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Science Fiction Serials
Science Fiction Serials
A Critical Filmography of
the 31 Hard SF Cli›hangers;
With an Appendix of the 37
Serials with Slight SF Content

by R OY K INNARD

McFarland & Company, Inc., Publishers

Je›erson, North Carolina, and London
Acknowledgments: The author wishes to thank the following individuals,
who provided valuable material and information for this book: Kay Aldridge
(deceased), Ed Bernds, Phyllis Coates, Buster Crabbe (deceased), Tony
Crnkovich, Rosemary C. Haines (Library of Congress), Russell C. Maheras
(m/sgt., USAF), Jerry Ohlinger, Shirley Patterson (deceased), Jean Rogers
(deceased), Steve Sally, Dr. Christopher Shannon (George Eastman House),
Jim Shoenberger, Veto Stasiunaitus, Maurice Terenzio, George Turner, Jerry
Vermilye and Richard Vitone.

Author’s note: Most of the commentary on Flash Gordon appeared — in slightly

di›erent form — as an article in the April ¡988 issue of Films in Review magazine.

Frontispiece: Flash Gordon, ¡936—Buster Crabbe, Jean Rogers

The present work is a reprint of the library bound edition of

Science Fiction Serials: A Critical Filmography of the 3¡ Hard
SF Cli›hangers: With an Appendix of the 37 Serials With
Slight SF Content, first published in ¡998 by McFarland.

LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA

Kinnard, Roy, ¡952–
Science fiction serials : a critical filmography of the 3¡ hard SF
cli›hangers : with an appendix of the 37 serials with slight SF
content / by Roy Kinnard.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-7864-3745-0
softcover : 50# alkaline paper
¡. Science fiction films — Catalogs. 2. Motion picture serials —
Catalogs. I. Title.
PN¡995.9.S26K56 2008
0¡6.79¡43'6¡5 — dc2¡ 98-38738
British Library cataloguing data are available
©¡998 Roy Kinnard. All rights reserved
No part of this book may be reproduced or transmitted in any form
or by any means, electronic or mechanical, including photocopying
or recording, or by any information storage and retrieval system,
without permission in writing from the publisher.
On the cover: Poster art for the 1949 serial King of the Rocket Men
(Republic Pictures/Photofest)
Manufactured in the United States of America

McFarland & Company, Inc., Publishers

Box 6¡¡, Je›erson, North Carolina 28640
www.mcfarlandpub.com
Contents

Acknowledgments iv
Introduction 1

The Vanishing Shadow (¡934) 11

The Lost City (¡935) 14
The Phantom Empire (¡935) 22
Flash Gordon (¡936) 30
Undersea Kingdom (¡936) 41
Dick Tracy (¡937) 48
Flash Gordon’s Trip to Mars (¡938) 53
The Fighting Devil Dogs (¡938) 61
Buck Rogers (¡939) 69
The Phantom Creeps (¡939) 77
Flash Gordon Conquers the Universe (¡940) 84
Mysterious Dr. Satan (¡940) 91
Dick Tracy vs. Crime, Inc. (¡94¡) 98
Batman (¡943) 103
Manhunt of Mystery Island (¡945) 109
The Monster and the Ape (¡945) 116
The Purple Monster Strikes (¡945) 121

v
vi CONTENTS

The Crimson Ghost (¡946) 126

Brick Bradford (¡947) 132
Superman (¡948) 136
Batman and Robin (¡949) 141
King of the Rocket Men (¡949) 148
The Invisible Monster (¡950) 152
Atom Man vs. Superman (¡950) 156
Flying Disc Man from Mars (¡95¡) 160
Mysterious Island (¡95¡) 164
Captain Video (¡95¡) 170
Radar Men from the Moon (¡952) 175
Zombies of the Stratosphere (¡952) 179
The Lost Planet (¡953) 184
Panther Girl of the Kongo (¡955) 189

