The Last Man on Earth (1964)
Many movies have explored stories based upon a group or individuals attempts to survive the apocalypse, but few have gone the extra mile and pondered the philosophical question of whether it’s actually worth doing? The Last Man on Earth does just that, with Vincent Price starring as Dr Robert Morgan, the only survivor of a mysterious plague that’s turned the rest of humanity into the “undead”, hungry for blood. Each day, Morgan and goes into the city to kill the quasi-vampires (they’re actually more like Romero zombies) while they hide from daylight; every night, they in turn surround his fortified house and try to kill him. Morgan’s life is both sad and dismal, bereft of hope or any consolation. He muses on the point of it all in what is a depressingly eerie film. Based on Richard Matheson’s novel I Am Legend, it’s a far cry from the 2007 version starring Will Smith and in many ways it’s far closer, more accurate adaptation of the book.
Many movies have explored stories based upon a group or individuals attempts to survive the apocalypse, but few have gone the extra mile and pondered the philosophical question of whether it’s actually worth doing? The Last Man on Earth does just that, with Vincent Price starring as Dr Robert Morgan, the only survivor of a mysterious plague that’s turned the rest of humanity into the “undead”, hungry for blood. Each day, Morgan and goes into the city to kill the quasi-vampires (they’re actually more like Romero zombies) while they hide from daylight; every night, they in turn surround his fortified house and try to kill him. Morgan’s life is both sad and dismal, bereft of hope or any consolation. He muses on the point of it all in what is a depressingly eerie film. Based on Richard Matheson’s novel I Am Legend, it’s a far cry from the 2007 version starring Will Smith and in many ways it’s far closer, more accurate adaptation of the book.
The Last Man on Earth is an American Italian co-production, that was filmed in Rome, with some location shots taken at Esposizione Universale Roma. Made on a modest budget, apart from Vincent Price, the cast are all Italian. However, the constraints of the production at times work in the films favour, offering a far more measured and therefore credible view of the apocalypse. There is one flashback scene where the are some brief shots of the dead being thrown into pits by the military and burned. This low-key depiction, works well and has a greater sinister ambience than big budget set pieces of the 2007 remake. Price gives a solid performance as the lost and forlorn lead character. Sadly, the English voice dubbing done in post-production is weak and at times undermines the drama. The solid black and white cinematography by veteran cameraman Franco Delli Colli, is an asset to the production.
As a horror movie of its time, The Last Man on Earth is adequate fare. However, on a thematic level it works far better as a study of human loneliness. The scenes where Morgan finds a dog and tries to entice it to him because he is so desperate for companionship are well conceived. Sadly, the animal is injured and will inevitably succumb to the vampire virus, so he is forced to kill it. Touchingly he then buries the dog. Unfortunately, despite adapting his own novel, writer Richard Matheson was disappointed in the finished film, finding it lacklustre and poorly directed. He subsequently changed his name on the movie credits. Although The Last Man on Earth is a somewhat small scale adaptation of a book with a much broader scope, it is not without its virtues. It offers viewers the essential essence of the source text and allows time to reflect upon the narrative’s themes.
Scream and Scream Again (1970)
I first saw Scream and Scream Again as a teenager while watching late night television. I was expecting the usual sort of lurid, seventies, exploitation horror and much to my surprise was met with something quite different. The film left a marked impression upon me and so I decided to re-watch it recently. This second viewing only further compounded my sense of surprise. Scream and Scream Again was clearly marketed as a horror film upon release but it strays more into the science fiction genre. I was reminded of Don Siegel’s Invasion of the Body Snatchers and there is a further hint of conspiracy thrillers such as The Parallax View. Although a low budget film, quickly made to meet production schedule and fill a gap in the market, Scream and Scream Again has an intriguing premise and is presented in an engaging format, with three seemingly separate stories coming together to form a rather sinister conclusion. There are more ideas here than you’ll find in many big budget contemporary movies.
I first saw Scream and Scream Again as a teenager while watching late night television. I was expecting the usual sort of lurid, seventies, exploitation horror and much to my surprise was met with something quite different. The film left a marked impression upon me and so I decided to re-watch it recently. This second viewing only further compounded my sense of surprise. Scream and Scream Again was clearly marketed as a horror film upon release but it strays more into the science fiction genre. I was reminded of Don Siegel’s Invasion of the Body Snatchers and there is a further hint of conspiracy thrillers such as The Parallax View. Although a low budget film, quickly made to meet production schedule and fill a gap in the market, Scream and Scream Again has an intriguing premise and is presented in an engaging format, with three seemingly separate stories coming together to form a rather sinister conclusion. There are more ideas here than you’ll find in many big budget contemporary movies.
A jogger running through suburban London collapses in the street. He wakes up in a hospital bed, tended by a mute nurse. He lifts the bed sheets to discover his right leg has been amputated. He starts to scream. Elsewhere, in an unidentified Eastern European totalitarian state, intelligence operative Konratz (Marshall Jones) returns home for a debriefing with his superior, Captain Schweitz (Peter Sallis). During the meeting Konratz reveals some information he isn’t supposed to know, arousing Schweitz’s suspicion. Konratz calmly kills him by placing his hand on his shoulder, paralysing him. In London Detective Superintendent Bellaver (Alfred Marks) investigates the rape and murder of a young woman, Eileen Stevens. Supt. Bellaver and forensic pathologist Dr. David Sorel (Christopher Matthews) interview her employer Dr. Browning (Vincent Price) who is unable to provide any information. Meanwhile another young woman, Sylvia (Judy Huxtable), is picked up by a tall man named Keith (Michael Gothard) at a nightclub. She later found dead and completely drained of blood
Scream and Scream Again has a strong cast featuring horror stalwarts such as Vincent Price, Christopher Lee and Peter Cushing. However due to the three distinct story lines they do not often cross paths or share much screen time together. Performances are solid with British character actors such as Peter Sallis and Julian Holloway filling minor roles. The screenplay by Christopher Wicking is fast paced and handles the complexity of the different plot threads well. Alfred Marks has some suitably droll and cynical dialogue that is becoming of a senior and cynical career police officer. Again I must mention that the proceedings feel far more like a thriller. There’s a particularly well staged car chase in a rural setting, culminating at a chalk quarry, which has a real sense of speed and inertia. The night club scene briefly features the Welsh psychedelic rock group Amen Corner who also provide a song which plays over the end credits.
For those who are expecting a bonafide horror film, then there’s little on screen violence. The storyline featuring the jogger who has his limbs amputated one by one is disconcerting but far from graphic as you only ever see him recovering in bed. The nightclub serial killer is similarly far from graphic with the emphasis on him chasing his prey. Yet despite the absence of overt violence, there is a very unsettling undertone to Scream and Scream Again and it builds to a suitably grim climax. The film’s modest budget does let it down in some areas. The make up and practical special effects are somewhat cheap, especially the acid bath which appears mainly to be dishwashing detergent. Yet despite these minor shortcomings, the film is a prime example of low budget innovation and how good ideas can carry a production. Scream and Scream Again stands out because it is not afraid to do something different. It is not only a genre anomaly but also a rather interesting and enjoyable film.