Queen B’s of 1950s Science Fiction & Horror –

This Halloween season I’m covering those fierce women who graced the 1950s Science Fiction & Fantasy/Horror screen with their beauty, brawn and bravado! Like years past–I pay tribute to the Scream Queens of the 1930s & 1940s.

MonsterGirl's Halloween – 2015 special feature! the Heroines, Scream Queens & Sirens of 30s Horror Cinema!

Heroines & Scream Queens of Classic Horror: the 1940s! A very special Last Drive In Hall–ween treat

We’ve arrived at the 1950s decade’s deliriously dynamic dames… Who had to deal with mad scientists, gigantism, alien invasions and much more menace & mayhem!

Of course I plan on doing the 1960s and 1970s in the next year–and you’ll notice that I am listing some of our Queen B’s future films & television appearances of a supernatural or science fiction nature, and even a few scattered exploitation films that fit the bill. Added are a few photos to fill out the framework of their contribution to the genre. I’ve included honorable mentions to those who starred in at least one film and perhaps a few science fiction & horror anthology shows on television.

And I guess I should be super clear about this, so no one gets their hackles standing on end, not one actress who wound up only getting an honorable mention, (be it one of your favorites and believe me their are a few of mine on that smaller list), by any means does it imply that I think they have a less substantial participation in the decade’s genre.

All these actresses have performed in other types of films-other genres and dramatic roles and enjoyed a full career that transcends the science fiction & horror films they appeared in.

Allied together they created the fabric of the 1950s decade, colored by their unique and valuable presence to ensure that science fiction & horror/fantasy will live on to entertain and enamor a whole new generation of fans and aficionados.

Collectively and Individually these women are fantastic , and I feel very passionate about having put this wonderful collection together as a tribute!

BEVERLY GARLAND

I can’t begin to describe the admiration I’ve developed over the past several years, by delving into Beverly Garland’s long impressive career as a popular cult actress. All I can think of saying– seems crude– but it’s what truly comes to mind… Beverly Garland kicks some serious ass!!!

From historian/writer Tom Weaver-“For most fans of 50s horror there are just no two ways about it. Beverly Garland is the exploitation film heroine of the period. A principal member of Roger Corman’s early stock company, she was the attractive, feisty leading lady in such Corman quickies as It Conquered the World, Gunslinger, Naked Paradise, and Not of this Earth. In between Corman assignments she braved the perils of the Amazon River on writer-director Curt Siodmak’s Curucu, Beast of the Amazon, and a less harrowing Hollywood backlot swamp in Fox’s the Alligator People. Her 1960s film work included Pretty Poison, The Mad Room and the multi-storied Twice Told Tales with Vincent Price. Overall, this list of titles is unmatched by any other ’50s genre actress.”

The diverse, dynamic and uniquely sexy Beverly Garland was born in Santa Cruz, California. She studied with dramatics teacher Anita Arliss, sister to Hollywood actor George Arliss. Garland also worked in radio actually appeared semi-clothed in various racy shorts, until she made her first feature debut supporting role in the taut noir thriller D.O.A (1949) starring Edmund O’Brien. Beverly started out doing small parts in science fiction/horror films such as The Neanderthal Man 1955 and The Rocket Man 1954. But her cult/exploitation status was forged when she signed onto to work with legendary filmmaker Roger Corman, the first film takes place in Louisiana called Swamp Women. In 1983 Beverly Garland received a star on the Hollywood Walk of Fame. She worked right up until 2004 and sadly passed away in 2008.

There are so many credits Beverly Garland has under her belt, I can only list the few that are memorable for me, but here she is linked to her massive IMDb list of credits for you to peruse. One of the roles that stands out for me is her groundbreaking role in the late 1950s as Casey Jones a policewoman for NYC in the series called Decoy (1957) Garland finds herself in diverging & dangerous situations where she not only uses her sexy good looks but her smarts and her instincts to trap criminals from all walks of life. It’s a fabulous show and it shows not only how diverse Beverly Garland is but the show was a historical first for a woman starring in a dramatic television series.