Appendix: 37 Serials with Incidental Science Fiction Elements 197

Bibliography 205
Index 207
Introduction

Most published histories of science fiction movies cite producer George Pal’s
¡950 Technicolor epic Destination Moon as the first noteworthy genre film.
Although there had been outstanding examples of screen science fiction before
Destination Moon (for example, Alexander Korda’s ¡936 production of H.G. Wells’
Things to Come, and director Fritz Lang’s silent masterpiece Metropolis a decade
before that), the George Pal space adventure usually gets the deferential nod as
the first “serious” science fiction film. Certainly, Destination Moon, though it may
seem dull and stodgy to modern viewers, was a critical and financial success in
its day, inspiring a decade-long run of science fiction movies that included some
of the best (as well as come of the worst) excursions into the imagination every
committed to celluloid.
Usually ignored in histories of science fiction movies, or casually dismissed,
are the serials, the “continued next week” chapterplays shown in weekly episodes
(running ¡5 or 20 minutes each), somewhat derisively known as “cli›hangers” in
reference to the hair-raising situations that left viewers dangling in suspense until
the next week’s installment. The reasons for neglecting serials are obvious and
understandable. The chapterplays were low-budget productions exhibited at the-
aters as Saturday matinee fare and targeted almost exclusively at children. Lack-
ing stars and top-notch writing or directing talent, the serials went largely unno-
ticed and unacknowledged by either critics or the film industry.
Yet serials were financially important to the Hollywood studios. Drawing
their inspiration from fringe cultural sources like pulp magazines and comic books,
they were often free — by their very lack of acclaim and respectability — to exploit
subjects that the producers of more “distinguished” movies considered too out-
landish and too much of a risk to bother with. At least as early as ¡934, in Uni-
versal’s The Vanishing Shadow, serials were adapting science fiction themes and

1
2 INTRODUCTION
 Introduction 3

concepts on a regular basis. There had been a vogue for horror and fantasy movies
in Hollywood originated by Dracula and Frankenstein (both ¡93¡), but science
fiction, although widely read in pulp magazines, had been all but ignored by
mainstream Hollywood until serials like The Phantom Empire (¡935) and Flash
Gordon (¡936) brought the genre to the screen for general audiences.
Serials were commonly regarded as a breed apart from features, yet there was
a two-way cultural street connecting them. Although the chapterplays were often
influenced by features, the lowly cli›hangers were sometimes the innovators, and
this was certainly true in the case of movie science fiction, at least before ¡950.
Every familiar science fiction theme and cliché that would be exploited by Hol-
lywood after ¡950— extra-terrestrials, interplanetary travel, robots, ray guns, time
travel — had been introduced to film by the movie serials in previous decades. Tak-
ing this into account, it only seems reasonable to conclude that if low-budget sci-
ence fiction features like director Roger Corman’s It Conquered the World (¡956)
are worthy of discussion, then low-budget serials like King of the Rocket Men
(¡949) deserve at least an appreciative nod in passing. The cheap serials and fea-
tures were, after all, shown together on the same theater programs, and auteurist
debates aside, they should certainly be considered “equals.”
The American movie serial was a staple of film programs from ¡9¡3 until
¡956. The very first serial, What Happened to Mary? (¡9¡3), starring Mary Fuller,
was produced by famed inventor Thomas A. Edison during his pre–World War
I stint as a pioneering filmmaker, and had been conceived as a merchandising tie-
in with the magazine McClure’s Ladies’ World. The story was first serialized in the
magazine, and after each published installment a corresponding film episode
would be released to theaters. What Happened to Mary? was not the fast-paced,
action-oriented story that later serials would be, and it did not imperil its lead-
ing character in a “cli›hanger” situation at the end of each chapter, as would later
be the norm; but this was the film that established the basic “continued next
week” serial format that would endure for over four decades.
The silent chapterplays quickly became popular screen attractions with
filmgoers, and (unlike their descendants in the sound era) the silent serials were
somewhat respectable as well. Some of the performers in them, like Pearl White
in The Perils of Pauline (¡9¡4), became front-rank stars as a result of their expo-
sure in serials. By the mid–¡920s, though, the serials began to wane in popular-
ity as an increasingly urbane and sophisticated audience, now exposed to the mass
medium of radio, started to lose interest. Unfortunately, few of the silent serials
are still extant today. Of the more than 250 silent serials produced, only a hand-
ful survive in the form of either partial or complete prints. As an example, only
nine of the original 20 episodes of The Perils of Pauline— the most famous silent
serial — exist for reappraisal.
By the arrival of sound in ¡928, serials had fallen into disrepute with both

Opposite: King of the Rocket Men poster.

