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The Atomic Submarine (hardback)
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Product details
Hardcover: 232 pages
Publisher: BearManor Media (March 15, 2018)
Language: English
ISBN-10: 1629333050
ISBN-13: 978-1629333052
Product Dimensions:
8.5 x 0.6 x 11 inches
Shipping Weight: 1.8 pounds (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
3 customer reviews
Amazon Best Sellers Rank:
#1,636,386 in Books (See Top 100 in Books)
I was amazed to find that they published the script to one of my favorite guilty pleasure movies.
I bow in the presence of greatness -- in this case, Tom Weaver, who I've met on one occasion and collaborated with indirectly, once removed, with on one project. I only learned of the existence of this book in March of 2019, many months after it was published (thank you, Filmfax magazine!), and as soon as I did I knew I had to have it. And, based on my experience with Weaver's earlier book dealing with The Indestructible Man, I knew I'd have to get this in hardcover, which I did (from Barnes & Noble -- sorry Amazon, but I had some B&N coupons).I'm only halfway through this book, but it's already worth a rave review. Indeed, it earned that rave on page 6, which contains perhaps the greatest paragraph I've ever read explaining the how and why of the appeal of movies like The Atomic Submarine (and The Indestructible Man, Invisible Invaders etc. etc.) -- a paragraph (actually, a few of them) that is SO funny and yet so piercing in its logic that it might be one of the finest pieces of writing of the zeitgeist of the psychotronic film viewing process that I've ever encountered. Jeez, I feel almost like Cecil Kellaway's character in Portrait of Jennie, when he first sees the title painting, just overwhelmed and humbled (even as I had to laugh out loud on the bus while reading that essay -- I can't remember when was the last time before this that a film book got that kind of reaction out of me!).Suffice to say, Weaver and his collaborators know their stuff, and they have a great time writing about the multiplicity of aspects surrounding this movie's lingering appeal, stretching across many decades. The photos are entertaining as well, and the whole book is like a gift to fans of this picture (of whom there are probably more than will ever admit it -- The Atomic Submarine is a classic "guilty pleasure" to anyone [especially guys] born between 1946 and 1970 or so). I got a little bit of a discount buying it, but based on the content, I have to say that $35 for the hardcover or $25 for the paperback edition is a bargain! Bravo, Tom Weaver -- I take my hat off to you!
I first spied THE ATOMIC SUBMARINE in July, 1962 at a Sunday afternoon matinee at our local theater. The night before, on Shock! Theater, I had seen WEREWOLF OF LONDON for the first time. In the coming week I would get my first looks at THE CYCLOPS, THE MUMMY’S HAND, and HOUSE OF USHER. In the midst of such company -- yes, even THE CYCLOPS -- THE ATOMIC SUBMARINE was pretty weak tea. I’ve seen it a couple of times since then and it’s gotten no better.But, movie notwithstanding, this book is immense fun and a great reading experience.It kicks off with a pleasant introduction from star Brett Halsey, then Weaver arrives with his production notes, fun facts, script notes, interviews, laundry lists, 5th grade diary entries, ransom notes…The estimable Dr. Robert Kiss provides a chapter on the film’s release history both theatrically and televisionically. I just ate this stuff up with a spoon. Neat-o stuff like...this…..(here imagine the screen going all wavy and harp music coming up on the soundtrack)From March 1960, ATOMIC SUBMARINE was frequently billed in support of THE HYPNOTIC EYE. Myself, I saw both of those films at my local theater, but not as a double-feature. They came to me exactly a month apart, with HYPNOTIC EYE being the first.David Schecter is next at bat with his chapter on the music of THE ATOMIC SUBMARINE. I’m miles from a music expert and generally don’t even notice movie music. But perhaps because the score of the film is so weirdly electronic, Schecter’s descriptions are not too musically technical. Which is just great for this melodically/harmonically/aurally-challenged reader. He also seems to be having a great deal of fun in this chapter.He ends his piece by noting that this odd score creates “a soundtrack that is often noticed even by those who don’t normally pay much attention to film music.