Both beautiful and grotesque, romantic and obsessive, The Creature from the Black Lagoon (1954) introduced one of the most unexpectedly iconic monsters in the Universal Monster universe. What’s even more surprising, yet very welcome, is the strength with which the Creature has remained a figurehead in the genre, unleashing its own trilogy, several collaborations, and even inspiring Guillermo Del Toro to make The Shape of Water. From the moment Dracula (1931) fluttered onto the scene, Universal had been exhausting its catalogue, producing over 40 films filled with franchises and impressive crossovers between its beloved and fearful characters. With the introduction of its final monster, the Creature, Universal hit upon the new fears and curiosities being ushered in by the scientific community in a post-WW2 world. The days of dark, gothic castles and fog-covered woods with cloaked figures creeping slowly behind unsuspecting victims were pushed to the side to make way for a more terrifying idea: the reconciliation of the new age of exploration with threats of an ancient nature. The new world versus the old world.
While the framework for the plot is sturdy enough to carry the idea on, the true strength of The Creature from the Black Lagoon’s staying power is in the design of its titular creature. He is a prehistoric creation living in the Amazon, rising from his cavernous depths to wreak havoc on arrogant American explorers while obsessively stalking the striking young woman aboard their vessel. His appearance is jarring and vulgar, yet obscenely beautiful. His fingers are razor sharp claws, he has fins for ears, and his body is protected by his natural scaly armor. It’s an incredibly strong contrast against the pristine skin and youthful body of Julie Adams’ Kay. There is no mistaking that the Creature is a predator as viewers see his obsessive watch of the scientists, his breathing slow and steady. Even his shadows are impressive enough to instill fear and conjure images of hellish nightmares one can only dream of. Its imagery is unforgettable.
The Creature is by far the best part of this film, and that is largely due to the work of those in the special effects and makeup departments. While most of the professional credit is given to makeup artist Bud Westmore, the “Gill-Man” is actually the product of Millicent Patrick. Patrick came up with the idea for the Creature’s suit and head while working in the special effects department but was unfairly robbed of the credit she was due by Westmore, who was often seen as uninspired or unskilled enough to create such powerful and menacing imagery. A great read about this unjust, yet all-too-common ordeal is Mallory O’Meara’s book The Lady from the Black Lagoon.
Aside from the costume design, the filmmaking is a remarkable case study about not needing to reinvent the wheel to create a great film. Director Jack Arnold with writers Harry Essex and Arthur Ross simply add their own sense of atmosphere and passion to familiar monster movie tropes. The first half of the movie does its expository work while keeping the pace moving along so that the second half can be fully immersed in the predator versus prey battle between the Gill Man and the scientists that forms a tight, smart, and fully enjoyable monster movie. The Creature from the Black Lagoon is a force to be reckoned with, securely cementing itself alongside the likes of Dracula and The Wolf Man, while carving out its own influential pedestal in the annals of horror. With such beauty and grace in imagery and filmmaking, The Creature from the Black Lagoon and its beloved Gill Man have stood the test of time, and we are damn lucky to be here to enjoy it.
By Brady Cloven
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