Creature from the Black Lagoon

Sci-fi horror in the key of adventure, “Creature from the Black Lagoon” constitutes the first chapter of the trilogy focusing on the Gill-man, the last of the classic monsters brought to the big screen by Universal Pictures.

The context and general plot tend to be reminiscent of 1933’s “King Kong” (both monsters possess traces of humanity, have a fatal attraction to a young woman, get captured, escape, run amok, and abduct said young woman before finally meeting their demise, or apparent demise in the Gill-man’s case), but with the later film, the critical intent behind the overall story clearly assumes a more distinct and self-aware nature. After all, we’re at the height of the 1950s, a period characterized by vertiginous scientific and technological developments accompanied by unprecedented ethical doubts and geopolitical uncertainties.

As usual, Arnold is torn between hope and fear. The most recent scientific discoveries harbor the potential to “teach men to adapt themselves to some new world of the future“. That is, provided they manage to control the demon of presumption and omnipotence that’s so frequently led humanity to the brink of the precipice. Even with its Manichaean portrayal of character motivations, the film displays its heavily didactic nature: On one hand there’s the conscientious David Reed, cognizant of the fact that “we’ve just begun to learn about the water and its secrets, just as we’ve only touched on outer space“.

With his balanced mix of humility, resoluteness, energy, and sensitivity, Reed embodies the ideal modern researcher. On the other hand we have the off-putting Dr. Mark Williams, an impulsive and egotistical figure, mainly driven by the lure of fame and wealth, while remaining totally indifferent to others’ suffering. (“It’s just that I always look forward to success“; “What makes you think we’re supposed to play tag with the thing, whatever it is?“).

At any rate, the film becomes a seminal eco-horror film, when, despite “good” Dr. Reed’s desire to photograph the creature to prove his existence and then leave him in peace, “bad” Dr. Williams prevails with his plan to track down and kill our poor amphibian-man, launching a ridiculous hunt for him in his own serene back yard deep in the Amazonian jungle (to stun him, they go so far as to spread the water with rotenone, an insecticide derived from the roots of several tropical Fabaceae plants and historically used in fishing and fish farming). Quickly realizing the danger he’s in, the creature responds accordingly.

From an artistic point of view, we find ourselves looking at top-notch work: the evocative locations (exteriors filmed in Florida) are immortalized by a B/W (in stereoscopic 3D) that capably hints at the mysteries of an untamed nature. The underwater shots are extraordinary, and the creature’s costume, work of designer Milicent Patrick, is unforgettable.

With an eye to the cast, Julie Adams packs a punch with her performance; her snow-white, one-piece bathing suit as she swims ballet-like, unaware of the creature beneath her, lends the film an erotic charge that’s difficult to overlook.