The Magic Sword – A fantasy adventure from director Bert I. Gordon

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At a time in the 1960s when Italian sword and sandal action films dominated the drive-in movie screens, American director Bert I. Gordon created this medieval fantasy adventure epic – The Magic Sword (1962). Gordon was known for films depicting giants, usually as a result of atomic radiation, such as a giant spider, giant grasshoppers, giant ants, a giant man in diapers, and even giant teenagers. The Magic Sword is considered by many of Gordon's fans as his best and most ambitious film. From a technical filmmaking and storytelling perspective, The Magic Sword is Gordon's best film.

Princess Helene (Anne Helm) has disappeared without a trace. Lodac the wizard, played brilliantly by Basil Rathbone, has kidnapped the princess. He appears before Helene's father, the king (Merritt Stone), and demands revenge for the king's father executing his sister at the age of 18 for witchcraft. Lodac releases seven curses on the land and threatens to feed the princess to his dragon in seven days. One of the king's knights – Sir Branton (Liam Sullivan), sets out to rescue the princess so he can marry her. Lodac warns that it will not be easy for Branton and his men to find his castle where the princess is being held in a cell.

Meanwhile, sorceress Sybil, played by Estelle Winwood, is foster mother to Sir George (Gary Lockwood), who will not allow George to leave their home until he is twenty-one and in the possession of a magic sword and a strong white horse. George wants to leave their home so he can rescue princess Helena first, and win her love. George tricks Sybil into getting trapped in an underground cavern so he can leave with the magic sword and white horse to find the princess. George assembles six brave knights to follow him on his journey to find the princess.

Sir George and his six knights appear before the king at his castle. George tells the king that he wants to save the princess, but sir Branton insists that he will be the one to rescue the princess and marry her. Branton challenges George to a duel, but his sword is broken across George's chest as he strikes him.

The Magic Sword is filled with many interesting set pieces and well done special effects for 1962. Brandon, George and their knights encounter a forest of dead trees and a giant man eating ogre. The forest is filled with bubbling lava pits. The knights battle the giant with spears. George attempts to rescue a knight who has fallen into a hot lava pit. While rescuing the knight, George is pushed into the pit by Branton.

Another set piece shows cone headed humans in a castle feasting at a table while the eyes of stone gargoyles move back and forth near a fireplace mantle. The princess encounters a hanging cage of midgets when she wanders away from her cell. An uncredited appearance by midget actor Angelo Rossitto happens during a scene in princess Helene's cell. Cult actress Maila Nurmi, known for her iconic role of Vampira on TV in the 1950s and Plan 9 From Outer Space (1959), appears in the film as a hag. Another cult actor, Richard Kiel, plays a pinhead character.

Director Gordon saves his best set piece and special effect for the ending of the film when Sir George frees Princess Helene from a two headed fire breathing dragon. George battles the dragon with his magic sword. This final scene shows the connection of the Magic Sword to the story of St. George and The Dragon. Helene and George are married and everyone lives happily ever after, just like in a fairytale story. The film was also marketed as La Espada Magica, St. George and The Dragon, St. George and The Seven Curses, The Seven Curses of Lodac, Happy viewing. 

(The Magic Sword is available at many online locations. A great print is at Tubi. It is also on Amazon Prime. And here's a link to a You Tube print.)

Reviewed by Steve D. Stones

Bert I. Gordon and grasshoppers! Beginning of the End

Remembering Bert I Gordon's Beginning of the End

Long before Peter Graves appeared in the hit 1960s TV show Mission Impossible, he began his acting career starring in a number of low budget science fiction films of the 1950s. Some of the low budget science fiction films that he appeared in include: Killers From Space, Red Planet Mars, It Conquered The World, and my favorite: Beginning of The End.

I have a fondness for insects, particularly grasshoppers. As a boy, I would hunt them down in the fields near my home and pull off their legs or place them in a milk carton and blow them up with Black Jack firecrackers. Sometimes I even liked to put them on anthills and watch the ants attack them.

As penance for my behavior, I have used them as a subject in many of my paintings. The large grasshoppers in Bert I. Gordon’s Beginning of The End would likely get their revenge on me if they knew how badly I treated them as a child.

