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VOICE Journal of the Alex Film Society Vol. 13, No. 5 October 27, 2007, 2 pm & 8 pm 10/07 of theTHEATRE Creature From The Black Lagoon in offset from each other while running in perfect 3-D! synchronization. When viewed in such a way that each eye sees its photographed counterpart, the viewer’s visual cortex will interpret the pair of images as a single three-dimensional image. Stereoscopic motion pictures began as early as 1890 when British film pioneer William Friese-Greene patented his own 3-D process. 3-D feature films were introduced to the public in 1922 when The Power of Love opened in Los Angeles. These early attempts required the viewer to see the film through anaglyphic glasses: one red lens and one green lens. The two separate original photographic images were printed By Ron Bonk over each other onto one piece of film for this format. the early 1950’s TV sets were taking over American living rooms and former movie Continued on Page 7 In patrons marveled at entertainment right in their own homes. Movie ticket sales steadily declined and studios created gimmicks to lure patrons back to their movie palaces. Twentieth Century Fox introduced CinemaScope™ providing filmgoers with a wide screen picture accompanied by four track stereophonic sound. Paramount developed VistaVision™, which provided theatres with an even bigger, brighter, and clearer projected image. In 1952 This is Cinerama debuted in Cinerama, an even wider screen image created by simultaneously projecting three separate strips of film in sync and side by side in an attempt to fill ones entire peripheral vision. Arguably, the shortest-lived gimmick of the time was 3-D or “3 Dimensional” projection which created an illusion of depth for the viewer. Wearing red/green glasses, patrons enjoy a The 3-D technique involved filming two images 3-D presentation in the 1950’s simultaneously from two separate cameras slightly (image courtesy of Corbis.com) Creature From the Black Lagoon ........... 1 Perspective: The Players .......................... 5 Bathing Beauties ........................................ 2 Photo Gallery ............................................... 6 Evolution of the Gill Man ........................ 3 Short Subjects ............................................. 7 Feature credits ............................................ 4 Calendar ........................................................ 8 Halloween Spooktacular! Bathing Beauties Rob Zabrecky By Linda Harris For a generation of American males In 1921, Jantzen Apparel of Creature From The Black Lagoon Portland, Oregon launched the first brings to mind one thing… ”That one-piece, elastic suit that was hit at White Bathing Suit”. Here’s some the Bathing Beauty Pageant held in context. As far back as 1907, the Atlantic City. Because of the figure agician Rob Zabrecky has swimmer Annette Kellerman from hugging nature of these garments, had a longtime obsession Australia, visited the United States as bathing suits and the movies seemed Mwith vintage horror an “underwater ballerina”, a version to be a perfect couple. films and the vaudeville era; two of synchronized swimming. She inspirations which have served him was arrested for indecent exposure Silent film icon Mack Sennett well. His live performances feature because her swimsuit showed arms, created his “Bathing Beauties” and an original charm, melding his love legs and the neck. inserted them in dozens of one of silent film and vintage horror reelers. Gloria Swanson got her films with magic. His performance After this event, bathing wear started start with Sennett’s chorus. Later, credits have included stints at L.A. to shrink, first uncovering the arms Esther Williams and Dorothy Lamour landmarks such as The Orpheum and then the legs up to mid-thigh. starred in films with synchronized Theatre, The Silent Movie Theatre Collars receded from around the swimming and figure hugging and the renowned Magic Castle neck down to around the top of the costumes (with “bra cups” for that in Hollywood where he regularly bosom. The development of new ultimate lift) revealing every body performs. Magic Magazine fabrics allowed for new varieties contour. recently raved, “Zabrecky’s of more comfortable and practical magic could easily be the plot swimwear. During World War II, the Swoon line of a Stephen King novel, suit made its debut. Made from if Steven King wrote comedy.” parachute silk, Betty Grable’s suit His inimitable and original work in her famous pin-up was a Swoon results in a provocative Dada- suit. We suspect G.I.s really didn’t esque combination of theatre, care what that suit was made of. mentalism and off-beat humor. In his eyes, performance is about Jayne Mansfield, the archetypical setting the stage for unexpected va-va-voom