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  • 70mm MAN24 February 2001
    Reading other comments forced me to write my own. One commenter complains of it being a 50's Sci-Fi with no name actors. Well I saw this movie several times in the 50's. It was one of my favorites for sure. I think there are numerous, outstanding, Sci-Fi and Horror movies in the 50's and this is one of them. It had a Hitchcock feel with the shadows and suspense. And if you were a 10 or 12 year old when that movie came out you could really identify with the story. It played for years in the Saturday matinees. And no name actors? How about Ross Martin! We all loved him in the Twilight Zone and the Outer Limits. And of course he was great as Artemus Gordon in the Wild Wild West TV series. Heck check out his imdb credits. Anyhow now that I revealed my age I should mention that if you missed the 50's Sci-Fi while they were new releases you sure missed some fantastic fun. And it was those 50's Sci-Fi movies that motivated so many great talents to produce all the great ones that followed. I too hope this makes DVD.
  • The conventional wisdom is that this is a mediocre movie. Yet I find it strangely affecting. A man's brain is placed in a large robotic body, but it's not the usual mad scientist bit. The scientist is a desperate father and the brain belongs to his son (Ross Martin), killed(?) in an automobile accident.

    Encased in his robotic body, the son longs to see his own son. These are mad scientists with family values!

    The only music in the movie is provided by a lone piano. The motivation for this decision was probably more economical than artistic but Nathan Van Cleave's score echoes the fear and melancholy that permeates the film perfectly.

    Not a great film, but one every sci-fi and horror movie fan should see.
  • Paramount produced this fascinating, low-budget gem in 1958 and release it with a second feature which was tailor-made to go with it (see `The Space Children'). They played together at drive-in theaters nation wide, and thousand of kids like me watched them both in wide-eyed wonder.

    Young viewers (15 to 25 years old) who watch either of these films today tend to totally miss the point. `The Colossus of New York' is an admirable and well-crafted exploration of concepts that were years ahead of their time: ideas like sensory deprivation, organ transplants, psychic powers, and others. This movie is NOT simply a Frankenstein rehash (as several misguided reviewers have claimed).

    The story is about a noble, humanitarian genius whose brain is placed in an unfeeling robot body. The film invites the viewer to ponder what makes each of us the sensitive and compassionate person we are (or should be).

    If `The Colossus of New York' seems hockey and corny to you, remember that it was designed for an audience -- and a culture -- that existed almost half a century ago. If you have the maturity and the intelligence to translate this message from a by-gone age, you'll benefit from your efforts.

    If not . . . well, it's your loss.
  • Contrary to what some critics and viewers may say, THE COLOSSUS OF NEW YORK was actually quite dark and atmospheric! This was an exemplary modern-day take on the "Frankenstein's Monster" theme! The performances were well-done, the solo-piano music by Van Cleave was brilliant, and the Colossus itself was actually well created for its time. Even the climax, no matter how "cliched" by today's standard, is still poignant.

    I definitely reccommend this movie! I think it deserves to be on DVD as well!

    -John Cassidy
  • Along with a few others, I too, must chime in with my 'thumbs up' opinion of this lost classic. I was fortunate to see nearly ALL of the horror/sci-fi 'Classics' in theaters during the 50's binge..when there was a new double feature nearly every other week.

    This one, stands quite a bit above all the others. The creep factor is high and it has some truly haunting moments. The piano score just adds to the muted terror. Cheap? Yep. But I think that adds to the atmosphere.

