SYNOPSIS: A Venusian books a room at a British country inn. NOTES: Movie debut of Marigold Russell.COMMENT: The first of six minor movies directed by Burt Balaban, this is probably the best-thanks chiefly to a superior group of players who work wonders with a heavy-on-clichés, light-on-ideas script that was obviously inspired by The Day the Earth Stood Still. Oddly, Miss Neal (so superb in Day the Earth...) is not so impressive here as she is forced to struggle against the opposing forces of a flimsy screenplay and too heavily indulgent direction. Helmut Dantine as the aggressive Venusian scores more forcefully, but the audience's real interest is constantly deflected to the minor characters, particularly the lovely Marigold Russell, quietly forceful Cyril Luckham (in only his second film appearance) as the doctor, and Nigel Green (one of my favorite stars) who brings such expertise to his small role as a policeman, he almost makes the film worth seeing on his account alone. Production values are definitely second-drawer, but credits come over as competent enough. Kenneth Talbot's cinematography has its attractive moments, and Eric Spear has contributed a suitably romantic musical theme.OTHER VIEWS: Despite all her indulgent close-ups, Hollywood import Patricia Neal is none too flatteringly photographed. It's attractive newcomer Marigold Russell who walks away with the film's acting honors (though 37-year-old Willoughby Gray, who made a career playing older men, seems too young to be her father. The director should have had enough sense to change this relationship to "brother"). Writers Jacoby and Leslie present some mildly interesting ideas here and there, but there's a lot of obvious padding to build up the parts of the two principals and listless Derek Bond proves a liability rather than an asset in his "other man" role.

Some careful thought and preparation is evident in this production but overall it is made in a non-dynamic manner, very deliberate and you might say too slow. The direction seems primitive. Once this director sets his camera for a scene it is seemingly planted in concrete- it ain't gonna move. In some scenes maybe coffee or caffeine would have helped the director. Military personnel just stand around, and even scenes beside a Monet-esque lily pond are flat and unromantic.The British actors are really good, especially the grey haired doctor and young Willoughby Gray who portrays "Gretchen". Helmut Dantine is very focused and is riveting in the lead role. In contrast, Patricia Neal looks as if she would rather be somewhere else and is not effective in her role. The music is mostly of the orchestrated "English pastoral" style popular in the early to mid 20th century but other than providing a classy sound is not lively enough for a sci-fi film. There is a huge early-50's Packard auto that is loaded with chrome and very noticeable but is thoroughly ugly- its too bad because the earlier post-WWII Packard designs were generally more elegant and graceful. I always enjoy looking for mid-century ambiance and trappings in films from the era such as I found in this movie.Some interesting science can be found here such as a proposed landing in a magnetic field area and concepts of interplanetary gravitation.An advanced being lectures us on how stupid and crude we are in routine fashion that has been done in films numerous times before and since, so this aspect of the theme seems rather redundant.

If you sucked all the grandeur and excitement and great acting out of "The Day The Earth Stood Still", you'd essentially end up with "Devil Girl From Mars", are you with me? (Or just take out the big budget and you'd have the "Quatermass" serials...still really good.) Now, take "Devil Girl" (or Quatermass) and remove the special effects, the cool costumes, the sense of menace, and the action scenes. Throw in Patricia O'Neal, but make sure she sleepwalks though her part. Potentially fairly awful, but someone like Theodore Sturgeon could still do something very interesting with it.Now carefully stage each and every scene and exchange of dialog so that it drags on endlessly. Dose the results with Dramamine, and you've got something like this movie, a talky, static, dull little set piece that thinks it's being classy and cerebral, but really just marches in place without doing anything of interest. I realize that even in British cinema, they can't all be gems...but it always surprises me when a Brit film studio releases something like this.

Stranger From Venus is a nice little film, but really has not much to recommend it. Obviously it is adapted/stolen from the Robert Wise classic, The Day The Earth Stood Still and even has Patricia Neal as well as the female star. But even for a fifties science fiction film, there is a serious lack of special effects...especially in comparison with the other movie. The few shots of the Venusian spacecrafts look to be very childishly done and do not mesh well at all with the other footage. This film is one of the precursors of the wave of excellent British science fiction that was heralded in by Terrence Fisher, Val Guest and the rise of Hammer Films. The script for Stranger From Venus does have some of eloquence of the films to come, but the ideas just don't gel properly.