It all starts with an eye. One giant, floating eye. Perhaps placed in shot just to stretch out the opening credits, as we know that director Roger Corman is happy to use every trick in the book to pad out the runtime of a feature, this eye holds your attention for a sequence that seems to go on just a bit too long.
That works out well though, because this film doesn’t take long to get to the main thrust of the plot. After experimenting on a monkey that dies, and then enjoying a smoke with a colleague (cigarettes lit by a casually-held Bunsen burner), Dr. James Xavier (Ray Milland) feels that there is no time to waste as he splashes his new, potentially wondrous, eye drops into his eyes. As expected, they give him x-ray vision, which can surely help him to, ummmm, read paperwork covered by other paperwork, as well as potentially saving the lives of patients. One bit of terrible luck, however, and James has to flee his life, settling in to life as a carnival worker, overseen by Crane (Don Rickles). The potential miracle of x-ray vision is sold as a novelty, a trick to impress the crowds, and it isn’t long until James realises he needs to go somewhere else to make the best use of his “superpower”. He need to go to Las Vegas.
Fairly brisk and fun throughout, X The Man With The X-Ray Eyes now feels far too tame and lacking in visual flourishes that would help play up the core idea. Remake this nowadays, with some top-notch practical effects and intermittent 3-D to better display what the main character is seeing, and I reckon you could have a good time.
Not that this is bad. It just feels a bit too “fast and loose” when it could have better mixed the fun moments with a sense of growing unease and tension. The script, by Robert Dillon and Ray Russell, gets the science mumbo jumbo out of the way quickly, all the better to focus on the journey of a man who looks set to destroy himself in the quest to help others. It all starts from a point of arrogance, of course, and Dr. Xavier is a mild flavour of Dr. Frankenstein mixed with Dr. Jack Griffin (aka The Invisible Man), so viewers are able to both root for him and enjoy watching him suffer from the consequences of his own actions.
Corman directs with his usual efficiency, although it has to be said that the film only feels padded out in two main moments: that opening sequence, and a carefully edited scene showing our main character seeing everyone around him naked while they are dancing at a party. Otherwise, the direction feels nicely in tune with a script that zips along between three or four different set-pieces.
Milland is fine in the lead role, his eyes covered up for most of the runtime as he keeps trying to adjust to his increasing ability. He doesn’t try too hard to gain any sympathy, playing his character as someone diving headlong into an opportunity that most of us would be at least slightly tempted by. Diana Van Der Vlis is pleasant enough as a friendly colleague, and possible ally, named Dr. Diane Fairfax. But the standout is Rickles, stealing the movie in the few scenes that feature him (although it is also nice to see yet another turn from Corman “totem” Dick Miller, playing a carnival audience member who assumes the x-ray trickery is being done with the usual fakery and cheats).
This is a decent little ‘69s flick that doesn’t outstay its welcome. The better moments more than make up for the stumbles (and, it must be said, the sequence in Vegas ends up being a big stumble), and there’s a final moment that remains surprisingly impressive. Worth putting in your eyes.
6/10
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