4 INTRODUCTION

Henry MacRae (center, foreground), producer of Flash Gordon.

audiences and critics, and might have vanished entirely in the early sound era if
it hadn’t been for the e›orts of one man: Henry MacRae. MacRae, a producer
and director at Carl Laemmle’s Universal Pictures since the early silent era,
supervised the company’s short subject division, and in ¡930 he directed the
¡2-chapter serial The Indians Are Coming. A standard cowboys-and-Indians shoot-
’em-up that was nothing special in terms of subject, The Indians Are Coming was
nevertheless outstanding at the time, since it was the first sound (meaning optical
sound-on-film, instead of a synchronized disc) serial of any quality. The Indians
Are Coming was a big hit with the public, and MacRae, almost singlehandedly
with this one film, had rescued the serial from oblivion and popularized the
format with a new (although now largely juvenile) audience. Even though adult
filmgoers would generally ignore serials in the sound era, MacRae had breathed
fresh commercial life into the chapterplays, and would increase their popularity
even more when he produced the hugely successful Flash Gordon for Universal in
¡936.
Although silent serials had been enjoyed by a wide spectrum of the filmgo-
ing public, including adults, the sound serials, as previously noted, were mainly
 Introduction 5

The Perils of Pauline— the classic silent serial.

Saturday matinee fodder aimed squarely at children. Also unlike their silent ances-
tors, sound serials were almost never shown at first-run theaters, being relegated
to the smaller neighborhood movie houses in the cities and rural theaters in less
populated areas of the country. There were only a few exceptions to this rule.
Universal’s three Flash Gordon serials starring Buster Crabbe and the two Super-
man serials from Columbia were given wider releases due to the overwhelming
popularity of their comic-strip sources with a pre-sold audience.
There were 23¡ sound serials, and most of them were produced by only three
studios: Republic, Universal and Columbia. Independent producers, forced out
of the market by the big three, ceased production of serials in ¡937, while the
majors, MGM, Paramount, Warner Bros. and 20th Century–Fox, considered the
format beneath them. For instance, RKO-Radio produced only one serial, a bad
one, The Last Frontier (¡932).
Republic had the justifiable distinction of producing the finest all-round ser-
ial product, featuring top-of-the-line cinematography, music scores, stunt work
and special e›ects. Universal made some excellent chapterplays, including Buster
Crabbe’s three Flash Gordon epics, but Universal’s serials were, at times, marred by
crude special e›ects, an over-reliance on newsreel stock footage, and unnecessarily
dense plotting that tended to hamper the action with an abundance of dialogue.
6 INTRODUCTION

Columbia had the dubious “honor” of producing the worst serials. Although
some of Columbia’s earlier chapterplays like The Spider’s Web (¡938) and Batman
(¡943) were very enjoyable, the studio’s cli›hangers were for the most part a hokey
and sometimes even deliberately campy lot. The situation at Columbia worsened
when Sam Katzman — surely one of the crassest producers in Hollywood his-
tory — was assigned control of the studio’s chapterplays after ¡945. To Katzman’s
credit, he did produce two of the most financially successful serials of the sound
era, namely Superman (¡948) and Atom Man vs. Superman (¡950). Katzman’s other
serials at Columbia, however, were mediocre at best and most of them were so
disappointing that the artwork on the posters used to advertise them was often
more dynamic and entertaining than the serials themselves.
Their lowly position in Hollywood notwithstanding, movie serials were
vitally important to the pre–¡945 film industry. The average serial was produced
for $¡00,000 to $¡50,000 (the total budget for all of the episodes), and a total of
four to five hours of release footage was shot on a hectic four- to six-week pro-
duction schedule. Serials were filmed more quickly and cheaply than features
were, and a young serial fan attending every weekly installment of, for example,
the ¡5-chapter Flash Gordon’s Trip to Mars (¡938) was in e›ect paying to see the
same movie fifteen times.
Despite the fact that the serials were lucrative ventures for the film indus-
try, not much care was taken in their production. Republic’s serials were techni-
cally excellent, but at Republic, as well as at Universal and Columbia, unimagi-
native scripting and flat, pedestrian direction was commonplace. All of the
23¡ sound serials were scripted by the same group of 20 or so studio-contracted
writers (working in various combinations), and the directors — with the out-
standing exception of William Witney at Republic — were competent but unin-
spired craftsmen.
Eventually, the very predictability of serials began to work against them,
even with their juvenile audience. After World War II even that formerly loyal
core audience began to dissipate, lured away by similar fare shown for free on the
new medium of television. Universal stopped producing serials in ¡946, falling
back on rereleases of their older titles to exploit what the studio correctly saw as
a fading market. Republic made its final serial, King of the Carnival, in ¡955.
Columbia hung on until the bitter end, releasing the very last serial, Blazing the
Overland Trail, in ¡956.
After its demise in ¡956, the serial became an all-but-forgotten motion pic-
ture format, its memory kept alive only by constant television airings of the three
Flash Gordon serials, always popular in TV syndication, and the e›orts of a few
dedicated fans. With the advent of the home video market, though, most of the
sound serials, many of them unseen since their original theatrical runs, were once
again available. Of the 23¡ sound serials made, over 200 are now available on
videocassette in either o‡cially licensed or bootleg versions.
As an important and frequently overlooked facet of the science fiction film
 Introduction 7

