| Photos (see all 10 | slideshow) |
| Robert Hutton | ... | Dr. Curtis Temple | |
| Jennifer Jayne | ... | Lee Mason | |
| Zia Mohyeddin | ... | Farge | |
| Bernard Kay | ... | Richard Arden | |
| Michael Gough | ... | Master of the Moon | |
| Geoffrey Wallace | ... | Alan Mullane | |
| Maurice Good | ... | Agent Stillwell | |
| Luanshya Greer | ... | Female Gas Station Attendant | |
| John Harvey | ... | Bill Trethowan | |
| Diana King | ... | Mrs. Trethowan | |
| Paul Bacon | ... | Dr. Rogers | |
| Christopher Banks | ... | Doctor on Street | |
| Dermot Cathie | ... | Peterson | |
| Norman Claridge | ... | Dr. Frederick Andrews | |
| James Donnelly | ... | Farm Gate Guard | |
| Frank Forsyth | ... | Mr. Blake | |
| Leonard Grahame | ... | McCabe | |
| Michael Hawkins | ... | Williams | |
| Jack Lambert | ... | Doctor in Office | |
| Robin Parkinson | ... | Dr. Maitland | |
| Edward Rees | ... | Bank Manager | |
| Katy Wild | ... | Girl in Street | |
| Kenneth Kendall | ... | TV Commentator | |
| rest of cast listed alphabetically: | |||
| S. Newton Anderson | ... | Peter (uncredited) | |
Directed by | |||
| Freddie Francis | |||
Writing credits(in alphabetical order) | ||
| Joseph Millard | novel "The Gods Hate Kansas" | |
| Milton Subotsky | writer | |
Produced by | |||
| Max Rosenberg | .... | producer (as Max J. Rosenberg) | |
| Milton Subotsky | .... | producer | |
Original Music by | |||
| James Stevens | |||
Cinematography by | |||
| Norman Warwick | |||
Film Editing by | |||
| Peter Musgrave | |||
Production Design by | |||
| Bill Constable | |||
Art Direction by | |||
| Don Mingaye | |||
| Scott Slimon | |||
Costume Design by | |||
| Eileen Welch | |||
Makeup Department | |||
| Bunty Phillips | .... | makeup artist | |
| Ann Rogers | .... | hair stylist | |
Production Management | |||
| Ted Wallis | .... | production supervisor | |
| Tony Wallis | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Ray Corbett | .... | assistant director | |
Art Department | |||
| Jimmy James | .... | property buyer | |
Sound Department | |||
| Margaret Dickinson | .... | assistant sound editor | |
| Gerry Humphreys | .... | sound | |
| Clive Smith | .... | sound editor | |
| George Stephenson | .... | sound recordist | |
Special Effects by | |||
| Les Bowie | .... | special effects | |
Camera and Electrical Department | |||
| David Harcourt | .... | camera operator | |
Editorial Department | |||
| David Lewis | .... | assistant editor | |
Music Department | |||
| Philip Martell | .... | conductor | |
Other crew | |||
| Francis Rodker | .... | titles | |
| Barbara Rowland | .... | continuity | |
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| Full cast and crew | Company credits | External reviews |
| IMDb Horror section | IMDb UK section | Add this title to MyMovies |
Robert Hutton plays an American scientist working on a SETI project in the U. K. with a small team of assistants. He is called out to investigate the arrival of several 'meteors' which apparently hit the earth in formation. Hutton can not go, however, because he is recovering from brain surgery associated with a car accident. Soon enough, we discover that the alien vehicles house energy beings of great age who are, of course, able to possess any human they contact - except Hutton - who is protected by the silver plate in his head.
Like most 60s films of the sci fi genre, this has a fair number of logical discontinuities and other minor blemishes, and is far from a classic. However, I found it entertaining and, occasionally, thoughtful. The cinematography, script and acting are all standard, but not above average, and the pace of the film is mostly OK. The two major problems with this film are the repetitive and sometimes redundant innumerable attempts to infiltrate the alien base of operations by Hunter's character and the interesting, but irritatingly over-used minimalist-dissonant modern jazz soundtrack.
What I liked about this film is the way it plays with identity and ethics. There are times, before you learn the true motive of the aliens, that you feel sympathetic to them, regardless of their vicarious enslavement of human beings, and there are several hints dropped throughout the film concerning what is actually going on, but not so many that you will find the film predictable. Unlike similarly themed films (BodySnatchers etc), They Came From Beyond Space relies less on action, shock, and terror, and more on cleverness. Unfortunately, the film does not realize its potential in terms of thoughtfulness - since it never really opens up the issues it raises concerning enslavement, vicarious existence, sacrifice to the greater good and identity. To its credit though, the film does end on a satisfyingly smart note.
If you're a sci fi fan, you will likely enjoy this film, but I should note that you should expect little in the way of truly original material from it.