The 1950s ushered in a series of science fiction films with the theme of something growing large as a result of atomic radiation. Giant spiders, giant grasshoppers, a giant bird, giant ants, a giant colossal man and even a giant reptile from Japan named Godzilla were all popular forms of entertainment for post-World War II movie-goers. Director Bert I. Gordon was the master of the “giant genre.” In fact, his initials spell BIG, so he was often referred to as “Mr. Big.”

A small town named Ludlow in the suburbs of Chicago has been entirely wiped out without a trace. Pretty photographer and newspaper journalist Audrey Ames, played by Peggie Castle, is there to report on the town's devastation. The local authorities and the military are anxious to keep the story quiet, so they forbid Castle from taking pictures and printing any information about the devastation. Her newspaper editor suggests she investigate the U.S. Department of Agriculture.

There she meets local entomologist Dr. Ed Waynewright, played by Peter Graves, who is conducting atomic experiments on plants. After being fascinated by Graves’ large plants, Castle convinces him and his laboratory assistant to look over the grounds of a recently destroyed warehouse near the Department of Agriculture. While investigating the grounds, they encounter several giant grasshoppers. Graves’ lab assistant is attacked and killed by one of them.

What I find so interesting about this film is the fact that actual grasshoppers are used in many of the scenes. Unlike so many giant insect films of the 1950s that use fake-looking paper mache or clay modeled insects, such as The Deadly Mantis, Monster From Green Hell or The Black Scorpion,

Beginning of The End manages to use the real thing, even if it is through a rear projection method on a screen. Even the giant ants in Gordon’s own 1977 film, Empire of The Ants appear to be very fake looking and unconvincing, unlike this film. Plus, the film is not dependent on the CGI effects that we see in so many films of today. This makes it much more authentic and interesting to me.

Like so many low-budget science fiction films of the 1950s, the film manages to use many stock footage shots of military men loading shells into cannons and running around with rifles. There are also stock shots of mass numbers of people running in the streets, similar to The Day the Earth Stood Still and Earth vs. The Flying Saucers. One particularly effective shot is of a woman standing in her high-rise Chicago apartment combing her hair after getting out of the shower. As she combs her hair in a white bathrobe, a giant grasshopper appears at her window, She screams loudly as the grasshopper breaks the window and the camera quickly zooms up close to the grasshopper’s head. (Too bad Oprah’s HARPO Studios in Chicago wasn’t around in the 1950s for the giant grasshoppers to pounce on!)

Other effective shots are of Graves and military men combing through a small forest as they encounter a number of grasshoppers. The grasshoppers actually look as though they’re walking between the trees as the men run to avoid them. One of the grasshoppers even manages to chase the army vehicle as it quickly drives out of the forest. These are some of the most effective sequences in the film. For unintentional humor, there is a sequence of Graves trying to capture a giant grasshopper so he can record the sounds it makes into a recorder. Somehow the grasshopper manages to make its way into a cage in Graves’ high-rise building laboratory in Chicago. How it managed to get through the door and into a cage in the lab is anyone’s guess, but it provides some unintentional humor in the film.

Also for laughs is the end sequence when the military general, played by veteran actor Morris Ankrum, uses the grasshopper call to drive them out into the nearby lake like the Pied Piper. An aerial view of the grasshoppers reveals that they are obviously floating in someone’s bathtub or bathroom sink. This is an important ending to the film, but also a very funny one too.

Beginning of The End is a film that taps into the atomic fears that so many viewers had in the post-World War II era of the 1950s. I highly recommend the film to any fan of low-budget science fiction films, especially insect lovers!

-- Steve D. Stones

Beginning of the End -- Giant grasshoppers on the attack!

As "Beginning of the End" is the feature for this Saturday's "Svengoolie" show, we offer Plan9Crunch readers a review of the film.

Remembering Bert I Gordon's Beginning of the End

By Steve D. Stones

Long before Peter Graves appeared in the hit 1960s TV show Mission Impossible, he began his acting career starring in a number of low budget science fiction films of the 1950s. Some of the low budget science fiction films that he appeared in include: Killers From Space, Red Planet Mars, It Conquered The World, and my favorite: Beginning of The End.

I have a fondness for insects, particularly grasshoppers. As a boy, I would hunt them down in the fields near my home and pull off their legs or place them in a milk carton and blow them up with Black Jack firecrackers. Sometimes I even liked to put them on anthills and watch the ants attack them.

As penance for my behavior, I have used them as a subject in many of my paintings. The large grasshoppers in Bert I. Gordon’s Beginning of The End would likely get their revenge on me if they knew how badly I treated them as a child.

