Was this the first 1950's Sci-Fi Film to utilize stereo?


The first sci-fi film, and in fact, Universal's second film in stereo (the first was THUNDER BAY). The first time most people heard discrete stereo in a theater was actually HOUSE OF WAX, released a month before in WarnerPhonic sound (4-track: LCR on the mag, and a surround on the mono optical track). The stereo was played off of an interlocked, separate, 35mm film that was coated with magnetic oxide. The stereo was originally three-track (LCR).

Why other Sci-Fi Films of the 1950's didn't's follow in the footsteps of this film and also record in stereo.


Some were, some weren't. A lot of it had to do with the process each film was shot in. In 1953 in particular (when ICFOS was shot), stereo in theaters was part of the technological revolution that was going on. Many of the 3-D films utilized it, but not as many flat films did. When CinemaScope was introduced, and with it, mag sound on on the same film as the picture, 3-track interlock died (largely because of the sync issues).

Was it too expensive to record in stereo for low budget Sci-Fi movies?


It DID raise the budget to the point where not just any film could offer it. I've got Universal's breakdown sheet of how much a film would cost extra in stereo. When I find it, I'll post it.

Were most movie palaces/theaters not equipped to play a movie recorded in stereo?


Originally it was only the big city theaters and chains that could afford it, but by the summer, stereo had become quite frequent. The breakthrough was in September of 1953 when CinemaScope was introduced. It was available in December for everyone, and everyone was contractually obligated by Fox to install stereophonic sound with their new screens, so many, many theaters got mag penthouses on their projectors.

Did the film going public not even notice or just not care about this added feature?


If you've ever heard mag stereo in person, you can tell the difference. The frequency range of mag is higher, and thus higher fidelity. It's like having the orchestra right in front of you. Critical response of the mixing was generally very good. The original reviews for SCARED STIFF, which had a stereo track, were generally very positive to the film's use of stereo.

Unfortunately, because the studios had optical tracks, and because the cost of mag stock was so high (and tragically prone to disintegrating), many stereo tracks from that era are lost. Quite a few 3-D films were in stereo: CHARGE AT FEATHER RIVER (WarnerPhonic), THE STRANGER WORE A GUN, KISS ME KATE, IT CAME FROM OUTER SPACE, FORT TI, INFERNO, I, THE JURY, SECOND CHANCE, MISS SADIE THOMPSON, DEVIL'S CANYON, WINGS OF THE HAWK, THOSE REDHEADS FROM SEATTLE, THE MAZE, and CEASE FIRE. Only KISS ME KATE and IT CAME FROM OUTER SPACE survive today.

Of the flat features off the top of my head, THUNDER BAY (Universal's first stereo), 5000 FINGERS OF DR T, FROM HERE TO ETERNITY, THE CADDY, SCARED STIFF, WAR OF THE WORLDS, etc. THUNDER BAY seems to be intact, and WAR OF THE WORLDS has a stereo mix, but there's some question as to whether or not that mix is genuine. 5000 FINGERS OF DR. T is unfortunately lost.