Description

Scientists at a "Top Secret" atomic research laboratory are taken over by strange fantastic control devices launched from an orbiting space ship inhabited by a hostile super-intelligence from beyond the stars. Simultaneously, a gigantic flying saucer crashes in the Gulf of Mexico and Kronos, a giant metallic monolith monster, emerges. Unstoppable, it slashes across the countryside, draining the earth of all it's electrical energy and beaming it into space. Kronos, a weapon so perfect in design it absorbs a direct hit by a Hydrogen bomb and becomes that much more powerful! Atomic age excitement! Atomic age thrills! All in out-of-this-world "Regalscope" format for the first time on DVD. ... Read more

Reviews (25)

A delicious alternative for standard 50s SF
"Down here we have half the atomic secret... we convert matter into energy... up THERE, they have the other half... they convert energy in matter!" So intones John Emery as a half-alien possessed, dying scientist in KRONOS. You can read about the plot and actors in the other reviews (esp. George "Jetson" O'Hanlon), so I thought I'd just throw in some noteworthy points about this movie -
1. The cinematography is great - you have some shots worthy of Conrad Hall's work on Outer Limits.
2. Irving Block and Jack Rabin - two of the creative minds behind Forbidden Planet - did a lot of the production and model work and they did a lot on limited money.
3. The monster - a giant electrical energy-sucking battery that pulverizes everything with its motive power units - has to be seen to be enjoyed.
4. You really, really get the feeling that this thing is alien in purpose and thinking. This is not some guy in a rubber suit standing in for the communist threat.

Terrific widescreen DVD of underrated 50s SF thriller
Far more intelligent and absorbing than your typical giant-rampaging-monster-on-the-loose flick, Kronos is one of my top picks for 'most underappreciated science fiction film,' possessing one of the more ingenious SF concepts of the 1950s (see also Monolith Monsters), as well as one of the decade's coolest, ahead-of-its-time alien invaders. The cast includes familiar genre stalwarts Jeff Morrow (Creature Walks Among Us, The Giant Claw), John Emery (Rocketship X-M, The Mad Magician), and Morris Ankrum (zillions of B-westerns and SF flicks), with Barbara Lawrence (Oklahoma!) as the lady scientist/love interest. The moody B&W cinematography is by Karl Struss (Island of Lost Souls, The Great Dictator, Mesa of Lost Women), and the curiously Angry Red Planet-like score is by Paul Sawtell and Bert Shefter (too many genre credits to list). Competently directed by B-film veteran Kurt Neumann (The Fly, She Devil), the film unfolds like a mystery, building slowly at first, adding a few plot twists, then really kicking in with the appearance of the colossal metallic "energy collector", subsequent scenes of devastation, and final assault on Los Angeles. The always-imaginative if chronically underfunded Jack Rabin-Irving Block-Louis DeWitt effects team (World Without End, War of the Satellites, Atomic Submarine) gets a major assist from 20th Century Fox budget dollars this time out and it shows, particularly in the design and execution of the monolithic robot itself and the scenes of mass destruction, effectively realized through the clever orchestration of miniatures, animation, mattes, stock footage, and spacey sound effects. The script may not always hold up to intense scrutiny (why don't the aliens just send their device to suck energy directly from stars?), the science is more comic-book than Isaac Asimov, and it's almost impossible not to think "George Jetson" every time George O'Hanlon (GJ's voice on TV) opens his mouth; but if this was in Technicolor it would be revered today as one of the SF greats (just compare this to the extremely overrated "classic" This Island Earth some time).
The Image DVD presents the film in its original 1.85:1 aspect ratio, and while the source print exhibits some light speckling throughout, the brightness, contrast, tonal values, sharpness, and detail are uniformly excellent. A middling-quality trailer and 16 chapter stops are the only extras, but this is still a must-have for any serious collector of 50s science fiction, especially at the recently-reduced price. I'll probably be sorry I said it but, in the right hands (James Cameron? Darren Aronofsky?), a modern remake of this could kill!

KRONOS: A Should-be 50's Sci-Fi Classic!
Being a fairly new collector of 50's Sci-Fi, I just finished watching "KRONOS: Ravager of Planets" and it was excellent! Starring Jeff Morrow of "This Island Earth" fame and written by Irvin Block (Forbidden Planet), KRONOS has above-average effects for it's genre and the story is very good. The giant alien machine/robot from outer space, known only as "KRONOS", is a fresh idea thrown into the mix of 50's classic invaders-from-space type films. If you enjoy collecting classic b&w 50's Sci-Fi, then KRONOS is an excellent addition to your DVD library. I only wish the DVD special features contained more. The Theatrical Trailer, Scene Selection and Feature Movie are the only options on the DVD. Anyway, it's still an enjoyable and fun classic Sci-Fi flick. Get one for yourself today!

