Though it features the weakest of the classic Universal monsters, THE CREATURE FROM THE Unlit LAGOON is tranquil a beneficial fear film. Two decades before Steven Spielberg’s JAWS made us horrified about swimming too far beyond the beach, this classic movie made us absorb that something uncommon and imperfect could be lurking below the water’s surface.
The myth revolves around a scientific expedition in the Amazon jungle. Spurred by the novel discovery of a curious fossil, the scientists hope to derive evidence of what may be the “missing link” between humans and the first of our ancestors to have crawled up out of the sea. Then, while collecting rocks and fossils from the bottom of a sequestered tiny lagoon, they unwittingly intrude upon the lair of the titular creature, a fish-like humanoid–or “gillman”–who objective might be a living example of the fossils they contemplate.
Unlike the other rubber-suit monsters in B-grade panic flicks from the 1950s, the eponymous monster in this film does actually peer steady and shocking. Especially scary are the close-up shots of the creature when he is out of the water. Gasping for air, his mouth opens and closes in short spasms as the fins on his gills gesticulate in a parallel rhythm, and he quite convincingly comes across as a giant mutant fish with nothing but most malevolent of intentions.
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Even in black-and-white, the underwater photography in THE CREATURE FROM THE Murky LAGOON is absolutely comely, and it is often cited as one of the best aspects of the film. Mighty of this underwater footage was shot in protected nature reserves in Florida, and though it was not directed by the film’s notable director, Jack Arnold, it fits in seamlessly with Arnold’s good above-water directing style. Also trustworthy are the performances in the film, especially from principals Richard Carlson, Richard Denning, and Julia Adams. Speaking of blooming film footage, Ms. Adams looks wonderful in a bathing suit, even in the conservative swimwear of the 1950s.
And while we’re on the subject of sex, it’s been nearly 50 years since THE CREATURE FROM THE Dusky LAGOON was released, but some critics and film historians aloof point to the sexual subtext of the film as the main reason for the its enduring popularity. It is supposedly a classic beauty-and-the-beast story–one of the scriptwriters has even been quoted as saying he was inspired by KING KONG–with Ms. Adams playing the beauty, of course, to the lovesick creature’s beast. Though it is correct that there are some scenes that are replete with sexual innuendo–the scene with Ms. Adams swimming in the lagoon while the creature lurks in the water objective below can easily be read as symbolic of sexual intercourse–the titular creature is simply not a character that evokes sympathy, at least not to a degree that can compose this film genuinely play like yarn of unrequited worship. Indeed, the one aspect of creature that makes him inappropriate impartial below the other classic Universal monsters is his lack of pathos. He’s scary, to be definite, but of the range of emotional response that makes it possible for an audience to identify with him in the plot that they do with, say, the Frankenstein monster or the Wolfman. In spite of all the hoopla, then, it takes a bit of mental gymnastics to do this a appreciate chronicle. Serene, Ms. Adams DOES gaze sparkling in a bathing suit….
In short, THE CREATURE FROM THE Dusky LAGOON is a worthy classic monster flick, honest up there with Universal’s best. It has spacious photography, top-notch acting, a bathing beauty, and a realistic and genuinely scary monster. It should be on the must-see list of any suitable terror fan.
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[Note: THE CREATURE FROM THE Dim LAGOON was originally filmed in 3-D, and there are some really dynamic shots that are obviously meant to exploit the 3-D technique. Unfortunately, the particular 3-D process originally broken-down on this film only works with a special projection setup, and, consequently, the 3-D version is not available for home video. But don't let that deter you from buying the film for home viewing; it is aloof an friendly movie even without the 3-D do. Some art-house theaters do occasionally cloak the 3-D version--I happened to peep it in 3-D in a Baltimore theater sometime in the early 1990s, and it was a substantial experience--so if you ever find a chance to peruse it in that format, DO IT!]
“Creature From The Sad Lagoon” would have to go down as one of the classic titles of the 1950’s horror/Sci Fi genre. Too often dismissed as drive-in fodder, this film is a trusty classic and is a film which grows more on me with each screening. Indeed I gather more to like about this production all the time. It’s enduring popularity is a stout testimony to its helpful production values, superior acting, lustrous storyline, and the accurate claustrophobic atmosphere it engenders.
“Creature” also boosts one of the most memorable of Universal’s titanic gallery of classic monsters in the earn of the Gillman superbly realised by the genius of designer Bud Westmore. Coming quite tedious in the long tradition of Universal monsters the Gillman is apt up there with such memorable creations as Dracula, Frankenstein, The Bride of Frankenstein and The Wolfman. He was to return to the hide in two sequels “Revenge Of The Creature” and “The Creature Walks Among Us” however it is for this fresh grief that he is justly remembered. The tale in reality is a simple one. A rare get of a clawed hand that has no relationship with any known link in evolution is unearthed during an excavation in the Amazon jungle. The possibilty of a sensational get prompts a group of scientists to situation out on a expedition to get the rest of its body only to ogle themselves having to deal with a live ancestor of this fossil in the fabricate of a irregular underwater Gillmam. Grand to their wound they come by themselves trapped in the eerie and mysterious Sunless Lagoon having to literally fight for their lives against this creature who is not only aggressive towards those that disturb his Amazion shelter but begins killing off the expedition team one by one. He also takes a shine to the only female member of the expedition (Julia Adams) and proceeds to kidnap her and assume her down into his underwater cavern. The demolish result of this is that not only is the Gillman captured and then escapes but he manages to elude his unwelcome guests and proceed into the swamp without label.
The production boosts a first rate cast for its kind and has the services of obsolete latin actor Antonio Moreno in the role of Dr. Maia who originally finds the fossil and is responsible for the expedition being formed to bag the rest of it. The main focus of the account is on the three method relationship between the characters played by Richard Carlson (conventional of many 1950’s Sci Fi efforts) Julie Adams and Richard Denning. The conflict position between these three, Carlson wanting to protect the exclusive creature and Denning wanting to seize it and execute money for the research institute from it, is very effectively done and as the crisis area with the Gillman reaches its climax the sparks between them gain for a very well crafted and realistic position. Julie Adams, the admire interest of the fragment is perhaps best known for this role and her very memorable swimming sequence photographed by second unit camera man James C. Havens is magnificently done with the Gillman hovering objective under Miss Adams in the shots with a irregular combination of playfulness and menace. These scenes are probably the most illustrious from the film and indeed all the extensive underwater photography is fine.
The overall glance of “Creature From The Gloomy lagoon” is really unforgettable and the suit customary by the Gillman is helpful and by far the best of its kind in all the “creature features” of the 1950’s. It looks realistic and like a right prehistoric skin and adds tremendously to the overall creepy appearance of the Gillman. Aged director Jack Arnold who was a talented director of some of the best Sci Fi efforts of the 1950’s guides here with a positive hand and the tight closed in dwelling of the mysterious lagoon combined with shots of the causeways of the right Amazon basin aged here, give the film a trusty feeling of isolation and dread with the monster always lurking nearby ready to attack. Indeed the atmosphere of the lagoon goes a long blueprint to instilling the fright into this myth.
I personally appreciate these 1950’s terror and Sci Fi efforts and “Creature From The Sunless Lagoon” is one of the very best and is a personal favourite of mine. Its sage when produced was an unusual one and the acting is undertaken with a seriousness about the material that places it above most of the other efforts of this period. For a thrilling fraction of entertainment with a classic icon of fright cinema on exhibit you can’t go past “Creature From The Sad Lagoon” for a mammoth viewing experience.
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