Beverly Garland has performed in drama’s including a musical with Frank Sinatra directed by Charles Vidor The Joker is Wild (1957) Film Noir (The Miami Story 1954, New Orleans Uncensored 1955, Sudden Danger 1955, The Steel Jungle 1956, Chicago Confidential 1957, Science Fiction/Fantasy, Adventure, Exploitation, Westerns and Crime dramas & Thrillers like Pretty Poison 1968. For the purposes of The Last Drive In tribute to this magnetic actress, here are those performances in the genre I’m featuring both film & television series!

“The Memories of working with Roger Corman are pleasant because I got along with him very well. He was fun to be around and work with. We always did these films on a cheap budget, and people were always mad at Roger because he’d hardly feed us! And no matter what happened to you, your worked regardless… You could be dead and Roger would prop you up in a chair!”-Beverly Garland

From Beverly Garland’s Interview in “Interviews with B Science Fiction and Horror Movie Makers: Writers, Producers, Directors, Actors, Moguls and Makeup” by Tom Weaver (McFarland 1988).

In The Mad Room (1969) her character was pregnant–so was she at the time, with her son James.

[referring to her 1950s Roger Corman cult films] “It’s funny today because it’s so ridiculous. But at the time, it was very serious! We were just actors doing our best, I think. None of us overacted. I’m not saying we weren’t good. We didn’t do it tongue-in-cheek. We really meant it. We gave our all. We were serious, good actors and we played it seriously.”-Beverly Garland

“Maybe I do come on strong, and people sense in me a strength and a positiveness . . . It’s really the way I look and act, not the way I am . . . Once you cut through the protective coating, I’m strictly molasses.”-Beverly Garland

Audrey Dalton"“ "I noticed you wrote a bit about Beverly Garland.  She was such a dear friend of mine.  She was in Pretty Poison with Noel Black who just passed away last year. Bev died years ago and even though she remained active in the Scarecrow and Mrs King for so long, she loved acting in "B" films the most."

Waitress Nola Mason in The Neanderthal Man 1954, Ludine in The Rocket Man 1954, Vera in Swamp Women 1956, Claire Anderson in It Conquered the World 1956, Dr. Andrea Romar in Curucu the Beast of the Amazon, Nadine Storey in Not of this Earth 1957, Joyce Webster in The Alligator People 1959, Ellen Winslow in Stark Fear 1962, as Alice Pyncheon in Twice-Told Tales (1963) Mrs. Stepanek in Pretty Poison 1968, Mrs. Racine in The Mad Room 1969, Science Fiction Theatre (TV Series) Katherine Kerston / Sally TorensThe Other Side of the Moon (1956) … Katherine KerstonThe Negative Man (1955) … Sally Torens, The Twilight Zone (TV Series) Maggie- The Four of Us Are Dying (1960), Thriller (TV Series) Ruth KentonKnock Three-One-Two (1960)

Tom Weaver – In your Corman movies you yourself generally played plucky, strong willed, sometimes two-fisted types.”

Beverly Garland- “I think that was really what the scripts called for. In most all the movies I did for Roger my character was kind of a tough person. Allison Hayes always played the beautiful, sophisticated “heavy” and I played the gutsy girl who wanted to manage it all, take things into her own hands. I never considered myself much of a passive kind of actress-I never was very comfortable in love scenes, never comfortable playing a sweet, lovable lady. Maybe if the script wasn’t written that way, then probably a lot of it I brought to the role myself. I felt I did that better than playing a passive part.”

Swamp Women (1956) An undercover policewoman helps three female convicts escape from prison so that they can lead her to a stash of stolen diamonds hidden in a swamp. Co-stars Marie Windsor, Carole Mathews, Mike Connors, Susan Cummings and Ed Nelson!

Also in Swamp Women 1956, Garland was expected to do her own stunts, even dropping out of a 20 foot tree. Roger Corman told her “When you’re killed you have to drop”  Roger planted three guys underneath the tree to catch Beverly when she let’s go. “And when they killed me I just fell-dead weight on these three poor guys!” Roger told her “You’re really one of the best stuntwomen I have ever worked with.”

Even after breaking her ankle in Gunslinger 1956, Beverly was a trooper, she did all her fight scenes and worked to finish the film for Roger Corman, even though she couldn’t walk for weeks after that!

