When I was a wee lass, I tried never to miss the Sunday Morning Movie, a local TV institution for many years which generally featured old monster movies. It was the venue in which I first saw the Godzilla movies, It Came from Outer Space, and many others, including this one, which was among my favorites as a child. Looking back on it now, I think what drew me to it most was Ross Martin’s sympathetic and touching portrayal of the brilliant humanitarian who becomes a monster; I’ve always thought Martin was very underrated as an actor, and while looking at his IMDb page recently (while we were watching The Wild, Wild West), I saw this flick listed and realized that he was the actor whose performance had so appealed to me in childhood. So I added it to my Amazon wishlist, and a reader sent it to me last week; I’m keen to watch it again not for the rather melodramatic Frankenstein-derived plot, but to watch Martin’s performance again through adult eyes. And, truth be told, because I’m really very sentimental and it’ll be fun to revisit a slice of those long-gone days.
Diary #627
July 5, 2022 by Maggie McNeill
Audiences often do not recognize the contribution of excellent music scores to these films. A music score can transform mediocre special effects, or even mediocre acting, into convincing scenes that cause an audience to “suspend its disbelief”, as Samuel Taylor Coleridge said was necessary for good fiction.
Here is Van Cleave’s opening piano score from The Colossus of New York:
Small world: my ex’s father is buried a few yards from Ross Martin.