Monster from the Ocean Floor

A low key monster movie from producer Roger Corman (his first) and director Wyott Ordung. What struck me as creepy were the rules the monster played by -- werewolf rules. He only came out at night and he only came into his own when the moon was full. He didn't rush about like one of those "humanoids from the deep" (another Corman production) and he didn't eat flesh (cow excepted). He simply menaced and eliminated his enemies off-screen. I liked that. I could handle that.

I was always very impressed by the pedal-powered submarine. It was like something the Professor from "Gilligan's Island" might have pieced together. I wanted one of those. It reeked of adventure. I was also impressed by the film's title, an evocative title if ever there was one. I loved the title "Monster From The Surf", too, but after suffering through that one, I was happy to stick to the ocean floor.

The score, as mentioned by another reviewer, really is effective and plain eerie, and the film's cinematography never betrays its poverty row budget.

Corman knew, from the beginning, that good characters are the foundation of any good movie, whatever its genre, and this, his first, is a tinpot classic with charm and presence.

"Monster from the Ocean Floor" is historically important as the very first film produced by a young Roger Corman, so it's a shame it's not more entertaining than it is. It does have some schlocky charm, but owing to an obviously very low budget, it gets bogged down in talk and becomes fairly dull. It's not even that much fun on the "so bad it's good" level. It's too bad, because if you're a B movie enthusiast you'd certainly *want* to like it. It does have its moments, but they're spread too far apart.

There is some enjoyment to be had from watching the amateurish acting. The pretty Anne Kimbell plays Julie Blair, an American artist on vacation in Mexico. She hears stories of locals disappearing from the waters and learns that there's a legend believed by the natives. She meets a handsome marine biologist named Steve Dunning (Stuart Wade) - their initial encounter is amusing, to say the least - and while he's a practical, hard headed kind of guy, she becomes convinced some sort of mysterious beast is the culprit - and she's right, of course.

It's naturally a good thing that the monster in this film - resembling an octopus with one great big red eye - is seen so little. Our anticipation is built up, and the payoff isn't bad. I can believe that people who'd seen this movie as little children would have been frightened. The problem is that for a movie running only one hour and five minutes, there's too much padding on this thing. Still, "Monster from the Ocean Floor" isn't without its assets. Corman works with ace cinematographer Floyd Crosby - who shot his colourful, widescreen Edgar Allan Poe adaptations - and Crosby creates good atmosphere. The underwater photography is likewise well done. Kimbell has one harrowing scene with a shark. And the original music by Andre Brummer is enjoyable.

Cormans' stock company player Jonathan Haze (billed as Jack Hayes) makes his film debut as the character Joe, director Wyott Ordung plays the key supporting role of Pablo, and Corman himself makes an uncredited on-screen appearance as Tommy.

This does have high curiosity value just to see the humble beginnings of one of the great independent filmmakers of all time.

Four out of 10.

I rented this film because the composer was a good friend of my musician father Felix De Cola (who may have played the piano on the score!). It's a silly movie with an absurd monster, but there's a scene around minute 40 where the heroine encounters a shark that had me quite startled. The fish appears to be 2 meters long and its open mouth comes at the camera and then at the girl in several shots. Even if she was an experienced diver, this must have been an unsettling experience. And no, it's almost certainly not an animatronic.

This was a time when the psychotechnology of horror films was developing at its fastest, so you can see how the director (clumsily) tries to manipulate our fears. Crude films often teach us more than well-made ones.

As for the music, there's a distant similarity between Brummer's music and John Williams' Jaws theme, but I doubt the link is real.

Roger Corman was ONLY 28 Years old... And at the very beginning of one of the longest and most prolific movie carreers in the History of CINEMA! Here he is listed as a PRODUCER.... Bet there have not been many in that role at such a tender age! (At least.... for a PRODUCER!) Of course, for a LOW BUDGET mid-50s Horror Movie.... Well, OK...Better than MOST... But THAT really isn´t saying MUCH.... Is it???

Strictly from a technical standpoint... and of course compared to other mid-50s flicks... Perhaps a tad above average in that respect! Somewhat weak in the originality department... But to put things in the right perspective.... This was really one of the first in a genre that would go on to be one of the most overworked of the 1950s and 60s! So, taking that into consideration... You could almost say that simple fact alone puts a bit of an AVANT GARDE spin on the production!

Perhaps had I posted this Review 50 Years ago... I might have rated it a CAMPY 7*******... But I have seen so many films of this ilk in the past half century... That I have to say this one just doesnt stand out all that much!

If You just LOVE these sleazy old cheesy movies.... Well, go ahead! Be my guest! Otherwise... You would probably be much better off if You simply DON´T give MONSTER the EYE!!!

I know many people judge a movie solely on its of special effects. This one doesn't have a lot of eye-candy, even considering the time it came from. But the story and the acting are above par for movies of this type and when all was said and done, I enjoyed myself watching this movie.