As Ellen Winslow, Garland takes a courageous role as a non-victim of abuse and assault, she pushes back head on against the grain instead of wilting from the trauma she prevails. The film showcases the gutsy quality Garland herself tried to portray in all her performances. in the darkly psychological Stark Fear (1962) A sadistic husband mentally tortures his wife, while eventually planning to murder her. Although no one believes her, she gets help from an unexpected source.

Beverly Garland recalls making Swamp Women co-starring Marie Windsor with Tom Weaver-“Swamp Women! Ooh that was a terrible thing! Roger put us up in this old abandoned hotel while we were on location in Louisiana- I mean it was really abandoned! Roger certainly had a way of doing things back in those days-I’m surprised the hotel had running water! I remember that we each had a room with an iron bed. Our first night there, I went to bed and I heard this tremendous crash! I went screaming into Marie Windsor’s room, and there she was with the bed on top of her-the whole bed had collapsed! Well, we started laughing because everything was so awful in this hotel. just incredibly terrible, and we became good friends.”

Carole Mathews, Marie Windsor and Beverly Garland in Swamp Women

Beverly Garland not only exuded a gutsy streak in every role she took, but she also shared the notable distinction of starring in one of Boris Karloff's THRILLER episodes called Knock-Three-One-Two co-starring with the wonderful character actor Joe Maross who has a gambling problem and will be beaten to a pulp if he doesn't pay his bookie. So he enlists the help of a psychopathic lady killer to murder his wife Beverly for her tightly held purse and large savings account!

Tom Weaver asks Beverly Garland if she enjoyed working on Twice-Told Tales (1963) — “Oh, I love it because I loved Vincent Price. He is the most wonderful sweet, adorable man! I don’t remember much about the movie, I just remember working with Vinnie and how wonderful he was.”

Tom Drake, Bill Elliott, and Beverly Garland in Sudden Danger (1955).

On working with Roger Corman on Gunslinger (1956) after Allison Hayes another seasoned actress and a bloomin’ trooper who broke her arm during filming. The working conditions were dismal but Beverly Garland isn’t a woman you can keep down. “I always wondered if Allison broke her arm just to get off the picture and out of the rain. It poured constantly. But what I adored about Roger was he never said, ‘This can’t be done.’ Pouring rain, trudging through the mud and heat, getting ptomaine poisoning, sick as a dog–didn’t matter. Never say die. Never say can’t Never say quit. I learned to be a trooper with Roger. I could kid him sarcastically about these conditions and laugh. That’s why we got along so well. On Gunslinger, I was supposed to run down the saloon stairs, jump on my horse and ride out of town. Now we never had stunt people in low-budget films. Riding, stunts, fights–we all did it ourselves and we all expected it, and we all just said it was marvelously grand. I told myself just to think tall. So my first take I thought tall and sailed right over the saddle and landed on the other side of the horse. The second take I twisted my ankle running down the stairs– a bad twist.”

Beverly Garland and Allison Hayes in Roger Corman’s Western Gunslinger (1956)
Directed by Noel Black Beverly plays Mrs Stepanek the mother of sociopathic Sue Ann Stepanek played by Tuesday Weld. Anthony Perkins is Dennis Pitt a mentally disturbed young man with delusions, released from an institution only to stumble into Folie à deux with someone who is more violent and disturbed than he is!

Beverly Garland plays feisty nurse Nadine Storey in Roger Corman’s creepy alien invasion film Not of this Earth 1957 co-starring the white-eyed vampiric villain Paul Birch as Paul Johnson-why not Smith?

About working with Roy del Ruth on The Alligator People–“He was sweetheart of a guy and a good director. The Alligator People was a fast picture, but he really tried to do something good with it. And I think that shows in the film. It’s not something that was just slapped together. It as such a ridiculous. story…).. I felt when I read the script and when I saw the film, which was a long time ago, that it ended very abruptly. It all happened too fast; it was kind of a cop out. But there really was no way to end it. What were they going to do-were they going to have us live happily ever after and raise baby alligators?”