The 1950s ushered in a series of science fiction films with the theme of something growing large as a result of atomic radiation. Giant spiders, giant grasshoppers, a giant bird, giant ants, a giant colossal man and even a giant reptile from Japan named Godzilla were all popular forms of entertainment for post-World War II movie-goers. Director Bert I. Gordon was the master of the “giant genre.” In fact, his initials spell BIG, so he was often referred to as “Mr. Big.”

A small town named Ludlow in the suburbs of Chicago has been entirely wiped out without a trace. Pretty photographer and newspaper journalist Audrey Ames, played by Peggie Castle, is there to report on the town's devastation. The local authorities and the military are anxious to keep the story quiet, so they forbid Castle from taking pictures and printing any information about the devastation. Her newspaper editor suggests she investigate the U.S. Department of Agriculture.

There she meets local entomologist Dr. Ed Waynewright, played by Peter Graves, who is conducting atomic experiments on plants. After being fascinated by Graves’ large plants, Castle convinces him and his laboratory assistant to look over the grounds of a recently destroyed warehouse near the Department of Agriculture. While investigating the grounds, they encounter several giant grasshoppers. Graves’ lab assistant is attacked and killed by one of them.

What I find so interesting about this film is the fact that actual grasshoppers are used in many of the scenes. Unlike so many giant insect films of the 1950s that use fake-looking paper mache or clay modeled insects, such as The Deadly Mantis, Monster From Green Hell or The Black Scorpion, Beginning of The End manages to use the real thing, even if it is through a rear projection method on a screen. Even the giant ants in Gordon’s own 1977 film, Empire of The Ants appear to be very fake looking and unconvincing, unlike this film. Plus, the film is not dependent on the CGI effects that we see in so many films of today. This makes it much more authentic and interesting to me.

Like so many low-budget science fiction films of the 1950s, the film manages to use many stock footage shots of military men loading shells into cannons and running around with rifles. There are also stock shots of mass numbers of people running in the streets, similar to The Day the Earth Stood Still and Earth vs. The Flying Saucers. One particularly effective shot is of a woman standing in her high-rise Chicago apartment combing her hair after getting out of the shower. As she combs her hair in a white bathrobe, a giant grasshopper appears at her window, She screams loudly as the grasshopper breaks the window and the camera quickly zooms up close to the grasshopper’s head. (Too bad Oprah’s HARPO Studios in Chicago wasn’t around in the 1950s for the giant grasshoppers to pounce on!)

Other effective shots are of Graves and military men combing through a small forest as they encounter a number of grasshoppers. The grasshoppers actually look as though they’re walking between the trees as the men run to avoid them. One of the grasshoppers even manages to chase the army vehicle as it quickly drives out of the forest. These are some of the most effective sequences in the film. For unintentional humor, there is a sequence of Graves trying to capture a giant grasshopper so he can record the sounds it makes into a recorder. Somehow the grasshopper manages to make its way into a cage in Graves’ high-rise building laboratory in Chicago. How it managed to get through the door and into a cage in the lab is anyone’s guess, but it provides some unintentional humor in the film.

Also for laughs is the end sequence when the military general, played by veteran actor Morris Ankrum, uses the grasshopper call to drive them out into the nearby lake like the Pied Piper. An aerial view of the grasshoppers reveals that they are obviously floating in someone’s bathtub or bathroom sink. This is an important ending to the film, but also a very funny one too.

Beginning of The End is a film that taps into the atomic fears that so many viewers had in the post-World War II era of the 1950s. I highly recommend the film to any fan of low-budget science fiction films, especially insect lovers!

Even Lon Chaney Jr. can't save 'The Cyclops'

By Doug Gibson

I was really looking forward to seeing "The Cyclops." It had two points in its favor: One was that it was directed by Bert I. Gordon, or Mr. BIG, who made a career out of delightfully shoddy but flashy special effects. Anyone who has seen "Food of the Gods" understands how fun a BIG film can be. Also, it stars Lon Chaney Jr., years after his heyday at Universal, but hey, it's Chaney Jr.

Also, the film stinks. The FX are really bad. They're old-fashioned, badly placed photo-enhanced schlock, you know, backscreen projection and so on, and the cyclops isn't really a traditional cyclops. He's a deformed monster grown too tall thanks to uranium contamination. He has one eye because skin has grown over his eye. My young son disdainfully disses this film as the "fake cyclops" movie.

