The Gill-Man Turns 60 by Scott Essman Still to This Day, He Is One of the Other Tale
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CREATURE FROM THE BLACK LAGOON – The Gill-Man Turns 60 By Scott Essman Still to this day, he is one of the other tale. Surely, with an most unique monsters in the American sea expedition into the history of cinema. Part man, wild leading to a hidden locale part fish, part reptile, and wholly unseen by the Western world, the amphibian, he swam and meddling of adventurous men traipsed across movie screens 60 into uncharted territory, and the years ago in three dimensions discovering of a mythic creature and was forever cemented in the in his native environment who hearts of monster fans captures the expedition’s girl, everywhere. This upright provoking an attack on said majestic beast was every bit as beast, Creature from the Black human as the many monsters who came out of his Lagoon and King Kong have many basic thematic same studio before him, and was equally as parallels, an element that would be exploited sympathetic as any who ever came to film. With somewhat further in the first Creature sequel. Of foreign invaders encroaching on his home course, Essex (who would produce the low-budget territory, he could have been left well alone by genre spinoff Octaman in 1971 – a project which society, but his longing for a female made him a gave life to Rick Baker’s first professional target like many similar wild screen terrors, and monster) would be rewritten by Arthur Ross, who he would eventually feel the wrath of civilization may have added a more human element to the in a sequel where he would be paraded in front of story, and, the Gill-Man, like the Frankenstein humans as little more than a zoo animal. With a Monster, the Wolf Man, King Kong, and other visual concept that was at once iconic and classic monster characters, gained due empathy defining, his image stands with those who can be from audiences, right down to his anticlimactic recognized by virtually any age person of any final fate, reminiscent of Kong and other extraction who has been exposed to American pop endearing monster classics. In a broader sense, culture of the 20th century. He is, of course, the Universal Pictures, who by the mid-1950s Gill-Man, and even after 60 years as a lasting pillar produced far fewer monster/horror pictures but of unforgettable monstrous iconography, he is knew their core audience’s tastes well, often identified by the name of the film which intentionally made the Gill-Man, along with brought him to movie screens: the Creature from aforementioned monsters, effusively appealing to the Black Lagoon. Though only three films all in, audiences, leading to the Gill-Man’s beloved status the Creature series rates with any of Universal’s these many decades onward. internationally famous monsters from the 1930s and 1940s for sheer fan adulation. Alas, the combination of precise casting, director Jack Arnold’s balanced finesse with the material, According to many studied Creature experts, due and essential production values — not the least of speculation exists that the film’s producer William which was the Gill-Man’s superlative design and Alland had been at a party given by Orson Welles articulation — elevated the Essex/Ross script and heard a story with eventual plot similarities to from might have been a pedestrian experience Creature. As legend has it, Mexican folklore told of into a magical concoction of pieces which make for an amphibious being deep within the jungle; alas, a whole above the norm. Creature works on many Alland ultimately noted that the story was his levels much like the 1930s-1940s films which own. Additionally, many Creature fans believe introduced the Universal slate to unsuspecting that H.P. Lovecraft inspired the Creature plot with audiences. To that point, the Gill-Man stands with the author ‘s various man-fish characters. his studio brethren, surely the 1925 Phantom of the Opera, the 1931 duo of count dracula and the As written by original screenwriter Harry Essex, Frankenstein Monster, 1932’s The Mummy, the Gill-Man might well be a combination of myths 1933’s The Invisible Man, 1935’s The Bride of and lores alluded to in many a sci-fi story, but his Frankenstein, and 1941’s The Wolf Man as essence may well owe more to King Kong than any Universal’s greatest genre characters, surely from their “classic horror cycle,” but just as surely from top of the water scenes were filmed at Rice creek any era regardless. near Palatka, Florida. Julie Adams swimming double Ginger Stanley, is seen in the underwater By now, movie monster fans are well aware that shots which Browning said were somewhat there were two Gill-Men in the title role of