“There’s no room for personal feelings in science.”

Before their illustrious domination of the gothic horror genre in the 60’s and 70’s with their epitomized versions of Dracula and Dr. Frankenstein to name but a few, Hammer Film made some low budget science fiction flicks which helped bring in some much needed money to the studios during the 50’s. Based on the 1953 BBC serial drama of the same name, The Quatermass Xperiment follows the story of a rocket that returns to Earth after a secret expedition to space and beyond.

Plot wise this is hardly groundbreaking stuff by today’s standards but considering this film was produced in 1955, it’s extremely evident how influential this picture would go on to become. From the outset there’s no messing about here. The opening segment sees two young lovers frolicking amongst some bails of hay when out of nowhere the rocket hurls itself into a nearby field. In the ensuing mayhem Professor Quatermass enters and grabs the situation by the scruff of the neck.

Quatermass, created by British writer Nigel Kneale, is as strong-willed as they come. A no nonsense scientist and pioneer of the British Space Programme, he rarely gives anyone else’s thoughts the time of day. Slowly he explains (definitely not a confession) that in an attempt to further push science to the next level, it was him that sent the rocket into space, unauthorised. We soon find out that three astronauts also travelled with the rocket but mysteriously only one has returned. Despite the incomprehensible, horrific consequences that has occurred due to Quatermass’ unsanctioned actions, his character is best assessed by his lack of compassion in favour of scientific progress.

Quatermass isn’t a very likeable character, at least initially, but despite his misgivings he is not a bad man. He’s cold but he is not a monster and Brian Donlevy plays the part very well although his American accent seems a bit out of place at times. Jack Warner’s Inspector Lomax stands toe to toe with the Professor as the two try to work out what the hell has happened.

Director Val Guest does a fantastic job of holding the tension without jeopardising the pace or flow of the film. The suspense is sustained perfectly even after we start to uncover some of the details. The laborious viewing of video footage within the spacecraft is surprisingly nail-biting and the ongoing examinations of lone survivor Victor Carroon in the aftermath of his hospitalisation is tense stuff. Richard Wordsworth is fabulous as the seemingly lifeless Carroon. His emancipated facial structure helps add to the creepiness of his zombified state. No words are spoken, only uninhabited stares. Or so we are led to believe…

It isn’t long before Carroon comes to and we realise that this lump of meat isn’t Carroon after all, it’s actually just an alien presence hiding in his body. He murders and maims living beings yet much to the writers credit, Val Guest’s bleak direction and of course Wordsworth’s melancholic eyes, there’s a faint sniff of sympathy lingering eerily in the air. That all fades away the closer we get to the conclusion of the film but during those scenes when Carroon is plodding around in the shadows seeking refuge and sustenance, we definitely feel for him a little. Wordsworth, reminiscent of a young Geoffrey Rush, just does so much with his facial expressions. The final scenes are a little anticlimactic but it’s all about the journey to the end point that makes this compulsory viewing for any science fiction fan.

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Gavin Logan – Follow me on Twitter

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