Devil Girl from Mars is a 1954 British second feature[1] black-and-white science fiction film directed by David MacDonald and starring Patricia Laffan, Hugh McDermott, Hazel Court, Peter Reynolds, and Adrienne Corri.

She is part of the advance alien team looking for Earthmen to replace the declining male population on her world, the result of a "devastating war between the sexes".

Because of damage to her craft, caused when entering the Earth's atmosphere, and an apparent crash with an airliner, she is forced to land in the remote Scottish moors.

Professor Arnold Hennessey, an astrophysicist, accompanied by journalist Michael Carter, is sent by the British government to investigate the effects of the crash, believed to be caused by a meteorite.

When she finds no one willing to come with her to Mars, she responds with intimidation, trapping the guests and staff within an invisible wall and turning Chani loose to vaporise much of the manor’s grounds.

Nyah then brings Professor Hennessy aboard her spaceship to view the technological achievements of Martian civilisation, including the ship's atomic power source.

Realising that the only road to victory over Nyah requires trickery, Hennessy suggests Carter sabotage the ship's power source after take off.

After take-off he successfully sabotages Nyah's flying saucer, sacrificing himself to save the men of Earth, and atoning for the death of his wife.

In an interview with Frank J. Dello Stritto, screenwriter John Chartres Mather claimed that Devil Girl from Mars came about while he was working with The Danzigers, who were producing Calling Scotland Yard (1953) that appeared as both an American television series and as cinema featurettes in Great Britain and the British Commonwealth.

To save time and money, composer Edwin Astley reused his Saber of London TV series score for the film.

[9]Contemporaneously Kine Weekly said:Effective interplay of character establishes human interest without curbing essential spectacle, and the ending literally goes with a bang.

...The picture keeps the strange and frightening 'flying saucer' at a respectable distance, but resourceful camera work gives the illusion validity ... and the characters are not dwarfed by the gimmicks.

They noted that the plot was "more a reflection of the 1950s view of politics and the era's inequality of the sexes than a thoughtful projection of present or future possibilities".

Backed by the mechanised might of her faithful robot (resembling a fridge on legs) she imparts a sexual charge that the film's scenario struggles to contain, and gives a wholly different spin to the desire expressed by another of the inn's visitors, the prodigal metropolitan model played by Hazel Court, to spend more time in the country, find the right man, have children.