Since Hollywood adapted to the Era of Toki in the early 1930s, the studio leaned on the auspices of musicals and the rat-bliss of comedy from the audience's amazement. The future of the image of the image movement arrived almost overnight, and the directors were pretty sure they knew what they wanted to hear Movieegoers. When it comes to no talk, people tried to hear bullets bang and whip and in gangster films and west; They were blown through the back of the theater by the ferocity of the rumble of King Kong and frightened by the screaming of Count Dracula's victims.

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The young genre of science fiction was still supposed to advance in the early era of sound, but the studio and the public generally watched the stories of the dreams of the Ulesules Vern, Hg Wells and Edgar Rice Barrow as children's work. However Fritz Lang's silent film from 1927 "Metropolis" Today it is seen as a masterpiece with intermediate change, critics of the day consider it silly and/or lead. They were equally unimpressed by the stunning "things to come" by William Cameron Menzis, an adaptation for Wales, which many critics and film historians believe are the first great science game.

For this reason, science fiction was generally transmitted to the world of series, which took place in a 20 to 30-minute weekly pieces and employed stunning cliffhandziri to lure the audience back to the next installment. Adolescents blew up their accessories to keep up with the exploitation of the big screen of Flash Gordon and Buck Rogers, and then passed the week between the chapters wildly speculating with their friends about how the hero would escape a certain death.

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The series of Wests were also huge with young films that did not avoid reporting on film actor, writer and producer Wallace McDonald. If an entrepreneurial screenwriter can somehow dream western with scientific-thinking, they could only sit at the box office mine. But as long as McDonald is affected by gas laughter as he pulled the tooth, he realized how to successfully drain the two genres together - an approach that, decades later, will release the imaginations of Michael Creekton and Ossos Vedon.

The "Phantom Empire" is one of the best series in its era because it plays True Like the type of incredible yarn, a boring school would take place during the algebra class. It also has deep good luck to be the first Starwar vehicle of the village singer Ein Atri, whose singing cowboy will turn it into a parent idol.

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The series begins with a seemingly Stagecoach Heist that winds like opening a radio show at ATRI. The community adores him, but no one wants more than teenagers Frankie Daro and Betsy King Ross, who, in their spare time, play a game of making believing as younger drivers of the Thunder. Drivers are based on the legend of secret civilization that exists deep underground. In the first chapter, Atri and children learn that GROM drivers are not a myth because about 18,000 feet have been abducted and fallen under the soil. There, they are on the impressive mercy of Queen Tika, the ruler of Murania.

Over 12 episodes (which, in combination, lead an expansive 245 minutes), atri and children must compete not only with TIKA, but also with maraming -criminals from the top, hot to steal the radial wealth of Murania and rebels who want to overthrow the queen. Is it silly? Celebrity so. His futuristic sets are still exciting in fashion at the back of old schools, and the murky images work beautifully to insert us into this richly conceived world. The "Phantom Empire" is so irresistibly entertaining that as a child, I fell hard for the reduced version of the story when 1979 CBS's Anthology Series "Cliffhangers" tore it like the "secret empire". (You can see right now the whole season on YouTube.)

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There is definitely no chance that Michael Creekton's West World and Osos Vedon's "Firefly" would exist without the dream of McDonald's dentist. This applies to both Jonon Javre's "cowboys and foreigners". But let's not put that evil on the "phantom empire".