Kronos: A Short Film In Feature Length Clothing
Sorry, nostalgia alone isn't enough to save this turkey of a movie. Yes, the basic premise is interesting and original, but it lacked development. In fact, it apparently lacked an editor! KRONOS is a prime example of a "padded" film. It is 80 minutes long and stretched thin to fit. Unfortunately a lot of B movies from the 50s suffered from the same problem.

An example:
A helicopter with two researchers takes off. We see lots of footage of the helicopter in the air. Then we see a coastline. Then the copter. Then the coastline again. Then the researchers in the cockpit looking around. Then the ocean and more coastline. The researchers point to something. The copter turns. We see rocks in the ocean. The copter turns again. The researchers finally figure there's nothing to see. The copter turns around again and heads for home.
So the filmmakers have burned up a good 4 minutes of the movie with a sequence that 1) doesn't have a point, and 2) doesn't resolve anything or add to the movie, and 3) makes you grateful for the fast forward feature of your remote control. Unfortunately there are many such sequences in this film.

I won't even get into the cheesy special effects - let's just say they're good for a chuckle. Also had to laugh at the scientist who is "possessed" by the alien life force...is it me or does this guy look like a psychotic Walt Disney?

Watching (and fast forwarding through) the film, I had a nagging thought that the makers of KRONOS could have pared the film down to half its running time and shown it as part of a double bill with some other edited-down flick from the same era. Would have been a vast improvement.
PS - another reviewer mentioned that an interesting remake could be culled from the concept of KRONOS. Actually, that may be true! The underlying idea is pretty interesting, hence the two star rating.

Crush! Kill! Destroy!!!!
A titanic robot from outer space invades earth, attempting to absorb all of our electrical energy. The press names it KRONOS after the mythical titan. Seemingly unstoppable, this juggernaut stomps it's way across Mexico, squashing all in it's path! Airplanes are pulled into it and explode like the models they are! All weapons are useless, as even the dreaded A-bomb only serves to make Kronos stronger! Can it be defeated before depleting us of all electricity? Can super-egghead Jeff Morrow and his team of labcoats find the answer in time? Or, will Kronos flatten us under it's mighty piston legs?? An absolute must-see flick for any true 50s sci-fi addict like myself... ... Read more

Description

The 50th Anniversary Edition of Kurt Neumann's science fiction classic. Four men and a girl blast into space on mankind's first expedition to the Moon. But due to a cataclysmic event in space, their ship is sent hurling out of control towards the planet Mars. Suspenseful terror as the crew fights for their life on a war-ravaged world with radiation-riddled nightmare creatures! The climax makes this one of the most powerful and unforgettable science fiction movies ever made. "Rocketship X-M" was deftly brought to the screen by famed writer/director Kurt Neumann. Long considered the definitive space exploration film of the 50's, a genuine classic with a power that has spanned the decades.Includes Trailer. ... Read more

Reviews (16)

WE'RE OFF COURSE
This film opens with a countdown and just keeps going after lift off. Short on science fact, but long on style and ideas, this is one of the better early "first into space" movies. It has a Jules Verne feel, a German work ethic pace, and keeps the surprises and the clique's coming - two of which were staples in these early type of movies: the sudden metor storm between the Earth and Moon and the "we're off course" stunt where the ship makes a U-Turn and heads for Mars or Venus (in this case it's Mars). But despite this, this is an entertaining film with a good cast and a surprise ending that is almost unheard of these days. ROCKETSHIP X-M is not for everybody, but if you are a collector and a sci-fi fan, than this is an excellent addition to any library.

Expedition: Moon
Yep this movie is as fun and forward looking as they say. What I found fascination from the beginning was the equipment. The short-wave radio barely reached to space. The gages were an altimeter and an air speed indicator (what air?) and I liked the airplane throttles for the rocket speed. A 1000-LB fuel tank need moving so Major William Corrigan says "I used to throw a 1000 LB steer over my shoulder every morning" Colonel Floyd Graham replies "Are you sure that wasn't a bull?"

The first manned rocket (looks like a V2 shape), is pointed at the moon. Through a series of mishaps and miscalculations, it ends up on Mars. Once on mars that looks like Red Rock Canyon, Mojave, California, USA and Death Valley, California, USA, the crew discover a secret that is vital for Earth to know.