†Aww, he’s writing directly to me.The final portion of the book before we dive under the ice cap and into the script is a two-page selection of excerpts from some of the movie’s reviews. For the most part, these critics seem to have agreed with my opinion. If you guess that neither the reviewers nor I much cared for this movie, you would have guessed correctly.Much as I am obsessed with typos and mistakes, I pay them no mind if they occur within the script itself -- unless the error is somehow funny or weird. I mean, these scripts were never intended for publication; they were simply essential tools for making the movies, only to be seen by those following its blueprint. Plus, these old scripts were written on typewriters, which were, of course, not nearly so adapted for revisions as are computers. Most of the scripts in this Weaver series or in the MagicImage series, or, really, any movie scripts I’ve ever read, are sloppy to one degree or another. Always misspellings, x-outs, mangled margins -- it’s to be expected.This script, however, is a different animal. While it’s clearly typewritten, it’s so clean and -- almost -- totally error free that any computer would have been proud of such a product.As for the content of the script...well, it’s kind of, I don’t know -- distant. Cold. Surely some of this is due to the military aspect of the story and the characters, but it’s more than that. While admirably clean and undeniably direct, this script could have been written by a machine. It seems oddly un-human.Dick Foran always seemed to me like a nice guy onscreen, kind of a big, smiley doofus. But a page of newspaper clippings in Tom Weaver’s “Fun Facts†chapter shows another side of Foran and is not much “fun†at all. Not only do these articles indicate that he was an unpleasant fellow, but likely a downright jerk.I was headed off at the pass when Weaver compared the Arthur Franz-Joi Lansing scene in THE ATOMIC SUBMARINE with the Cesar Romero-Hillary Brooke scene in LOST CONTINENT. I’d already made a mental note about the similarity of the scenes, planning on showing off my prodigious knowledge of silly monster movies, but Weaver got there ahead of me, turning my triumphant boast into this pathetic, whiny paragraph.Also included are a couple of Tom Weaver interviews with producer Alex Gordon. I had read these before, either in Weaver’s books or in magazines, but it is always nice to revisit such things. Alex Gordon was a big deal in a modest corner of the movie world and it’s fun to read his thoughts and memories.Alex Gordon seemed to have a pretty accurate view of his own output. When asked to rank his sci-fi pictures by preference, Gordon ranks them as DAY THE WORLD ENDED -- THE SHE CREATURE -- THE ATOMIC SUBMARINE -- VOODOO WOMAN. That’s exactly the way I’d rank them, right down to not mentioning THE UNDERWATER CITY at all.After the interviews, we find a lovely, affectionate memory piece on Alex Gordon by Karen Latham Everson, the widow of William K. Everson. It’s a well-written, entertaining, and very, very sweet memoir.Scott Gallinghouse provides in-depth looks at the careers of old-time movie actors Edmund F. Cobb and Frank Lackteen. These particular gents were favorites of Alex Gordon and he shoehorned them into his movies (including THE ATOMIC SUBMARINE) wherever he could, often as no more than ever-so-slightly-glorified extras. I always love career articles like this, always love wallowing in the names and titles and dates.And finally, the book closes out with a reproduction of THE ATOMIC SUBMARINE’s pressbook.There’s certainly not much else to bitch about. I noticed exactly one mistake. Not a typo, not a misspelling, more of a teensy, virtually unnoticeable brain fart.Another Script from the Crypt, another triumph. I’m not really sure how Tom Weaver is managing this: a bunch of terrific, fun books about a bunch of crummy, often fun-free movies. I’m tempted to give him a real challenge. Dare him to try to make something of THE UNDERWATER CITY. But, no, I won’t do that. He might actually try, and I’d like to not even think about that thing ever again.
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