Fiend Without a Face

Okay, so the first hour of this 74-minute non-epic is padded to

the gills with seemingly silly dialogue, off-kilter acting, and

budgetless set design. I would argue that there is more than

meets the eye in the film's script, though, to the degree that it is a

surprisingly intelligent, supernatural take the atomic age. A highly

enjoyable hour which provides more than mere camp appeal. But - wow - that last 15 minutes! You can see everything from

THE TINGLER, to NIGHT OF THE LIVING DEAD, to ERASERHEAD,

to EVIL DEAD being born in the film's glorious finale! After being

blown away by the film's (beautifully animated and frankly

disturbing) ending, I watched the film again, and admired how the

the seemingly thin first hour actually builds quite ingeniously to the

climax. I was also impressed with the tasteful application of gore

at the end (which could be generically attributed to the film's British

sensibility), giving it both a shocking and alluring quality. The more I think about this supposed schlocky B-film, the more

I appreciate it. Sometimes mainstream critics such as Mr. Maltin

miss the boat, and this is precisely one of those times.

Fiend has everything that a 50's Sci-Fi movie should have; a really square hero that saves the day, a beautiful female lead that falls for him, atomic power misused, and an invisible monster that sucks the brains out of its victums.

It is the stop motion animation at the end when the monster(s) become visible that really makes this film work. Without the animation by Peter Neilson and Ruppell this would be just another 50's atomic caution tale.

A US military installation has been set up in Canada for some special tests and experiments of an atomic nature. People begin to die from the surrounding countryside by having their brains and spinal chords sucked out by what lead actor Marshall Thompson calls "mental vampires." Thompson, quickly flirting with the sister of one of the dead men, does his usual adequate job playing detective trying to prove that the new base is not responsible for the deaths. It seems that someone or something is siphoning atomic power. Without ruining the who behind the what, Fiend Without a face is a pleasant, interesting excursion into 50's sci-fi. The fiends turn out to be brains that pulse and scrape the ground with long spinal chords attached. This film has a low budget but manages to scare up a few thrills. The acting is mediocre at best. The fiend creation are somewhat novel. Although much of the film is lacking in suspense, the finale is a good payback.

I just picked up the Criterion Collection of this film - and as usual CC does a wonderful job.

This film - when taken in context and time period - is pretty groundbreaking. Sure, the acting is stilted at times and the dialogue is a bit laughable - and the FX are dated. But the claymation/stop motion technique championed by Willis O'Brien and Ray Harryhausen is used to great effect and the film works remarkably well. The monster sounds are utilized well and reinforces an overall sense of creepiness - especially in the twilight forest scene. And the violent finale cannot be overlooked as an inspiration for "Night Of The Living Dead"

I've read many comments about this movie from those that I assume just recently viewed it. In 1958 my brother and I saw this film at the local theater. It must have cost us at least 35 cents to see it and one other movie. To sum it up it scared our socks off. Remember that sick feeling you got in you stomach when you watched Alien for the first time. That same feeling and probably worse is what we experienced. The shear terror of the invisible beast and the subtle way the movie lead up to revealing the monster created a tension an 11 year kid in the fifties was not ready for. At the time this movie was actually banned in certain countries. This is a fact, not just media hype. With all the high-tech movie making of today it will get harder and harder to scare the sophisticated movie buff. But in 1958 this one sent us home afraid to walk in a dark room or turn our backs to a dark corner.