Do they make it back? Find out:

Try this:

Click on "visit the Internet Movie Database (IMDb)"

Click on "video clip(s)"

the first episode ever.
Perhaps most irritating is the Lloyd Bridges line to the token female astronaut when she comments sarcastically about women simply staying home and raising babies: "Isn't that enough?" I think the most remarkable thing about this terrible film is its stereotypes. Yes, the film was made many years ago, and I don't mean to say that these were not present in great films of the era or fault the filmmakers for this, I'm simply saying that it's an interesting cultural nugget. The man from Texas is deeply offended when someone says that Texas looks like a mere speck from space (come on, I'm from Texas, but it would). The woman who chooses career - and a male-dominated scientific career at that - over home and family is portrayed as cold (and overly emotional when her correct calculations are discarded) until she finally realizes that she simply needs a man to hold her. Further, how silly is it that there is an intensely planned trip to the moon and then oops! We're on Mars instead. You "can pretty much sense the string" elevating the objects that are supposed to be floating when gravity starts to go on the fritz (see "Things which are Funny Floating"). However, a much more tolerable version of this film was indeed done by that guy and his two robots. It was the first episode (#201) in the cable era of Mystery Science Theater 3000, and well worth it if you can find a copy.

Were we watching the same movie?
I have a serious bone to pick with all of you who gave this film such high ratings. I ordered it on the strength of the glowing reviews I found on Amazon, so I think you guys owe me a refund. The acting occasionally rises to the level of so-so, but the plot and dialog are absolutely ridiculous. And the science! Lordy, lordy, where do I start? Spaceships that make 90 degree turns? The "darkness of space" ... what about that big, glowing thing at the center of the solar system? A minor error in astrogation, and two hours later you end up at Mars instead of the Moon?? (Was Sheila Jackson Lee the technical consultant?)
And -- I swear this is true -- when they did those 90-degree turns, they had all the actors pushing on the inside of the rocketship.

Maybe -- MAYBE -- this thing is worth watching from a historical standpoint, as some kind of turning point from schlock to serious sci fi movies, but that's all. My overall rating is: "Embarassing!" For everyone involved, from the writer to the actors. Where is that guy and his two robots when you need them???

If you want a pivotal sci fi film, with serious science and ground-breaking special effects, get Robert Heinlein's "Destination Moon." And then go on to classics like "Forbidden Planet" and "The Time Machine." But skip this dog biscuit.

Did much to inspire the space movie craze of the 1950s
Rocketship X-M was really one of the first good science fiction films of the 1950s, and its influence can be seen in the slew of space movies released throughout that decade. In some ways, it is the quintessential science fiction film of the era; it sends a crew of four men and one woman into space for the first time, and these characters actually get a chance to express their own personalities during the journey. While the science of the film misses the mark in a number of ways, the filmmakers did not rely on alien "monsters" to help the story along. The movie has a message, and its plausibility and rather unhappy conclusion bring that message home to viewers. The film also reflects to some degree the culture of the time in terms of gender, sporting a number of chauvinistic lines sure to rankle many modern viewers.

Our intrepid crew for this secret first manned spaceship launch consists of ship designer Dr. Exum (John Emery), navigator Floyd Graham (Lloyd Bridges), engineer Major William Corrigan (Noah "Rockford's Dad" Beery, Jr.), some less important guy played by Hugh O'Brian, and brilliant female chemist Dr. Lisa Van Horn (Osa Massen). When Floyd isn't navigating, he's putting the moves on the cold and aloof Lisa. Things go swimmingly at first (with the ship, not with Lloyd's advances), but then a problem with the fuel mixture (sure - blame the woman) causes the engines to die. When Dr. Van Horn defends her computations, she is treated to a few chauvinistic remarks about acting like a woman; the great and mighty men figure things out on their own, and before you know it everyone is knocked unconscious and the Rocketship X-M (which was supposed to land on the moon) finds itself flung out into deep space. As luck would have it, though, they wake up to find themselves within reach of Mars and take advantage of the opportunity to land there. This is a Lippert film, so you knew there would have to be many scenes of people climbing hills and mountains somewhere in it. Well, the crew members make a few discoveries about the state of past and current life on the red planet and try to make it back home to spread the word to the people of earth - it's your basic nuclear was is bad kind of advice. The ending is not a happy one by any means, but it does serve to further man's (or at least science fiction script writers') determination to explore outer space.

