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The Giant Behemoth

The Giant Behemoth is a 1959 science fiction giant monster film produced by Allied Artists Productions. It was released to American theaters on March 3, 1959 and to British theaters in October of the same year.

The Giant Behemoth

The Giant Behemoth[a] is a 1959 British-American science fiction giant monster film directed by Eugène Lourié, with special effects by Willis H. O'Brien, Pete Peterson, Irving Block, Jack Rabin, and Louis de Witt. The film stars Gene Evans and André Morell. The screenplay was written by blacklisted author Daniel Lewis James (under the name "Daniel Hyatt") with director Lourié.

Scientist Steve Karnes delivers a speech to a British scientific society, led by Professor James Bickford, about the dangers to marine life posed by nuclear testing. Before Karnes can return to the United States, a real-life example of his concern materialises when a fisherman in Looe, Cornwall is killed on the beach, and his dying word is "behemoth". Later, thousands of dead fish are washed ashore.

Karnes and Bickford travel to Cornwall to investigate the fisherman's death and, although his injuries seem to include radiation burns, they find no evidence of radiation on the beach. Then, Karnes goes to inspect a passenger ship found wrecked and badly damaged, with the loss of all on board. Back in London, the two scientists discover that samples of the dead fish contain large amounts of radioactive contamination. Karnes begins to suspect that the "behemoth" that the fisherman described seeing is some kind of large marine animal that has mutated as a result of being contaminated by nuclear testing.

Karnes and Bickford try to persuade authorities to close the River Thames, but the military officer believes that their radar tracking systems will be enough to detect the behemoth and prevent it from getting near the city. Unfortunately, the dinosaur appears to be invisible to radar. Dr. Sampson and some other scientists spot it from a Royal Navy helicopter, but the radar equipment tracking the helicopter sees no sign of the beast, which destroys the helicopter when it gets too close. Soon, the behemoth surfaces in the Thames and capsizes the Woolwich Ferry.

Rising from the river, the creature sets the city on fire and blood. Bickford and Karnes advise the military that the best way to kill the beast will be to administer a dose of radium, hoping to accelerate the radiation sickness that is already slowly killing it. While they prepare the dose, the behemoth continues its rampage, eventually plummeting through London Bridge back into the Thames.

Karnes and Bickford set their plan into action. An X-class submarine with Karnes on board carries a torpedo filled with radium into the Thames in pursuit of the monster. During an initial pass, the behemoth takes a bite out of the mini-sub, but Karnes convinces the submarine captain to have another go. This time, they succeed in firing the torpedo into the monster's mouth, and the behemoth roars in pain. Observers in helicopters later confirm the monster's demise.

American film critic Andrew Wickliffe considered the lead up to the appearance of the monster to be more interesting than the rampage that follows, writing, "I'm not sure the British are really suited for giant monster movies. No offense to the Brits, but watching a bunch of folks stand around and keep the stiff upper lip while radioactive monsters from the deep attack London isn't too much fun".[5]

'Statuesque' Allison Hayes (The Unearthly) is Nancy Archer, a spoiled heiress living in a desert palace furnished with cheap junk and ratty carpets. Contact with a bald giant wearing a tunic off the 'Medieval' rack at Western Costume turns her into the colossal babe promised by the title, seen on the sexy poster (used on Warner's cover) and memorialized in a song by The Tubes: "All she did / To get her kicks / Was step on all the men." What we see most of the time is a floppy, pasty-white giant hand prop; Allison finally appears in a queen-sized canvas bikini, crudely matted into scenes or tearing balsa-wood rafters off of buildings.

Oh lord. This may have been one of the slowest and most uninteresting films on this challenge. It sucks, cause even though this is my challenge I still have to review it even if it stinks, and yeah this stunk badly. Not like the last film, this had no featuring monster until the last 20 odd minutes and by then I was so out of the film I instead just hopped on discord to talk with friends. It sucks though, because what we did get out of seeing the behemoth was decently cool, but the time it spent building up to that was tiresome and boring.

Celebrating 60 years in 2019, Giant Behemoth rises to the level of giant monster curiosity, left to stop motion die-hards and those fascinated by nuclear cinema. Sadly, neither of those demographics get what they came for.