Beverly Garland having fun on the set of The Alligator People.
Beverly Garland with Lon Chaney Jr. in Roy del Ruth’s The Alligator People.
Directed by Roy Del Ruth-Beverly stars as Joyce Webster a woman who while under hypnosis recalls a horrific story She went in search of her husband who has gone missing. He is part of a secret experimentation with men and alligators. Co-stars Bruce Bennett.

Directed by Curt Siodmak Curucu Beast of the Amazon 1956 stars Beverly Garland as Dr. Andrea Romar and John Bromfield as Rock Dean who venture up the Amazon River to find the reason why the plantation workers are fleeing from a mysterious monster!

On first seeing the cucumber creature that Paul Blaisdell designed for It Conquered the World–“I remember the first time I saw the It Conquered the World Monster. I went out to the caves where we’d be shooting and got my first look at the thing. I said to Roger, ‘That isn’t the monster…! That little thing over there is not the monster, is it?’ He smiled back at me , “Yeah, Looks pretty good, doesn’t it?’ I said, ‘Roger! I could bop that monster over the head with my handbag!’ This thing is no monster, it was a terrible ornament!’ He said, ‘Well don’t worry about it because we’re gonna show you, and then we’ll show the monster, back and forth.’ ‘Well, don’t ever show us together, because if you do everybody’ll know that I could step on this little creature! Eventually I think they did do some extra work on the monster: I think they resprayed it so it would look a little scarier, and made it a good bit taller. When we actually filmed, they shot it in shadow and never showed the two of us together.”

Beverly Garland as Clair talking on the radio to IT– “I hate your living guts for what youve done to my husband and my world, and I’m going to kill you! Do you hear that? I’m going to kill you!”…) “So that’s what you look like, you’re ugly…) You think you’re gonna make a slave of the world… I’ll see you in hell first!

It Conquered the Wold (1956) is yet another Roger Corman campy gem that features my favorite cucumber monster created by Paul Blaisdell. Beverly stars as Claire Anderson married to Dr. Tom Anderson played by Lee Van Cleef who communicates with an alien life from who claims he comes in peace. Co-stars Peter Graves and Sally Fraser

Tom Weaver asks —“Do you ever look back on your B movies and feel that maybe you were too closely associated with them? That they might have kept you from bigger and better things?

Beverly Garland —“No, I really don’t think so. I think that it was my getting into television; Decoy represented a big turn in my life. Everybody did B movies, but at least they were movies, so it was okay. In the early days, we who did TV weren’t considered actors; we were just horrible people that were doing this ‘television’ which was so sickening, so awful, and which was certainly going to disappear off the face of the earth. Now, without TV, nobody would be working. No-bod-y. But I think that was where my black eye came from; I don’t think it came from the B movies at all.”

Tom Weaver-“Which of your many horror and science fiction roles did you consider your most challenging?”

Beverly Garland–“Pretty Poison. It was a small part, but it had so much to say that you understood why Tuesday Weld killed her mother. I worked hard to make that understood not a surface one, but tried to give you the lady above and beyond what you would see in a short time.”

Beverly Garland as policewoman Casey Jones in the stirring television series Decoy broadcast from October 14, 1957, to July 7, 1958.

AUDREY DALTON

The bewitchingly beautiful Audrey Dalton was born in Dublin, Ireland, and maintains the most delicately embroidered lilt of Gaelic tones became an American actress in film in the heyday of Hollywood and the Golden Age of television. Knowing from early on that she wanted to be an actress while studying at the Royal Academy of Dramatic Arts was discovered by a Paramount Studio executive in London, thus beginning her notable career starring in classic drama, comedy, film noir, science fiction, campy cult classic horror and dramatic television hits!

Since then I've had the incredible honor of chatting with this very special lady whom I consider not only one of THE most ethereal beauties of the silver screen, Audrey Dalton is a versatile actress and an extremely gracious and kind person.

Read More about this lovely actress Here: MonsterGirl Listens: Reflections with Great Actress Audrey Dalton!

Audrey Dalton made a monumental contribution to one of the biggest beloved 1950s "˜B' Sci-Fi treasures and she deserves to be honored for her legacy as the heroine in distress, pursued by a giant bunny killing Mollusk "That monster was enormous!" "“Audrey commented in her interview with USA Today.

