A strange invader alights on a Scottish moor in a metallic space capsule, much to the consternation of local scientists Professor Elliot (Raymond Bond) and Dr. Mears (William Schallert). American newsman John Lawrence (Robert Clarke) falls in love with Elliot's daughter Enid (Margaret Field) while they investigate.  The visitor turns out to be related to the discovery of a rogue planet, called Planet X, which will soon pass very near the Earth.  Once they capture the alien, our heroes try hard to communicate with him.  Unfortunately the ambitious Mears tries to force the alien to give up more secrets; the Man from Planet X responds to Mears' hostility by fortifying his landing site and taking hostages, including Enid, with a ray gun that turns men into his slaves.  Only then does it become apparent that the alien has come as the first representative of a massive invasion from Planet X.  Trapped in a nightmare situation, John has to convince first the local constable and outside authorities to use military force against the Alien, before Planet X draws near and an attack can commence!

One of United Artists' first releases after its reorganization by Arthur Krim, The Man From Planet X's status of being the first movie about an invader from space is incidental.  This is an Edgar Ulmer movie first and foremost.  The production values are minimal, but with a lot of fog and some leftover pieces of a castle set, the 71 minutes of Planet X are a stylist's delight.  With half the running time played in front of painted backdrops or dominated by foggy miniatures, it is sheer directorial skill that keeps the story moving.

Using a dreamlike flashback structure and some portentous voiceover, the story puts together its various parts in record time - pleasant hero, sweet heroine, unpleasant villain.  The villain in this case is not the initially benign alien, but William Schallert's perfidious professor, who has probably played more bits in '50s science fiction movies than anyone.  Our alien is a mysterious fellow whose introduction is very well prepared.  The fact that his spaceship looks like a Christmas tree ornament, and his spacesuit a collection of plumbing accessories topped by a goldfish bowl, isn't a liability.  His face is just a stiff mask, but when he leans unexpectedly into the porthole to frighten Ms. Field (mother of Sally Field, we're given to understand) we all jump just the same.  Z-movie favorite Robert Clarke makes a fine hero, if perhaps a bit too thoughtful and gentle for the he-man 1950s.

Perhaps it's the paucity of other graces that makes Ulmer's direction stand out so well.  The script is no gem, with its side trips into the problems the constable has with figuring out the mystery we already know about.  The spirited acting is about all Ulmer has on his side.  It's an object lesson to determine why Ulmer, with as few or fewer resources than many another director, makes the same minimal sets every other lowbudget director uses, yield such a cinematic flow.

Setting aside what movie showed what first, the treatment of the alien in The Man from Planet X is interesting all by itself.  On this score the script is rather confused.  He is the vanguard of a planned invasion (When? In the fifteen seconds it takes for the animated Planet X to zoom past the Earth?) but also a victim of human cruelty and greed.  He's a peaceful and cooperative guest, but also coldly turns earthmen into his slaves.  Presented as the typical horrifying threat to Earthly peace, he seems so easily vanquished as to be relatively harmless.  Yes, this film is about the nuances of Ulmer's vision, and is best appreciated in the present tense, where you'll be less likely to challenge its less logical aspects.

On a scale of Excellent, Good, Fair, and Poor,
The Man from Planet X rates:
Movie: Good
Video: Good
Sound: Good
Supplements: Trailer
Packaging: Keep case
Reviewed: April 3, 2001