Santa Claus Conquers the Martians

Plot

In this bizarre sci-fi holiday adventure, Martian leader Kimar grows concerned when he observes that the children of Mars have become listless and joyless, spending all their time watching Earth television broadcasts. Following the advice of the ancient Martian sage Chochem, who insists the children need the joy of a Santa Claus figure, Kimar leads an expedition to Earth to kidnap the real Santa Claus. The Martians abduct two Earth children, Billy and Betty Foster, to help them locate Santa's workshop at the North Pole. After capturing Santa Claus and bringing him back to Mars, they attempt to force him to build a toy factory and spread Christmas cheer to Martian children. The plot thickens when the villainous Martian Voldar plots to eliminate Santa, believing he will corrupt Martian society, leading to a climactic battle between those who want Christmas joy and those who fear its influence.

Historical Background

Santa Claus Conquers the Martians was released during the height of the Cold War and the space race, a time when Americans were fascinated with space exploration and alien life. The film capitalized on both the Christmas movie market and the sci-fi boom of the early 1960s. 1964 was also the year of the Civil Rights Act and escalating U.S. involvement in Vietnam, making the film's simple, innocent tone somewhat out of step with the turbulent times. The film reflected the era's growing concern about television's influence on children, with the Martian children's obsession with Earth TV serving as a metaphor for American anxieties about media's impact on youth.

Making Of

The production was plagued by budget constraints that forced creative solutions to special effects problems. The Martian spaceships were suspended by visible wires, and the 'flying' sequences were achieved through simple animation techniques. The cast reportedly had a difficult time maintaining straight faces during filming, especially during scenes with the obviously fake polar bear and robot. John Call, who played Santa Claus, was a respected Broadway actor who took the role seriously despite the film's campy nature. The child actors were often left unattended on set, and Pia Zadora's mother reportedly had to intervene when producers wanted her daughter to work longer hours than child labor laws permitted.

Visual Style

The cinematography by William H. Clothier Jr. was rudimentary even by 1960s standards, with basic lighting setups and static camera work. The film attempted to create a futuristic Martian environment through simple color filters and painted backdrops. The spaceship effects were achieved through obvious model work and wire work that was clearly visible. Despite these limitations, the film maintains a bright, colorful aesthetic that gives it a distinctive look among low-budget films of its era.

Innovations

The film's technical achievements were minimal, but it did represent an early attempt to combine the Christmas and science fiction genres. The makeup effects for the Martians, while crude by modern standards, were ambitious for the budget. The film's use of green screen technology was primitive but present in several scenes. The spaceship models, while obviously fake, showed some creativity in design. The film's technical limitations have become part of its charm, with the visible wires and cardboard sets adding to its camp appeal.

Music

The musical score was composed by Milton Delugg, who would later become famous for composing The Gong Show theme. The soundtrack features the memorable song 'Hooray for Santa Claus,' which plays over the opening credits and has become the film's most enduring element. Delugg's score attempts to blend traditional Christmas music with space-age electronic sounds, creating a bizarre but catchy musical landscape. The film's sound effects were equally low-budget, with many alien sounds created through simple vocal effects and basic audio manipulation.

Memorable Scenes

• The opening sequence where the Martians watch Earth television broadcasts, showing distorted images of Christmas commercials and Santa Claus.
• The scene where the Martians first encounter the polar bear at the North Pole, featuring an obviously fake costume that has become legendary among bad movie fans.
• Dropo's transformation into the Martian Santa Claus, complete with a green Santa suit and his clumsy attempts to deliver toys.
• The final battle scene where Voldar attempts to destroy the toy factory, featuring slow-motion fighting and visible stunt wires.
• The closing musical number where everyone sings 'Hooray for Santa Claus' while dancing awkwardly.

What Critics Said

Contemporary critics universally panned the film, with reviews citing its poor special effects, incoherent plot, and amateurish acting. The New York Times called it 'a juvenile fantasy that fails on every level.' Modern critics have reassessed the film as an unintentional comedy masterpiece, with many noting its charm lies in its earnest incompetence. Film historian Leonard Maltin gave it his lowest rating and called it 'one of the all-time worst.' However, some contemporary critics have found merit in its surreal qualities and have praised it as a perfect example of 1960s camp aesthetics.

What Audiences Thought

Initial theatrical audiences were reportedly small, with the film receiving limited release primarily as children's matinee programming. Over the decades, audience perception has transformed from dismissive to affectionate, with modern viewers embracing it as a holiday tradition for its unintentional humor. The film's MST3K appearance created a new fanbase that appreciates it specifically for its flaws. Today, it enjoys regular screenings at revival houses and has become a staple of holiday bad movie marathons.

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