A Series of Writings on Films that I feel are essential for film lovers, coupled with films that are personal to me. Spoilers for people who haven't seen the film.
If you were to guess what movie director Ingmar Bergman reportedly watched every year on his birthday the answer may not be Creature From The Black Lagoon but it shows the far-reach and lasting impact of this film, an impact its makers probably could've never expected. But why does Creature endure? I would argue it's due to its odd elegance and beauty as well as the subtle tragic pathos of its titular character, who despite being a "monster" is actually a sympathetic figure. He's in love with a woman with whom can never be and is trying to protect his home from interlopers. He winds up being more alluring and interesting than the human characters.
Before I get to the film's plot I want to talk about the film's fascinating and strange origin. Actor and future producer William Alland-who was part of Welles' Mercury Theater and played the reporter in Citizen Kane- was at a dinner party with Welles, actress Dolores del Rio and cinematographer Gabriel Figueroa during Citizen Kane's production. Figueroa told stories of part-fish, part-human creatures that lived in the Amazon. These stories inspired Alland to write down notes that a decade later would be developed in to the script for Creature.
Jack Arnold, who directed It Came From Outer Space, was hired on to direct. Before he became a feature film director Arnold was an actor on Broadway. When WWII began he was placed in the Signal Corps where he took a course on cinematography. He then became a cameraman, working on military documentaries as an assistant to famed documentary filmmaker Robert Flaherty (Nanook of the North). After the war he formed a production company with his air squadron friend Lee Goodman named Promotional Films, which made fund-raising films for non-profit organizations. He would eventually direct an Oscar-nominated documentary entitled With These Hands, about working conditions in the early 20th Century.
The underwater sequences were directed by James C. Havens and photographed by Scotty Welbourne. Ricou Browning played "Gill-man" in the underwater scenes while Ben Chapman played him in the land scenes. Browning started out as a diver in underwater shows but after being in Creature and its two sequels he would go on to have a career in the film business as a producer, director and second unit director. He was the second unit director on the James Bond film Thunderball, which is funny because when I was watching the film I couldn't help but think of Thunderball's underwater scenes.
The design for "Gill-man" came from Milicent Patrick, born Mildred Elizabeth Fulvia di Rossi, and who some claim to have been an Italian baroness. Her father C.C. Rossi helped design William Randolph Hearst's castle estate (another Citizen Kane connection.) She worked as animator for Walt Disney before becoming a model. When she became an actress she met Bud Westmore, head of Universal Studios' make-up department, showing him her sketches.
She created Gill-man's design but was let go from Universal due to Westmore's jealousy over her creating the design. Westmore got the credit for Gill-Man until research reclaimed Patrick's contribution to the film. Patrick is the most fascinating figure associated with this film, with a recent book about her life and career by Mallory O'Meara entitled The Lady From The Black Lagoon being published in 2019.
I've talked quite a bit about the behind the scenes players so now it's time to discuss the actual story. The film begins with the discovery of a a skeletal hand which links man and sea animal. Dr. Carl Maia (Antonio Moreno) seeks out friend and former student Dr. David Reed (Richard Carlson) to help with an expedition. David, Carl, Dr. Mark Williams (Richard Denning), Dr. Edwin Thompson (Whit Bissel), and David's colleague and lover Kay Lawrence (Julie Adams), go back to the amazon to find the rest of the skeleton. This leads to them encountering the Gill-man, who takes a liking to Kay, ala King Kong.
The characters are archetypes- you have the good scientist who doesn't want to kill the creature (David), the scientist who acts like a big game hunter (Mark), the bookish scientist (Edwin), the older doctor (Carl), the girl (Kay), and the foreign riverboat captain, Lucas (Nestor Paiva). But the simplicity of the characters just makes Gill-man all the more interesting. Chapman and Browning both give Gill-Man a personality despite never speaking, a certain "character" if you will. Chapman was directed by Arnold to not lift his feet when walking on the boat. Arnold conceived that since Gill-Man glided underwater he would glide on surface. It's easy to forget its two actors playing the part because it feels like a consistent character.
