The Last Man on Earth

Plot

Dr. Robert Morgan believes himself to be the last normal human alive after a devastating plague has transformed the rest of humanity into vampire-like creatures. By day, he methodically hunts these beings, staking their bodies to prevent them from rising again, while gathering supplies from abandoned homes and stores. By night, he barricades himself in his fortified house, tormented by the creatures' attempts to enter and haunted by memories of his family before the pandemic. His lonely existence is shattered when he encounters another survivor, Ruth, who initially appears normal but is actually part of a new society of infected people developing a cure. The film culminates in a tragic irony when Morgan is captured by this new society, realizing he has become the monster to them - a legendary figure who hunts them while they sleep.

Historical Background

The film emerged during the height of the Cold War era, a time when nuclear annihilation and biological warfare were genuine public fears following the Cuban Missile Crisis of 1962. The early 1960s saw increasing scientific advancement alongside growing anxiety about the potential consequences of unchecked scientific experimentation. The plague in the film reflected contemporary concerns about germ warfare and the potential for science to create catastrophes beyond human control. The isolation and paranoia depicted in the movie resonated with audiences living under the threat of nuclear destruction. Additionally, the film was part of a wave of Italian genre productions that were gaining international recognition, showcasing how European cinema could compete with Hollywood in popular genres. The civil rights movement and changing social dynamics of the 1960s also informed the film's themes of societal breakdown and the redefinition of humanity.

Making Of

The production was a challenging international collaboration between Italian producers and American talent. Director Ubaldo Ragona, primarily known for documentary work, brought a stark realism to the horror genre. The film was shot at Rome's Cinecittà Studios with a predominantly Italian crew, creating cultural and language barriers on set. Vincent Price, accustomed to Hollywood productions, had to adapt to the European filming style which was more improvisational and less structured. The makeup effects for the vampire creatures were deliberately kept minimal due to budget constraints, which ironically enhanced their unsettling appearance. The film's distinctive atmosphere emerged from these limitations, with the empty cityscapes created through clever scheduling rather than expensive set construction. Price's performance was particularly notable for its emotional depth, as he drew on his own feelings of isolation during the Italian shoot to portray Morgan's loneliness.

Visual Style

The black and white cinematography by Franco Delli Colli creates a stark, haunting visual landscape that perfectly captures the film's themes of isolation and desolation. The camera work emphasizes empty urban spaces, using wide shots of deserted streets and buildings to convey Morgan's profound loneliness. The lighting creates dramatic contrasts between the relative safety of daylight and the oppressive darkness of night, with shadows used to suggest lurking dangers just beyond sight. The film makes excellent use of the Italian locations, transforming Rome's architecture into an anonymous American city through careful framing and composition. The cinematography also employs close-ups effectively to capture Price's nuanced performance, particularly in scenes where Morgan's psychological deterioration becomes apparent. The visual style, born partly from budget constraints, achieves a documentary-like realism that enhances the horror.

Innovations

Despite its limited budget, the film achieved several notable technical innovations. The production team developed creative solutions for depicting a post-apocalyptic world, including using early morning light and careful location selection to create the illusion of abandoned cities. The makeup effects for the vampire creatures, while minimal, were effective in creating unsettling appearances without elaborate prosthetics. The film's sound design was particularly innovative for its time, using ambient noise and silence to create psychological tension rather than relying solely on musical cues. The cinematography techniques for conveying isolation through empty spaces influenced countless subsequent films in the genre. The production also demonstrated how international co-productions could create compelling genre films that transcended cultural boundaries, paving the way for more global cinema collaborations.

Music

The musical score by Paul Sawtell and Bert Shefter provides a minimalist, atmospheric foundation that enhances rather than dominates the film's mood. The music is sparse and understated, using dissonant strings and brass to create tension without overwhelming the visuals. The soundtrack's restraint is particularly effective during the night sequences, where the absence of music amplifies the sounds of the creatures outside Morgan's home. The score incorporates elements of jazz and avant-garde composition that were unusual for horror films of the period, giving the movie a more contemporary and unsettling feel. The main theme has a melancholic quality that reflects Morgan's isolation and despair. Sound design is equally important, with the film using silence strategically to build tension, punctuated by the creatures' moans and the sounds of Morgan's barricades being tested.

Memorable Scenes

• The opening sequence where Morgan walks through deserted city streets, establishing the complete isolation of his existence
• The nightly siege scenes where vampire creatures pound on Morgan's boarded-up windows while he tries to maintain his sanity
• Morgan's methodical routine of staking sleeping vampires during his daily patrols, showing how he has adapted to this horrific new world
• The flashback sequences revealing how Morgan lost his family to the plague, providing emotional context for his current isolation
• The first encounter with Ruth, offering a glimmer of hope that is immediately complicated by her true nature
• The final scene where Morgan realizes he has become the monster to the new society, the ironic reversal of his role as humanity's last hope

What Critics Said

Upon release, critical reception was mixed to negative, with many reviewers dismissing it as low-budget exploitation fare. The New York Times criticized its pacing and lack of sophistication, while Variety found it derivative of earlier horror films. However, some critics, particularly in genre publications, recognized its atmospheric qualities and Price's committed performance. Over time, critical reassessment has been much more favorable, with modern critics praising the film's stark visual style, psychological depth, and influence on the horror genre. Contemporary reviewers often cite it as superior to later adaptations of Matheson's novel, particularly for its faithfulness to the book's tone and themes. The film is now recognized as a cult classic that transcended its B-movie origins to create something genuinely haunting and thought-provoking.

What Audiences Thought

Initial audience response was modest, with the film performing poorly in its limited U.S. theatrical run. However, it found more success in Europe and developed a stronger following through television broadcasts and home video releases. Horror enthusiasts, particularly Vincent Price fans, embraced the film's darker tone and the actor's more dramatic performance compared to his usual gothic horror roles. Over the decades, the film has gained significant cult status, with modern audiences appreciating its minimalist approach to horror and its exploration of existential themes. The movie's reputation has grown substantially through word-of-mouth and critical reevaluation, with many considering it the most faithful adaptation of Matheson's novel. Its influence on subsequent post-apocalyptic films has also enhanced its standing among cinema enthusiasts.

You Might Also Like