Herbert Strock’s How to make a Monster is one of the gems of 1950’s B-horror in that it readily stands beside Roger Corman’s better works during the period. Not only does he present an intriguing plot involving movie making, decades before postmodern reflectivity would come into vogue within the genre, he expertly crafts his satire while guiding Robert Harris to a very admirable performance as the duo succeed in sardonically commenting upon the state of horror and the film industry.
When American International Studios changes hands, makeup artist Pete Dumond (Robert Harris) is told that his services will no longer be needed because the studio’s production itinerary has shifted from horror films to musicals. In retribution, Dumond concocts a new cosmetic foundation during his final production which will hypnotize those who wear it. After applying the makeup on actors Tony Mantell (Gary Conway), a teenage Frankenstein, and Larry Drake (Gary Clarke), a teenage werewolf, he has his somnambulistic minions kill the new CEOs.
Strock’s production is a very satisfying B-production which, in part, is due to its Cormanian simplicity atop the superb acting job by Harris. Its self-reflective premise cunningly borders on parody at all times while mindfully restraining itself. For instance, “American International Pictures” is unsubtly shifted to “American International Studios” before a bad Elvis (Paul Dunlap) appears as Dumond watches the production of a new musical. Yet, by the film’s climax, undertones of resounding loneliness and sorrow are felt as we reflect back to why and how Dumond approached and treated people as Strock adds to his easily throwaway scenario of mad scientist-cum-makeup artist. This, atop Strock’s managing to insert an appropriate diatribe upon the psychological uses for horror in relation to society, marks yet another instance of the directorial skills of the cinematic captain.
Of course, the question stands considering the monsters are comprised of a teenage werewolf and Frankenstein (titles of actual films whose posters are seen during the movie), How much of the production is based in fact? Interestingly, Conway’s acting debut was playing the titular character in I was a Teenage Frankenstein, directed by Strock and produced by Herman Cohen, who co-wrote the script alongside Aben Kandel. These latter two individuals served in the exact same capacity on Gene Fowler’s production, I was a Teenage Werewolf. Yet, most poignant question remains, Who was the makeup artist on these two pictures? Phillip Scheer was responsible for the characters’ visual compositions on these sets yet, at the climax of How to Make a Monster, the creatures of Paul Blaisdell–who was given the boot in a similar manner as the character of Dumond–are presented as an homage and an appreciative wink and nod to the B-movie monster designer. Sadly, just as seen during the picture, Blaisdell’s creations were inadvertently burned in the process. Also, and perhaps this is the screenwriters working double time, makeup artist Jack Pierce, the man responsible for the iconic images of James Whale’s Frankenstein, George Waggner’s The Wolf-Man, and Karl Freund’s The Mummy, also sunk into obscurity after being arbitrarily dismissed following a gracious (and obviously thankless) career in Hollywood.
All involved in How to Make a Monster, from the director, Herbert Strock, the screenwriters, Herman Cohen and Aben Kandel, to the actors, most specifically Robert Harris, are to be complimented, not only in their commenting upon the state of horror and how it is often taken for granted, but in the crew’s creation of an entertaining work which never preaches as they permit the story to unfold naturally while saluting those unsung heroes whom deserve more and which, in most cases, slave their entire lives for love of the genre while never once asking for credit.
-Egregious Gurnow
- Interview with J.R. Bookwalter - January 22, 2015
- Interview with Andrew J. Rausch - January 22, 2015
- Interview with Rick Popko and Dan West - January 22, 2015
- Interview with Director Stevan Mena (Malevolence) - January 22, 2015
- Interview with Screenwriter Jeffery Reddick (Day of the Dead 2007) - January 22, 2015
- Teleconference interview with Mick Garris (Masters of Horror) - January 22, 2015
- A Day at the Morgue with Corri English (Unrest) - January 22, 2015
- Interview with Writer/Director Nacho Cerda (The Abandoned, Aftermath) - January 22, 2015
- Interview with Actress Thora Birch (Dark Corners, The Hole, American Beauty) - January 22, 2015
- Interview with Actor Jason Behr, Plus Skinwalkers Press Coverage - January 22, 2015