Coming back to King Kong, If that film's plot is repurposed for Creature, then Creature's DNA can be found in everything that came after, including Jaws and Alien. The sequence where Kay is swimming in the lagoon, mirrored by Gil-man underwater, can't help but bring to mind Stevem Spielberg's classic. When we see Kay from the creature's perspective it's hard not imagine Spielberg having seen the film when he was a boy. In the opening where we see Chrissie (Susan Backline) from the shark's perspective underwater it feels like a clear homage. Welbourne's cinematography gives this scene a dream/nightmare-like quality. The underwater sequences all have a lyrical and visceral quality. And since this film was released in 3-D, audiences in 1954 were immersed in the watery world along with the characters.
Adams describes Kay and Gill-Man swimming together- unbeknownst to Kay- as a "love dance," which I think is a great description. There's always an odd romanticism in this kind of film, with the creature in love with a human. On the DVD documentary historian and science fiction illustrator Vincent Di Fate suggests that thinking too much about the logic of sexual intercourse between Gill-man and Kay would ruin the story. He say what matters is the subtext of this scene connecting with an audience.
The lagoon becomes the thin dividing line between humanity and Gill-man, where humanity is the intruder on his terrain. In the documentary film historian Paul M. Jensen sees an environmental message in the film. When Kay dumps a cigarette in the water it pans down to Gill-man. While Gill-man is actually looking at Kay rather than the cigarette Jensen says the camera movement links the cigarette to Gill-man. This makes it seem like Gill-man is watching his home being polluted. This for makes his actions understandable, and I would argue sympathetic. As Chapman puts it in the documentary, if you came home and people were partying in your house, how would you react?
Continuing on with the film's themes regarding the underwater world, there's a particular emphasis put on the underwater world's mystery and danger. In one scene David tells Mark:
We've just begun to learn about the water and its secrets, just as we've only touched on outer space. We don't entirely rule out the possibility that there might be some form of life on another planet, and why some entirely different form of life in a world we already know is inhabited by millions of living creatures?
I like the comparison to space, how it and the water are both mysterious worlds still in many ways unknown to man, though we know for certain the water is inhabited. Even if Gill-man is scary he's also an incredible discovery. The film's opening narration is dedicated to how life started underwater, placing the Gill-man as a mythic figure who's been around for ages and is a missing link between man and amphibian. The point of the story is how man will react violently to such a creature. They would want to destroy it instead of trying to make peaceful contact or leaving it alone. Gill-man, after kidnapping Kay is shot down at the end, though the ending was made to be ambiguous so as to leave room for a sequel, which I as made reference to earlier did happen- twice.
On the DVD commentary, Tom Weaver quotes from an interview Arnold gave where he said he always set out to explore man's inhumanity towards man and those who are different- as well and how humanity hadn't evolved beyond focusing on what was superficial- in his science-fiction films. However he wanted to do so in a way audiences would accept. Arnold said he didn't think audiences would sit for a polemic. He also knew the House Unamerican Activities Committee or other societies would come after him. Arnold wanted to entertain but also hoped audiences would pick up on the deeper themes. Arnold strikes me as a thoughtful filmmaker even if certain critics didn't see anything deeper in Creature. I feel he was able to make an entertaining film without falling in to camp. I think its because it takes its premise seriously without being too serious.
A discussion of Creature wouldn't be complete mentioning its score and the iconic "Bah Bah Baaahh" theme for Gill-man (created by Herman Stein), which is played every time he appears,. The score is an composite of different composers' contributions, including Henry Mancini (Breakfast at Tiffany's, The Pink Panther), as well as tracks from other Universal Studios' films.
So, that's Creature From The Black Lagoon. Where does it rank for you amongst the Universal horror films? And why do you think it has endured over the years. Comment and let me know.
