Creature from the Black Lagoon

"Creature from the Black Lagoon" is the quintessential 1950s monster movie. It's got a bathing beauty in the form of Julie Adams, whose character has a seemingly never-ending supply of impractical swimwear for a trek into the heart of the Amazon. Richard Carlson and Richard Denning give us some good old-fashioned 50s beefcake and spend most of the film running around with their shirts off. And, like the best monster movies from this time period, it can be taken straight or interpreted as being full of all sorts of sexual and gender subtext. You know, the men always comparing the size of their harpoons, the woman being pretty much useless and only there to be saved, the creature representing some kind of forbidden sexual fantasy.

This is a sexy movie, too. Everyone's always wet, there are all these scenes of Julie Adams and the creature swimming together in the water with him almost but never quite stroking her body, the men seem as anxious to hop in the sack with each other as either does the girl. It's a lot of fun, but leave your 2019 sensibility at the door in order to fully enjoy.

And as others have said, the creature itself looks amazing. Whenever there's a close up of its face, it really looks like it has fish eyes and gills and never looks like a man in a fish costume. The whole movie looks really good, actually, probably because there was some serious talent behind the camera, which surprised me for such a low-budget movie. William Snyder handled the cinematography, Ted Kent the editing, and Hilyard Brown and Bernard Herzbrun the art direction, all of them men who had been nominated for or won Oscars in the past for other things.

Of all the monster movies I've seen, this is easily one of the best.

Grade: A-

Man, that suit is really something. I had the pleasure of seeing this on 3D Bluray and it looked fantastic. Del Toro said something about it being a perfect blend of form, design and shots which really makes sense because when the Creature is swimming around and soaking wet he looks truly real - - like an actual honest-to-God fish man, dead eyes and gawping mouth and the whole works.

The plot on the other hand basically devolves into a serious of cat and mouse scenes. There's some hints of sci-fi with its evolutionary origins, but that's all the brain really gets out of this one.

The swimming scene with Julia Adams and the Creature is pure balletic grace.

Out of Universal Pictures, Creature from the Black Lagoon is directed by Jack Arnold, and stars Richard Carlson, Julia Adams, Richard Denning, Antonio Moreno, and Whit Bissell. The eponymous creature was played by Ben Chapman on land and Ricou Browning for the underwater scenes. The cinematography is by William E. Snyder and the score is composed by a trio of men, Henry Mancini, Hans J. Salter & Herman Stein. The story sees a scientific expedition at the top end of the Amazon encounter a Devonian Period amphibious creature. As the creature starts to defend its turf by attacking members of the expedition, in fighting begins to take a hold as the men argue about the best course of action to take. Should it be killed, or should it be captured for scientific research? Either way they need to act fast as the creature has taken a fancy to Kay, the sole female member of the expedition group.

One of the better creature features that surfaced in the 1950s, Creature from the Black Lagoon was one of the film's made as part of the 3D craze that filtered out of Hollywood in 53 & 54. However, unlike many of those film's that were made in the format over those two years, this one has rightly managed to break away from its gimmicky beginnings to become regarded as a genre classic. There are many reasons why it is still well regarded and taken in appreciatively by newcomers.

The story of course is nothing new, the old "beauty & the beast" theme can be traced back to the daddy himself, "King Kong". But much like Kong, Arnold's movie thrives within the endearing story by getting the audience to sympathise with the titular creature. He is after all only defending his territory, he was happy wallowing down in the depths, remaining undiscovered for many a moon. That he is fascinated by the considerable beauty of Kay Lawrence (Adams sexy and gorgeous), is no crime either. The amount of sympathy garnered for "Gill-Man" is helped enormously by the illogical actions of the humans; who in turn go diving and swimming where legend has it men get eaten! This coupled with their bickering about pro science or trophy hunting makes it easy to side with the amphibious one.

It also helps that the film is pretty brisk and only runs for 80 minutes, there's no sags or pointless filler. Too many similar film's of its ilk labour until the monster shows up and all hell then breaks loose. But under Arnold's (It Came From Outer Space/The Incredible Shrinking Man) astute direction, atmosphere and unease is built up by ominous talk and sightings of the Black Lagoon-and only initial glimpses of the creature's scaly webbed claw; accompanied by the attention grabbing theme music. And when the creature finally reveals itself it doesn't disappoint for its an impressive creation. A half-man/half-fish creature covered in scales, resplendent with gills and with cold, dark featureless eyes. It also has great characteristics with a distinctive swimming style in the water, and a lumbering Frankenstein thing going on when on the land. A definitive monster that would be merchandised for ever after.

