X (1963)

Director:

Roger Corman

Writers:

Robert Dillon (screenplay) and
Ray Russell (screenplay) ...
(more)

Release Date:

18 September 1963 (USA)

Genre:

Horror | Sci-Fi | Thriller

Tagline:

Suddenly he could see through clothes, flesh... and walls!

Plot:

Dr. Xaviers experiments with X-Ray vision start to go wrong.

Plot Keywords:

X Ray Vision | Eye | Experiment | Animal Research | Psychotronic

Cast

Ray Milland	...	Dr. James Xavier
Diana Van der Vlis	...	Dr. Diane Fairfax
Harold J. Stone	...	Dr. Sam Brant
John Hoyt	...	Dr. Willard Benson
Don Rickles	...	Crane
rest of cast listed alphabetically:
Morris Ankrum	...	Mr. Bowhead (uncredited)
John Dierkes	...	Preacher (uncredited)
Kathryn Hart	...	Mrs. Mart (uncredited)
Jonathan Haze	...	Heckler (uncredited)
Vicki Lee	...	Young Girl Patient (uncredited)
Dick Miller	...	Heckler (uncredited)
Barboura Morris	...	Nurse (in attendance of Young patient) (uncredited)
Jeffrey Sayre	...	Assistant Croupier (uncredited)
Lorrie Summers	...	Party Dancer (uncredited)

Directed by
Roger Corman

Writing credits
Robert Dillon		(screenplay) and
Ray Russell		(screenplay)
Ray Russell		(story)

Produced by
Samuel Z. Arkoff	....	executive producer
Bartlett A. Carre	....	associate producer (as Bartlett A. Carré)
Roger Corman	....	producer
James H. Nicholson	....	executive producer

Original Music by
Les Baxter

Cinematography by
Floyd Crosby

Film Editing by
Anthony Carras

Production Design by
Daniel Haller

Set Decoration by
Harry Reif

Costume Design by
Marjorie Corso

Makeup Department
Ted Coodley	....	makeup supervisor
Betty Pedretti	....	hair stylist

Production Management
Robert Agnew	....	production manager

Second Unit Director or Assistant Director
Jack Bohrer	....	assistant director

Art Department
Karl Brainard	....	property master

Sound Department
Alfred R. Bird	....	sound editor (as Al Bird)

Visual Effects by
John Howard	....	consultant: Spectarama

Music Department
Eve Newman	....	music editor
Al Simms	....	music coordinator

Production Companies

• Alta Vista Productions

Distributors

• American International Pictures (AIP) (1963) (USA) (theatrical)
• ClassicLine (Brazil) (DVD)
• World Beyond Video

Special Effects

• Butler-Glouner

Also Known As:

Man with the X-Ray Eyes
X: The Man with the X-Ray Eyes (USA) (alternative title)
Der Mann mit den Röntgenaugen (West Germany) [de]
El hombre con rayos X en los ojos (Spain) [es]
El hombre con visión de rayos X (Venezuela) [es]
L'horrible cas du docteur X (France) [fr]
L'uomo dagli occhi a raggi X (Italy) [it]
O Homem dos Olhos de Raio-X (Brazil) [pt]
Röntgenkatsemies (Finland) [fi]

Runtime:

79 min

Country:

USA

Language:

English

Color:

Color (Pathécolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Iceland:12 | USA:Approved (PCA #20529)

Filming Locations:

Las Vegas, Nevada, USA

Company:

Alta Vista Productions

Trivia:

This film originally had a five minute prologue about the human senses. This prologue was removed from all post-theatrical prints of the film, and may have been removed from some of the theatrical release prints. This reduced the running time to 79 minutes. The footage still exists.

Goofs:

Revealing mistakes: In the hospital, Dr. Xavier sees through bandages, but sees his friends dressed.

Quotes:

Dr. James Xavier: I'm blind to all but a tenth of the universe.
Dr. Sam Brant: My dear friend, only the gods see everything.
Dr. James Xavier: My dear doctor, I'm closing in on the gods.

Movie Connections:

Featured in The Cutting Edge: The Magic of Movie Editing (2004)

I remain enthusiastic even 40 years later...

To this writer, the film is Roger Corman's best entry into sci-fi. Many of his 50s efforts hold a certain campy charm, with their low-budget effects - and this film is similar in that regard. It does not dwell on the effects, in fact some of them are rather poor. What it does have in its favor is a tight screenplay that gets into the story quickly, as will the viewer - and it's engrossing enough and the characters interesting enough that one stays involved through the episodic story.

What it has most in its favor is an excellent performance from Ray Milland, then in his last days being top-billed, and he milks it for all that it's worth. In some scenes Corman goes for a direct close-up and Milland's facial reactions indicate that he took the the role in a small-budget/tight schedule film with all the enthusiasm that he did in one of his roles for Alfred Hitchcock ("Dial M For Murder") or Fritz Lang ("Ministry of Fear"). Smooth, refined, but a man of immediate action if necessary, Milland's Dr. Xavier is not your usual mad scientist. As with Claude Rains in "The Invisible Man" or Al Hedison in "The Fly" he's the scientist who made the mistake of being his own subject.

Occasionally Corman goes for the cheap gag (the party sequence, where Xavier examines the guests sans attire - but inoffensive in a typical 60s approach), but the carnival scenes and the basement healer scenes show a maturity to Corman's direction, and these scenes are greatly helped by the performance of Don Rickles. He's as sleazy as one can get and admits that if he had the power, he's use it to see "all the undressed women my poor eyes can stand" and you believe it. A scene where Milland confronts other carnival workers who are speculating on his "power" shows the doctor to be both introspective and world weary at the same time. At this point even he does not know what to do with his ability, but Rickles suggestion of setting up a site to "heal" others leads to the film's most revealing and almost poetic sequence. Xavier's original intention was to help the ill, but his implication in an accidental murder led him to seek refuge in the carnival Richard Kimble-style.

Diana Van Der Vlis does well with her underwritten role in which at one point she's rather quickly dropped, and then resurfaces rather conveniently later in the story - to no great effect. This was only her second feature film, though she had done a number of TV guest shots. Although half Milland's age, she seems more mature than her 28 years and they make a believable pair. A bonus is the appearance of a number of veterans in brief roles - John Hoyt, Harold J. Stone, John Dierkes and Morris Ankrum, as well as Corman stalwart Dick Miller. Miller shares his scenes with Jonathan Haze, whom it appears was getting the cheapest rate Corman could pay as he has no lines at all. He was rather bitter about this as he revealed in an interview years later.

Floyd Crosby's cinematography belies the small budget - only $300,000 and a shooting schedule of about three weeks. According to Corman they did rehearse a bit more than usual - and in the finished product it shows. He claims he even went as high as four takes, which may not exactly put him in William Wyler or Stanley Kubrick territory, but it's a far cry from what he'd do in the 50s. Les Baxter contributes what may be my favorite of his scores, fully complimentary to the action on screen without overwhelming it.

There's a bit of controversy over the ending - some attribute an extra line of dialog that never appeared in any print that I've seen, but it is still one of the most surprising endings of any sci-fi film since "The Incredible Shrinking Man." That it won the top prize at the Trieste Science Fiction Film Festival would be enough for one to be curious enough to see it even this many years later - that it has held up so well over 40 years points to that award's validity.