SYNOPSIS: A Venusian books a room at a British country inn. NOTES: Movie debut of Marigold Russell.COMMENT: The first of six minor movies directed by Burt Balaban, this is probably the best-thanks chiefly to a superior group of players who work wonders with a heavy-on-clichés, light-on-ideas script that was obviously inspired by The Day the Earth Stood Still. Oddly, Miss Neal (so superb in Day the Earth...) is not so impressive here as she is forced to struggle against the opposing forces of a flimsy screenplay and too heavily indulgent direction. Helmut Dantine as the aggressive Venusian scores more forcefully, but the audience's real interest is constantly deflected to the minor characters, particularly the lovely Marigold Russell, quietly forceful Cyril Luckham (in only his second film appearance) as the doctor, and Nigel Green (one of my favorite stars) who brings such expertise to his small role as a policeman, he almost makes the film worth seeing on his account alone. Production values are definitely second-drawer, but credits come over as competent enough. Kenneth Talbot's cinematography has its attractive moments, and Eric Spear has contributed a suitably romantic musical theme.OTHER VIEWS: Despite all her indulgent close-ups, Hollywood import Patricia Neal is none too flatteringly photographed. It's attractive newcomer Marigold Russell who walks away with the film's acting honors (though 37-year-old Willoughby Gray, who made a career playing older men, seems too young to be her father. The director should have had enough sense to change this relationship to "brother"). Writers Jacoby and Leslie present some mildly interesting ideas here and there, but there's a lot of obvious padding to build up the parts of the two principals and listless Derek Bond proves a liability rather than an asset in his "other man" role.

Yes, there is a stranger from Venus, played by the dashing Helmut Dantine. He indicates that Venus is the earthly name for his planet, preparing for the arrival of others from his home. He warns that earth itself is like the unruly younger brother which needs to be disciplined and educated in the dangers of the progression of nuclear power and other energies. All interesting to read about in a science fiction short story, and already explored in much better science fiction films, most obviously "The Day the Earth Stood Still". The presence of Patricia Neal adds to the obvious connection between the two films, but a good majority of the film is just chat, constant and boring.Is this supposed to be a science fiction analogy of what the world is doing wrong in its attempts to keep peace? If so, it never goes past what could have been explained in a 10 minute educational short, adding a romance in between Neal and Dantine. Best known for his roles as Nazi soldiers in propaganda films of World War II, he gives a very good performance, passionate in an otherwise lifeless film. Neal, with her strong eye expressions, is hard to resist, but her presence only explodes the idea of why this has failed to be nearly as stunning as "The Day the Earth Stood Still". The rest of the cast is rounded out with some of England's finest character performers, but the laziness of an un-intriguing film takes away any real impact that it could have had. Desperate attempts to bring in some last minute suspense seems to be too little, too late.

An odd and aloof alien being (a convincing performance by Helmut Dantine) from Venus with the ability to save human lives and heal wounds with just his touch arrives on Earth in a remote town in England to warn mankind to stop their destructive ways before it's too late.Director Burt Balaban offers an intriguing air of mystery, maintains a somber tone throughout, relates the engrossing story at a steady pace, and makes neat use of the English countryside. Although Hans Jacoby's thoughtful script handles the subject matter in an admirably low-key and straightforward manner, said script alas goes a bit too heavy on dialogue over any real action that could have given this rather flat film a bit more kick. Fortunately, the sound acting from a capable cast keeps this movie on track, with especially praiseworthy contributions from Patricia Neal as the sweet Susan North, Derek Bond as meddlesome troublemaker Arthur Walker, Cyril Luckham as the wise Dr. Weinard, Willoughby Gray as amiable innkeeper Tom Harding, and Marigold Russell as Harding's fetching barmaid daughter Gretchen. Kenneth Talbot's crisp black and white cinematography makes neat use of fades and dissolves. A bit slow and talky, but overall pretty good.

Which B&W sci-fi film of the 1950s features an alien from outer space who comes to Earth to warn mankind of its warmongering ways and becomes involved with a character portrayed by Patricia Neal? Now, before you smugly respond "The Day the Earth Stood Still," the Hollywood sci-fi classic of 1951, let me add that the film in question is a British production and was made in 1954. That film is "Stranger From Venus," a very subpar knockoff of a great classic, and, what's more, even inferior to another British copy of "TDTESS" that also came out in 1954, the camp classic "Devil Girl From Mars." In "Stranger," the alien from Venus (which is said to be "millions of light-years" away from Earth...patent BS!) is played by Austrian actor Helmut Dantine, who gives a very UNsympathetic performance. The "action," for the most part, is confined to a drab-looking inn somewhere in the English countryside, and the movie is very static and never seems to move at all. Whereas "DGFM" features a Martian dominatrix, a ridiculous-looking and lumbering robot, and a very impressive space explosion to cap things off, "SFV" features virtually no FX at all and little in the way of suspense. The only real "effect" to speak of is a "mother ship" disgorging a space flier, accomplished with what looks like a lamp hood and a wooden disc. I am not hyperbolizing when I say that the FX in Ed Wood's "Plan 9 From Outer Space" come off looking like those in "The Matrix" by comparison. Furthermore, director Burt Balaban's work is extremely lackadaisical here, and composer Eric Spear contributes a sappy score that is repeated to distraction. Though competently acted, and presented here in a nice, crisp-looking DVD, this film really is for 1950s sci-fi completists only, and even they will be bored and restless. Anyone out there know how to say "snoozer" in Venusian?