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Editorial Reviews
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"Only the gods see everything," cautions one scientist as Dr. James Xavier (Ray Milland) experiments with a formula that will allow the human eye to see beyond the wavelength of visible light. "I am closing in on the gods," he responds with the hubris that is doomed to destroy his overreaching ambition. A mix of Greek tragedy and sci-fi potboiler, Roger Corman's X: The Man with the X-Ray Eyes (simply identified as X in the eerie, odd opening credits) is a familiar tale of a scientist who risks everything to explore the unknown and is finally driven mad by, literally, seeing too much. Peeping through the clothes of comely women is all good adolescent fun until the gift becomes a nightmare as his sight rages out of control. The possibilities suggested in the hints of addiction and inconsistent bouts of megalomania remain tantalizingly unexplored in the unfocused script, and Corman's cut-rate special effects are often more hokey than haunting (the "city dissolved in an acid of light" that Xavier poetically describes becomes fuzzy photography through a series of color filters). Don Rickles offers a venal turn as a scheming carnival barker turned blackmailing con man, and Diana Van der Vlis is understanding as a sympathetic scientist who tries to rescue Xavier from his spiral into tortured madness, but in the tradition of Greek tragedy, he is doomed to be destroyed by the very gifts he desires.
"Only the gods see everything," cautions one scientist as Dr. James Xavier (Ray Milland) experiments with a formula that will allow the human eye to see beyond the wavelength of visible light. "I am closing in on the gods," he responds with the hubris that is doomed to destroy his overreaching ambition. A mix of Greek tragedy and sci-fi potboiler, Roger Corman's X: The Man with the X-Ray Eyes (simply identified as X in the eerie, odd opening credits) is a familiar tale of a scientist who risks everything to explore the unknown and is finally driven mad by, literally, seeing too much. Peeping through the clothes of comely women is all good adolescent fun until the gift becomes a nightmare as his sight rages out of control. The possibilities suggested in the hints of addiction and inconsistent bouts of megalomania remain tantalizingly unexplored in the unfocused script, and Corman's cut-rate special effects are often more hokey than haunting (the "city dissolved in an acid of light" that Xavier poetically describes becomes fuzzy photography through a series of color filters). Don Rickles offers a venal turn as a scheming carnival barker turned blackmailing con man, and Diana Van der Vlis is understanding as a sympathetic scientist who tries to rescue Xavier from his spiral into tortured madness, but in the tradition of Greek tragedy, he is doomed to be destroyed by the very gifts he desires.
MGM's widescreen disc also features commentary by director-producer Corman. --Sean Axmaker
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