    Sure, I was a 'kid' when I saw all of these back then, but only a handful of these films were 'great'. 'Colossus' is hands-down one of the best of that era. If you watch it in the proper context, I'm sure you will agree.
  • Despite some clunky moments I still think the best and most eerie part of Colussus of new york is when the "dead" scientist awakes, and gradually with mounting terror, realises his brain is in the body of a robot! This scene I'm sure influenced Director Paul Verhoeven when he made "Robocop" many years later. look at the creepy visuals in this scene as we see everything from the robots P.O.V and note that its visualisation is similar to what you see on an old Television monitor. those lines spoken by his creator "you can see, you can hear, you can speak and you can move" still sends a chill down my spine. I rate this as one of the best eerie mad lab scenes in the movies.
  • The impressive title work is the viewer's first clue that producer William Alland and director Eugene Lourie squeezed considerable artistry and style from a shoestring budget. Look past the economic limitations; the suspenseful and imaginative story involves the death of a humanitarian genius whose father (a famous surgeon) and brother (a robotics expert) team up to keep the genius' brain alive in a robot body (well designed by ace effects artist John P. Fulton). The film's message concerns the nature of the soul and the role which physical sensations play in making humans act humane. Other affects by Fulton include one of sci-fi cinema's best death rays. All in all, a moving and intelligent movie
  • Warning: Spoilers
    I first saw this film during one of those late-night horror host shows. I was hypnotized by it. It was well cast (early meaty role for the multi-talented Ross 'Wild Wild West' Martin), acted, paced, edited, and scored. There is rumors that it is being redone and released updated. I worry about that. Mny time Hollywood tries and often fails to redo these classics and make them terrible. The robot suit in this film is quite good. The plot element of the child son of the Monster interacting with his 'giant friend' is eerie. While clearly this theme is the old Frankenstien one, this film does it one better and updates the ethical questions. I found this film to be enjoyed by everyone that I have showed it to. The piano only scene music adds to the uniqueness and mystery.
  • Warning: Spoilers
    I saw this film in the theater when it was new, and I was 7, and the film terrified me to the extent I still recall it.

    This film's bald-headed monster so scared me that, when I saw my next film a few weeks later, the slightly older, but benign musical 'King and I', I was still frightened when the bald-head Siamese King was on the screen.

    Back to the Colossus, little boys might well identify with this cheaply made film.

    The Monster is created by transplanting the brain of a 'great scientist'. That 'great scientist' died when he tried fetching his little son's model airplane from the streets of NYC, getting run over by a vehicle in the process. So, from a young viewer's perspective, the little boy caused the death of his own father, horrifying to any little boy watching the film. Then the little boy's grandfather, another great scientist, creates the Colossus from the transplant of the little boy's father's brain. Unfortunately, the Monster has this habit of shooting killer-lightening-bolts from its eyes, and none of the adults in NYC know how to stop the rampage. The Colossus wants to stop its own destruction but needs the assistance of its brains' little son, and confides in the son, that it can be stopped if the child turns off a very large electric switch on the Monster's chest. The child is a hero because he twists the switch, and kills the monster, saving NYC (and the World?).

    So this little boy not only causes all this destruction by accidentally causing the death of his father, but then ends further destruction by killing the monster that he knows contains his father's brain. The loving little kid gets to kill his father twice. The first time, it sets a monster on the loose. The second time, the kid is a hero for killing the monster / father. Would that scare a 7 year old viewer? Would a 7 year old identify with this movie? I certainly did !!!

    I haven't seen this film since, and it might well be boring for an adult. But it is an excellent 'horror' film for a little child.

    Regarding Ross Martin, not only was he a great actor, one of the main reasons to watch the 1960's TV series 'Wild, Wild West', but was also the co-star of the 1950's TV show, 'Mr. Lucky'.
  • Warning: Spoilers
    ***Possible spoilers***

