TOBOR is one of the handful of familiar 50s sci-fi titles I had never seen. Didn't seem to get much airplay for whatever reason.
The film has an interesting angle with the discussion of whether the space exploration should begin with manned missions or not. And, here the concept of going with a robot is pretty forward looking, to boot. Of course, much of the deeper exploration of this theme is brushed aside once it becomes apparent that this is kiddie matinee stuff featuring a boy and his 'bot (foreshadowing THE INVISIBLE BOY by three years).
The design of Tobor is pretty cool. A definite step up from the usual Tin Man approach with some sleek lines and other interesting design elements. For some reason, they had to add in a form of ESP into its operating system (COLOSSUS OF NEW YORK went one step further and even made that 'bot psychic!). I guess one could be charitable and consider it an early A.I. form of machine learning. Not much really happens once Tobor is introduced, and the main conflict revolves around the old commie spies routine. The elderly scientist's (Taylor Holmes) security is so tight that he can't remember if he invited 12 people or 13 to the unveiling! Thank god for the kid, Brian (Billy Chapin) - aka Gadget - and his gun! The nefarious Russkies are then scared off by a sound effects record! Once the spies are introduced, it's pretty clear what the climax will be, although the sight of Tobor in a jeep and then applying a knuckle sandwich to one of the baddies are pretty amusing. It's also a tad surprising that for a juvenile oriented film that the kid has shirt torn off and threatened with a blow torch.
Veteran writer Philip MacDonald (REBECCA, THE BODY SNATCHER) keeps the plot moving within the confines of the story (Carl Dudley). Lee 'Roll 'Em' Sholem's direction is plain and straightforward. The art direction by Gabriel Scognamillo (also credited with Tobor's basic design) is good for the budget. Howard Jackson's score is standard stuff and falls prey to the old 'lite-hearted' sit-com like backing when the kid is introduced.
TOBOR is average 50s fodder, but, it does have an intriguing notion or two. And, the ending is really fantastic and lifts the whole film up a notch. Tobor into the great beyond!
The film has an interesting angle with the discussion of whether the space exploration should begin with manned missions or not. And, here the concept of going with a robot is pretty forward looking, to boot. Of course, much of the deeper exploration of this theme is brushed aside once it becomes apparent that this is kiddie matinee stuff featuring a boy and his 'bot (foreshadowing THE INVISIBLE BOY by three years).
The design of Tobor is pretty cool. A definite step up from the usual Tin Man approach with some sleek lines and other interesting design elements. For some reason, they had to add in a form of ESP into its operating system (COLOSSUS OF NEW YORK went one step further and even made that 'bot psychic!). I guess one could be charitable and consider it an early A.I. form of machine learning. Not much really happens once Tobor is introduced, and the main conflict revolves around the old commie spies routine. The elderly scientist's (Taylor Holmes) security is so tight that he can't remember if he invited 12 people or 13 to the unveiling! Thank god for the kid, Brian (Billy Chapin) - aka Gadget - and his gun! The nefarious Russkies are then scared off by a sound effects record! Once the spies are introduced, it's pretty clear what the climax will be, although the sight of Tobor in a jeep and then applying a knuckle sandwich to one of the baddies are pretty amusing. It's also a tad surprising that for a juvenile oriented film that the kid has shirt torn off and threatened with a blow torch.
Veteran writer Philip MacDonald (REBECCA, THE BODY SNATCHER) keeps the plot moving within the confines of the story (Carl Dudley). Lee 'Roll 'Em' Sholem's direction is plain and straightforward. The art direction by Gabriel Scognamillo (also credited with Tobor's basic design) is good for the budget. Howard Jackson's score is standard stuff and falls prey to the old 'lite-hearted' sit-com like backing when the kid is introduced.
TOBOR is average 50s fodder, but, it does have an intriguing notion or two. And, the ending is really fantastic and lifts the whole film up a notch. Tobor into the great beyond!