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Caltiki: The Immortal Monster (1959) | A true five-star release of an important film in Italian horror cinema

Caltiki, The Immortal Monster (1959)REVIEWED BY ALAN HOARE
The week’s big screen movie was a premier of Caltiki, The Immortal Monster (original Italian title: Caltiki, il Mostro Immortale, British title: The Immortal Monster) a 1959 Italian science fiction-horror film directed by Riccardo Freda and Mario Bava, which neither Chris or I had seen before.

A team of archaeologists investigating Mayan ruins who come across a creature that is a shapeless, amorphous blob. Meanwhile, a comet is due to pass close to the Earth, the very same comet that passed near the Earth at the time the Mayan civilization collapsed, raising the question: “Is there a connection between the creature and the comet”?

* John Merivale as Dr. John Fielding
* Didi Perego as Ellen Fielding
* Gérard Herter as Max Gunther
* Daniela Rocca as Linda
* Giacomo Rossi-Stuart as Prof. Rodriguez’s assistant
* Daniele Vargas as Bob (expedition member)
* Vittorio André as Prof. Rodriguez
* Nerio Bernardi as Police inspector
* Arturo Dominici as Nieto (expedition member)

Caltiki, The Immortal Monster (1959)

[WARNING: The following contains spoilers]

The opening narration tells us about the achievements of the Mayan civilisation and their unknown demise leaving their city empty and abandoned. We then see a delirious, worse for wear, man stumble from the ruins of the Mayan city and into his group’s camp (without his partner, both of whom have been exploring a nearby cave). He quickly babbles away madly, repeatedly muttering the word Caltiki. The group sets out for the cave to investigate what happened.

Upon entering the cave they find a huge chamber containing a deep pool of water, behind which on a stone pedestal is a large statue of Caltiki, the vengeful Mayan goddess who was ceremonially presented with human sacrifices.

Puzzled by the pool, they quickly decide to send a man with “full immersion gear” (in other words a diver) to investigate. Descending to the bottom, he finds the sandy bed scattered with Mayan skeletons clad in gold jewelry. Excitedly he surfaces clutching as much gold as he can carry. Although the group advises that he not go down again, he insists that he has plenty of air and suggests that they could all become millionaires from the wealth below. Relenting, they let him descend once more.

Caltiki, The Immortal Monster (1959)

As he greedily collects more and more treasure he inadvertently disturbs something and his cable to the surface suddenly begins to move erratically. Fearing for his safety, the group pull him back to the surface, only to find, upon removing his face mask, that his face has been reduced to a decayed mass over his skeleton.

Moments later, a shapeless pulsating creature rears up from the pool, attempting to envelop anyone within reach. Max is caught by the arm but is rescued by John who chops off part of the creature with an axe, freeing Max’s arm.

As the team escapes, the shapeless mass begins to crawl out of the cave. Nearby, there is a tanker truck full of gasoline. John drives the truck directly into the creature , causing a violent explosion which sets fire to the blob, destroying it.

The team returns to Mexico City to take Max to a hospital to treat the small piece of the creature on his arm, which is slowly digesting him. The surgeons carefully remove the creature, wrapping it up. They find that Max’s arm is nothing more than a few moist scraps of flesh connected to the underlying bones and that Max’s face is also begging to deteriorate.

Through experimentation the scientists discover that sample of the creature is a unicellular bacterium that appears to be dead, only to revive and quickly grow when bombarded with radiation. Overnight the janitor inadvertently irradiates the creature which quickly grows, but is destroyed when the laboratory accidentally catches fire.

Investigating the origins of the creature they learn of a comet emitting radiation, which crosses Earth’s path only once in every 850 years, was in the earths orbit at the demise of the Mayan civilisation and now is approaching earth again. Unfortunately, the remaining samples of the creature are stored in the home of Dr. John Fielding. At the comet’s closest approach to Earth, the remaining piece of the blob begins expanding to an enormous size and reproducing. At the same time the deranged Max has escaped hospital and is terrorising Ellen Fielding.

Caltiki, The Immortal Monster (1959)

While attempting to convince the Mexican government to send its army to destroy the reproducing blobs, Fielding is arrested for speeding but manages to escape. A colleague finally convinces the authorities to sound an alarm because if the creature multiples it will be beyond even their ability to control.

The government sends a regiment of soldiers equipped with high powered flamethrowers to Dr. Fielding’s home. Upon their arrival, they find that the creatures have multiplied and have overrun the house and grounds. Dr. Fielding’s wife and child have been forced to hide on a second-floor window ledge to escape being devoured. Fielding arrives just in time to save them, just as the soldiers lay waste to the creatures with torrents of fire.

Caltiki, The Immortal Monster (1959)

ALAN’S VERDICT
A very enjoyable Italian take on the monster movie, that takes The Quatermass Xperiment as it’s basis, but goes well beyond this with graphic realistically detailed gore and a simply, but marvellously realised creature deigned by Mario Bava, which looks like old towels were utilised to incredible effect. Indeed there are elements of found footage genre and possibly the genesis of David Cronenberg’s body horror sub genre

Special mention must be made of Mario Bava’s excellent use of glass matte painting for the Mayan village were live action is skilfully mixed to strengthen the illusion of the painting, when the mystery man stumbles from the city and then walks directly in front of the painting. The use of sets combined with models is well handled and as realism to the film.

Caltiki, The Immortal Monster (1959)

Allegedly, director Riccardo Freda was angered by the way the producers had treated his cinematographer, Mario Bava, on their previous film, I Vampiri. So Freda concocted a way to push Bava into the director’s chair of his next film, Caltiki, The Immortal Monster; he left the project early once Bava had been hired again as the film’s cinematographer. Freda felt that this would lead producer Lionello Santi into recognizing Bava’s talents as a film director. Bava described Caltiki, The Immortal Monster as “my very first film” while noting that Freda had fled the set “because everything was falling to pieces. I managed to carry it out, patching it up here and there”.

Arrow’s Blu-ray release of this long unavailable masterpiece is a wonder to behold. The black and white photography is crisp and detailed whilst still retaining a suitable filmic look. There is the option of English or Italian language, two audio commentaries and several documentaries.

A true five-star release of an important film in Italian horror cinema.

SPECIAL EDITION CONTENTS
• Brand new 2K restoration of the film from the original camera negative
• High Definition Blu-ray (1080p) and Standard Definition DVD presentations
• Original mono Italian and English soundtracks (lossless on the Blu-ray Disc)
• Newly translated English subtitles for the Italian soundtrack
• Optional English subtitles for the deaf and hard of hearing for the English soundtrack
• Audio commentary by Mario Bava biographer Tim Lucas
• Audio commentary by Italian Giallo cinema author Troy Howarth
• From Quatermass to Caltiki: a new discussion with author and critic Kim Newman
• Riccardo Freda, Forgotten Master: an archival interview with critic Stefano Della Casa
• The Genesis of Caltiki: archival interview with filmmaker Luigi Cozzi
• Archival introduction to the film by Stefano Della Casa
• Alternate opening titles for the US version
• Newly commissioned artwork by Graham Humphreys
• First pressing only: Illustrated collector’s booklet featuring new writing by Kat Ellinger and Roberto Curti

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