    This movie has an exquisite eerieness (Is that a word?) that, IMHO, transcends any shortcomings. The shots of the Colossus moving through the water, as my nephew would say, "creep me out, big time." The overall concept -- one's body is one's humanity -- is a unique angle on the 'brain in a bucket' school of movies. If you have a chance, catch this on a movie channel. Love to see it released on DVD!
  • Warning: Spoilers
    In spite of the rather sullen acting, plausibility problems, plot discontinuities, plodding pace, etc. "Colossus of New York", nevertheless, remains an interesting curio for the 1950s sci-fi connoisseur. Essentially a modern day twist on the Frankenstein monster theme, the film features Ross Martin as the central character, a world-acclaimed scientist who is tragically killed in the early going. His brilliant brain is transplanted into a massive electromechanical body by an equally brilliant father/brother team. With predictable disastrous results. What makes the film interesting is the interactive circle involving Martin, his father and brother, and Martin's wife and young son. It is also interesting to note that the Frankenstein monster, although given a criminally defective brain, was capable of moments of kindness, while Colossus The Giant, brilliant as he was, resorted to extreme violence, including murder of his own brother and numerous strangers. Despite its shortcomings, a thought provoking film in some ways.
  • Dr. Jeremy Spensser (Ross Martin) is a super-genius and all-around humanitarian. He's so brilliant that he's just received the Nobel Prize! While you'd THINK this would be wonderful, soon after he is squashed by a truck--depriving the world of his great intellect. However, his father (Otto Kruger) isn't about to let this happen and he manages to keep the brain alive in a weird aquarium-like contraption. Later, he creates a HUGE and scary looking robot body to house this great brain...though you wonder why he didn't make the robot smaller and a lot less malevolent looking! And why did he give the robot lasers that it can shoot out of its eyes?!?!

    For a while Jeremy is able to secretly continue his work in his robot body but over time, he starts to have an emotional breakdown. Considering everything, this is DEFINITELY understandable! This leads to him eventually doing VERY bad things--especially because Jeremy has some weird psychic powers and a very twisted mind!

    The plot is clearly a variation on "Frankenstein" with a sci-fi edge. It fortunately has a nice budget and very nice special effects. This robot is clearly more human and realistic than Robby the Robot! It also is quite menacing and must have scared audiences back in the day. The acting is nice and the only complaints I have are about the logic of some of the film---but considering the plot and your need to suspend disbelief, this is a minor quibble.
  • An elderly doctor (Otto Kruger) transplants his genius son's brain inside the head of an over-sized robot after the young scientist is killed in an auto accident. The revitalized Colossus retains our sympathy but eventually grows somewhat mad and kills people by shooting them with rays from out of his eye fixtures. I must say that even though I don't typically get scared watching horror movies, the very first time I heard the robot's unhinged and desperately static-tinged voice as he's being given life, it sent absolute shivers of discomfort down my spine - I was terrified! I liked the look of the robot, and the unnatural way he's sometimes photographed jerkily lumbering along (which sometimes sloppily reflected the other characters' motions in the same scenes). Just really creepy. If they could have consistently managed to photograph the other people's reactionary movements at "normal pace" while the robot only was moving awkwardly, it would have been even more weirdly effective. The production values are very cheap, and there is only a modest piano soundtrack to accompany the activities, yet somehow it all works out effectively enough for this movie. Old man Otto Kruger was probably embarrassed to be acting in this, but I enjoyed him here just as I enjoyed his turn as a mad doc in THE JUNGLE CAPTIVE. This movie's also got unintentional chuckles, too (I was in hysterics at Kruger's silly looking-down expression at the United Nations of the film when his robot meets its fate). Fun low budgeted '50s Flick, now one of my favorites from the genre. **1/2 out of ****
  • Some people consider this film an unsung classic while others despise this film. As for myself I never really got excited either way about this film. I found the plot rather derivative (elements of THE GOLEM and FRANKENSTEIN), Otto Krueger walks through the film like was asleep, and Charles Herbert irritating. On the plus I found much visual interest in the film. The moody black and white photography is good. Otto Kreugers lab is an interesting design. The Colossus itself with its huge stone like face, glowing eyes and cape is sight to be seen. Also the end seen when the Colossus crashes through a plate glass window and stands on a balcony zapping into vapor the people below is one of most memorable scenes of any fantastic film I've seen. Also, I found (Nathan) Van Cleaves piano music score at times intrusive but its also an interesting score and rather unusual one for a film of this nature. Its shame that the makers who put so much imagination into the visual aspects of the film did not show imagination in the films story and script. Also the cast (with exception of Ross Martin) could have showed more enthusiasm. And please, they could have found a better child actor than Charles Herbert. One note to the commentator who thinks a film is automatically no good because its science fiction, its in black and white, and its from the 1950's: get an open mind, and stop letting the insipid MST3K form your opinions. I suggest you go see out and see THE DAY THE EARTH STOOD STILL and DONOVANS BRAIN for starters, two films that fit your criteria for "cheese."
  • StevenFlyboy18 September 2015
    i was born in 1957 and have loved horror movies since i was a kid. Somehow, this movie never crossed my path in my childhood years. I never heard of or saw this movie until 1980. We had just gotten cable TV and this movie was shown in a horror movie marathon, including Earth vs. The Flying Saucers and The Day the Earth Stood Still. I thought this movie was above average but never considered it "great," however, over the years, it's kind of grown on me. I've always liked Ross Martin, who is the star of this movie. There are many movies i would consider better but for some reason, i still like watching this movie. I ended up buying the blu-ray version.