the improvised and which he performed film. For the movie’s underwater scenes, independently from director Arnold. Humbly, in production enlisted Florida-based expert diver 2014, Browning recalled that working on the film Ricou Browning, still active to this day, a skilled was “just another job” and noted that he made craftsperson who would be able to execute long several dives of various depths in his scenes, the underwater location shots of the Gill-Man in full deepest to 80 feet which he only actuated once. costume and mask, holding his breath all the He described the Gill-Man costume as akin to a while. Browning does a wetsuit with additional padding marvelous turn as the and allowed him freedom and underwater Gill-Man in all of mobility. Browning repeated his scenes, striking a his duties in the two Creature believable visage in all sequels in 1955 and 1956, aspects of his performance. respectively. We fully believe that this is a creature who belongs in his Twenty years onward, Steven habitat and owns the Spielberg, also at Universal, environs, never once chose to open his new film questioning the being shot in the summer of verisimilitude of such set- 1974 with the Jack Arnold pieces. At all times, touch. In the opening scenes of Browning disappears within Jaws, as Susan Backlinie (albeit the engorged costume and fully nude) swims into a dusk mask in his scenes, rendering oceanic mass — one might call one particular scene as the the appearance a sea of black most memorable. water — Spielberg’s camera assumes the position of the When lead actress Julie unseen shark rising up from the Adams, in her striking one-piece white bathing ocean floor to the oblivious girl who meets her suit, goes for a swim in the ominous Black Lagoon, fate, mostly off-camera, quoting Creature and we sense imminent danger. However, Arnold mirroring the sense of dread in the 1954 film, plays his hand closely, offering the creature’s though no actual tragedy would befall Adams’ point-of-view from the depths, fascinated with the character in said scene. sight of the young woman, at once taken with her and willing to get close if not to initially capture. Though suit performers who played the Gill-Man The moment where the creature swims parallel to on land followed in the 1955 and 1956 sequels to the girl but upside down, looking up to her as she Creature, notably Tom Hennesy and don innocently swims atop the water of the lagoon Magowan, respectively, for millions of Creature where her boat is perched, is one of the fans, Benjamin F. chapman, Jr. was the “reel” Gill- outstanding moments not only within the genre Man from the original 1954 film. certainly, the but in any film in any period. Browning’s work is Bay Area native had the advantage of being a so spectacular in these moments, a career is at player on the Universal lot in the early 1950s, and once born and forever defined. his 6’5” size and relative youth – in his late 20s – made him ideal for the part of the creature who Intercut with footage from Universal in california, stalks named invaders of his Amazonian lagoon in the underwater shots were filmed by the second the film. But chapman brought a grace and unit in Wakulla Springs, Florida. Many of the on- several nuances to the performance of the first 2 Gill-Man, all of which made him one of the great fashioned individual sections in rubber. The icons in the Universal Pictures canon of classic memorable Gill-Man face had been meticulously monsters. Of course, Browning and chapman had designed by artist Milicent Patrick and beautifully to have the perfect appearance, both underwater sculpted by the legendary Chris Mueller. Later, and above water, to complete the convincing chapman was suited up on a daily basis by case nature of the character. Enter special makeup and dawn for his exterior scenes, filmed on effects and a dream team of artists. Universal’s backlot (the creature suit team reportedly put weights in chapman’s feet Noteworthy that by the early 1950s, Bud appliances so the actor would effectively glide on Westmore’s makeup department at Universal screen) while footage of Browning in a slightly Pictures had expanded, and he was given some different duplicate suit was achieved on location massive projects. After proving his worth on in Florida. Though Bud Westmore’s name is the 1948’s Abbott and Costello Meet Frankenstein, with only one to appear in the credits, his astute main prosthetics technician Jack Kevan stepping assemblage of these key makeup-creature artists in for Jack Pierce in the creation of the made the Gill-Man as indelible as he became, Frankenstein Monster, in 1953, Westmore was especially considering that the job involved an tasked with Abbott and Costello Meet Dr.