On a winters evening, an assortment of guests are sitting down to their evening meal at an isolated Scottish inn when suddenly a brilliant light descends. Out on the remote moorlands a spaceship has landed. From the craft descends Nyah - a latex clad dominatrix. When the hotel guests try and get help they discover that not only are the telephone’s down but our Ann Summers clad alien has erected an invisible force field around the house and garden. The reason this woman has travelled 340 million miles from Mars is to replenish the far off planet with male breeding stock following a devastating war between the sexes in which the male population had been wiped out. With the help of Chani a monstrous robot that resembles a fridge on legs, she forces the hotel patrons into a night of terror that demands a sacrifice of one of their number to save the rest.
This gem of a British B-movie was adapted from a stage play and has a grand line up led by the wonderful Patricia Laffan as the ruthless ray gun toting Martian who had previously appeared opposite Robert Taylor and Deborah Kerr in the 1951 MGM epic Quo Vadis. B-movie queen Hazel Court plays the London model Ellen Prestwick who has escaped to the Scottish Highlands following an unhappy love affair. Also marooned at the inn are Professor Arnold Hennessy a metallurgical expert played by Joseph Tomelty and the special correspondent Michael Carter played by Hugh McDermott. Peter Reynolds is an escaped convict whose girlfriend Adrienne Corri works at the bar of The Bonnie Charlie Inn. John Laurie and Sophie Stewart, who seem to get all the best lines, play the husband and wife who run this remote Inn.
|The sensual Patricia Laffan.|
Produced by the American brothers Edward J and Harry Lee Danziger for Danziger Productions, who did not have a good reputation in the British film making circles, and directed by Scottish filmmaker David MacDonald who after some considerable success in the 1930's and 40's was reduced to making B-movies in the 1950's for the Danziger's.
Although Devil Girl from Mars has its faults it is a prime example of high camp 1950's British science fiction at its trashy best mainly, in my opinion, because of the sensuality and erotic nature of the lead character which puts a different dimension on the film which at the time was seen as a warning about letting women's emancipation 'go to far'. The Monthly Film Bulletin's review from June 1954 opines, "Settings, dialogue, characterisation and special effects are of a low order; but even their modest unreality has its charm. There is really no fault in this film that one would like to see eliminated. Everything in its way is quite perfect" As another critic pointed out this is one of those cult movies that is loved for its badness, a film that gives a great deal of pleasure to a certain type of appreciative viewer who does not demand high art, but love’s movies like Slave Girls (1967) or Ken Russell's The Lair of the White Worm (1988).