    Seriously, I was totally blown away with the picture quality of this Blu-ray, especially for it's age. Whomever was in charge of the Restoration should be Canonized... Some scenes were so vivid and detailed, that you genuinely felt that you could just step right onto the set!

    Anyway, concerning the movie itself; do you notice how many reviews of this film (and as of now, there are only a total of about 25) MANY people use the terms 'Atmospheric', 'Eerie', 'Creepy', etc... Well, I have to add my complete agreement with that. Most of the Sci Fi films of that decade could be quite hokey in their low-budgetedness (?) But, there was just something to this one which carried a much heavier weight and mood than most. I don't know exactly what it was, but there was an unusual 'earnestness' or 'gravitas' that somehow created a much stronger atmosphere and very serious mood for the film. I mean, even with it's very low budget and fairly common theme, there was just some magical element in the direction, acting, and especially the bloody MOOD of the dang thing that conveyed a LOT more impact than the sum of it's familiar parts can quite explain.

    I REALLY like Ross Martin, who plays the son. Another early reviewer mentioned his love and appreciation of the 'Wild, Wild, West' series; I fully agree (not to mention his Oscar worthy turn in the excellent movie, 'EXPERIMENT IN TERROR')

    I had never seen this film before; and to be honest, I was fully expecting a REAL corny 1950's Sci Fi film. But, there was just SOMETHING that kept me riveted to the screen and much more emotionally involved than I EVER would have expected with a film of this nature and from this time period.

