How to Make a Monster

Monster makeup man Pete Dumond (Robert H. Harris) is told the studio is closing down his shop because they've decided to stop making horror films. He vows revenge. The final film he's on has a teenage werewolf (Gary Clarke--not Michael Landon) and a teenage Frankenstein (Gary Conway reprising his role from the original). He puts a drug in their makeup that make them obey him and orders them to kill the studio heads.

Pretty much forgotten horror movie--for good reason! The plot is sort of interesting but it's basically a 30 minute plot stretched out to 74 minutes! A lot of talk but little action. There's also a pointless (and pretty funny) musical number by John Ashley squeezed in (purportedly he had some hits in the 1950s).

Some of the acting is good. Harris is enjoying himself and Clarke has some good moments. Conway however seems uncomfortable. The best part of this movie is the final 11 minutes--they're done in color (the rest of the film is in b&w). We get to see a good bunch of AIP monster masks, some blood, and Harris, Clarke and Conway in full color. Fans of AIP monster movies will get more of a kick out of this than anyone else. For the color ending alone I give this a 7.

Be aware--most TV prints have the whole film in b&w--the DVD has the color.

It could be argued that American International Pictures revived the werewolf in the late 50's with "I Was A Teenage Werewolf". It was released at a time when television was becoming common in the home, which meant that fewer people went out to the movie theatres. Those that did were largely of a teenage audience, something that AIP clearly understood, and the success of their movie ensured a revival of the whole genre.

In this clever, self-referential sequel (of sorts), American International Studios are closing down production of horror movies in order to make more musicals, which sounds fairly true to life in what may have been happening in some studios at the time. Anyway, this means that famed makeup artist Pete Dumond, possibly based on Jack Pierce, will be out of a job because he specialises only in monsters. He isn't too happy about all this, so he decides to take revenge on the new owners of the studio by turning his "Teenage Werewolf" and "Teenage Frankenstein" actors into real monsters using a mind control makeup paste thingy. It all takes place during the filming of a "Teenage Werewolf meets the Teenage Frankenstein" movie.

This is a pretty neat idea, and the script explores it very well. There's some great cheesy dialogue, a wonderful lead performance from Robert H. Harris as the makeup artist, and from Paul Brinegar as his nervous assistant. The two 'teenage' stars, who were actually in their early twenties when this film was made, play their roles with that all-American wide-eyed innocence that actually works pretty well in parts such as this.

AIP were famed for producing their horror movies on low budgets, often less than a hundred thousand while at the time major studios generally set their budgets in the millions. This movie doesn't really look that cheap, the sets look perfectly fine especially the final set in the makeup artist's house where the big finale takes place. This also features a dramatic shift into color so that you can appreciate his mask collection even more, which is pretty neat.

"How To Make A Monster" is a very entertaining film, which I'd recommend to anyone who likes these cheesy old horror movies. You won't be disappointed.

Movie audiences attracted by the sensationalistic advertising proclaiming, "See the ghastly ghouls in flaming colour!", doubtlessly expected that the film HOW TO MAKE A MONSTER was actually a colour movie and were surprised and disappointed to discover that the film was essentially a black and white feature with the final 8 minutes shot in colour (Leonard Maltin in his movie guide review states it is the final 18 minutes but this is probably a typographic error).

By the late 1950's, Britain's Hammer Films was producing, to great critical acclaim and financial success, a series of well-crafted horror movies which boasted that they were filmed in colour. These pioneering efforts marked the beginning of the end for the relatively inexpensive black and white programmers which had been the mainstay for the success of film companies like American International Pictures. Probably in an effort to tap into this ready-made market for colour movies, it was determined that small portions of a film would be economically shot in colour so it could be extensively promoted in the film's publicity (another consideration was to also utilize colour sequences for effect). With his next project, HORRORS OF THE BLACK MUSEUM, producer Herman Cohen would present his own answer to the Hammer movies by filming it in England and in colour.

For those interested, the colour footage begins after Pete Dummond and his captive guests, Tony and Larry, along with Pete's accomplice, Rivero, enter his house and Dummond lights some candles in his living-room/macabre shrine. Unfortunately the prints made available to television and home video omit the colour and are struck in black and white and there has been no real outcry from horror fandom or any of the genre magazines to effect a restoration of the colour footage. Perhaps someday soon this longstanding negligence on the part of the film's distributors will be rectified.

