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Attack of the 50 Foot Woman is a 1958 American low-budget science fiction feature film produced by Bernard Woolner for Allied Artists Pictures. It was directed by Nathan H. Juran from a screenplay by Mark Hanna, and starred Allison Hayes, William Hudson and Yvette Vickers. The original music... MORE
Attack of the 50 Foot Woman is a 1958 American low-budget science fiction feature film produced by Bernard Woolner for Allied Artists Pictures. It was directed by Nathan H. Juran from a screenplay by Mark Hanna, and starred Allison Hayes, William Hudson and Yvette Vickers. The original music score was composed by Ronald Stein. The film was a take on other movies that had also featured size-changing humans, namely The Amazing Colossal Man and The Incredible Shrinking Man, but substituting a woman as the protagonist instead of a man. The story concerns the plight of a wealthy heiress whose close encounter with an enormous alien being causes her to grow into a giantess. LESS
Hell hath no fury like a woman scorned... especially when you're fending off The Attack of the 50-Foot Woman! One of the most beloved camp classics of the 1950s begins with a three-way recipe for sci-fi disaster: Cheating husband Harry (William Hudson) is married to alcoholic heiress Nancy (Allison Hayes), but he's got a scheming mistress named Honey (Yvette Vickers) and a burning desire for Nancy's lavish inheritance. But before the greedy lovers can say "Super-Size Me," the insanely jealous Nancy gains a towering advantage: After exposure to radiation from a spherical alien satellite, Nancy grows to a height of (yep, you guessed it) and proceeds to wreak havoc as a giant dame with an attitude problem. As often happened with cheesy sci-fi and horror films of the Eisenhower era, the movie's deliriously exploitative poster promised more than the movie actually delivers, which perhaps explains why director Nathan Juran (whose next film was the comparatively lavish The 7th Voyage of Sinbad) opted to be credited as "Nathan Hertz." And while the special effects are cheesy and cheap (involving oversized miniatures, repeated process shots, see-through double-exposures, and a giant, rubbery arm used for King Kong-like clutching scenes), it's still possible to feel a hint of compassion for poor ol' Nancy, and that--along with the enjoyable performances of Hayes, Hudson, and Vickers--is probably why Attack has gained such a loyal cult following over the decades. Fueled by atomic ...
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