“The Bubble” is a 1966 science fiction film directed by Arch Oboler. The movie, also known as “The Fantastic Invasion of Planet Earth,” is notable for its utilization of 3-D technology, offering audiences a visually captivating experience.
Arch Oboler, a radio writer-producer-director, ventured into filmmaking with a penchant for unconventional narratives.
Prior to “The Bubble,” Oboler had made a mark with his innovative 3-D film “Bwana Devil” (1952), which contributed to the widescreen revolution in Hollywood.
Throughout his career, Oboler’s works had often defied traditional storytelling, reflecting his distinct approach to filmmaking and storytelling.
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The 3-D Resurrection of “The Bubble”: Exploring Arch Oboler’s Cinematic Oddity
In the late 1970s, I came across “The Bubble” (1966), also known as “The Fantastic Invasion of Planet Earth,” amidst the rise of sci-fi and special effects in movies like Star Wars and Close Encounters of the Third Kind.
Despite its outdated appearance and the absence of the prominently featured ’50s-style flying saucer, the film’s 3-D effects filmed in “4-D” Space-Vision left a lasting impression.
However, a later DVD release failed to capture the full impact of the film, offering only a fraction of its potential.
Fast forward to the present, the Blu-ray release by the 3-D Film Archive under the original title “The Bubble” has exceeded all expectations.
While the movie itself may seem sluggish and budget-constrained, reminiscent of ’60s sci-fi TV shows, it offers a unique blend of elements from various science fiction sources.
The real highlight of the film remains its 3-D photography and effects, particularly a striking scene featuring floating objects that transcend the limitations of traditional 3-D effects.
The 3-D Film Archive’s restoration efforts have truly resurrected this nearly-lost gem, salvaging the decaying original negative and delivering a presentation that likely surpasses its initial release quality.
The meticulous restoration work has resulted in a flawless 3-D experience throughout the film, showcasing the dedication of the archive to preserving cinematic history.
Reflecting on the decline of the 3-D craze after the mid-1950s, it becomes clear that “The Bubble” was a rare latecomer to the fading trend.
The film’s director, Arch Oboler, known for his unconventional storytelling, had previously made waves in the industry with his pioneering 3-D film “Bwana Devil” (1952), contributing to the widescreen revolution in Hollywood.
Revisiting “The Bubble”: A Showcase of 3-D Spectacle and Peculiar Plot
In summary, “The Bubble” stands as a testament to the ingenuity of 3-D filmmaking, preserved and revitalized through the remarkable efforts of the 3-D Film Archive, while also serving as a unique relic of a bygone era in cinematic history.
Oboler re-entered the realm of 3-D filmmaking with “The Bubble,” utilizing Robert V. Bernier’s innovative 3-D cameras and lenses, introducing the Space-Vision process.
This novel approach enabled the creation of polarized 3-D movies on a single strip of film, reducing production and exhibition costs and allowing for colorful, widescreen productions such as “The Bubble”.
The movie primarily serves as a showcase for this pioneering process rather than a narrative enriched by 3-D.
The story unfolds with a young married couple, Mark and Catherine, aboard a small plane piloted by Tony, seeking urgent medical attention for Catherine.
They land in a peculiar town that exhibits abnormal characteristics, gradually realizing that something is amiss.
The town, filmed at a former studio backlot, presents a disconcerting blend of disparate elements, including a New York subway entrance to nowhere and an assortment of incongruous architectural styles.
As the trio attempts to leave the town, they discover that it is encapsulated within an impenetrable bubble, adding to the enigma.
The film’s initial 112-minute version faced criticism for its sluggish pace, prompting subsequent editing to a 91-minute runtime.
However, even in its trimmed form, the pacing remains a point of contention, partly due to the protagonists’ slow acknowledgment of the town’s anomalies.
The movie’s perplexing nature, reminiscent of “2001: A Space Odyssey,” leaves many questions unanswered, contributing to its dream-like, enigmatic appeal.
While drawing comparisons to episodes of “The Twilight Zone,” “The Outer Limits,” and “The Invaders,” the film exhibits adult themes, including the conception of Mark and Catherine’s baby, depicted as a result of their intimate relationship, and Tony’s involvement with a saloon dancer.
In summary, “The Bubble” stands as a cryptic, visually striking production that fuses 3-D spectacle with an unsettling, adult-oriented narrative, leaving viewers intrigued yet confounded by its unresolved mysteries and unconventional storytelling.
The cast of “The Bubble” includes notable performances, particularly from Michael Cole, whose talent is reminiscent of Steve McQueen’s early role in “The Blob.”
The film almost feels like a continuation of the adventures of young teenagers, now married and expecting a baby, encountering the mysterious events of “The Bubble.”
The ensemble cast comprises actors familiar to Oboler from his radio days, with several having worked alongside Jack Webb. Notably, Virginia Gregg, Vic Perrin, and Olan Soule are part of the cast.
Despite some discrepancies in the credits, the film serves as a platform for showcasing the talents of these actors, with visually captivating 3-D effects enhancing the overall experience.
The film, known for its 3-D spectacle, features stunning visuals, cleverly utilizing the 3-D format to immerse the audience in its visual narrative.
Despite certain elements bordering on the absurd, the film delivers a visually spectacular experience, effectively leveraging the 3-D technology to engage and entertain viewers.
Reportedly produced at a cost of around $500,000, the film’s restoration by the 3-D Film Archive has resulted in an impressive presentation, showcasing sharp imagery with corrected color and addressing various imperfections.
The restoration also includes supplementary materials such as a standard 2-D version of the film, reissue trailers, a restoration demonstration, a still gallery, screenplay excerpts, and an insightful essay about the film.
While “The Bubble” may not be considered a cinematic masterpiece, its peculiar plot and captivating 3-D effects have garnered appreciation, making it a compelling watch for enthusiasts and fans of 3-D cinema.
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