“All the same I feel sorry for the creature.”

I’m pretty sure Jack Arnold’s CREATURE FROM THE BLACK LAGOON was the first movie I saw in 3D… unless the TV screening of the turgid FORT TI came first. Certainly CREATURE was the first I saw projected, at my school film society. Man, we didn’t appreciate how lucky we were to have that Film Soc.

The Universal logo at the film’s start may be the most successful bit of photography in the movie: the cloudless globe twirling behind the studio banner has a pleasing heft and roundness. Elsewhere, as is usually the case, the 3D figures resembles paper cut-outs in a toy theatre, flat shapes positioned at different distances from the observer. Perhaps owing to the speed of production, or to inherent limitations in Jack Arnold’s visual sense, the action doesn’t do much to dramatize the interpersonal relationships via framing, something which 3D could conceivably have played a part in. The compositions are generally a cut above the washing-line approach, but not by much.

The explosions that shower rocks on us during the opening VO went down well with the schoolkids, and watching it again 25 years later with Fiona, I enjoyed them anew with our anaglyph copy of the film and our tinted specs. The fossislized creature claw is also enjoyable, and the shot taken through a fish tank is amusing. But by ignoring the human drama, the filmmaker reduces these effects to a few isolated high points.

The cast isn’t bad. Richard Carlson is a lot more effective in IT CAME FROM OUTER SPACE, where he’s given an actual character to work with. Richard Dennings fares better: the poor man’s Kirk Douglas, he’s effective whenever he gets to exploit his neurotic overcompensating asshole schtick. The movie is really about the conflict between the two Richards, except Dennings loses too soon and too easy, and then the gill-man gets him.

Julie Adams is there to be squabbled over by the Richards and the gill-man, and to look fairly awesome in a ’50s bathing suit, conical breasts like torpedoes aimed into the heart of the audience. She doesn’t convince much as a scientist (the script doesn’t allow her to know anything, and hints she’s only along because Dennings fancies her) and she’s required to do the all-time fakiest monster-fall. You know how the girl is supposed to trip and twist her ankle fleeing the monster? Poot Julie doesn’t even manage to take a single step, she just falls on her perfect ass and assumes an ideal position to be scooped up by the hulking amphib.

Good monster — his lust for a person not only of a different species, genus and family (as with Kong), but of a different order and class, is unexplained, and he doesn’t otherwise display any personality, but he does have a good classic look. It can’t be that easy to design a fish-man, let alone one that can swim gracefully. The water ballet scene is a justly acclaimed highlight, exploiting the 3D, the monster design, Ricou Browning’s swimming and Julie Adams’ figure, with the strange teasing movements of the creature’s webbed claws towards Adams’ ankles creating suspense and an odd kind of humour.

I’m not altogether surprised that Universal have struggled to come up with a serviceable approach to a remake: there’s so little really going on here. Fiona pointed out that Carlson plucking a plant from the lagoon bed is like a quote from Beauty and the Beast — the stolen rose — and the creature’s depredations and romantic yearnings both follow on from this. Adams dropping her cigarette in the crystalline waters, where it drifts past the gaping monster hints at an ecological angle. But nothing is really done with this stuff. When the beast sinks lifelessly into the waters (to return for a couple of plodding sequels) one wonders what the point was — the monster gone, the movie can only fade out as quickly as possible.

Buy here (flat) if you’re in the UK –

The Mummy / Creature From The Black Lagoon [DVD]

Put on The Mask!

Over at The Auteurs’ Notebook, in this week’s FORGOTTEN, all that can be explained, will be explained.

Lost in Space

I think this one is a pretty good example of the merits of watching minor, or even bad films. THE GLASS WEB is a Jack Arnold noir made right after IT CAME FROM OUTER SPACE and featuring Kathleen Hughes, who had played a telephone repairman’s slutty girlfriend in that film (“George always has a healthy appetite,”), as a blackmailing vixen.

The plot is a retread of THE BIG CLOCK, mixed up in various ways that don’t constitute improvements, but might just about pass muster, and the whole thing is set in the world of TV.  Edward G Robinson kills Hughes and tries to frame everybody in sight, while also producing a TV play for his Crime of the Week show, recreating the murder. None of it’s exactly inspired, and the moment I lost faith was when William John Forsythe, having gone over his relationship with Hughes as she puts the bite on him, has a flashback in which he revisits all the events we’ve just heard about, learning nothing new…

But then there’s this scene. Forsythe goes for a walk, panic-stricken after discovering Hughes dead. Arnold, who has restrained himself on the 3D shock effects, suddenly cuts loose and throws object after object into our faces, like an angry chimpanzee operating a tennis serve machine. It’s goofy and fun, but also effective at showing Forsythe’s sudden disorientation and vulnerability. And it’s the only time I’ve seen a filmmaker hold back on the 3D all through a film, and then go NUTS.

Too bad the film’s not better. Hughes, completely venal and without sympathetic traits, nevertheless emerges as the most appealing character because she shows signs of life. Robinson’s activities as an office sneak, maneuvering against Forsythe to boost his own career, are more compelling than his actions as murderer, suggesting that the film might have made a good NETWORK-style assault on television culture and the workplace, rather than a pallid noir imitation. Weirdly, it’s more shocking to see Robinson hinting darkly that his colleague is having marital problems, undercutting his boss’s confidence in the guy, than it is to see him dispose of his mistress (because let’s face it, Eddie was ALWAYS doing THAT).