A fading Hollywood star finds leading roles harder to come by, and, in her desperation, resorts to an experimental anti-ageing treatment. Unfortunately, this has been derived from Venusian spores, and she transforms into an alien creature with a lust to kill…
Welcome to the world of Grade-Z movie mogul Fred Olen Ray. This micro-budgeted, uncredited remake of Roger Corman’s ‘The Wasp Woman’ (1959) may be credited to writer-director Kenneth J Hall, but it’s Ray who seems to have been the moving force behind the production. His name might not appear on the screen, but he produced the film and even directed a little of the finished product.
The film opens with a caption informing the audience that a probe has returned from Venus bringing alien spores and that the following story we’re about to see involves the misuse of these extra-terrestrial germs. We’re even shown a less than wonderful spacecraft model approaching Earth (probably sourced from one of Ray’s other productions). After the drawn-out opening credits that follow (never a good sign), a bearded man in a laboratory (Gary J Levinson) is attacked by a nasty orange glove puppet. He gets sick and lurches out to an alleyway where he interrupts a couple of bickering lovers and ends up caught between a jeep and a hard place.
This incident’s been arranged by Evelyn Avery (Dawn Wildsmith, billed here as Donna Shock), who works as the assistant to mad skin specialist Dr Zeitman (John Carradine). He’s too busy dying to know what she’s up to and hands over his great work to her before he finally expires. Wildsmith, who seems to have the same hairdresser as Elsa Lanchester’s ‘Bride of Frankenstein’, then takes the serum from Carradine’s research and offers it to over-the-hill film star, Lynne Roman (Bobby Bresee). She’s desperate to regain her youth so she can be cast in the prestigious lead of a new production by director Mark Randall (Mark Anthony). Bresee takes the injections, of course, and the inevitable transformations follow.
If the finished film has more than a touch of the ‘home movie’ vibe around it, then that’s for a good reason. Most of it was shot in Bresee’s real-life Beverley Hills house. Her character only leaves it twice; to go to a party with Anthony and to visit the office of her slimy agent Harry (Fox Harris). Of course, we don’t see her and Anthony at the party, or her travelling to the agent’s office (basically a desk he sits behind with a few posters on the wall from other Ray productions, including ‘The Tomb’ (1986) also with Carradine). At least Bresee didn’t have far to go after filming finished every night.
Carradine’s one scene in the picture was his conversation with Wildsmith (Mrs Fred Olen Ray, at the time). Ray directed it and made the dialogue as non-specific as possible so that he could insert the footage into subsequent movies, as and when required. He also supervised a different version of this film, hiring director Ted Newsom to add extra footage with actor Richard Harrison so that he could reissue it as ‘The Alien Within.’ Sadly, it doesn’t look as if Carradine had to do much research to get into character as the dying scientist. He seems to be having difficulty breathing and delivering his dialogue. This could have been great acting, of course, but, if so, it’s remarkably convincing.
If this all sounds like it makes for a terrible movie, then, yes, the film isn’t very good. However, surprisingly, there are a few compensations. To begin with, Bresee is quite good as the fading actress. Perhaps too good, if the intention was to present this as a comedy, which is possible given some of the corny dialogue and Wildsmith’s campy performance. The commentary on the problems of an actress ageing in Tinseltown is not exactly subtle, but it’s still valid. Bresee is betrayed by her agent, gets the brush off from director Anthony and finds that boyfriend, Brent (John Terrence) has traded her in for younger model, Tracy (Leslie Eve). Her only real friends are biographer, Ross (Drew Godderis) who can’t help with her career, and secretary Elaine (Pamela Gilbert), who is far too young and beautiful to be allowed to live!
Another plus is the full-sized creature FX designed by Ralph Miller III and executed by Hal Miles, Michael Deak and their crew. The monster doesn’t look great, and we never see the suit in motion, but, given the minimal resources that were probably available, it’s actually pretty good. Also, some of the gore FX, such as an arm being torn off, are even better. They look like they belong in a production of a far higher quality. There just isn’t enough of them. This becomes less of a surprise when we look at Miles and Deak’s subsequent credits.
Deak worked on entries in both the ‘Halloween’ series and the ‘Friday the 13th’ franchise and many productions of Charles Band’s Empire Pictures. He eventually graduated to the SFX crews of major studio tentpoles such as ‘Pirates of the Caribbean: The Curse of the Black Pearl’ (2003) and ‘Hulk’ (2003) before supervising the FX on Michael Bay’s ‘The Island’ (2005). He also worked on the ‘Tranformers’ series and ‘TRON: Legacy’ (2010) before taking a decade-long break to return for ‘Bill & Ted: Face The Music’ (2020). Miles specialised in animatronics, and his later credits include James Cameron’s ‘The Abyss’ (1989), ‘Gremlins 2: The New Batch’ (1990), ‘Terminator 2: Judgement Day’ (1991), ‘Mighty Morphin Power Rangers: The Movie’ (1995), among many others.
‘This sounds like something out of a bad science-fiction film,’ Bresee mutters at one point. Quite.