    So, there you have it... I mean, it's no 'FORBIDDEN PLANET' or 'THE DAY THE EARTH STOOD STILL' (original ONLY, PLEASE!) But, I would say that IF by chance you can kind of 'Tune In' to the unusual 'resonance' of this film, you should definitely enjoy it more than the usual Sci Fi movie of the time.
  • Although the title of this movie - "The Colossus of New York" - suggests that the Big Apple is terrorized for most of the running time, the title figure only goes on a (brief) rampage in the final few minutes. For just about the rest of the movie, the Colossus stays on a country estate near the city. Though it might have been more fun to show the Colossus on more of a rampage, the movie is still enjoyable. Certainly, there are some unintended chuckles, like the primitive science used to construct the Colossus. But there are actually some genuinely good moments here and there. The scene where the Colossus is first activated is both creepy and intriguing. And there are some pointed questions as to if the scientists are doing the right thing or not. Though the movie is cheap, there is some real atmosphere in part with the piano musical score, which gives this movie a really different feeling than other sci-fi movies of this period. Don't get me wrong - this isn't some intelligent masterpiece. But it manages to catch your attention, and at 70 minutes does not overstay its welcome.
  • "The Colossus of New York" has aged rather well. It still evokes the same strange fascination it had back in the late 1950s, when its story and title character startled me. It was evident back then that the film was a low-budget production, and that it was not a masterpiece of fantastic cinema, but its variation of the theme of the scientist that creates a monster was interesting, and the appearance of the colossus was impressive. I have read a couple of commentaries from producer William Alland, in which he expressed that he was very unsatisfied with the results, and put all the blame on Eugène Lourié. Allan definitely did not paid too much attention to the limitations of the budget he administered –forcing to reuse shots, and the inclusion of stock footage-, of Thelma Schnee's weak script, or the negligence of Floyd Knudtson's editing. But especially, Alland overlooked John F. Warren's images, some of which are remarkable. This is also due to Lourié's background: he was originally an art director and set designer, and it shows. The lightning, compositions and camera angles are effective most of the times, and compensate for the shortcomings. Where Lourié's lack of expertise shows is in the routine camera set-ups, putting the camera (and the spectator) in the same position, in scenes that take place in the same locations, but separate in time. This somehow makes the movie unfold too cautiously, an explanation to the speed up of some shots when the colossus moves. Otherwise it is a recommended, little cult film that will stick to your memory.
  • While not nearly as smitten with it as some folks, The Colossus of New York does maximize a rather small budget and presents an interesting story. The story involves whether men with great minds also have souls as a father and brother of just such a mind resurrect the brain of a lost son/brother through their knowledge of brain surgery and robotics. They place the brain in a hideous monstrous creation with a huge gigantic body and eyes like lasers(in fact shoot something like lasers to kill). Yes, this is heavily reliant on the Frankenstein mythos about playing God and tampering with what makes up human beings - body and soul. The film's story does have glaring weaknesses which the inferior budget magnifies unfortunately. The acting as well is not all that good despite a pretty good cast with Ross Martin in his brief role as the great mind prior to his new home in a basement creation basically. Martin was the best actor in the whole film and is in it barely 10 minutes! His father is played by Otto Kruger who just looks like he is in a daze the whole time and gives a very wooden performance. Playing the brother is John Baragrey who is adequate. Mala Powers as the grief-stricken wife seems to be taking the news of terrible things rather well, and rounding out the important characters is Charles Herbert as the son. He is okay and a bit too cutesy. The music by Van Cleave is more than intrusive(as another reviewer noted). It is downright annoying and makes the film very static in scenes which should have had more umph if you will. There are few action scenes, a lot of talking, and a rather nicely shot climatic scene at the United Nations, but when all is said and done the movie abruptly ends with major characters walking away looking very disinterested and emotionless. I really did like much of the story and there are several scenes which are rather well-conceived(the outdoor meeting with Herbert and giant Dad and the end of the film for the most part standing out). The film has not had a DVD release and is awfully hard to find on video but can be with some perseverance. While the special effects are incredibly limited and the film has a real cheap feeling to it, The Colossus of New York is better than average if for no other reason than its imaginative script.
  • A still from this film, depicting the titular robot and a little boy, had adorned the cover of that Sci-Fi issue of “The Movie” periodical which I mentioned in my review of ATTACK OF THE 50 FOOT WOMAN (1958) – and I’d always been interested in it for this reason (considering that it’s a title which is rarely discussed). Despite being produced by a major Hollywood studio, Paramount, the film is definitely a ‘B’ genre effort – made to cash-in on the sci-fi craze of the Cold War era. The makers clearly relied on such classic prototypes as THE GOLEM (1920), METROPOLIS (1927) and FRANKENSTEIN (1931) for inspiration – but, being somewhat underwritten, the plot doesn’t quite supply the necessary impetus to elicit favorable comparison with them!

    Mind you, it’s fairly intriguing during the first half (surprisingly written by FATHER BROWN [1954]’s screenwriter Thelma Schnee!) and bolstered throughout by reliable Otto Kruger’s mad scientist characterization. Besides, the design of the robot itself (fitted with the re-activated brain of Kruger’s son, a humanitarian-cum-genius prematurely killed in a road accident) is interesting and actually quite eerie…though bestowed with curiously short arms! However, the latter doesn’t have that much to do since it’s confined for the most part to Kruger’s lab! Eventually breaking free of its creator/father’s control, the robot emerges into the open and befriends his own son (who’s unaware of the machine’s true ‘identity’). Inevitably, the human feelings once inherent in its brain gradually get lost within the metallic ‘armor’ – and the scientist even kills his own elder brother (for attempting to steal his wife’s affection…though she’s also pursued by his former best friend, who’s allowed to get away with it!). Finally, having gone berserk, the robot breaks into the United Nations building (the ‘monster’ during the sci-fi heyday always seemed to vent its fury at some point on such big-city landmarks), where it’s destroyed – or, more precisely, shut off – via a convenient lever lodged in its structure by the boy himself!