Chaney Jr. is wasted too. He doesn't play anyone sinister. In fact, he plays a thuggish, cowardly type who is supposed to be a greedy businessman. He's miscast, though. He doesn't seem smart enough to have succeeded in business. Anyway: Four people, including Chaney, head off to Mexico in a plane to explore an area allegedly rich in uranium. The locals don't want then to go, but they do anyway. Besides Chaney, there's a wisecracking pilot, a scientist, a woman whose test pilot husband disappeared over that area of Mexico a couple of years past. They are played by (pilot) Tom Drake, woman (Gloria Talbot) and scientist (James Craig). The scientist, by the way, has the hots for Talbot, the wife of the missing test pilot, played by Duncan Parkin.

Yep, you guessed it. Once they land in the Mexican they discover that the high amount of uranium has turned all the animals and insects huge (although there seems to be very few wildlife) and eventually they find the wife's husband, turned into a babbling, grotesque hulk with one good eye. During all this Chaney's despicable character dies in a cave. That scene is so poorly done that it was necessary for others in the cast to mention that Chaney had died. Honestly, from watching the scene, you wouldn't be sure. The dialogue is melodramatic; the "romance" scenes between Craig and Talbot are offensive given that it's unclear if her husband is dead and pilot Drake is always cracking unfunny jokes. Chaney, as mentioned, is boorish and cowardly.

The film was released by Allied Artists and ran 66 minutes. The "cyclops" Parkin also played the giant in "War of the Colossal Beast." If you want to watch it, click on the YouTube link above.

Earth Versus the Spider - a '50s monster flick

Earth Versus the Spider, 1958, 73 minutes, black & white, American International Pictures, directed by Bert I. Gordon, produced by Samuel Z. Arkoff. Starring Ed Kemmer as Mr. Kingston, June Kenny as Carol Flynn, Eugene Persson as Mike Simpson, Gene Roth as Sheriff Cagle, Hank Patterson as Hugo the Janitor, Merritt Stone as Mr. Flynn. (Also known as The Spider) Schlock-Meter rating: 7 1/2 stars out of 10.

By Doug Gibson

It would have been fun to have been alive and old enough to go to the movies in the 1950s. Imagine being able to see The Incredible Shrinking Man, I was a Teenage Werewolf, The Creature from the Black Lagoon, Attack of the Puppet People, and so many others on a big screen. Earth Versus the Spider who have also been a treat to see as well. Okay, it’s pretty lame, stuffed full of stock characters and a lame looking big spider (courtesy of the all-time cheap FX winner, Mr. BIG, Bert I. Gordon), and the web in the “cave” looks like rope (and why doesn’t it stick to and trap those kids who travel all over it?).

But the film is fun to watch, and that garners it a 7 and a half on the Schlock-Meter. The plot concerns a giant spider who lives in a cave outside a small town. One day a typical dad disappears while driving home with a gift for his typical high school-age daughter. She and her typical high school boyfriend search for him in a typical cave and escape the spider. A typical beer-bellied sheriff laughs at their story, but is persuaded by a typical high school science teacher “egghead” to check things out. They encounter the spider and supposedly kill it with massive doses of DDT. But typically, the spider awakes in the high school gym during a typical school dance. Typically, the spider kills a typical janitor too stupid to run. Typically, the typical girl and her typical boyfriend have returned to the typical cave to find the gift dear old typical dad bought her (she left it there). Typically, the big spider returns to the cave and there’s a battle royal (or the type you can get for these type of low-budget films).

The spider makes a cool, annoying high-pitched whine whenever it is close and sounds a lot like several dozen mental patients screaming at once. The spider’s victims are rubber fake corpses with drawn faces made to look as if the blood has been sucked out of them. By all means rent Earth Versus the Spider. Sure it’s lame, but there’s hardly a dull moment in this tame predecessor to today’s Scream movies. It’s a look at bargain filmmaking generations ago.

Watch the MST3K riff below:

Review: Earth Versus the Spider

Earth Versus the Spider, 1958, 73 minutes, black & white, American International Pictures, directed by Bert I. Gordon, produced by Samuel Z. Arkoff. Starring Ed Kemmer as Mr. Kingston, June Kenny as Carol Flynn, Eugene Persson as Mike Simpson, Gene Roth as Sheriff Cagle, Hank Patterson as Hugo the Janitor, Merritt Stone as Mr. Flynn. (Also known as The Spider) Schlock-Meter rating: 7 1/2 stars out of 10.

