The Creature Walks Among Us (1956, John Sherwood)

The Creature Walks Among Us is a surprising disappointment. It never has potential exactly, but it does have something. Arthur A. Ross’s script is rather good for this production. Right off, Ross has decent science dialogue. His character interactions are good. And then it’s clear the cast is fairly solid too. I mean, sure, they’re B-Movie, but they’re able to handle everything. Because Creature Walks Among Us is a mix of a fifties sci-fi movie (they’re turning the Creature into a man with modern science) and fifties romantic melodrama. And cheesecake. And beefcake.

Unfortunately, it’s terribly directed. It’s beautifully photographed–while Maury Gertsman does have to light a lot of mediocre projection sequences, he does get to do some great day for night. But Sherwood’s a bad director. He doesn’t get Ross’s script, but doesn’t have anything he wants to spend more time on. The film has multiple instances of long establishing shots wasting runtime just so there doesn’t have to be more character work.

And the character work is what’s so cool about Creature Walks Among Us. It’s about a privately funded group of scientists working to capture the Gillman for study. Jeff Morrow’s the rich scientist who’s also a mad scientist. Walks Among Us is just too realistic and scientifically minded to let him do anything crazy to the Gillman. Instead, Morrow descends into a jealous rage. It’s a somewhat thinly written jealous rage, but Morrow’s good at it and so are the other actors responding to him.

Leigh Snowden, the aforementioned cheesecake, is Morrow’s wife. She’s got to deal with a crappy husband, a giant monster and unwelcome advances. Again, not the best part–occasionally she just says “well, off I go to swim,” so Sherwood can linger on her in a bathing suit. I suppose objectifying Snowden is Sherwood’s one of only interests during the film. It’s too much, but it’s also a waste of time because Snowden’s good. If Ross weren’t actually so competent at filling time, she’d be the best part of the movie. She probably gives its best performance; Ross just craps on her role for the finale. Hence Walks Among Us being a disappointment. It’s a reductive end.

The best performance in the film is beefcake geneticist Rex Reason. The script moons over this character and Reason does a fantastic job delivering all the scientific and philosophic monologues. Even though Morrow’s the lead scientist, Reason gets the best expository dialogue. Science shouldn’t be crazed mad man science, but Reason’s straightedge but soulful science. Sherwood almost seems to get Reason’s importance and at least stays out of the way.

As for the Creature walking among them, the film only partially delivers. While Sherwood does better with the Creature action than anything else in the film, it’s way too late and not important enough to the picture. Once the Creature proves not to be as much of a danger to the people as themselves, the monster aspect becomes irrelevant.

The Creature Walks Among Us has a lot of great stuff about it. Sherwood doesn’t bring any of that great stuff and he actively suffocates some of it. The cast and Ross deserve a lot better.

2/4★★

CREDITS

Directed by John Sherwood; written by Arthur A. Ross; director of photography, Maury Gertsman; edited by Edward Curtiss; produced by William Alland; released by Universal Pictures.

Starring Jeff Morrow (Dr. William Barton), Rex Reason (Dr. Thomas Morgan), Leigh Snowden (Marcia Barton), Gregg Palmer (Jed Grant), Maurice Manson (Dr. Borg), James Rawley (Dr. Johnson) and David McMahon (Capt. Stanley).


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Revenge of the Creature (1955, Jack Arnold)

Revenge of the Creature has three parts. The first part involves Nestor Paiva (the only cast member from the original to return) and John Bromfield as the guy who’s going to capture the Creature, the second part involves Bromfield, John Agar and Lori Nelson all studying the Creature in captivity, the third part has Agar and Nelson hunting the escaped Creature.

Oh, wait, no. The third part has Agar and Nelson completely ignoring the escaped Creature. And it makes sense. They were visiting scientists, they had no real investment in the Creature being a tourist attraction. Revenge of the Creature is a totally fine idea terribly executed. Maybe if Agar and Nelson had any chemistry whatsoever. Instead, their scenes are more interesting for the bland 1950s sexism. Nelson’s a scientist too, but she’s got to make a choice, one Agar wouldn’t be able to make. It’s not fair.

Maybe they’d have more chemistry with better small talk. But Martin Berkeley’s script wants to be taken seriously as science-y, which is a big mistake. The middle section of the film, which has the Creature in captivity, is nothing but Agar and Nelson bothering it. The underwater sequences are technically great–and Ricou Browning does a fabulous, uncredited job as the Creature in Revenge–but they’re boring. They’re boring from the start of the movie; Arnold immediately establishes there’s not going to be much artistry in the underwater thrills. There will be monster action, but not artistic monster action.

Strangely, the film coasts through pretty steadily until the Creature’s escape. Arnold never impresses too much–Revenge seems very hurried–but he does fine. Paiva’s awesome in the opening, Agar’s sturdy enough except when he’s got to romance Nelson, who’s likable without being particularly good (or bad). The middle section of the film promises something exciting. There’s nothing exciting in the third part. It feels like a different film, actually. Agar isn’t sturdy in this part, regardless of who he’s acting with. He’s barely conscious.

Revenge of the Creature should be better. But it’s got some solid fifties monster sequences thanks to Browning, Arnold and photographer Scotty Welbourne.

1/4

CREDITS

Directed by Jack Arnold; screenplay by Martin Berkeley, based on a story by William Alland; director of photography, Scotty Melbourne; edited by Paul Weatherwax; produced by Alland; released by Universal Pictures.

Starring John Agar (Prof. Clete Ferguson), Lori Nelson (Helen Dobson), John Bromfield (Joe Hayes), Grandon Rhodes (Jackson Foster), Dave Willock (Lou Gibson) and Nestor Paiva (Lucas).


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Creature from the Black Lagoon (1954, Jack Arnold)

Almost all of Creature from the Black Lagoon is a compelling mix of science fiction, workplace drama and horror. The Creature makes a great “villain” because there’s nothing human about him (except maybe his fixation on leading lady Julie Adams) so it’s possible to both fear him and to understand leading man Richard Carlson’s scientific point of view.

The only place it falls apart is the finish, where the screenwriters and director Arnold feel the need for some excitement; they tack on a totally unnecessary action sequence.

The workplace drama elements are Carlson, Adams and Richard Denning (as their boss). Denning’s performance of a money hungry scientist who slowly loses it is outstanding. He sort of outdoes everyone else in the picture, except maybe Nestor Paiva. Paiva’s the captain of the ship taking these bickering ichthyologists on their exploration. The script constantly unveils something new (and unlikely) about his character, but Paiva essays it all beautifully.

As a director, Arnold embraces the exploration wonderment, juxtaposing it against the horror aspects in the picture. When the wonderment declines and the more thriller tone comes up, he does well with it too.

The film has outstanding photography from William E. Snyder and excellent music from its (uncredited) composers. The underwater photography gives it spectacle value, but Arnold and his crew make the land sections almost as good. The sets are great and the Creature’s makeup is fantastic.

Creature, thanks to Arnold, the cast and its smart script, is a rather fine film.

3/4★★★

CREDITS

Directed by Jack Arnold; screenplay by Harry Essex and Arthur A. Ross, based on a story by Maurice Zimm; director of photography, William E. Snyder; edited by Ted J. Kent; music by Henry Mancini, Hans J. Salter and Herman Stein; produced by William Alland; released by Universal Pictures.

Starring Richard Carlson (David Reed), Julie Adams (Kay Lawrence), Richard Denning (Mark Williams), Antonio Moreno (Carl Maia), Whit Bissell (Edwin Thompson) and Nestor Paiva (Lucas).


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