Creature of the Black Lagoon (1954) was released in a quirky period of time for the history of cinema.
In 1953, a few production companies attempted the 3D technology for the first time. Jack Arnold, director of many Sci-Fi movies in the 50s, decided to tag along and follow the trend.
Unfortunately, the 3D wasn’t quite appealing for the audience at the time, mostly because the filmmakers couldn’t get its and make the best of its potential. Creature of the Black Lagoon was part of this faulty experiment.
However, the film itself had much more to offer than a pure 3D gaming. As a consequence, Jack Arnold’s movie became one of the most influential motion pictures in the history of both Sci-Fi and Horror.
Creature of the Black Lagoon is clearly the product of an age of transition, where horror cinema opened the door to modern standards whilst still relying on elder modules in terms of acting and character development.
Following a quite simple storyline – scientists discover an unknown fossil in the Amazon rainforest, team up to find out more and come across an amphibious monster who won’t let them go away easily – the film develops a dreadful atmosphere which is constant throughout the 89 minutes of runtime.
The choice of not showing the monster in its entirety until half way through the film makes him scarier – probably terrifying at the time the movie was shot – than it should have if its design was unveiled straight away.
The main location – a fisherman boat sailing through the Amazon River – is also effective, since it confines our characters within a secluded place that’s not easy – or safe – to abandon.
What I honestly found astounding, though, was the design and the practical effects the creature was made with. Surprisingly, they hold up and age very well: the creature of the Black Lagoon – which is a guy wearing well-made mask and costume – is more unsettling than many CGI monsters we are used to see on screen nowadays.
Yet, the underwater cinematography is worth praising. Made with a ground-breaking technology for the time, the camera work is convincing and spotless even for a contemporary eye. The waving and swinging of the pond weed gave an extra layer of realism to the whole underwater photography.
Firstly, neither the screenwriter nor the director bothered to check the differences between Spanish and Portuguese. For instance, at the very beginning of the film, there is a sign which tells us we are in front of the Instituto de Biologia Marina of Sao Paolo. However, in Portuguese it should have been spelled as Instituto de Biologia Marinha. It’s nit-picking, I know, but these lazy mistakes always annoy me for some odd reason.
The other thing that turned me off quite a bit was the role of the only female character in the film. I get that Julia Adams is in the movie purely because she’s good-looking, but why her only lines consist of her whining about her fiancé diving into the water and annoyingly screaming as soon as she sees the monster? Her presence in the movie was completely unnecessary and useless.
Even though, in all honesty, I guess that was the typical female role in the 50s’ cinema, where women couldn’t look after themselves nor make their own decisions – alike the patriarchal American society of the time wanted the viewers to perceive them.
All in all, though, Creature of the Black Lagoon is worth watching both for its influence in the creature-feature sub-genre and the level of entertainment it provides the viewers with. Cheers!