There's nothing fancy at all about this movie, yet it really does deliver the type of message a science fiction film should carry. Along with the science, weak as it turned out to be in places, and a "scientific moral" to the story, we actually get to see characterization come to life before our very eyes (especially in terms of Floyd and Lisa). I think this 1950 film deserves to be called a classic in its field, and it still has much to offer all fans of science fiction. ... Read more

Reviews (9)

Horroriffic!!!!!!!!
I saw this movie only once .... once again being on AMC'S Monster Fest 2000 ... its a good hokey Wartime horror film classic i think Universal shouldve made it though!!!!! bjut its still very atmospheric and a bit of a twist .. bela returns for his 3rd vampiric film after 8 years of absence after the twisted film The Mark of the Vampire where he wasnt a vampire at all ... lol but still a good chiller .... ok back to the Return of the Vampire.... like i said only 69 minutes of playing time but still a good movie ITS WORTH EARNING!!!

My Name Is Drac... Er, Tesla!
Bela Lugosi is Armand Tesla, an amazingly Dracula-like vampire, in this fangy fable. Assisted by his werewolf helper Andreas Obry (Matt Willis), Tesla goes on a reign of terror, only to be stopped by a spike through the heart. Years later, during WWII, we find Andreas reformed of his lycanthropic ways, and working for Lady Jane, the very woman who had helped put an end to Tesla. Well, the nazi's bomb England, unearthing Tesla. Two civil defense guys find his body and one of them pulls the spike out of Tesla's chest! Soon, The bloodsucking begins! Tesla regains his hold on Andreas and hatches his plot for revenge. Tesla now has a vendetta against Lady Jane. He has decided to destroy her by taking control of those she loves. Can Lady Jane stop him before it's too late? You can tell that Bela enjoyed playing this role. He IS Dracula in this movie, no matter what his name is. The acting is pretty good all around, including the wolfman, even if his make-up job is a tad goofy. Worth owning...

BEWARE THE NIGHT FOR THE VAMPIRE STALKS
Any true monster movie fan would have this film on their movie shelf. One of the best Dracula movies ever made in the 1940's.
In this movie there is never a dull moment. Like the eerie cemetery in the beggening to the dark allies of London wher Dracula and his companion,the wolfman, dispose of their victims.
And in the end there is a message to the viewers,I won't give it away. But this film is worth it. Starring Bela Lugosi, Freida Inescort, Nina Foch, Miles Mander and Matt Willis as the werewolf.

SO IT AIN'T VAL LEWTON....
I can't carp about this little 40's spooker with LUGOSI playing Dracula again (finally) even if it IS low-budget and has a funny-looking werewolf/assistant. It's still a curio and features a wartime setting as well as the lovely Nina Foch (in an early role) as a potential victim. It's goofy and weird and not all that bad, really. At least it was a major studio that released it and not one of those hideous poverty row junkfests that were churned out by the truckload around the same time. The class shows through with the acting,camera-work and story coherence. It could have been much worse but it's not and it sits proudly with my other DVDS as an old fashioned reminder of what going to the movies used to be about and how thankful I am that some of these old chestnuts are still around to be appreciated.

"It ain't even safe to be dead, anymore!"
The definitive movie vampire, Bela Lugosi, stars in this entertaining Columbia production. Although mired in a downward career spiral of poverty row clunkers, Bela, ahem, rises to the occasion. Among the familiar vampire cliches, we find a unique character in Andreas (Matt Willis), the wolf man familiar that serves the vampire. This guy looks like Lon Chaney, Jr. in full makeup, but he does not go around howling at the full moon. Instead, he shows great restraint and is quite articulate as he speaks rather than growls. His fiendish appearance tells of the soul's evil and the vampire's spell. After a prologue, that shows the vampire's 1918 horror and dispatch, Andreas escapes the dark side with help from a kindly lady scientist (Frieda Inescort). He falls back into dreadful habits after a WWII bombing raid unearths Bela. The scenes in the London cemetery inflicted with bomb damage are surreal images of foggy darkness and the children of the night. The script suffers from some B picture limitations, but not enough to matter. Lugosi's character, Armand Tesla, is merely Dracula, winking at legal copyright infringements. He catches Nina Foch in his alluring web of unholy desire. The climax in the bombed-out church is done well, and covers a multitude of unlikely plot developments. Character actor and former Mack Sennett star, Billy Bevan, plays Horace, the comic civil defense worker who utters the above immortal dialogue. Some viewers may recognize Bevan as the hapless Whitby policeman, Albert, in Universal's "Dracula's Daughter." Atmospheric sets and a veteran cast add to the enjoyment. Great fun for genre fans and collectors. ;-) ... Read more