There's also technical accomplishments away from the creature itself, notably with the memorable underwater photography by Snyder, who uses a portable camera to flow with the swimming sequences, while his shadow and light work down in the depths is memorably mood enhancing. The three tiered score is also one of the best to feature in a "B" movie schlocker, three different composers, three different emotional strands; nice. Then there's of course the definitive sequence, the sexy underwater flirting as "Gill-Man" swims below the shapely form of Kay, beguiled by her, it's love at first sight. He's not the only one beguiled, we all are, as was Steven Spileberg, who would homage the more dramatic part of the sequence in his opening for Jaws 21 years later. Whilst last but not least it should be mentioned that there are little asides to ecological issues in the piece, something Arnold was want to do. Two sequels would follow, Arnold would return for "Revenge Of The Creature" in 1955 and then the John Sherwood directed "The Creature Walks Among Us" would round off the trilogy in 1956.

It's the original that still holds up today. 8/10

While nowhere near as intelligent, thought-provoking and well made as Anderson's brilliant "Incredible Shrinking Man", this is still smarter and more complex than your average monster movie, especially of its era.

This creature is neither tragic hero, nor unstoppable villain. He's just a living being, a prehistoric half-man, half fish, behaving as his evolution has conditioned him, attacking invaders to his Amazonian paradise, attracted to the female human.

The film is full of mind numbing exposition, mediocre acting, low production values and heavy handed staking out of its ethical positions; the humanistic scientist that wants to study and understand the creature versus the base desires of the expedition's financier who wants to kill the thing and bring it back to the world as a trophy.

But there are sequence of power and even poetry, as the creature swims silently beneath the team's female scientist (and eye candy). There are moments her that Spielberg would echo in "Jaws" years later, but here the threat is more eerie and complex than terrifying. And watching the creature pathetically gasp for breath like a fish out of water is a sad and strong image (actually, a lot of the creature's movements, especially under water, are surprisingly convincing as something other than a man in a latex suit).

While not, for me, the classic some see it as, it's still a solid cut above the dumb Saturday afternoon entertainment that has lead to our forgetting most of its cinematic cousins, but keeping this creature alive.

One of few truly great "creature" films, THE CREATURE FROM THE BLACK LAGOON is a surprisingly effective horror film concerning a scientific expedition up the Amazon to investigate an unusual fossil find--but instead of fossils the crew members encounter an underwater creature of considerable intelligence that is bent on their destruction.

The script is a bit dated by modern standards, but the cast (particularly Julie Adams) is effective, and the creature is easily one of Universal Studio's most memorable creations. And seen today in standard black and white, the film is quite enjoyable. But it doesn't hold a candle to the original 3-D format, which I was fortunate to see not once but twice during the 1970s and 1980s. Simply stated, BLACK LAGOON's cinematography was probably the best of all 3-D movies to date. As with most 3-D films, there is plenty of "coming at you" cinematography, and many viewers will be able to pick out such moments when seeing the film in standard black and white--but in addition to these, the film used 3-D in a remarkably subtle way; virtually every scene in the film is designed for 3-D, and the effect is exceptionally memorable in the underwater sequences.

I remain disappointed that the 3-D version of BLACK LAGOON--not to mention such other 3-D films as HOUSE OF WAX, IT CAME FROM OUTER SPACE, and DIAL "M" FOR MURDER--has never been released in 3-D format on video or disk; instead, we must make do with such bottom-budget 3-D flicks as THE MASK, CAT WOMEN ON THE MOON, and the like. Admittedly, the impact of the format is lessened by the small screen and demands some careful color adjusting, and the effect requires the use of 3-D glasses--but it is a shame that we must settle for ghosts of the originals when we could easily have the originals instead. In 3-D format, BLACK LAGOON would easily be a ten-star film.

Gary F. Taylor, aka GFT, Amazon Reviewer