Reviews: The Man With X-Ray Eyes

The Man With X-Ray Eyes,
Directed by Roger Corman,
Starring Ray Milland, Diana Van der Vlis, Harold J Stone, John Hoyt, Don Rickles

Here’s an under-rated gem from the stable of the legendary Roger Corman, 1963’s The Man With X-Ray Eyes (aka X: the Man With X-Ray Eyes). I remember reading about this in some movie monster books when I was a kid, and seeing it late night on TV in my teens, but it rarely aired as often as the old Hammer or Universal movies did, and I haven’t seen it in decades. So I am delighted that Second Sight have brought it back, and indeed given it the deluxe treatment: a limited edition Blu-Ray set with a newly restored print, plenty of extras (including interviews with Roger Corman and Joe Dante), poster, a book by Jon Towlson and Allan Bryce, and boasting excellent new cover artwork by the always-brilliant Graham Humphreys.

For those who haven’t seen this very unusual slice of 60s Sci-fi/horror, made between shooting some of those iconic Edgar Allan Poe films Corman is still, rightly, highly regarded for, it follows Doctor James Xavier (Ray Milland), a physician who is working on an experimental mixture which he administers as eye droplets, with the goal of allowing human sight to be expanded. As he explains to his ophthalmologist friend Doctor Sam Bran (Harold J. Stone), in the last few decades humans have discovered a wide electro-magnetic spectrum – ultraviolet, X-rays and more – that their natural senses cannot see. What if they could, with their own eyes, not with imprecise instruments? Imagine how this would help a medical doctor – no fuzzy X-Ray plates, they can literally see through flesh and bone to diagnose an illness, formulate the correct treatment.

While his friends caution him for pushing too far, too quickly, Xavier is eager to test his work, despite the death of a test animal. His reasoning is that the animal couldn’t comprehend what its new visual senses showed it, but he, as a rational, intelligent being, can learn to do so. He is, well, partially correct – at least at first. He finds his new vision increasing, going from being able to read a letter through another sheet of paper covering it, to being able to see into a patient being readied for surgery, a young woman, and he can see what is wrong – a different diagnosis from the attending surgeon, leading to a showdown between the pair as Xavier uses his new powers to save her life.

It’s at this point that things start to spiral out of control – the medical authorities will not accept his abilities, and therefore not believe them as his excuse for his behaviour in the operating theatre (despite saving the patient). His career hanging in the balance, his research funding cut, struggling to control his new abilities, a terrible accident leads to him having to flee to avoid arrest. Desperate for somewhere to hide and continue his research (and a way to reverse the new visual abilities too), Xavier takes refuge, of all places, in a carnival sideshow, posing as a stage magician who can read minds and tell secrets (it’s here he comes into contact with the nasty, selfish carnival barker Crane, played by Don Rickles, in a rare straight, dramatic role), before also trying to use his new abilities to win in Vegas, to get sufficient funds to get his research going once more.

It remains one of the more unusual horror classics of that era – amazingly shot in something like three weeks for a budget of only $300, 000 (tiny, but huge by the normal American International Pictures’ budget standards!). Naturally, given the era it was made in, the special effects are not exactly dazzling – to be fair, this isn’t just because of budget restrictions, the technology to show what they really wanted was simply not there at the time. Despite this the effects team and art director still, in my opinion, managed to give the viewer the feeling of Xavier’s increasing dislocation, as his powers grow, as he can see more and further.

The visual processing in the human brain is enormously complex (as AI programmers have found in trying to replicate it with technology), and also relies on years of us learning to interpret the visuals coming into our brain into something coherent. While Xavier can cope with the titular X-Ray vision, as he begins to see more, things he didn’t even know existed, seeing into matter and the universe itself, he’s slowly losing his mind, and those visual effects, for all their early crudeness, do a good job of conveying this, in conjunction with the excellent Milland’s acting. (it isn’t all drama and doom though, there is some fun to be had, such as Xavier realising he can see through everyone’s clothes at a party, a nod to the old X-Ray specs gimmicks sold in the back pages of comics).

Adding much to this story is the fact that this isn’t the formulaic Mad Scientist story. Yes, Xavier may have a little arrogance of the highly skilled doctor who believes he knows better than others, but he’s not a bad man, and risking his career to save the young woman using his powers shows that he is a decent man. He genuinely wants to use these new abilities to advance medicine, to save more lives, to expand scientific knowledge, and that’s a large part of what really makes this such a compelling film, because he’s not a madman trying to take over the world, he’s a pioneer, with his heart in the right place, who succumbs eventually to the new, uncharted discoveries he has made, like the Curies and other scientists before him.

“What did he see?” asks his love interest, Doctor Diane Fairfax (Diana Van der Vlis) of the unfortunate test monkey who proves the formula works, but dies afterwards. Those words haunt the film, as the abilities Xavier has gained become cumulative, taking him far beyond even the broadest speculations in science, into new realities he simply cannot cope with. He can’t even escape by closing his eyes now, because he can see right through the lids. This well-intentioned work leading to disaster lends the story a deeper, emotional, tragic aspect that compels as strongly as the idea of the new discovery does. An absolute classic of Sci-fi and Horror.