girl, explained in 1952 and quite frankly, weird things that for a woman to look right in a to happen. Most recently, he swimsuit she needs “a flat tummy, a can be seen in several episodes firm bosom and a nice derriere. Then you’re in business.” of the popular MTV magic/ horror show, “Room 401”. Julie rings in 1954 www.AlexFilmSociety.org – – Vol. 13, No. 5 October 7, 007 Evolution of THE GILL MAN he Creature was the brainchild underwater scenes in all three films.) of producer William Alland, Tom Hennesy took over in Revenge Twho began in radio with Orson Of The Creature (1955) and Don Welles and became, in the 1950’s, Megowan was The Creature Walks a Universal producer of sc-fi and Among Us (1956). But unlike Karloff, program westerns. Recalling a story Lugosi and Chaney, who became he was told by a South American household names for playing the movie director of prehistoric classic monsters of the 1930’s and beings living somewhere along the 1940’s, the actors who played the Amazon River, Alland came up with Creature went uncredited. Universal the idea of a creature, half-man International would have us believe Ben Chapman and Julie share and half-fish. His creature was a a moment on the boat. that there really was a “Gill Man.” missing link in the evolutionary chain that had survived unchanged costume they made for test shooting How short was the 3-D craze? by time. Alland chose Jack Arnold, was rejected in favor of the one When Revenge Of The Creature everyone agreed was perfect. Next, they needed a script and to find an actor to wear the Creature outfit. Maurice Zimm turned in a 59 page treatment, which was fine- tuned by scriptwriters Arthur Ross and Harry Essex. Glenn Strange, who had portrayed the Frankenstein Monster in the last few Universal horror sequels, was the studio’s first choice to play the title role; he turned it down because he thought there would be too much swimming involved. Ben Chapman was told about the part and ended up signing a contract to play the Gill Man. He would play the Creature in all the scenes filmed above water. Ricou Browning has hired to do the stunt Don Megowan in The Creature who had just completed the 3-D work underwater (and in fact did the Walks Among Us (1956). movie It Came From Outer Space (1953) to direct. Jack Arnold’s idea of what the creature might was released in early 1955, Daily look like was the Oscar® given to Variety noted that it was the first Academy Award® winners with 3-D release in a year and wondered gills and fins added to it. Arnold why the producers didn’t make more met with Bud Westmore, the man in use of the effect for the underwater charge of Universal International’s sequences. By the time the third makeup department, and asked him entry in the cycle The Creature to create a convincing Gill Man Walks Among Us was released in outfit. Westmore turned to his co- 1956 they had abandoned 3-D workers, and it took the talents of completely and it went out in a flat Jack Kevan, Chris Mueller, Milicent Champion swimmer version. Patrick and Bob Hickman to come Ricou Browning handled the underwater stunt work. up with the final design. The first Continued on Page 7 Vol. 13, No. 5 October 7, 007 – 3 – VOICE of the THEATRE Jack Arnold’s Creature from the Black Lagoon Black and White (in anaglyphic 3-D) 1954 – 79 minutes Cast Universal International Pictures Richard Carlson .....................David Reed Print courtesy of Universal Pictures Julia Adams ............................Kay Lawrence Richard Denning ....................Mark Williams Antonio Moreno ....................Carl Maia Directed by .................................... Jack Arnold Nestor Paiva ...........................Lucas Story by ......................................... Maurice Zimm Whit Bissell ............................Dr. Thompson Screenplay by ............................... Harry Essex, Arthur A. Ross Bernie Gozier .........................Zee Produced by .................................. William Alland Henry Escalante ....................Chico Cinematographer ......................... William E. Snyder Ricou Browning .....................The Gill Man (in water)* Special Photography ................... Charles S. Welbourne Ben Chapman ........................The Gill Man (on land)* Director: (Underwater Seq)....... James C. Havens Editor .............................................. Ted J. Kent Perry Lopez .............................Tomas* Assistant Director ........................ Fred Frank Sydney Mason .......................Dr. Matos* Original Music .............................. Henry Mancini*, Rodd Redwing .......................Louis (foreman)* Hans J. Salter*, Herman Stein* Miss Adams’ double .............Polly Burson* Musical Director .........................
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