The Giant Behemoth was first mentioned by the old fisherman Thomas Trevethan in his final word "behemoth". He and thousands of dead fish are found washed ashore on a Britain beach. Meanwhile, two scientists named Steve Karnes and James Bickford collect enough samples which lead them to assume radiation was the cause of death, and the "behemoth" is theorized to be some kind of large marine animal that had also been infected by radiation as well.

Well, Karnes and Bickford decide to take a trip over to Wales to find out what the hell is going on. Bickford and the government are skeptical about the claims of a behemoth or about radiation poisoning. When another group of people die of radiation poisoning, they discover a huge footprint of the creature who is killing people with its radiation. Dr. Sampson (Jack MacGowran) is brought in and he says a prehistoric aquatic dinosaur is emitting electrical pulses of radiation. He tells Karnes and Bickford that this giant creature is also dying of radiation. He posits that this creature is headed to shallow waters and that London and the Thames are most likely the target.

Two scientists investigating these mysteries discover something far more frightening than their worst nightmares: A giant, radioactive sea creature that has been horribly mutated by the effects of radioactive fallout staggers from beneath the depths bringing death to every living thing in its path.

The horrors of the Atomic Age threaten Britain when thousands of fish wash up dead on its shores and fishermen are found dead at sea. Two scientists investigating these mysteries discover something far more frightening than their worst nightmares: a giant, radioactive sea creature horribly mutated by the effects of radioactive fallout staggers from beneath the depths bringing death to every living thing in its path. Even worse, they realize the monster is heading for London! This stop-motion monsterpiece comes roaring to life in glorious Black and White thanks to this tremendous high definition rendition. 169 Widescreen

Eugene Lourie directed three giant-monster-on-the-loose films between 1953 and 1961, the seminal The Beast From 20,000 Fathoms, The Giant Behemoth, and finally, Gorgo, which was every monster-loving kid's dream come true. The story is straightforward (at 79 minutes, it has to be): Enterprising salvage operators risk life and limb to capture a giant prehistoric beast and then put it on display in London, hoping to make a tidy profit. An unforeseen problem arises in the form of the monster's leviathan parent, which proceeds to smash London to matchsticks in an effort to free its young. The movie's denouement, with the triumphant parent and child returning to the sea, is both refreshing and moving. The Roan Group has remastered Gorgo from a 35mm print, and the film is presented in its original 1:66 to 1 screen ratio. Sadly, this version is rather dark, and some of the visuals (which were quite striking in their time) suffer as a consequence. Still, it's far superior to many VHS versions of the movie that were previously available. This letterboxed edition of Gorgo shows up sporadically on American Movie Classics, so potential buyers can view the film prior to purchase. In spite of the fact that Gorgo is a technological dinosaur in terms of special effects, the monsters are more believable and winning than the human characters in Spielberg's Lost World, and kids are almost guaranteed to love it.

Apple has officially staked out its legal ground against the FBI. The technology giant filed a motion today. It's more than 350 pages long. It's a response to the federal court order telling the company to help authorities unlock an iPhone that had been used by a terrorist. Apple says the order violates both the First and Fifth Amendments to the Constitution and would set a dangerous precedent. Well, joining us now to talk about Apple's argument is Benjamin Wittes. He's a senior fellow in governance studies and editor-in-chief of the Lawfare blog at the Brookings Institution. Welcome to the program once again.

On the other hand, Apple is a company with the - one of the biggest market capitalizations in the world. And this is, you know, pocket change in resources to it. So one of the questions is, you know, do you have the same standard if you're a tiny, little startup that you do if you're a giant behemoth. And I don't think we know the answer to that question legally.

Whether one company can expand in so many directions within an industry and flourish (a strategy that so many others have tried and failed) is yet to be seen, but for now the depth and breadth of their reach is certainly impressive and as they emerge from bankruptcy it will be interesting to see what the future holds for this iconic behemoth in the music industry.

The announcement yesterday stoked fears among members that the arrival of the Chinese giant would herald censorship on the platform. Such a move is unlikely since, even if possible, doing so would trigger an exodus of users into the welcoming arms of the competition. 041b061a72


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