The many extras in this special edition are also great, not least the iconic Corman talking about the making of the film, how he came up with the rough idea, originally thinking he knew some of his musician friends on the jazz scene dallied in drugs, and perhaps he should make the central character a musician who overdoses, before realising he hated that idea, and going back to the notion of having a scientist, someone who was pushing into new frontiers without realising what the consequences would be. Corman also talks about his desire to remake the film, with modern effects able to realise the remarkable new visual abilities of Xavier in any way they want. Personally while the story is strong enough to stand a remake, and the modern visuals would indeed be better, as I said, it isn’t the visuals which really make this film so powerful, it’s the central idea and especially Milland’s performance that do so.

The Man With X-Ray Eyes will be available from Second Sight on limited edition Blu-Ray from May 4th.

Reviews: The Shed

The Shed,
Directed by Frank Sabatella,
Starring Jay Jay Warren, Cody Kostro, Sofia Happonen, Frank Whaley, Timothy Bottoms, Siobhan Fallon Hogan

I’m pretty sure we’re all familiar with the monster in the closet, or under the bed, or the basement. Sabatella’s Indy horror moves the monster action to the most innocuous of domestic locations, the garden shed. There’s no messing around, we are dropped right into things from the start with little preamble – a hunter, out in the woods with his rifle, is now the hunted, fleeing from something barely glimpsed, something his bullets will not stop. A vampire.

And not a pretty, sparkly Twilight vampire, or a swooning, handsome Anne Rice vampire, nope, this is a pretty horrible looking predator, a proper monster. And he catches his prey, but as he bites into the hunter (Bane, played by Frank Whaley, who you will doubtless recognise from a myriad TV and film roles, from Luke Cage to Pulp Fiction) he realises he’s made the classic bloodsucker mistake – he’s stayed out too late. The rising sun pierces the forest canopy and burns him; staggering back in pain from his prey, he’s exposed to direct light and then it’s time for ashes, ashes, we all fall down…

Given our monstrous vampire has just been introduced and then dispatched in the opening few moments, where is The Shed going from here? Well our now dusted vamp had bitten Bane before his severe sunburn got the better of him, but he didn’t finish off the fleeing hunter. Wounded, Bane tries to rise, still shocked from the realisation that vampires exist and he had just been attacked by one – and survived. Or has he? His arm enters a shaft of light breaking through the treetops, and he too burns. Looking at the pile of smoking ash that had been the fearsome vampire, he realises what has happened to him, and that if he doesn’t want to die the same way, he need shelter from the daylight.

It really is a remarkably efficient and swift setup – this opening takes only a few moments and already we’ve had a vampire attack, Bane infected, then having to make a run for shelter, finding the tool shed in the garden of Stan’s house (Jay Jay Warren), an orphan living with his grandfather (veteran actor Timothy Bottoms). There’s even a nice little nod to Katherine Bigelow’s classic vampire Western, Near Dark, as the unfortunate Bane grabs an old blanket to wrap around his head as he has to dash across the open ground in full sunlight, before finding sanctuary in the shadow of the eponymous shed.

Stan’s life is not a happy one – his mother and father are dead (a dream sequence hints at illness and suicide), he’s spiralled into petty infractions of the law and is now living with his grandfather, Ellis, his last option other than Juvenile Hall. And to make it worse Ellis is the “you kids today are too soft, I was in the army being shot at when I was your age” kind of brutish, unfeeling man, totally unsupportive of his clearly emotionally damaged grandson. He and his best friend Dommer (Cody Kostro) have it no better at school either, both being at the bottom of the food chain, Dommer in particular a target for the bully brigade, and even Stan’s former crush, Roxy (Sofia Happonen) has joined the clique of the nasty kids.

Unsurprisingly both would love to be free of their tormentors and their situation, and when Stan first discovers Bane, now transformed into full, bloody-thirsty vampire mode, is hiding in his grandfather’s shed, Dommer sees an opportunity to turn the tables. What if they can lure the bullies here, get them close enough to the shed door to be grabbed and dragged inside? Stan is horrified at the idea – no matter how much he despises the bullies, feeding them to a monster is wrong. He wants to figure out a way to deal with this, while not letting the authorities know (with his record he worries he will take any blame), but Dommer, poor, damaged Dommer, has been beaten up and abused once too often, he wants them dead, and in as painful and terrifying a manner as can be managed.

While not spectacular, I think Sabatella and his cast and crew did a great job with limited budget and resources. Yes, there are some flaws (aren’t there always?) – dream sequences that get confused with reality are a bit over-used, for instance, but for the most part this melding of hidden, secret monster with the high-school as hell (complete with its own kinds of monsters) works well, and you feel for both Stan and the hard life he’s been handed (that kid needs to catch a break, opines Siobhan Fallon Hogan’s Sheriff early on), and Dommer’s revenge fantasies, fuelled into murderous rage by the appearance of the vampire, while wrong are also quite understandable given what he’s been constantly subjected to.

It’s good to see vampires as proper monsters again too, instead of handsome, seductive or sympathetic beings (and no sparkles, thank goodness), an element I suspect many of my fellow horror fans will appreciate. There are also some nice touches, little homages and the like, thrown into The Shed for genre fans to notice, such as the aforementioned blanket over the head daylight run from Near Dark to even a quick reference to Ferris Bueller (as Stan has to run on foot to his house to beat the Sheriff there, cutting through gardens, running right behind her car before she notices). Some good, solid, enjoyable horror fun.

The Shed is available from Signature Entertainment on HD Digital from May 11th