People unfamiliar with genre films sometimes have this weird idea that the movies all carry themselves with an air of complete seriousness, that a particular type of film can’t possibly be aware of its own cliches and pitfalls until some smarmy mainstream director steps in and makes a spoof. That spy movies, even James Bond, can’t be aware of their own absurdity. Or that horror has never noticed its own cliches. The fact of the matter is that genre films are far more aware of their own short-comings and trappings than most mainstream films. For better or for worse, genre films — science fiction, horror, sexploitation, action, and so forth – have been self-referential and satirizing themselves since the early days. The Italian sword and sandal films that were so popular during the first half of the 1960s were no exception.
I spend a lot of time, perhaps too much time, waxing poetic about the golden cliches of yesteryear that seem to have disappeared from everywhere except Univision. Grown men dressed in those little sailor boy outfits holding oversized lollipops. Quicksand gags. So many lost greats. One of my favorite forgotten cinematic trends is the “scientist of everything.” Back in the 1950s, these guys were everywhere, and they were usually played by John Agar. Anyone familiar with old sci-fi films knows these guys. They are identified as “professor” but it’s never really clear what exactly they are professors of. At any given moment, they will prove themselves geniuses in the realms of physics, history, chemistry, geology, geography, aerospace engineering, paleontology, auto mechanics — you name it and these guys will show off their knowledge of it, usually at the belittlement of their clueless sidekick scientist, who is more than likely being played by Hugh Beaumont.