It would have been fun to have been alive and old enough to go to the movies in the 1950s. Imagine being able to see The Incredible Shrinking Man, I was a Teenage Werewolf, The Creature from the Black Lagoon, Attack of the Puppet People, and so many others on a big screen. Earth Versus the Spider who have also been a treat to see as well. Okay, it’s pretty lame, stuffed full of stock characters and a lame looking big spider (courtesy of the all-time cheap FX winner, Mr. BIG, Bert I. Gordon), and the web in the “cave” looks like rope (and why doesn’t it stick to and trap those kids who travel all over it?).

But the film is fun to watch, and that garners it a 7 and a half on the Schlock-Meter. The plot concerns a giant spider who lives in a cave outside a small town. One day a typical dad disappears while driving home with a gift for his typical high school-age daughter. She and her typical high school boyfriend search for him in a typical cave and escape the spider. A typical beer-bellied sheriff laughs at their story, but is persuaded by a typical high school science teacher “egghead” to check things out. They encounter the spider and supposedly kill it with massive doses of DDT. But typically, the spider awakes in the high school gym during a typical school dance. Typically, the spider kills a typical janitor too stupid to run. Typically, the typical girl and her typical boyfriend have returned to the typical cave to find the gift dear old typical dad bought her (she left it there). Typically, the big spider returns to the cave and there’s a battle royal (or the type you can get for these type of low-budget films).

The spider makes a cool, annoying high-pitched whine whenever it is close and sounds a lot like several dozen mental patients screaming at once. The spider’s victims are rubber fake corpses with drawn faces made to look as if the blood has been sucked out of them. By all means rent Earth Versus the Spider. Sure it’s lame, but there’s hardly a dull moment in this tame predecessor to today’s Scream movies. It’s a look at bargain filmmaking generations ago.

-- Doug Gibson

Earth Versus the Spider

Earth Versus the Spider, 1958, 73 minutes, black & white, American International Pictures, directed by Bert I. Gordon, produced by Samuel Z. Arkoff. Starring Ed Kemmer as Mr. Kingston, June Kenny as Carol Flynn, Eugene Persson as Mike Simpson, Gene Roth as Sheriff Cagle, Hank Patterson as Hugo the Janitor, Merritt Stone as Mr. Flynn. (Also known as The Spider) Schlock-Meter rating: 7 1/2 stars out of 10.

It would have been fun to have been alive and old enough to go to the movies in the 1950s. Imagine being able to see The Incredible Shrinking Man, I was a Teenage Werewolf, The Creature from the Black Lagoon, Attack of the Puppet People, and so many others on a big screen. Earth Versus the Spider who have also been a treat to see as well. Okay, it’s pretty lame, stuffed full of stock characters and a lame looking big spider (courtesy of the all-time cheap FX winner, Mr. BIG, Bert I. Gordon), and the web in the “cave” looks like rope (and why doesn’t it stick to and trap those kids who travel all over it?).

But the film is fun to watch, and that garners it a 7 and a half on the Schlock-Meter. The plot concerns a giant spider who lives in a cave outside a small town. One day a typical dad disappears while driving home with a gift for his typical high school-age daughter. She and her typical high school boyfriend search for him in a typical cave and escape the spider. A typical beer-bellied sheriff laughs at their story, but is persuaded by a typical high school science teacher “egghead” to check things out. They encounter the spider and supposedly kill it with massive doses of DDT. But typically, the spider awakes in the high school gym during a typical school dance. Typically, the spider kills a typical janitor too stupid to run. Typically, the typical girl and her typical boyfriend have returned to the typical cave to find the gift dear old typical dad bought her (she left it there). Typically, the big spider returns to the cave and there’s a battle royal (or the type you can get for these type of low-budget films).

The spider makes a cool, annoying high-pitched whine whenever it is close and sounds a lot like several dozen mental patients screaming at once. The spider’s victims are rubber fake corpses with drawn faces made to look as if the blood has been sucked out of them. By all means rent Earth Versus the Spider. Sure it’s lame, but there’s hardly a dull moment in this tame predecessor to today’s Scream movies. It’s a look at bargain filmmaking generations ago.

