PHENOMENALITY: *marvelous*
MYTHICITY: *good*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTIONS: *cosmological, metaphysical, sociological*
THE
MOLE PEOPLE is not so much the proverbial “silk purse made from a
sow’s ear,” as it is a silk purse improbably stuck into a sow’s
ear. By that I don’t mean that the directing of Virgil Vogel and
the acting of the principal players prove to be as ghastly as some
pig’s body-part. But both the performances and the direction remain
essentially workmanlike and undistinguished. Lazlo Gorog’s script
is the real star of this Universal venture into the “lost
civilization” subgenre.
A
lot of movies have formulated their own modern myths. However, it’s
a rare film that manages to successfully translate the myths of
ancient times. Lost civilization stories usually come up with
societies made of a hodgepodge of Graeco-Roman motifs. In contrast,
Gorog does his best to make THE MOLE PEOPLE a homage to the
Babylonian deity Ishtar (called Innana by the preceding culture of
the Sumerians). Though there are a few technical inaccuracies in
Gorog’s fictional treatment of the goddess, Gorog comes closest to
capturing the multivalent symbolism present in archaic cultures.
Though
MOLE PEOPLE was not the first American film to deal with a version of
the “hollow earth”theory, the film begins with a scientific
lecturer elucidating the theory for the audience’s benefit. The
lecture’s main points of interest is its validation of inner-earth fictional tales with reference to religious narratives concerning descent into the land of the dead-- appropriate in the case of THE MOLE PEOPLE, whose lost race is metaphorically a culture of the living dead. The lecture mentions both
Dante’s Inferno and a similar descent-story featuring the hero Gilgamesh.
Yet surprisingly, the lecture does not mention that Ishtar—the deity who dominates the main
narrative—is particularly famous for descending into the death-realm of her goddess-sister Ereshkigal. But then, in the film proper, the script’s concept of Ishtar is covalent with the mountain in which the lost race endures, which may be why the lecture-sequence concentrates on images of mortal men descending into a feminine-gendered underworld.
Yet surprisingly, the lecture does not mention that Ishtar—the deity who dominates the main
narrative—is particularly famous for descending into the death-realm of her goddess-sister Ereshkigal. But then, in the film proper, the script’s concept of Ishtar is covalent with the mountain in which the lost race endures, which may be why the lecture-sequence concentrates on images of mortal men descending into a feminine-gendered underworld.
Unlike
various mummy-films in which the tombs of the dead never wish to
yield up their secrets, the Himalayan mountain Kuhitara sends tokens
of invitation to those who venture close. In this case, the explorers comprise an
American archaeological expedition. The scientists-- four in number, though only Bradley (John Agar) and Belliman (Hugh Beamont) are principal characters-- are investigating the possibility
that Sumerian emigrants, escaping the devastation of the Biblical
Flood, may have traveled to the great mountains to found a colony.
None of the scientists expect to find anything but
relics of those ancient denizens. The archaeologists first discover a
cuneiform siele written by an ancient Sumerian king, promising doom
to intruders. But before the foreigners even have the chance to
trespass, an earthquake—which one of the scientists humorously
associates with Ishtar—shakes the entire camp and destroys the
stele. However, the quake also unearths an ancient lamp, on which the
chronicle of the emigration is related. This second relic encourages
the archaeologists—Bradley, Belliman and the other two-- to explore
the mountain’s summit. Once there, a third relic, disclosed by a
convenient avalanche, points the way to the abandoned portal of an
archaic temple. Yet Ishtar-as-mountain proves so impatient for the
modern men to trespass on her domain that the ground swallows up one
of the scientists. This forces the other three—Belliman, Bentley
and Lafarge-- to go on a spelunking journey to rescue the lost man.
The lost scientist perishes in the fall, and Lafarge doesn’t live
much longer than it takes for the scientists to discover a living
Sumerian city beneath the mountain’s rocky exterior.
Up
to this point Gorog is clearly drawing upon the Biblical story of the
Flood, in which Noah’s Ark eventually comes to rest on a mountain,
after which both human and animal denizens stream forth to repopulate
a destroyed world. But Gorog's Sumerians offer not rebirth but stasis, in keeping with the majority of lost civilizations ever since Rider
Haggard invented the subgenre,
The people within the mountain, who both keep slaves and are enslaved to their superstitions, no longer have any concept of a world outside their domain, believing that everything beyond their borders is the heavenly terrain of Ishtar. The ruling class is a race of albinos, due to their long exile from sunlight, and they are served by humanoids with claw-hands and mole-like features, the “Mole People” of the title. Belliman and Bentley never devote any time to wondering how, even in two thousand years, human beings could have ever taken on such theriomorphic shapes—but perhaps that’s because the moment the scientists are captured, the albino people try to kill them as demons. Only the fact that Bentley has a flashlight—whose radiance can blind both the albinos and the Mole People—keeps the explorers in one piece. The Sumerians honor the three scientists as emissaries of Ishtar, and when Lafarge dies in a mishap, the other two have to cover for his death by claiming that he returned to the goddess.