Gail MacKenzie in The Monster that Challenged the World 1957, Baroness Maude Sardonicus in William Castle’s Mr. Sardonicus 1961 Boris Karloff’s Thriller (1960-1962)- Norine Burton in The Prediction, Meg O’Danagh Wheeler in The Hollow Watcher and Nesta Roberts in Hay-Fork and Bill-Hook.

Audrey Dalton plays Meg O’Danagh who is haunted by local prejudice and the rural boogeyman that is The Hollow Watcher.

Audrey Dalton in Hay-Fork and Bill-Hook is shown here with Doris Lloyd as Mother Evans. There's witchcraft afoot in the Welsh moors.
William Castle’s Mr. Sardonicus 1961 stars Audrey Dalton as Baroness Maude Sardonicus who is a prisoner to her husband’s madness driven to fury because his face has been stuck in a horrifying grimace when he found his father was buried alive. Co-stars Guy Rolfe as Sardonicus and Ronald Lewis

BARBARA RUSH

Barbara Rush and Marlon Brando in The Young Lions 1958-Twentieth Century Fox
Barbara Rush and Harry Townes in Strategy of Terror (1969)
Frank Sinatra and Barbara Rush in Come Blow Your Horn (1963)
Frank Sinatra, Dean Martin, Sammy Davis Jr., Richard Bakalyan, Victor Buono, and Barbara Rush in Robin and the 7 Hoods (1964)

Barbara Rush appeared in director Martin Ritt’s turbulent suburban drama No Down Payment 1957 with ex-husband Jeffrey Hunter though they weren’t married to each other in the film.

Jeffrey Hunter, Pat Hingle, Patricia Owens, and Barbara Rush in Martin Ritt’s No Down Payment (1957) co-stars Joanne Woodward, Sheree North, and Tony Randall.

Barbara Rush, Possesses a transcendent gracefulness. She moves with a poise like a dancer, a beautiful gazelle stirring in the gentle quiet spaces like silent woods. When I see Barbara Rush, I see beauty personified by elegance and decency. Barbara Rush will always remain in my eyes, one of the most gentle of souls on the screen, no matter what role she is inhabiting. She brings a certain kind of class that is not learned, it's inherent.

She was born in Denver, Colorado in 1927 and began at the University of California. Then she joined the University Players, taking acting classes at the Pasadena Playhouse. Paramount scooped Barbara up and signed her to a contract in 1950. She debuted with The Goldbergs (1950) as Debby Sherman acting with Gertrude Berg as Molly Goldberg -a popular television program that follows the warm, human story of the famous Jewish Bronx radio & TV family the Goldbergs, and their everyday problems. Co-starring David Opatoshu and Eduard Franz.

Before joining the Goldbergs she met the strikingly handsome actor Jeffrey Hunter who eventually became a hot commodity at 20th Century Fox. Barbara Rush and Jeffrey Hunter fell in love and were married in December 1950. They became Hollywood's most gorgeous couple, and the camera seemed to adore them. Their son Christopher was born in 1952.

During her time at Paramount, Barbara Rush appeared in the science fiction catastrophic end of the world thriller directed by Rudolph Maté "”When World's Collide 1951 co-starring Richard Derr, Peter Hansen, and John Hoyt.
As time went on Barbara Rush co-starred with some of the most desirable actors in Hollywood, James Mason, Monty Clift, Marlon Brando, Paul Newman, Richard Burton, and Kirk Douglas. Her roles ran the gamut from disenchanted wives, scheming other women or pretty socialites
Though Barbara Rush is capable of a range of acting, the one great role of a lifetime never seemed to surface for her, though whatever she appeared in was elevated to a higher level because of her presence.
Television became a wonderful avenue for Barbara Rush's talent, she appeared in guest parts in many popular tv series of the 1960s and 1970s. She also co-starred in tv movies. One enjoyable character she played was a guest villain on the 1966 television series Batman as femme fatale "˜Nora Clavicle" Barbara Rush also played Marsha Russell on the popular television drama Peyton Place 1968-69

Barbara Rush also turned to work on the stage. She garnered the Sarah Siddons Award for her starring role in Forty Carats. Making her Broadway debut in the one-woman showcase, "A Woman of Independent Means" which also subsequently earned her the Los Angeles Drama Critics Award during its tour. Other showcases included “Private Lives”, “Same Time, Next Year”, “The Night of the Iguana” and “Steel Magnolias”.
Barbara Rush still possesses that transcendent beauty, poise, and grace. She will always be someone special someone memorable.