    The film, as I said, doesn’t quite make it into the genre’s top-rank – but, running a terse 70 minutes, emerges nonetheless to be a generally entertaining entry (and not an unintelligent one, either). That said, it’s somewhat cheapened by Van Cleave’s funereal score (which is more akin to the slapdash accompaniment one is prone to find in Public Domain editions of Silent films!). Besides, there are a number of illogicalities in the narrative which tend to stick out like a sore thumb: for instance, the robot is often seen traveling via water – but wouldn’t contact with this element cause a short circuit to begin with?; despite Kruger’s audacious claim that his son’s genius is on the same level of such world-renowned luminaries as Napoleon, Macchiavelli and Michelangelo, the young doctor’s major claim to fame seems to be merely that he had invented a way in which to fabricate food products more quickly!!; the climax is marred by a blatant continuity goof – a girl is seen on the ground in one shot, up on her feet the next and, then, once again on the ground to be pulverized by the robot’s laser beam!; as soon as the creature is gotten rid of, it’s business as usual for the folk at the United Nations – with no thought given to the many who had just lost their lives!; a similar nonchalant reaction is allotted to Kruger, who admits his responsibility for the tragic events – and, yet, isn’t held to account for his irresponsibility!
  • Warning: Spoilers
    THE COLOSSUS OF NEW YORK boasts one of the most impressive mind-reading monstrosities ever committed to film: it looks like something that the late, great jack Kirby might have dreamed up. Watching It lumber around the landscape, I almost expected It to take flight and announce that It had decided to take over the World- and the scenes of the Colossus walking underwater were nothing short of spectacular, you ask me. I also liked the idea that the Colossus developed a form of Telepathy/ESP; the Death Ray was just icing on the proverbial cake. If (like myself) you have a fondness for '50s Science Fiction and Horror movies, you'll love THE COLOSSUS OF NEW YORK.
  • Warning: Spoilers
    This movie has some very intriguing implications. Of course, we have to take the medical advances and the technology as possible. Ross Martin is one of the world's greatest hopes for finding a way to feed the exploding population. On his way to accept what is probably the Nobel Prize (they change the name) he chases a little toy airplane, blown out of his son's hands by the wind, and is run over by a truck. His father, one of the foremost brain experts, working in tandem with his brother, manages to remove his brain and hook it up to machinery and ultimately to a robot that gives it mobility. He is a zealot and harsh, self-centered character, who feels that he gets to make the rules. He has never respected the other son and treats him like a small child. This man is himself an engineering genius who has contributed greatly to his late brother's success with little credit. What the "mad scientist" (which isn't really an accurate term) forgets is that the brain now lies in the head of an unfeeling machine. This leads to depression and thoughts of revenge. There is still a connection to the wife and the little boy, and when the brother begins to try to make his way into the family (with little success), jealousy gets the best of him and he commits fratricide. Instead of seeing himself as the salvation of the world, he begins to see humans as inferiors who need to be eliminated. He develops two abilities. One is the ability to connect with people (to locate them through ESP) and the second is a death ray which allows him to kill innocent people. He becomes overwhelmed with anger at the drop of a hat. His connection to the little boy is a serious factor.
  • ****SPOILERS***** Very outdated in the special effects department but very up to date in the timeless debate of faith and theology versus science and technology. "Colossus of New York" brings up the questions about the human soul, for those billions of us who believe it exists, that goes well beyond modern science. Can a brain as advanced and dedicated that it is to the ending of suffering in the world and human as it was in life be the same in death? Or in the case of being without a body and soul a brain will only think logically without feeling and without the soul's goodness and humanity. that in many cases is not logical and will only respect the law of the jungle: survival of the fittest and destruction of the lame sick and unproductive.

    Brilliant scientist Dr. Jaremy Spensser, Ross Martin, who just came back to New York from Stockholm after receiving the International Peace Prize for his work in growing frost resistant plants that is to provide the world with an unlimited food supply. Getting off the plane and meeting his family Jaremy is suddenly killed by a runaway truck at the airport.