Amazon.com

A date-movie masquerading as an Indian uprising flick, has Scott Brady as a frontier painter with a penchant for models, trying to forestall war with the Iroquois.The plot follows the conventional line, with the frontiersmen (and women) besieged in their fort, driven back into their hovels, then saved at the last moment by the cavalry.But the focus is not on the story line, and clearly on the bustline, as various fine babes vie for the attentions of Brady, including a squaw played by Rita Gam.One scene depicts what appears to be an Iroquois version of a wet T-shirt contest, with Gam the clear winner.On the DVD you'll find optional Japanese subtitles, lengthy notes on the cast and crew, and what appears to be a fairly unfaded print of the film with vivid colors. --Jim Gay ... Read more

Reviews (3)

STCOK SHOTS ALONG THE MOHAWK
As Ron Wood mentionned in it's review, most action sequences in MOHAWK comme from John Ford's DRUMS ALONG THE MOHAWK. This 1939 film provided stock shots for many other movies. In 1944, one shot of Mohawk warriors setting Fonda's place afire in DRUMS was used in BUFFALO BILL. Battle scenes around the fort were then used in MOHAWK. Almost the same scenes were used again in the pilot episode of the DANIEL BOONE TV series starring Fess Parker in the mid-60s.

As far as stock shots are concerned, BUFFALO BILL seems to be the absolute winner, at least in the western genre. Stock shots of the battle scene (War Bonnet Creek) were used by Fox in numerous productions. PONY SOLDIER with Tyrone Power (begining of the movie). SIEGE AT FEATHER RIVER (end of the movie, which was produced by Panoramic which provided FOX with B pictures). THE TIME TUNNEL TV series (Episode : Little Big Horn) also used the battle to pass as Custer's famous last stand.
Another depiction of that battle, from THEY DIED WITH THEIR BOOTS ON starring Errol Flynn, was used in BUGLES IN THE AFTERNOON starring Ray Milland. Though THEY DIED was black and white, and BUGLES Technicolor, the stock shot did fit because it was being watch through binoculars by Ray Milland and modified from black and white to sepia.

If anyone knows of other stock shots in westerns, I'd be glad to read about that.

Mohawk
This is a rather interesting movie in that it uses a lot of distant scenic and action shots from John Ford's Drums Along The Mohawk. This is most noticeable, because all of a sudden while viewing the film, the production values are suddenly increased and the cinematography becomes almost ravishing instead of run of the mill that the "new" portions of the film just can't match.
As an aside, I remember seeing Drums Along The Mohawk twice when I was a kid in the 1940s in a small town where I grew up and it was in black and white; only when I saw it on VHS in the 1980s did I see the true Technicolor format. And then I was knocked out again when I saw portions of it appear in Mohawk, a film I missed at the theatres and only caught on DVD about a year ago.

Does anyone know of any other films that utilized parts of older films as part of their format to save on production costs? I'd like to hear from anyone on this. I know this happens, especially in World War II films with documentary battle footage, but haven't noticed the use of regular production footage in newer movies, unless they referred to the earlier film as a link in a series.

Early American artist finds romance trying to keep peace.
Scott Brady and Rita Gam are not especially believable as a colonial era artist and his native American love interest, but the unusual time period, and energy of the production make "Mowhawk" fun. Evil white men try to incite the Indians to war, while the high-integrity artist works to maintain peace as he does portraits of various characters. ... Read more

Reviews (3)

STCOK SHOTS ALONG THE MOHAWK
As Ron Wood mentionned in it's review, most action sequences in MOHAWK comme from John Ford's DRUMS ALONG THE MOHAWK. This 1939 film provided stock shots for many other movies. In 1944, one shot of Mohawk warriors setting Fonda's place afire in DRUMS was used in BUFFALO BILL. Battle scenes around the fort were then used in MOHAWK. Almost the same scenes were used again in the pilot episode of the DANIEL BOONE TV series starring Fess Parker in the mid-60s.