INTERVIEW QUESTIONS:

Joey Q: Did you ever imagine Jack Arnold's "It Came from Outer Space" (1953) with you (in that black dress by Rosemary Odell) aiming that laser beam would become so iconic, and leave such a lasting impression on fans and film historians after all these years?"¨

Barbara Rush: A: I'd never think that anybody who saw it needed to see it again, but if it left an impression, that's fine. I loved the chiffon dress. It was too weird that these people that came from other space were too frightening to look at, so they took the form of regular humans. What I thought was interesting that these creatures didn't actually want to be there and weren't vicious at all. They were just trying to fix their ship and get it together. I remember thinking that with a lot of science fiction films; we were so afraid these creatures, but they were just trying to get away and weren't threatening at all.

Joey Q: Is there a role you would have liked to play — let's say in a Gothic thriller? Or was there ever a script for one that you turned down that you regret now? Were there any other high quality A-picture science fiction film scripts sent to you after "When Worlds Collide"Â (1951) and "It Came from Outer Space"Â (1953)?

Barbara Rush "¨"¨A: I don't remember anything that was given to me to do other than those two pictures. That was all just orders from the studio. The science fiction film I admired the most was the picture E. T. "“ I just love that film and it is my favourite, but I never thought it was something I wanted to be in myself.

Joey Q: "The Outer Limits" is one of the most extraordinary anthology television shows of the 1960s. It was clearly ahead of its time, beautifully crafted and though-provoking. You star as the tortured Leonora in the episode "The Forms of Things Unknown" which is perhaps one of THE finest of the series written by Joseph Stefano, all due to the cinematography, lighting, and particularly the ensemble acting. Do you have any lasting impressions or thoughts about that role and/or working with Vera Miles, Cedric Hardwicke, David McCallum, and Scott Marlowe?

Barbara Rush A: I loved doing that show and loved Vera Miles. She was just the most wonderful person to work with. She was so funny. There was a scene where she had to run after me in the forest in the rain. After that miserable experience she told me:"Barbara, I promise you I'll never chase after you in the rain, in the forest, ever again." I thought the episode was very interesting, though.

Joey Q: In that same high calibre of dramatic television series, were you ever approached by William Frye, Doug Benton, or Maxwell Shane from Boris Karloff's "Thriller" series or by Alfred Hitchcock for his anthology series? You would have been extraordinary in either television program! These shows were remarkably well-written and directed and I'm certain there would have been a perfect role for your wonderful acting style. Did you ever receive a script or were you ever interested in appearing on either of those shows?

Barbara Rush A: Unfortunately they didn't really seem to want me. They never got in touch with me about anything. I would have loved to work for Hitchcock "“ I liked his films.

Joey Q: It seems that the early 70's found you a niche in the macabre. Perhaps this is because you are such a consummate actress and the contrast of your gentility works well with the darker subject matter. In 1971 you co-starred with Henry Darrow in a short piece on Rod Serling's "Night Gallery" – "Cool Air." It was a Gothic romantic tale based on H.P. Lovecraft's story about a woman who falls in love with a man who must remain in a refrigerated apartment dare something dreadful occur. Then, in 1972 you appeared in "The Eyes of Charles Sands" as Katherine Winslow co-starring Peter Haskell and Joan Bennett, a film about ESP and solving a murder. Then came "Moon of the Wolf" where you co-starred with David Janssen and Bradford Dillman, two very handsome leading men. Did you enjoy venturing into these uncanny story lines?

Barbara Rush A: I particularly enjoyed working with Bradford Dillman, who was a dear friend of mine. We more or less grew up together, in Santa Barbara. In one of these he played a werewolf and he'd have these hairy mittens as part of his costume and he'd come trampling in all the time "“ as a werewolf! I have a tendency to get very hysterical about how funny people can be, and he'd just make me crack up. "¨We were shooting "“ I think in New Orleans or Mississippi, somewhere in the south "“ on location, so it was very hot. Poor Brad who had to walk around in those mittens.