The script for HOW TO MAKE A MONSTER is credited to Herman Cohen and Kenneth Langtry. Kenneth Langtry is a pseudonym for a writer actually named Aben Kandel (he also employed the pen-name Ralph Thornton), who collaborated with producer Herman Cohen on a number of film projects including I WAS A TEENAGE WEREWOLF, BLOOD OF DRACULA, I WAS A TEENAGE FRANKENSTEIN, HORRORS OF THE BLACK MUSEUM, THE HEADLESS GHOST, KONGA and THE BLACK ZOO.

Kandel's script for HOW TO MAKE A MONSTER is a reworking of much of the same plot elements found in his TEENAGE WEREWOLF and FRANKENSTEIN films, but the villain of this piece not only employs those under his control to commit murder, he also participates in some of the mayhem himself. Perhaps sensing that the late 1950's audiences were becoming too sophisticated for outright monsters in horror films, author Kandel decided to weave a story utilizing this theme and present the movie audience with a much more realistic menace, the psychotic mastermind/killer (Cohen and Kandel would carry this concept to its logical extreme the following year in HORRORS OF THE BLACK MUSEUM, a horror film without a monster in sight).

The efforts behind HOW TO MAKE A MONSTER would be much diminished without the presence of character actor Robert H. Harris. His skilled interpretation of the deranged makeup artist Pete Dummond is a multi-faceted one eliciting a wide-range of qualities which at one moment engenders our respect as he encourages a young actor to give his utmost to his film role, our sympathy in the wake of the overbearing new studio executives and their pragmatism and crassness toward horror films and his art, and our dread as he tells his two guests in his monster museum that he wants to include their "heads" in his collection. His scenes where he brow-beats his weak-willed assistant, Rivero, over his incompetency and cowardice are an absolute delight. Harris portrays his villain in a quietly menacing fashion making his characterization all the more sinister and his subtle and controlled performance is a memorable one.

One wishes that Michael Landon could have been recruited to reprise his teenage werewolf role, his participation would have certainly added more stature and authenticity to the proceedings. Since the story supposedly occurs at American International studios, instead of utilizing an actor to portray the director of "Frankenstein Meets Werewolf," it's a pity AIP standby Roger Corman wasn't approached to fill the role and it seems only fitting that James H. Nicholson and Samuel Z. Arkoff (the actual founders of American International) should have somehow been worked into the storyline. All these additions would have given HOW TO MAKE A MONSTER a more auto-biographical and self-parody tone.

HOW TO MAKE A MONSTER is an engaging and fascinating oddity from American International Pictures of the 1950's and marks an interesting phase in the chronology of Herman Cohen productions for this movie company.

In 1957, American International Pictures had a big hit with their I Was a Teenage Werewolf. Immediately following its heels came I Was a Teenage Frankenstein, and then this film. This film is in many ways an inside look at the workings of the movie business and its thinking in the 50s as well as the ending chapter in the Teenage Trilogy cycle at AIP. It is not a great horror picture by any standards, yet it is fun to watch. It has a pretty good story about a make-up man who gets the pink slip and then promises to kill the execs who fired him and bring the studio to its knees. Mild-mannered Robert Harris plays the vengeful artist with restrained aplomb. He effectively captures the insanity that courses through his mind with great subtlety. In the end, we see Harris for what he real was...not just an innocent artist but a monster obsessed with his works and his creations in much the same vein as Vincent Price's character in The House of Wax. The rest of the actors are acceptable, and the ending scene where we see the works of the artist is a walk down memory lane. On the walls one can see the head mask of the She-Creature, the It from It Conquered the World, one of the saucer men from Invasion of the Saucer Men, and many others. The colour sequence that is suppose to be in the final 8 minutes of the film does not exist on any version of the video presently out. Hope it is remastered.

I just finished watching the "Cult Classics" DVD release, which included the color footage mentioned in the other comment. Besides many familiar (and unfamiliar) monster heads, the film is a virtual who's who of American International Studio players from the 50's. One can almost suspect the movie was made to keep the contact players busy between films. If only Michael Landon had appeared as the Teenage Werewolf, I would have given it another couple points in the ratings. One also has to give the studio credit as the studio itself becomes the "back lot" for the film. And certainly, the plot of killing off studio executives must have appealed to all the writers, actors and production staff making the film.