Starring Juliet Mills, Richard Joseph Paul, Leon Russom, Walker Brandt, Tai Thai and Eric Steinberg. Written by David Allen and Randall William Cook. Directed by David Allen. Produced by Charles Band, Vlad Paunescu, Debra Dion, Albert Band, Danny Draven and Wendy Grossberg. Full Moon Features and Castel Film Romania.
After the body of a huge yeti is discovered and displayed at a university, a small team of scientists head to Nepal to learn more about this amazing creature. With the help of grizzled adventurer Rondo Montana, the group makes its way into an isolated, hidden, forested valley that is kept free of snow thanks to the ancient machinery of an alien race. Soon the protagonists discover that these aliens still exist…
I can’t believe THE PRIMEVALS has finally seen the light of day! This is a film project I have read about and followed the progress of for decades! It seemed destined to be one of those legendary projects that never got made.
Back in the late 1960s David Allen (stop-motion animator on THE DAY TIME ENDED, THE CRATER LAKE MONSTER, Q: THE WINGED SERPENT and more) developed a fantasy film treatment called RAIDERS OF THE STONE RING. He then filmed a promo reel for it. Hammer Films eventually got to hear about it (at the time Jim Danforth and David Allen were working on WHEN DINOSAURS RULED THE EARTH), the idea momentarily morphed into a concept called ZEPPELIN VS PTERODACTYLS (now that’s a title!), and Hammer put out a ‘coming soon’ ad for the project that boasted a striking illustration by top Hammer artist Tom Chantrell. But funding wasn’t found and the project stalled.
David Allen continued to return to the project, hoping to expand on the treatment, and he finally co-wrote a screenplay with Mark McGee. The concept’s title continued to fluctuate, with it being called THE GLACIAL EMPIRE and, later on, PRIMORDIUM: THE ARCTIC WORLD. A new outline was written in the mid-70s by Allen, who now called it THE PRIMEVALS. Allen would then go on to write a script with Randall William Cook, who had a potential financial backer, but, yet again, the funding disappeared. The script for THE PRIMEVALS would continue to be tweaked, altered and updated over time, and it finally became the foundation for the film that was eventually made.
Producer-director Charles Band was shown the promotional reel for the film and he agreed to fund the production through Charles Band Productions. But, once more, THE PRIMEVALS project ground to a halt after just a few months of preproduction. Then, in the early 1980s, the project was heavily advertised as part of Charles Band’s Empire Pictures slate of upcoming movies… but (you guessed it) THE PRIMEVALS failed to go beyond the preproduction stage at the studio. Damn it!
THE PRIMEVALS concept was revived again when Charles Band started Full Moon Entertainment. This time the project did move past the preproduction stage! In 1994 much of the principal photography was shot in Romania. Other footage was filmed in the Dolomites mountain range in Italy. But then (there always seems to be another ‘but’ in this story!)… Full Moon got into financial difficulties, which interfered with the completion of the production, though Allen did continue, between other projects, to work on the film at irregular intervals.
Then the ultimate tragedy occurred… when David Allen passed away, aged just of 54, in 1999.
David Allen had left the film elements, stop motion puppets, the storyboards, and all of his equipment in the care of his colleague Chris Endicott. Finally, in 2018, Charles Band launched an Indiegogo crowdfunding campaign to obtain completion funds for THE PRIMEVALS, and this resulted in enough money being raised to allow Chris Endicott to team-up with stop-motion animator Kent Burton and other talented visual effects artists to work on getting David Allen’s passion project finally finished. In 2023 the completed film was premiered at the Fantasia festival and it is now available for us to watch.
I must say I was over the moon when I eventually got to view THE PRIMEVALS and discovered I was about to be immediately treated to an opening mountain fight scene between sherpas and a big yeti. This is such a great stop-motion set piece! Honestly, this is as good as the creature sequences in Ray Harryhausen’s fantasy films. The yeti hominid creature is definitely a wonderful creation: it looks so good! In fact, this marvellous, massive yeti is so fine, the creature is a joy to look at even when it is displayed as an unmoving exhibit during the scenes at the university.
The film moves into explorers-on-a-quest mode next, as the protagonists trudge through cave systems and discover a lost valley. THE PRIMEVALS really exudes an old school adventure-fantasy vibe here, reminiscent of such productions as THE ISLAND AT THE TOP OF THE WORLD (1974) and JOURNEY TO THE CENTRE OF THE EARTH (1959).
Once in the valley, through which a river runs, the group run across primitive hominid humans (actors in man-ape costumes) living in nicely-designed huts that are held aloft by stilt-like arrangements of branches. The scientists concur that the future-tech towers they’ve encountered must be part of a warming system that allows this hidden world to remain free of snow and harsh Himalayan weather.
