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Sid Pink’s “Wrathful Red Planet” was a delight when it came out four decades ago and it’s quiet mountainous fun to behold. In a day when low-budget SF flicks were all in gloomy and white, this ruby-hued gem was glorious, filmed in “Cinemagic” - a kind of solarized and red-tinted film processing gimmick. So boost the color control on your TV to the max and score your retinas scorched the map audiences did in 1960. Sid Pink’s pics tend to the bizarre - “Bwana Devil”, “Reptilicus”, “The Man From O.R.G.Y.” and of course the camp Hans Conried classic “The Twonky” about an alien TV situation that takes over a geek’s household. This film is no exception. This time four astronauts land on Mars, only to acquire they are unwelcome. Armed only with a sonic ray gun named Cleopatra — “because she’s such a chilly doll” — our brave quartet must fight off a meat-eating plant with a yen for red-haired Irish-American exo-biologists, a 40-foot-tall bat-rat-spider drooling over a goateed, pipe-smoking professor, and a one-eyed blob the size of a mountain that wants to appreciate their spaceship with everybody in it. All the while they are ogled by three-eyed, two-horned Martians with an attitude plight. Hand-painted sets, puppet monsters, beatnik dialogue, nothing but red as far as the explore can witness, and a jazz xylophone accumulate - hey, daddy-oh, this is like coolsville.

If you visited the cinema in the 1950s and into the 1960s, then you were acutely aware outer place was crawling with all kinds of voracious, horrible site creatures and hostile alien types waiting eagerly to decimate and/or like any fearless Earthlings foolishly willing to venture out into the stout unknown, as illustrated in the film The Aroused Red Planet (1960) . Given these apparent dangers, it’s a wonder we ever found anyone with guts enough to go into station…co-written by Sidney W. Pink (Reptilicus, Paddle to the Seventh Planet) and Ib Melchior (The Time Travelers), the latter also directing here, the film features Gerald Mohr (Invasion USA), Naura Hayden (”Bonanza”), Les Tremayne (The Monolith Monsters), and Jack Kruschen, who was nominated for an Academy Award around the same time for his role in the film The Apartment (1960) …kinda hard to bear after seeing him here…

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At the outset we rep ourselves among some gooberment bigwigs…turns out a manned spaceship sent to Mars, once lost, has since been found (drifting in orbit around Mars), and the decision is made to bring it home by remote control. Since there’s been no communication with the ship, the fate of the four-person crew is questionable. Once returned to Earth, there appear two survivors, one Dr. Iris Ryan (Hayden), who’s in a severe site of shock, and the other not identified as he’s got some unsuitable location fungus, and is quarantined mercurial (perhaps they should have unprejudiced remote detonated the ship rather than bring it support to Earth…oh well, too unhurried now) . The computer tapes are blank, so the only answers have to approach from Dr. Ryan as to the fate of the mission, which takes us into a lengthy flashback. Time to meet your Mars crew…there’s the navigator/pilot Colonel Thomas O’Bannion (Mohr), a manly sort with the shuffle and chest hair to point to it, Dr. Iris Ryan, the obvious looker of the bunch, Professor Theodore Gettell (Tremayne), the positive brainiac sporting the prerequisite goatee and pipe, and finally the odious, idiotic, ethnic droll relief named Sam `Sammy’ Jacobs, the electronics expert, hailing from where else? Brooklyn, of course…anyway, after a lengthy bit of status recede, our audacious adventurers finally approach and explore the `red’ planet is really pink (no foolin’) . The surface seems devoid of luminous life, but there are plenty of hungry, carnivorous plants. As the professor ponders his sense of scare regarding the possibility of some sort of community mind in control of the planet, Tom puts the acquire on Iris, Iris endangers herself needlessly a few times requiring Tom to assign her, and Sammy pitches woo to his sonic freeze cannon due to its propensity to catch them out of jams (seriously…he names it Cleopatra and kisses numerous times…glean a room you weirdo) . Things accumulate improper as various native creatures, including a rather tall rat/bat/spider/crab creature and a ginormous, googly-eyed amoeba-like snot monster threatens to eat the crew, and a mysterious force field prevents them from taking off…

Perhaps the worst/best line from this film occurs after the rocket lands on Mars and the crew is deciding on their course of action. Sammy chimes in with this doozy…”Well, should we go out and claim the planet in the name of Brooklyn? ” Yeah, go ahead, dude, and don’t bother putting on your spacesuit…The Excited Red Planet, released by American International Pictures, is perhaps the epitome of shoddy science fiction films, featuring cardboard characters, lousy dialog, wicked acting, cheapie sets, crude rent special effects, and scads of pseudo science…so why should anyone want to inspect it? Because it’s a expansive, steaming load of fun. I judge my current character was Colonel Thomas O’Bannion, played by Gerald Mohr, who came off as a vulgar rent Humphrey Bogart type, with a propensity for hiking his leg up on whatever was available, and leaning on his knee. I mean really, this is objective a cold blueprint to talk to people, having your goodies splayed out fair in everyone’s face. For some reason, the buttons on his shirts never seemed to work properly, as often he can be seen running around bare-chested, displaying his beautiful man chest rug (eat yer heart out David Hasselhoff) . His abilities as a commander were questionable, as often his orders would go unheeded by the others. One thing’s for definite, he was always on the develop, continually hitting on Iris, regardless the dwelling (hey, when the ratio is three dudes to one woman, you gotta lay your claim early and often) . Nowadays that kind of continual attention would probably be labeled harassment, but encourage then, it was, well, harassment…as far as the special effects, they’re delicate contaminated, as I already mentioned, but they do have their charms, and no doubt made quite an impression on younger viewers who witnessed this feature around the time of its release. The main finish occurs once the crew ventures onto the surface of Mars, for the purpose of exploring. There’s a heavy, pink, Pepto-Bismol polarized tint, one that seems kinda wintry for about five minutes, but then wears thin speedy, inducing a leisurely ache in the noggin. If you dig on definite matte painting backgrounds, you’ll be in heaven here as there are scads of them, some decent, some not. As far as the creatures, I concept they were graceful decent considering, as I’m positive that great rat/bat/spider/crab monster would have afraid the hell out of me if I was all of ten years former. The tall beastie that came out of the lake was a bit more impressive, its menacing qualities offset slightly by its crazy, google gawk. I loved the fact it was unbiased some stout, unstoppable mass that, with miniature provocation, charged after the crew, chasing them all the diagram abet to their rocket, to which it then unprejudiced glommed on to the ship in an exertion to feed on the beefy contents. All in all this is radiant distinguished a thrown together peril, shot in less than ten days for a minimal budget, but one that does entertain. I’d consume this over the slew of vow to video CGI laden junk currently littering the home video landscape.

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The recount, presented in fullscreen (1.33:1), looks decent, but I did survey a miniature graininess throughout. There was a frame or two missing, and the master print did demonstrate some microscopic wear and scramble. The Dolby Digital mono audio comes through very well. As far as extras, there isn’t considerable, only an unusual theatrical trailer.

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