genre, the science fiction serials should be accessible for consideration in any seri-
ous discussion. Now, after years of obscurity, most of them are. Many of the
serials included occasional science fiction devices and gadgets used in one or two
chapters as an audience-grabbing ploy (for instance, the briefly glimpsed futur-
istic machinery used to destroy airplanes by remote control in Universal’s other-
wise routine Ace Drummond [¡936]). Television, then a proven but still-experi-
mental technology unavailable to the public, and still considered science fiction
by the average person, was a common serial gadget, with scores of cli›hanger vil-
lains callously disregarding the privacy of heroes by spying on their unsuspecting
victims in Orwellian fashion with ubiquitous TV screens. Of the 23¡ sound serials,
3¡ can be designated as clearly defined science fiction movies — that is, serials that
have stories driven by science fiction themes and concepts and not just futuristic
paraphernalia.
These 3¡ science fiction serials are discussed in this book, with cast and credit
information as well as plot descriptions and historical commentary. Although the
distributors of o‡cially available VHS releases are indicated, specific video avail-
ability should be verified by the reader for the simple reason that such informa-
tion is quickly dated. As an example, the Republic serials have, since the incep-
tion of the home video market, been distributed by three di›erent o‡cially
licensed companies, with the public domain (copyright expired) Republic titles
being o›ered by several more companies. All of the films covered in this book,
with the exception of The Vanishing Shadow (apparently lost), are available on
VHS cassettes in varying degrees of quality, and can be found with minimal e›ort
through specialty publications like The Big Reel and Movie Collector’s World. If a
specific video distributor is not indicated, this means that the serial is only avail-
able in the form of uno‡cial, bootleg tape copies, or that no o‡cially available
tape cassette version is recommended. Also, the serials were frequently reedited
into feature-length movies, and some of these condensed versions are also available
on video. These pretend-features are usually callously edited and are an inaccurate
representation of their source materials. They are not recommended; however,
they have been noted and discussed where appropriate.
In recent years, a “sophisticated” elite has wasted far too much e›ort in the
belittlement of low-budget movies, including serials, as campy relics good only
for derision. Although gone from theaters for over four decades, the serial has
influenced such recent blockbuster films as producer-director George Lucas’ Star
Wars Trilogy and Indiana Jones adventures, patterned on the Flash Gordon and
Republic Picture serials respectively. As pop culture artifact, and as an important
part of film history, the movie serial should not be allowed to fade into oblivion,
and the better serials, at least, should be preserved for posterity. It is from this
historical perspective that these serials are discussed in this book, with the hope
that the open-minded reader will be inspired to view the films in a more informed,
more appreciative light.
The Serials
 The Vanishing Shadow (¡934) 11

The Vanishing Shadow

(Universal, ¡934)

Associate producer: Henry MacRae. lisher, seeks vengeance against a cabal

Director: Louis Friedlander (a.k.a. of dishonest politicians who persecuted
Lew Landers). Story and dialogue : his father and caused his death. Stanfield
Ella O’Neill. Continuity: Het Mann- has invented a device capable of mak-
heim, Basil Dickey, George Morgan. ing him invisible, and he hopes that
Photography: Richard Fryer, A.S.C. Carl Van Dorn, a respected authority
Film editors: Edward Todd , Alvin on electrical energy, will help him per-
Todd. Art direction: Thomas F. fect it. Van Dorn agrees to assist him in
O’Neill. Electrical e›ects: Kenneth the completion of the invisibility device;
Strickfaden, Raymond A. Lindsay, when the matter of funding arises,
Elmer A. Johnson Stanfield tells Van Dorn that he plans
Cast: Onslow Stevens (Stanley Stan- to sell valuable newspaper bonds in
field), Ada Ince (Gloria Grant), Walter order to back the project.
Miller (Ward Bernett), James Durkin Leaving Van Dorn’s o‡ce, Stanfield
(Prof. Carl Van Dorn), William Des- rescues Gloria Grant, a newspaper re-
mond (MacDonald), Richard Cramer porter, just as she is about to be struck
(Dorgan), Sidney Bracy (Denny), by a fire truck, only to find that she is
Eddie Cobb (Kent), Philo McCul- the daughter of his chief enemy, Wade
lough (smuggler chief ), Don Brodie Barnett, leader of the crooked politi-
(pilot), Al Ferguson. Monte Montague. cians. Gloria tells Stanfield that she is
(henchmen), Tom London. William opposed to her father’s activities and
Steele. disapproves of his methods, and that she
has adopted an alias while working for
Chapter Titles the Tribune as a reporter.
(¡) Accused of Murder. (2) The When Stanfield visits his attorney to
Destroying Ray. (3) The Avalanche. (4) sell the newspaper bonds, he finds Wade
Trapped. (5) Hurled from the Sky. (6) Barnett there. A violent argument
Chair Lightning. (7) The Tragic Crash. ensues and Barnett pulls a gun. A strug-
(8) The Shadow of Death. (9) Blazing gle breaks out, Stanfield’s attorney is
Bulkheads. (¡0) The Iron Death. (¡¡) The accidentally shot and Stanfield wrenches
Juggernaut. (¡2) Retribution. the gun away from Barnett. When Bar-
nett’s henchmen arrive in the o‡ce,
Story they find Stanfield holding the gun, and
Stanley Stanfield , young scientific Barnett frames Stanfield for the lawyer’s
genius and the son of a newspaper pub- death. Realizing that he appears to be
 The Vanishing Shadow: Eddie Cobb, Ada Ince, Onslow Stevens.

