ufo/uap (12. 157)

Released the first week of January in 1950, we are directed to the independent feature by Mikel Conrad and Howard Irving Young, via Miss Cellania, which first addressed the subject of flying saucers but not as heralds of an alien invasion but rather an attempt to limn how the paranormal follows the paranoid. Capitalising on the moniker that captured the public imagination coined by pilot Kenneth Arnold to a reporter in 1947 on seeing a group of silvery discs silently flying in tight formation, the movie plays on the phenomena of repeated, copycat sightings, the narrative focuses on the US intelligence learning of a covert Soviet-lead investigation into appearances of mysterious aircraft sourced to Alaska, commencing a series of spy encounters and eventual counter-espionage, double-agents and stolen technology. The psychology of misapprehension and anxieties is also a major theme but light on acting performance and special effects, stock and B-roll footage of the tundra upstages (much from the director’s acting role in Arctic Manhunt from the previous year) the movie’s impact and legacy. Re-released three years later as a double feature with 1941’s Man Made Monster (the first sci-fi billing—not a willing nepobaby as a decision of the studio—of Creighton Tull Chaney as Lon Chaney, Jr to associate him with his father though already an established actor in the genre) about a nuclear mutant, the film has been largely forgotten, replaced by the abstract tropes of extraterrestrial visitors and kaiju. More from Inverse at the link up top.