    Jaremy's father the imminent brain surgeon Dr. William Spensser, Otto Kruger, can't accept his son's death. With the help of his other son automotive engineer Dr. Henry Spensser, John Baragary, Dr. Spensser has Jaremy's brain removed and puts it into a tropical fish tank for the time being. Henry construct a eight foot Colossus for the brain to work out of but what both William & Henry totally forgot was that for the brain to be as effective, as the good kind and feeling person that Jaremy was, in death as it was in life it would need what only God can provide for it: A SOUL.

    Even though Henry was hesitant in going along with it,saving Jeramy's brain, he gave into his fathers William's mad. In the end it led to him being killed by the mad Colossus. The movie has been compared to "Frankenstein" but unlike the Frankenstein monster which had the brain of a murder the Colossus in the movie had the brain of a brilliant and kind human being, Jaremy Spensser. Like in both stories they didn't have a soul and that's what made all the difference.

    The ending of the movie the Colossus went to the UN and killed about a dozen scientists and policemen, with some kind of killer ray, at a conference for peace in the world. Later with the Colossus, who was really Jaremy, was shut down by his son Billy, Charles Herbert, and thus being destroyed was a bit ridicules. Even the Colossus' ability to see into the future, when he saw in a vision a sea disaster, wasn't all that convincing. Later we see both William and Henry watching the TV where they see stock footage of the sinking of the Andrea Doria after it collided with the US ship Stockholm. The Colossus calls the ship in his vision The Viking! That seen and the Colossus' fortune telling ability was never really explained and was totally unnecessary to be put in the story.

    The main plot of the movie about the human soul as well as the heart and how it makes the difference in all of us when it comes to being a good kind and understanding human beings, instead of a cold calculating and unfeeling machine, was right on target. Like the song says, with a few minor changes, "Without a Soul You Don't Have Anything".
  • Is there anyone in this world so indispensable that their continued existence is absolutely essential? That's the question that is posed to the viewers in The Colossus Of New York.

    Ross Martin plays the super achieving son of Otto Kruger in a family of geniuses. In said family Martin is the crown jewel, a world famous scientist who on the day he's awarded the Nobel Prize is killed in a traffic accident. The world mourns but not Otto Kruger who takes the body and does some Frankenstein like experiments.

    In short he puts Martin's preserved brain in the body of one rather large and powerful robot who can kill with a ray gun blast. The values he developed as a human gradually fade away.

    Watching The Colossus Of New York I thought back to this truly horrid film They Saved Hitler's Brain where some Nazis have concluded the genius of the Fuehrer must be preserved for eternity. This is a much better film, but the same principle applies. Applied in fact by a father who just will not accept his son's death at the height of his fame and ability to do good works.

    Not a big budget film, but it does give one a lot to think about. What are human beings without the packaging?
  • Warning: Spoilers
    Excellent science-fiction ideas and high moral purpose with classy actors- what could be better? A lot could be better- its too static, a general stasis pervades most of the scenes.

    A brilliant scientist is artificially trapped in a Stephen Hawking-esque existence. The film largely takes place in an eerie dark mansion that contains a laboratory with the usual oscilloscopes, and (since this was entering the modern era) a tape-drive computer console, yet another movie brain-in-a-tank sequence and other sci-fi components, all nicely done for the 1950's.

    Veteran stars of film and the New York stage with impressive acting credentials such as Otto Kruger and Mala Powers give solid performances, and fine actor Ross Martin is very good, both as a human and in his Hawking-esque voice only mode. I only mention Dr. Hawking out of respect, to illustrate how far ahead of its time the film's basic concept was.

    The actors at times have a curious lack of cohesion interacting with each other, a situation that is clearly the fault of the director, as is the slow pace, and in fact I would place all the blame for every fault of this film squarely in the lap of the director, who in my opinion seriously bungled what is otherwise a potentially very fine film. A reviewer here mentions the scene of a crowd just standing while being zapped- such stasis in scenes is inexcusable. And I agree with reviewers who decry the lack of a "rampage"- a good monster menace should ideally rampage around the city a little but this one doesn't (he moves around the city some while hidden in a clever way, but the result is: no rampage).

    I will give "The Colossus of New York" 5 stars out of 10 but wish I could give it a higher rating. Just can't do it.
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