guilty, Stanfield bursts out of the o‡ce away and attempts to cross railroad
and hurries back to Van Dorn, chased tracks in front of a speeding train; his
by Barnett’s lackeys. Aided by the car is demolished, but he survives the
“invisibility ray,” Stanfield escapes cap- accident.
ture, but he is pursued by his enemies With Van Dorn’s assistance, Stanfield
after he leaves the building. He drives employs a vast array of super-scientific
 The Vanishing Shadow (¡934) 13

devices (including a “destroying ray” him. It takes all the thrill out of work-
and a robot) in his struggle against ing in a picture to have another fellow
Barnett and his cronies. Stanfield even- do my part. I recall as a kid, how excited
tually succeeds in his crusade to prove I would get watching episode after
his innocence when Barnett is killed episode of some thrilling serial, and
while trying to escape from the police. often wished the day would come when
With Barnett’s criminal activities re- I could be playing the leading role in
vealed, Stanfield’s name is cleared and one. Today that wish has materialized.
he is free to pursue romance with Glo- With all the hard knocks I received dur-
ria Grant. ing the weeks of filming The Vanishing
Shadow, I would not hesitate to accept
Comments the same role again. I thoroughly en-
Apparently similar in its “vengeful joyed every moment of the time, there
scientist” plot to Universal’s later Bela was something doing every second of
Lugosi serial The Phantom Creeps (q.v.), the day. Excitement is a thing I like, and
The Vanishing Shadow is di‡cult to I surely received plenty in the making
assess today, since it seems to have of this truly thrilling screenplay.”
lived up to its title and literally van- Like most pressbook stories and star
ished. No print of the film appears to interviews released by studios for pub-
have survived; a 35mm nitrate preview licity purposes, this interview was
trailer running three minutes, currently probably a fabrication. According to
held by the George Eastman House an actress who worked at Universal,
archive in Rochester, New York, may Stevens was a serious stage actor from
well be the last extant footage. Unfor- Pasadena Playhouse, and was in fact
tunately, even this brief trailer is un- very displeased that Universal had cast
available for screening, as it has not him in serials under his contractual
yet been recopied onto safety film stock. obligation to the studio.
A handful of surviving stills showing As usual with Universal serials, The
an impressive laboratory set and well- Vanishing Shadow made liberal use of
designed robot only add to the frustra- newsreel stock footage showing fires,
tion of The Vanishing Shadow’s unavail- train wrecks and exploding ships. One
ability. spectacular scene in Chapters 5 and 6
The serial starred Onslow Stevens, involved a full-scale old-fashioned Jenny
best remembered today for his role as a airplane crashing into the sea (the plane
vampiric mad scientist in Universal’s exploded in the air close to the water,
¡945 horror feature House of Dracula. flipped over and fell into the sea).
An interview with Stevens, published in Onslow Stevens and Ada Ince (who had
Universal’s Vanishing Shadow pressbook, bailed out of the plane earlier in the
claimed that Stevens performed his own scene) are rescued from the sea by a gang
stunt work. “Why should I allow some of toughs led by Philo McCullough,
other fellow to take a chance?” Stevens who explains that he and his gang are
asked. “I never have been a coward. I involved in rum-running and would be
fully believe it is the star’s place to do in trouble if this were known. “I’ve for-
whatever the script calls for, and not sit gotten it already!” Stevens replies.
back watching another do his acting for The special e›ects, in expected serial
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