert Wise does drape this nuclear-age fantasy in the dark raiment of film noir at odd moments but more than that employs the documentary realism which of course the style favoured.
While most scenes are shot with near documentary frankness, cinematographer Leo Tover occasionally indulges in strong contrasting shadows and under-lighting to give specific ‘alien’ moments in the film a heightened film-noir quality. Much like Psycho nine years later, black & white helps enshroud the entire film with mystery and paranoia.
Musings of a Middle Aged Geek, March 2021
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While the movie does not explicitly address communism or the Red Scare, it is often interpreted as having Cold War undertones and can be seen as reflecting the anxieties and tensions of the time.
The film tells the story of an alien visitor named Klaatu who comes to Earth with a warning about humanity's destructive tendencies. The character of Klaatu, played by Michael Rennie, can be seen as a Christ-like figure who advocates for peace and warns of the consequences of humanity's actions. The film's message is often seen as a plea for global cooperation and an end to the Cold War arms race.
While the film doesn't directly engage with the political climate of McCarthyism and the Red Scare, it is part of the broader cultural context of the early 1950s, and its themes can be interpreted in light of the geopolitical tensions of the time. The fear of the unknown, the dangers of nuclear weapons, and the importance of international cooperation were prevalent concerns during the Cold War era, and these themes are reflected in The Day the Earth Stood Still.
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| The elegantly protruding ramp of the flying saucer in The Day The Earth Stood Still (1951) |
However if all science fiction of the 1950s may be interpreted to be about Red Menace or US social purity against the infiltrations of the USSR and floating ideology, combined with the huge amount of technological advances forced by the war, brought into being by Operation Paperclip — include politics and science fiction may be the best mode of expression.
The 'round-the-world' trope became popularised and enforced by this. A montage usually near the head of the story shows news of a significant global event such as the landing of this flying saucer — in several different and stereotyped locations around the world. Little could be more antithetical to film noir, so it's just a sign that we have left the alleys and diners and cheap rooms, and are now off-planet.
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Once again, Leo Tover’s cinematography aboard the saucer is very shadowy and mysterious; giving it that aforementioned film-noir look. The under-lit floors and shadowy lines projected along the walls of the saucer’s interior suggest a space that is both orderly and mysterious at the same time— as advanced technology would seem to a primitive mind. For a 20th century person to try and grasp the saucer’s workings would be like a cat trying to understand a coffeemaker. The art direction by Addison Hehr and Lyle Wheeler is first-rate, and gives the film a genuine sophistication missing from most sci-fi films of the 1950s (“art director” was a credit that existed before the position of “production designer” became officially recognized by the Academy of Motion Picture Arts and Sciences).
Musings of a Middle Aged Geek, March 2021
There is little by way of noir science fiction, other than the immortal Alphaville (1965). But the 'round-the-world' trope was still being used into the 1990s — maybe even later — and does preserve some short-hand power. We are however instructed that Klaatu lands in Washington, D.C. because he thought that landing in the capital of the world's most powerful country would get the entire world's attention.
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He repeatedly insists that his message is for all of humanity, and he brushes off U.S. warnings about the Soviets as internal bickering that doesn't concern him.
Moreover, when it is suggested that he could give his message to the whole world by addressing the United Nations, he actually declines once he learns that not every nation or state-group is represented by it. In 1951 the People's Republic of China was an unrecognised state and would not be until 1971, when it replaced Taiwan. But then Taiwan wasn't represented.
Ultimately, pressed for time Klaatu comes up with the quick solution of addressing an international conference of scientists, who are generally apolitical.
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Klaatu demonstrates his power by causing a global blackout for exactly thirty minutes. He thoughtfully makes exceptions for such things as hospitals and airplanes in flight.
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| Noir arrives in the family home in The Day The Earth Stood Still (1951) |
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The feature film was the first US studio-backed (20th Century Fox), big-budget sci-fi film since Just Imagine (1930). It heralded the first modern or true robot, the silver giant Gort, and was reportedly the first major science-fiction feature film to feature "flying saucers." Its memorable score by Hitchcock's most popular composer, Bernard Herrmann, enhanced the drama with his electronic score (using theremins). The B/W cinematography of Leo Tover emphasized expressionistic dark noirish shadows - not typical for sci-fi films. It was also memorable for the cameo appearances of real-life journalists-reporters (Elmer Davis, H. V. Kaltenborn, Drew Pearson, and Gabriel Heater) playing themselves.
from filmsite.org
The impact of the Red Scare on Hollywood was significant and had lasting effects. Many individuals in the film industry were accused of having communist sympathies or affiliations. Those accused, whether the allegations were true or not, often faced severe consequences such as being blacklisted. This meant they were effectively banned from working in the industry, as studios and producers were afraid of associating with anyone perceived as having communist ties.
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| Patricia Neal and Michael Rennie in The Day The Earth Stood Still (1951) |
In 1947, ten screenwriters and directors were cited for contempt of Congress after refusing to testify before HUAC about their alleged communist affiliations. These individuals, known as the Hollywood Ten, were subsequently blacklisted, and their careers suffered.
The atmosphere of fear led to self-censorship within the industry. Studios and individuals sought to distance themselves from anything that could be construed as communist or subversive. As a result, films and scripts were scrutinized, and content that might be deemed politically controversial or leftist was often avoided.
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To prove their loyalty and avoid being blacklisted, some individuals were pressured into taking loyalty oaths or providing names of suspected communists, which further fuelled the atmosphere of mistrust.
The Red Scare had a chilling effect on creativity and freedom of expression in Hollywood. Writers, directors, and actors became cautious about addressing social and political issues in their work for fear of being targeted.
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While the Red Scare had a profound impact on Hollywood, it's important to note that the fear and paranoia associated with the era were not limited to the film industry. The entire society, including government, education, and various other sectors, was affected by the pervasive anti-communist sentiment. The Hollywood blacklist, in particular, became a symbol of the era's excesses and the consequences of political intolerance.
The Day The Earth Stood Still (1951)
Alternate Titles: Farewell to the Master / Journey to the World
Release Date: September 1951
Premiere Information: New York opening: 18 Sep 1951; Los Angeles opening: 28 Sep 1951
Production Date: 9 Apr to 23 May 1951
Copyright Number: Twentieth Century-Fox Film Corp.18 September 1951LP1263
Sound: Western Electric Recording
Black and White
Duration(in mins): 89 or 92
Length(in feet): 8,285
Length(in reels): 9
Country: United States
Language: English
Wikipedia: The Day The Earth Stood Still (1951)
PCA No:15271