The people within the mountain, who both keep slaves and are enslaved to their superstitions, no longer have any concept of a world outside their domain, believing that everything beyond their borders is the heavenly terrain of Ishtar. The ruling class is a race of albinos, due to their long exile from sunlight, and they are served by humanoids with claw-hands and mole-like features, the “Mole People” of the title. Belliman and Bentley never devote any time to wondering how, even in two thousand years, human beings could have ever taken on such theriomorphic shapes—but perhaps that’s because the moment the scientists are captured, the albino people try to kill them as demons. Only the fact that Bentley has a flashlight—whose radiance can blind both the albinos and the Mole People—keeps the explorers in one piece. The Sumerians honor the three scientists as emissaries of Ishtar, and when Lafarge dies in a mishap, the other two have to cover for his death by claiming that he returned to the goddess.
During
this time of relative safety, Belliman and Bentley learn the ways of
their worshipers/captors—how they eat and make clothes-- though
again, nothing much is said about how the Mole People, known to the
albinos as “the beasts of the dark,” came into being. The
mole-men—who presumably have females, though none are clearly
indicated—harvest mushroom-crops while being lashed by cruel
overseers. It’s not clear if the Mole People eat mushrooms as well,
though they do consume meat, since at one point they’re accused of
despoiling an albino corpse. The albinos are dependent on the Mole
People to harvest the crops, which suggests a rewriting of H.G.
Wells’ Eloi-Morlocks trope, one in which the effete Eloi maintain
control over the cannibalistic brutes. Further, though the albinos
worship a goddess, none of the few women seen have any high status,
and the only female character, the handmaiden Adad, is despised for
being a throwback, having non-albino coloration. Bentley becomes
friendly with Adad, and tries to teach her about the freedom of the
individual and the wonders of the outside world. She, for her part,
does not take long to realize that the two scientists are not
gods—but neither does high priest Elinu (Alan Napier), who gets the idea
of stealing the flashlight from the supposed “emissaries.”
Before
the conflict between the newcomers and the old guard heats up, the
script devotes considerable time to working out the system of
worship. Ishtar is the mountain in which the albinos live, but she is
also “married to the spirit of this world.” She is also the
heavenly world beyond the limits of the mountain, and though the
albinos have no concept of the sun as such, they reduce their surplus
population by hurling sacrificial victims into “the Eye of
Ishtar." This means exposing them to sunlight in a sacrificial
chamber, so that the sacrifices burn to death. High priest Elinu
presides over the executions by invoking a chevron-like symbol,
called “the golden rod,”which seems to be a sort of stylized
image of a thunderbolt, embodying the sun’s destructive power.
Despite
the fact that the albinos are the only living humans still
worshipping Ishtar, one gets the impression that she’s invited the
scions of modern humanity into her bailiwick in order to ring down
the curtain on this corrupt and backward society. Belliman and
Bentley don’t confine their emancipatory sympathies to Adad, for
they also defend the Mole People against Sumerian cruelty. This
indirectly emboldens the monster-men—who possess rudimentary
reasoning-powers—to rebel against their masters at last.
Ironically, Belliman, Bentley and Adad are spared this violence
because they’re sentenced to the sacrificial chamber, where the
sun’s radiance has no negative effect upon their non-albino flesh.
However,
in the end Ishtar proves to be a jealous god. From the sacrificial
chamber the scientists and the ex-handmaiden escape to the surface of
the mountain. Yet one last tremor panics Adad, so that she turns,
like Lot’s wife, to look back at the place she came from. Adad,
instead of getting turned into a pillar of salt, is crushed to death
by a falling pillar of the temple’s exterior. Thus, even though two
of the four delvers into ancient mysteries are allowed to return to
the living world, the world of death claims its last daughter. It’s
a conclusion that somewhat undermines the dominant reformatory spirit
of the 1950s, insisting that the people of primal times cannot
transition into the world of fast food and airplanes, but must, like
the goddess, pass back into the domain of fable, legend and myth.
Thanks for the review, Gene. For me, The Mole People seems to improve with each viewing. This time I paid closer attention to the plot points you mention4d. It's sci-fi up to a point, yet it plays more as a "fantastic" romance/drama, with emphasis on character interactions and relationships, between cultures and individuals.
ReplyDeleteThe screenplay was a good piece of work. I liked that the symbolism wasn't over-stressed (no overt suggestions of antebellum Old South, with moles representative of black slaves, thus the viewer could think for himself), as the film was hunting bigger game. It was a movie, told a complex, multi-layered story, not a Twilight Zone episode.
I like your TWILIGHT ZONE comparison, John. Though there are a number of strong episodes, often I feel that Serling was a little too didactic to be a good fantasist. Even though I made a minor criticism of the film's failure to account for the mole people's mutation, making them into subterranean monsters works better than, say, making them all throwback humans like Adad. I really think Gorog must've been thinking somewhat of the cannibalistic Morlocks, but there's an "otherness" that makes the mole people less didactic, so that they conjure more of that fantasy atmosphere you mention.
ReplyDeleteThis line of thought reminded me of Edward Bernds's WORLD WITHOUT END, which came out early in March '56, and where that film's writer also reworked the Eloi-Morlocks trope. However, WORLD is more overt about banishing the old savage ways and seems more straight science-fiction than fantasy. I can imagine WORLD having some minor effect on Gene Roddenberry, since he often played with the same "savagery vs. civilization" trope.
I meant to add also that there might be a hair's possibility that Gorog saw WORLD as well, and framed MOLE PEOPLE in a more pessimistic light for that reason. Since MOLE comes out in December '56, that sounds like there just might be enough time between the two.
ReplyDelete