-- Doug Gibson

A look at Mr. BIG's Grasshoppers

Remembering Bert I Gordon's Beginning of the End

Long before Peter Graves appeared in the hit 1960s TV show Mission Impossible, he began his acting career starring in a number of low budget science fiction films of the 1950s. Some of the low budget science fiction films that he appeared in include: Killers From Space, Red Planet Mars, It Conquered The World, and my favorite: Beginning of The End.

I have a fondness for insects, particularly grasshoppers. As a boy, I would hunt them down in the fields near my home and pull off their legs or place them in a milk carton and blow them up with Black Jack firecrackers. Sometimes I even liked to put them on anthills and watch the ants attack them.

As penance for my behavior, I have used them as a subject in many of my paintings. The large grasshoppers in Bert I. Gordon’s Beginning of The End would likely get their revenge on me if they knew how badly I treated them as a child.

The 1950s ushered in a series of science fiction films with the theme of something growing large as a result of atomic radiation. Giant spiders, giant grasshoppers, a giant bird, giant ants, a giant colossal man and even a giant reptile from Japan named Godzilla were all popular forms of entertainment for post-World War II movie-goers. Director Bert I. Gordon was the master of the “giant genre.” In fact, his initials spell BIG, so he was often referred to as “Mr. Big.”

A small town named Ludlow in the suburbs of Chicago has been entirely wiped out without a trace. Pretty photographer and newspaper journalist Audrey Ames, played by Peggie Castle, is there to report on the town's devastation. The local authorities and the military are anxious to keep the story quiet, so they forbid Castle from taking pictures and printing any information about the devastation. Her newspaper editor suggests she investigate the U.S. Department of Agriculture.

There she meets local entomologist Dr. Ed Waynewright, played by Peter Graves, who is conducting atomic experiments on plants. After being fascinated by Graves’ large plants, Castle convinces him and his laboratory assistant to look over the grounds of a recently destroyed warehouse near the Department of Agriculture. While investigating the grounds, they encounter several giant grasshoppers. Graves’ lab assistant is attacked and killed by one of them.

What I find so interesting about this film is the fact that actual grasshoppers are used in many of the scenes. Unlike so many giant insect films of the 1950s that use fake-looking paper mache or clay modeled insects, such as The Deadly Mantis, Monster From Green Hell or The Black Scorpion, Beginning of The End manages to use the real thing, even if it is through a rear projection method on a screen. Even the giant ants in Gordon’s own 1977 film, Empire of The Ants appear to be very fake looking and unconvincing, unlike this film. Plus, the film is not dependent on the CGI effects that we see in so many films of today. This makes it much more authentic and interesting to me.

Like so many low-budget science fiction films of the 1950s, the film manages to use many stock footage shots of military men loading shells into cannons and running around with rifles. There are also stock shots of mass numbers of people running in the streets, similar to The Day the Earth Stood Still and Earth vs. The Flying Saucers. One particularly effective shot is of a woman standing in her high-rise Chicago apartment combing her hair after getting out of the shower. As she combs her hair in a white bathrobe, a giant grasshopper appears at her window, She screams loudly as the grasshopper breaks the window and the camera quickly zooms up close to the grasshopper’s head. (Too bad Oprah’s HARPO Studios in Chicago wasn’t around in the 1950s for the giant grasshoppers to pounce on!)

Other effective shots are of Graves and military men combing through a small forest as they encounter a number of grasshoppers. The grasshoppers actually look as though they’re walking between the trees as the men run to avoid them. One of the grasshoppers even manages to chase the army vehicle as it quickly drives out of the forest. These are some of the most effective sequences in the film. For unintentional humor, there is a sequence of Graves trying to capture a giant grasshopper so he can record the sounds it makes into a recorder. Somehow the grasshopper manages to make its way into a cage in Graves’ high-rise building laboratory in Chicago. How it managed to get through the door and into a cage in the lab is anyone’s guess, but it provides some unintentional humor in the film.

Also for laughs is the end sequence when the military general, played by veteran actor Morris Ankrum, uses the grasshopper call to drive them out into the nearby lake like the Pied Piper. An aerial view of the grasshoppers reveals that they are obviously floating in someone’s bathtub or bathroom sink. This is an important ending to the film, but also a very funny one too.

Beginning of The End is a film that taps into the atomic fears that so many viewers had in the post-World War II era of the 1950s. I highly recommend the film to any fan of low-budget science fiction films, especially insect lovers!

-- Steve D. Stones