Issue 10 I would like to pay tribute to a film for which nobody has ever made any claims, but which has given me much pleasure on repeated viewings: It is a modest work, and a simple enumeration of its points of interest may be more appropriate than vindication or exegesis, as it lacks both the perfection that would force its details into integrated significance, and the imperfection for which one could compensate with comprehensive theories. He mentions it precisely once p. However, his reticence is not necessarily significant, as his book is largely an account of his achievements in design:
At first glance this reworking of ideas from Frankenstein and The Golem would seem to have big possibilities: Produced on a small scale, The Colossus of New York is an effective monster film whose immediate appeal seems limited to children.
The brilliant, wealthy Spensser family is celebrating a Nobel Peace Prize win by the young genius Jeremy Spensser Ross Martinfor his development of plants that can be grown in cold conditions.
But all are horrified when Jeremy is killed in a traffic accident upon his return from Stockholm. Henry John Baragreya specialist in automation, builds an artificial body to house it.
While family friend Dr. William and Henry secretly help Jeremy adjust to his mechanical body, helping him to speak electronically and walk by moving his massive steel boots. But as John had predicted, Jeremy suffers a profound alienation. Feeling like a ghost in his metallic body, he must be coaxed into staying alive to continue his philanthropic-scientific work.
A year later, Jeremy-Colossus has developed extra-sensory perception to compensate for his lack of other senses. Visiting his own grave, he meets his son Billy Charles Herbertwho mistakes him for a storybook "giant".
Having been told that his wife and child are dead, Jeremy-Colossus is enraged. He then sees Henry trying to talk Anne into a romantic Hawaiian vacation.
Unleashing death rays from his eyes and exercising new powers of mind control, Jeremy plans a grandiose revenge on the world, starting with a symbol of the "useless humanity" he once loved -- the United Nations. The benign Jeremy becomes a humungous steel robot, an obvious threat.
Why does his father give him such a frightening face? William with a variation on the antiquated notion that any human personality uprooted from its God- given and approved environment will turn evil, just as artificial life or life created by black magic is evil.
Blaspheming scientists in stories like The Invisible Man are deranged by hubris and seek to dominate or destroy humans less worthy than themselves.
Haunted by his inability to reconnect with his human family and enraged by lies and deceit, the robot runs amuck. He unaccountably develops the ability to project death rays from his electronic eyeballs, a la Gort, the interplanetary policeman of The Day the Earth Stood Still.
Good wife Anne never comes face-to-face with the new Jeremy, a confrontation that might have made Colossus a truly memorable fantasy. Letting the Colossus go berserk and kill a lot of people is much more acceptable for kiddie fare. The bizarre ending carries an uncomfortable subversive charge: Art director John Goodman sketches the U.
Fulton animates the deadly ray blasts. Adding to the dreamlike weirdness, nobody comes to the aid of this woman or any of the other the fallen dignitaries. Actor Otto Kruger is no stranger to horror fare, and his Doctor Frankenstein character is the kind of credibility stretch we accept in movies of this sort.
But as a tragedy in a dynastic family of scientists The Colossus of New York makes little sense. William walks innocently away, with a sad look on his face. The other actors are given fairly colorless roles.
We wish that the Colossus seemed more like him -- we look in vain to see "Jeremy" in the monster. Little Charles Herbert got more than his share of film work at this age, and does well considering that the script makes Billy behave in a way that seems too young for his age.
With its moody set pieces The Colossus of New York takes itself more seriously than many other monster romps from the late s. Every time I see the Colossus stepping up those stairs out of the river dripping wet, I think of James Stewart carrying Kim Novak up a set of similar waterside steps on another Paramount sound stage.
The rich blacks register best in the moody night scenes of the Colossus keeping a murder appointment on a dockside street.May 08, · The Colossus of New York. Unrated | 1h 10min encases his dead son's brain in a large robot body, with unintended results Director: Eugène Lourié (as Eugene Lourie) Writers: Thelma Schnee Despite some clunky moments I still think the best and most eerie part of Colussus of new york is when the "dead" scientist awakes, and gradually /10().
Watch video · Eugene Lourie's "COLOSSUS OF NEW YORK" movie trailer () plus-circle Add Review. comment. Reviews There are no reviews yet. Be the first one to write a review. Views. DOWNLOAD OPTIONS download 1 file. KB MPEG4 download. download 1 file. CINEPACK. Directed by Eugene Lourie in , Paramount's The Colossus Of New York has been pretty tough to see since it originally played theaters.
Never having been released on VHS or DVD domestically it did pop up on TV every once in a while but aside from that, it's been a tough one to see and this is in spite of a fairly recognizable monster and some .
Lourié has virtually nothing to say about The Colossus of New York in his autobiography. He mentions it precisely once (p. ), as one of several films using matte shots. He mentions it precisely once (p.
), as one of several films using matte shots. Directed by Eugene Lourie in , Paramount's The Colossus Of New York has been pretty tough to see since it originally played theaters. Never having been released on VHS or DVD domestically it did pop up on TV every once in a while but aside from that, it's been a tough one to see and this is in.
Aug 12, · Olive Films' DVD of The Colossus of New York is an excellent enhanced transfer of a B&W Paramount show filmed with that studio's high standards of quality.
Early word that the transfer would be flat was corrected by Olive FIlms, to everyone's relief.