Archive for Kathleen Crowley

Things I Read Off the Screen in “Target Earth”

Posted in FILM with tags , , , , , on October 4, 2013 by dcairns


RAGE! Against the Machine?

Do you know Geoff Murphy’s Kiwi scifi THE QUIET EARTH (1985)? Bloke wakes up and finds the human race has disappeared, and wanders alone through deserted streets searching for some clue to the nature of the catastrophe. It’s really good — well, it has a great first half hour and a great last shot (boldly unfolding beneath the end credits), and sometimes that’s enough.


Dr. Andrews SLEEPING TABLETS Follow Directions Overdose Dangerous

Well, I was startled to find that TARGET EARTH has almost the same set-up. Kathleen Crowley awakens from a sleeping-pill overdose and finds herself alone in a ghost metropolis (referred to throughout as “this city”). We expect some teleportation explanation, or else a CARNIVAL OF SOULS twist whereby she’s really dead. Unfortunately, she meets Richard Denning within a few minutes (I don’t mean that as nasty as it sounds — I *like* Richard Denning) and we’re told that the city has been evacuated because of some unknown attack — which proves to be alien invasion by bug clunky robots (or robot — we only ever see one at a time).



While I’m a sucker for big clunky robots, this does seem like the least interesting way the story could have gone, and it’s a terrible shame they didn’t make more of the deserted city angle. One of the important writing lessons in Breaking Bad is “Play out the consequences” — give things the screen time they need to be as effective as they can be. This seems even more advisable in a cheap B-movie.

But I like how all the characters left behind are kind of low-lifes, as if the evac was a kind of low-budget Rapture and Crowley, Denning and the others weren’t worthy. He’s kind of a gambler/sleaze, her costume screams “tramp” in 1950s dress code, and the pair they partner up with are basically a couple of bickering barflies. We also meet a grubby little guy and an escaped murderer. This is a movie with more ideas than its slender running time can support, and they all get in the way of each other finding full expression.


The Post = Journal INVASION BY MYSTERY ARMY. Fair enough. But over the fold on the lower front page we see this —


TRIO ARRESTED, $200 ROBBERY. That’s like $66.67 for two of them, and the third has to settle for $66.66. And yet this outrage still manages to make the front page on a day when Venusian robots conquer the city. The canny editor also goes with Gem Thieves Strike in London Fog, which will obviously of keen interest to the cosmopolitan readership of The Post = Journal as they flee their homes in their pajamas, as will BULGARIAN CAPITAL SCENE OF RIOTS. “No, leave the rooster story, that’s human interest!”

There’s an attempt at a theme, as the suicidal Crowley rediscovers the joy of life and love, but this isn’t really followed through. Denning happens to know all about military strategy and also which planets in the solar system might be habitable (because he reads pulp sci-fi). The American military commander, whom we keep cutting away to for no compelling reason, is played by an actor called Arthur Space. I want to be him. I want to be Arthur Space.

Carradine Strikes Out

Posted in FILM with tags , , , , , on October 13, 2010 by dcairns

Consider this a sequel, of sorts, to that long-ago post, Ten Bad Dates With Roddy McDowell. This time, it’s John Carradine who doesn’t seem set to enjoy much luck.

Give up now, John!

The movie is FEMALE JUNGLE, a profoundly silly title for a not quite so silly movie, essentially a retread of BLACK ANGEL. Here it’s homicide cop Lawrence Tierney who fears he may have committed murder during an alcoholic blackout, which is pretty much the most serious faux pas a homicide cop can make. Apart from the always-intense Tierney (a guy who really did go nuts with a drink inside him) and Carradine (who looks GOOD in those specs, damnit — they add another, previously missing dimension to his head), there’s “And Introducing” Jayne Mansfield, who actually acts in a convincing human manner here, rather than deploying the light-comedy fembot style she made so much her own later.

Seen in the clip with Carradine is former beauty queen Kathleen Crowley, who’s quite moving and vulnerable in a Patricia Medina kind of way — her argument scenes with her husband, (screenwriter star Burt Kaiser) are so circular and illogical and poorly-written as to be actually a pretty convincing evocation of the average domestic tiff between people who have just plain gotten into the habit of fighting.

Nice atmos of late-night grime.

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