Horror Film Review: The Monster of the Piedras Blancas (dir by Irvin Berwick)


Welcome the town of Piedras Blancas, California!

This small town is a sleepy coastal village, one that is dominated by a lighthouse sitting near the coast.  The town has a lovely beach and friendly citizens.  The storekeeper, Mr. Kocheck (Frank Arvidson), is a bit of a know-it-all.  The town constable (Forrest Lewis) has the very easy job of keeping peace in the town.  Little Jimmy (Wayne Berwick) is the annoying little kid who everyone in town looks after.  Little Jimmy is the type who will walk right into the local store and go behind the counter.  What a perfect town!

The only problem, when it comes to Piedras Blancas, is that some of the townspeople are a bit superstitious, especially when it comes to a belief in monsters that stalk the sea and the beach.  The lighthouse keeper, Sturges (John Harmon), worries that there is a monster hiding in a nearby cave so he often goes down there and leaves food to keep the monster from attacking the town.  Still, Sturges worries about his teenager daughter, Lucille (Jeanne Carmen), who has a habit of going down to the beach at night, stripping down to her underwear, and swimming in the ocean.  Seriously, if anything is going to attract a horror movie monster, it’s that!

And there is a monster in the cave and yes, the Monster does eventually go on a rampage.  As the bodies start to pile up and some of the town’s most beloved citizens are taken out, local scientist Sam Jorgensen (Les Tremayne) speculates that the creature could be a prehistoric amphibian who has somehow survived into the modern era.

Independently produced and first released in 1959, The Monster of Piedras Blancas was clearly inspired by the success of The Creature From The Black Lagoon, with the boat crew replaced by the citizens of the town and Jeanne Carmen stepping into the role that was played by Julia Adams.  The film was produced by Jack Kelvan, who also supervised the creation of the suit that Ricou Browning wore when he played the Gil-Man in The Creature From The Black Lagoon.  And just, as with The Creature of Black Lagoon, the monster is the most effective part of The Monster of Piedras Blancas.  Here he is!

Now, in close-up and still frame, you can tell that it’s obviously a rubber suit but, when seen in the shadows and stalking people on the beach, the monster is truly menacing.  Whether the monster is ripping off someone’s head or carrying around the lighthouse keeper’s daughter, the monster is frightening to watch.  I wouldn’t want to live anywhere near him.  If the Creature From The Black Lagoon was often more misunderstood than malicious, The Monster of Piedras Blancas is just downright mean.

The Monster of Peidras Blancas does a good job of creating an ominous atmosphere, especially in the shots of Sturges heading down to the cave and the panicked townspeople walking through the town while carrying the body of the Monster’s latest victim with them.  The film’s pace is a bit slow and the performances are inconsistent but the Monster definitely makes an impression.

The Fabulous Forties #22: Adventures of Gallant Bess (dir by Lew Landers)


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For nearly a month now, I’ve been making my way through the 50 films included in Mill Creek’s Fabulous Forties box set.  Like most Mill Creek box sets, the Fabulous Forties is full of public domain films.  Some of them are surprisingly good and some of them are surprisingly bad.  And then there are others that are somewhere right in the middle of bad and good.  These are films that may not be great works of cinematic art but, at the very least, they serve as a time capsule of the period in which they were made.

The 22nd film in the Fabulous Forties box set, 1948’s Adventures of Gallant Bess, is just such a film.  Obviously made to appeal to family audiences, Adventures of Gallant Bess tells a fairly predictable story.  Cowboy Ted Daniels (a youngish Cameron Mitchell) captures a wild mustang named Bess.  Ted and Bess soon become inseparable but, during a visit to the local town, Bess gets riled up and destroys a few cars.  Ted is told that he has to pay for the cars but he doesn’t have any money.  So, he enters the local rodeo.

However, the rodeo is operated by the evil Bud Millerick (James Millican) and Bud wants Bess for his own.  So, he arranges for Ted’s leg to be broken by a bull.  Injured and unable to work, Ted is forced to sell his beloved Bess to Bud.  Once Ted recovers, he discovers that Bud is abusing Bess and forcing her to perform in a demeaning rodeo show.  What’s a cowboy to do but steal back his horse?

You can probably guess everything that happens in Adventures of Gallant Bess just from reading the plot description but it’s still a pretty likable film.  Bess is a wonderful horse and there’s something oddly endearing about the obviously cheap sets and the often melodramatic performances.  Cameron Mitchell, of course, is best known for appearing in films like Blood and Black Lace, The Toolbox Murders, The Demon, The Swarm, and Space Mutiny, so it’s definitely interesting to see him playing a simple and honest cowboy here.

(It’s actually difficult to recognize Mitchell until he smiles.  Once you see that smirk, you know exactly who is playing Ted Daniels.)

Adventures of Gallant Bess was filmed in color, which was a big deal in 1948.  Seen today, it is so saturated with color (and so obviously filmed on sound stages) that the movie actually looks like a live action cartoon.  Seen today, it’s perhaps a little too easy to be dismissive of this old-fashioned film but I imagine that, in the 40s, it was quite a fun movie to watch.

And you can watch it below!

http://www.youtube.com/watch?v=7NjeXP9QqHk

Horror On TV: Twilight Zone 3.33 — “The Dummy”


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In this episode of The Twilight Zone (which was originally aired on May 4th, 1962), a neurotic ventriloquist named Jerry (Cliff Robertson) has a bizarre relationship with his dummy. Not only does Jerry seem to hate his inanimate partner but the dummy doesn’t seem to be too fond of Jerry either.

You’ll probably already figured out The Dummy‘s twist but it’s still extremely well-done, featuring a great performance from Cliff Robertson and expressionistic direction from Abner Biberman.