As far as stock shots are concerned, BUFFALO BILL seems to be the absolute winner, at least in the western genre. Stock shots of the battle scene (War Bonnet Creek) were used by Fox in numerous productions. PONY SOLDIER with Tyrone Power (begining of the movie). SIEGE AT FEATHER RIVER (end of the movie, which was produced by Panoramic which provided FOX with B pictures). THE TIME TUNNEL TV series (Episode : Little Big Horn) also used the battle to pass as Custer's famous last stand.
Another depiction of that battle, from THEY DIED WITH THEIR BOOTS ON starring Errol Flynn, was used in BUGLES IN THE AFTERNOON starring Ray Milland. Though THEY DIED was black and white, and BUGLES Technicolor, the stock shot did fit because it was being watch through binoculars by Ray Milland and modified from black and white to sepia.

If anyone knows of other stock shots in westerns, I'd be glad to read about that.

Mohawk
This is a rather interesting movie in that it uses a lot of distant scenic and action shots from John Ford's Drums Along The Mohawk. This is most noticeable, because all of a sudden while viewing the film, the production values are suddenly increased and the cinematography becomes almost ravishing instead of run of the mill that the "new" portions of the film just can't match.
As an aside, I remember seeing Drums Along The Mohawk twice when I was a kid in the 1940s in a small town where I grew up and it was in black and white; only when I saw it on VHS in the 1980s did I see the true Technicolor format. And then I was knocked out again when I saw portions of it appear in Mohawk, a film I missed at the theatres and only caught on DVD about a year ago.

Does anyone know of any other films that utilized parts of older films as part of their format to save on production costs? I'd like to hear from anyone on this. I know this happens, especially in World War II films with documentary battle footage, but haven't noticed the use of regular production footage in newer movies, unless they referred to the earlier film as a link in a series.

Early American artist finds romance trying to keep peace.
Scott Brady and Rita Gam are not especially believable as a colonial era artist and his native American love interest, but the unusual time period, and energy of the production make "Mowhawk" fun. Evil white men try to incite the Indians to war, while the high-integrity artist works to maintain peace as he does portraits of various characters. ... Read more

Reviews (3)

STCOK SHOTS ALONG THE MOHAWK
As Ron Wood mentionned in it's review, most action sequences in MOHAWK comme from John Ford's DRUMS ALONG THE MOHAWK. This 1939 film provided stock shots for many other movies. In 1944, one shot of Mohawk warriors setting Fonda's place afire in DRUMS was used in BUFFALO BILL. Battle scenes around the fort were then used in MOHAWK. Almost the same scenes were used again in the pilot episode of the DANIEL BOONE TV series starring Fess Parker in the mid-60s.

As far as stock shots are concerned, BUFFALO BILL seems to be the absolute winner, at least in the western genre. Stock shots of the battle scene (War Bonnet Creek) were used by Fox in numerous productions. PONY SOLDIER with Tyrone Power (begining of the movie). SIEGE AT FEATHER RIVER (end of the movie, which was produced by Panoramic which provided FOX with B pictures). THE TIME TUNNEL TV series (Episode : Little Big Horn) also used the battle to pass as Custer's famous last stand.
Another depiction of that battle, from THEY DIED WITH THEIR BOOTS ON starring Errol Flynn, was used in BUGLES IN THE AFTERNOON starring Ray Milland. Though THEY DIED was black and white, and BUGLES Technicolor, the stock shot did fit because it was being watch through binoculars by Ray Milland and modified from black and white to sepia.

If anyone knows of other stock shots in westerns, I'd be glad to read about that.

Mohawk
This is a rather interesting movie in that it uses a lot of distant scenic and action shots from John Ford's Drums Along The Mohawk. This is most noticeable, because all of a sudden while viewing the film, the production values are suddenly increased and the cinematography becomes almost ravishing instead of run of the mill that the "new" portions of the film just can't match.
As an aside, I remember seeing Drums Along The Mohawk twice when I was a kid in the 1940s in a small town where I grew up and it was in black and white; only when I saw it on VHS in the 1980s did I see the true Technicolor format. And then I was knocked out again when I saw portions of it appear in Mohawk, a film I missed at the theatres and only caught on DVD about a year ago.

Does anyone know of any other films that utilized parts of older films as part of their format to save on production costs? I'd like to hear from anyone on this. I know this happens, especially in World War II films with documentary battle footage, but haven't noticed the use of regular production footage in newer movies, unless they referred to the earlier film as a link in a series.

Early American artist finds romance trying to keep peace.
Scott Brady and Rita Gam are not especially believable as a colonial era artist and his native American love interest, but the unusual time period, and energy of the production make "Mowhawk" fun. Evil white men try to incite the Indians to war, while the high-integrity artist works to maintain peace as he does portraits of various characters. ... Read more