In September 1951, 20th Century-Fox‘s sci-fi drama The Day the Earth Stood rolled out in theaters following its premiere opening on Sept. 18 at New York’s Mayfair Theatre (where it grossed $6,500 that day). At the beginning of the month, the film screened at the World Science Fiction Convention in New Orleans, where 250 attendees “universally acclaimed the picture.”

The 92-minute feature, directed by Robert Wise, was released as Cold War fears were at the top of the headlines and was intended as a cautionary tale (decades later, the studio remade the film with Keanu Reeves and an aughts sheen in 2008). The Hollywood Reporter’s original review is below:

In The Day the Earth Stood still, producer Julian Blaustein and director Robert Wise have a highly exploitable, suspensefully entertaining drama that will ride the crest of the current cycle of science films with the ease of a space ship.

Adapted from a story by Henry Bates, the drama is an intriguing science fantasy, made believable by touches of genuine humor and the faint suggestion of a romance between a pretty American widow and a mysterious visitor from another planet. The overtones of social significance are adroitly handled and make real sense in an era of tragic international quarrels.

Physically, the production is all science saga should be — Blaustein supervises the special effects with telling results; the Washington locale is excellently fulfilled; and the thoughtful choice of actors accounts for convincing performances throughout. Wise’s direction imbues the narrative with the compelling atmosphere of the documentary; he creates an illusion of presenting the real thing rather than a fictional motion picture. Inevitably, the Wise technique heightens suspense values and writes terrific punch into the action scenes involving a powerful robot who accompanies the human visitor to the U.S.

Michael Rennie is the visitor, a man who whirls into the center of Washington in a space ship accompanied by his robot. His mission is one of peace — he wants to talk to the President. An hysterical soldier shoots him, Rennie is carried to Walter Reed Hospital. Here, by administering medicine brought from his outer-planet home, Rennie recovers. He tells the President’s secretary that he wishes to speak to representatives of all nations on earth. The secretary informs him this is impossible. Rennie casually leaves the hospital, takes a room in a boarding house where he meets Patricia Neal and her young son, Billy Gray. His adventures with the lad are amusing; one includes a visit to Sam Jaffe’s home where, by working an intricate scientific problem within seconds, he identifies himself as a super-intellect. Jaffe agrees to bring men of science from the four corners of the globe to hear him speak.

Meanwhile the police are searching frantically for him. Though wounded again, he escapes to his ship and before flying off tells those who hear him that the world must solve its petty political problems; otherwise, action by other planets in the universe will destroy the world.

Rennie’s quiet dignity in the part of the space visitor brings conviction to the interesting role. Miss Neal is vibrant and lovely as the young widow, and Hugh Marlowe is vigorous as her ambitious suitor. Jaffe’s scientist is portrayed with the actor’s usual resourcefulness. Gray is fine as the youth. Supporting players include some of Hollywood’s best character actors. Commentators Drew Pearson, Gabriel Heatter, H.V. Kaltenborn and Elmer Davis are on deck to implement the air of authenticity.

Leo Tover’s work in the trick photographic department is exceptional. Lyle Wheeler and Addison Hehr, allowing imagination to run wild, perform a superb job of art direction. Bernard Herrman’s eerie score and the editing of William Reynolds are other outstanding contributions to the success of the production. — Staff byline, originally published on Sept. 4, 1951.