Soon our heroes discover a parked flying saucer, and this leads them to an encounter with alien reptile-people who live in a barbaric domain within the valley! The explorers are taken prisoner and placed in an arena, where they witness crowds of reptilian beings cheering on as a yeti is goaded (via fiendish implants) until it fights captured hominids! Can our heroes escape their predicament?!
This film, for me, is like the cinematic equivalent of a well-made dish of comfort food: it has all the ingredients I adore, including characters journeying into a lost world, nice-looking stop-motion critters, a rousing orchestral score (by Richard Band), and a no-nonsense, pulpy adventure plot.
I would’ve liked to have seen at least one more stop-motion sequence in the mid-section of the film, but I understand that the filmmakers were constrained, needing to build on what was already shot and what they could achieve with the crowdfunding budget and the time that was available. There is one scene in the movie where characters talk about creatures they’ve spotted in the valley that are not normally-evolved animals, but we never see these beasts. So I assume this dialogue relates to scenes that were never completed. I remember seeing a concept drawing of a massive, horned River Lizard attacking a raft in an old issue of the magazine Cinefantasique, and this was definitely going to feature in the film, but, alas, the filmmakers were not able to complete the stop-motion for this part of the film. However, on the ‘David Allen Version’ disc (which is part of THE PRIMEVALS 3 Blu-ray Collection) the River Lizard sequence is presented with animatics based on Ron Lizorty’s design.
(There’s more info on the River Lizard in a feature at the end of this review…)
But, hey, I’m not here to quibble. I appreciate what everyone (including those who contributed to earlier iterations of the project) did to help get this David Allen love letter to fantasy-pulp-adventure yarns onto the screen.
The main selling point of THE PRIMEVALS is obviously the effects: the stop-motion animation, plus the miniatures, the optical effects, the props, the makeup effects, the hominid body suits and the matte paintings. They all help make this such an entertaining film. The creative people (who toiled on the final revival production and others who were part of the 1978 crew) include David Allen (of course), Chris Endicott, Kent Burton, Kim Blanchette, Mark Sullivan, Trey Thomas, Wes Caefer, Ken Ralston, Paul Mandell, Dave Carson, Jena Holman, Brett White, Dennis Gordon, Phil Tippett, Randy Cook, Jim Danforth (who was a VFX production consultant), Kevin O’Neill, Doug Beswick, Andrea Von Sholly, Peter Kermode, Steve Neill, Dave Matherly and many more talented folks. Thank you all!
The stop-motion animation in THE PRIMEVALS is such a delight!
The long-armed lizard-men aliens are varied in their looks, wearing different bits of clothing, headgear and armour – and all of them have big-eyed, mean, scowling expressions. Their animation is wonderfully smooth, and the puppets are exquisitely detailed. They’re meant to be the cruel, savage descendants of the original reptile alien visitors, and the animators manage to convey the leering lizard-folks’ spiteful natures well.
The yetis are simply awesome. I presume the same puppet was used for the different yetis, and it is a stunning model. The yetis in THE PRIMEVALS are so fine-looking and impressive they will definitely become top fan-favourites with many stop-motion animation aficionados.
The cast, including Juliet Mills, is decent, though Richard Joseph Paul, playing Matt Connor (the student who predicted the existence of yetis), tends to have an open-mouthed expression that unfortunately makes him look a little vacant some of the time! Leon Russom, however, is great as the magnificently-named Rondo Montana, contributing an old school, manly presence to the movie.
But as I’ve said already, I’m not here to complain: if you want to watch a movie with they-don’t-make-them-like-that-anymore vibes, that boasts extremely professional stop-motion animation, apemen suits, skull-faced cave entrances, retro sci-fi tech, stone arenas and medieval weaponry… then this is definitely the film for you!
THE RIVER LIZARD
Ron Lizorty, Production Designer on THE PRIMEVALS, put lots of work into redesigning the original River Lizard, because David Allen had never cared for some of the anatomy choices on the earlier, original version of the reptile (made for RAIDERS OF THE STONE RING). Lizorty co-designed the armature with Allen, did most of the armature tooling, then did the build-up of the beast with a detailed skin he sculpted and stretched over the muscles, using a puppet-building approach similar to the techniques sculptor and model-maker Marcel (KING KONG) Delgado utilised on his films. Lizorty’s model was truly magnificent-looking, and it would’ve been an astounding stop-motion addition to the movie, that is for sure.
Chris Endicott confirmed that this horned lizard was definitely intended to be in David’s finished film, but, for various reasons (the original camera negative for most of that sequence was lost by Full Moon, and Full Moon was never prepared to allocate the money nor the time to complete the film entirely, and so compromises had to be made), the reptile wasn’t included in the released movie. However, because Full Moon had created all the promotional artwork for THE PRIMEVALS long before the film was released, the River Lizard does feature in much of the promo art…
Monster Zone 