 

IMDb trivia -Along with Leonard Nimoy, David McCallum, Cliff Robertson and Peter Breck, she is one of only five actors to appear in both The Outer Limits (1963) and The Outer Limits (1995) and the only woman to do so. She played Leonora Edmond in The Outer Limits: The Forms of Things Unknown (1964) and Barbara Matheson in The Outer Limits: Balance of Nature (1998).

Attended and graduated from the University of California, Santa Barbara (1948). She graduated from the Pasadena Playhouse School for Performing Arts in Pasadena, California.

Is mentioned in the movie Shampoo (1975), when hairdresser Warren Beatty says “I do Barbara Rush’s hair”.

Was separated from second husband Warren Cowan in 1969 at the time she learned of first husband Jeffrey Hunter’s sudden death following brain surgery after falling down a flight of stairs.

Appears in No Down Payment (1957) with ex-husband Jeffrey Hunter, they both portraying married characters, but not married to each other.

She is one of five actors to have played “Special Guest Villains” on Batman (1966) who are still alive, the others being Julie Newmar, John Astin, Joan Collins and Glynis Johns.

“I can safely say that every movie role I was ever offered that had any real quality went to someone else.”-Barbara Rush

As Joyce Hendron in When Worlds Collide 1951, Ellen Fields in It Came from Outer Space 1953 Night Gallery episode as Agatha Howard in ‘Cool Air’ released on December 8, 1971, based on a story by H.P. Lovecraft and in The Outer Limits as Leonora Edmond in the episode The Form of Things Unknown written by Joseph Stefano released on May 4, 1964, as Karen Lownes in Kraft Suspense Theatre tv series ‘In Darkness, Waiting (1965), as Nora Clavicle and The Ladies’ Crime Club Batman Series 1966, Moon of the Wolf (TV Movie) 1972
as Louise Rodanthe, as Katherine Winslow in The Eyes of Charles Sand (1972), The Bionic Woman (TV Series) – Jaime’s Mother (1976) … Ann Sommers / Chris Stuart, 1979 Death Car on the Freeway (TV Movie) as Rosemary

Jack Arnold, Richard Carlson, Charles Drake, Russell Johnson, and Barbara Rush in It Came from Outer Space (1953).

Everybody wants to know about Barbara Rush’s fabulous clothes in It Came From Outer Space, in particular this lovely black gown.. so here it is–designed by Rosemary Odell

COOL AIR. First aired on December 8, 1971, Paintings for the opening of each episode were done by artist Tom Wright

The classy fashionable villainess Barbara Rush as Nora Clavicle and The Ladies’ Crime Club Batman Series 1966.
Vera Miles as Kasha and Barbara Rush as Leonora pushed to the limit of all they can bare poison Scott Marlowe a sadistic blackmailer and leave him in the trunk of their car. As they flee the scene they stumble upon an Old Dark House where the servant Ralph Richardson takes care of Tone Hobart played by David McCallum a solitary sad young man, an introvert who tinkers with clocks, an inventor who is able to tip the balance of time and bring back the past and ultimately the dead. Barbara Rush conveys a depth of sadness and vulnerability that is tragic and beautifully pieced together for this macabre story written by Joseph Stefano. The lighting traps each player in the shadows of their own machinations. It is a brilliant little morality play.

Barbara Rush and Vera Miles on the set of The Outer Limits television series episode The Form of Things Unknown.

The cinematography by Conrad L. Hall is extraordinarily moody and dark in this psychological supernatural story by Joseph Stefano.

Continue reading “Queen B’s of 1950s Science Fiction & Horror –”

5 Movie Monsters in Search of an Existential Crisis: AntiFilm School Presents the 3rd Annual Halloween Horror Movie Spooktacular!

vintage-drive-in-title-screen-toned-2

Steve Hasbrat (Theater Management) over at Anti-Film School has graciously given me the opportunity to join their 3rd Annual Horror Movie Spooktacular in time for Halloween. And I get to chat about five movie monsters that I consider to be my favorites. If you know me by now, you’ll understand that asking me to narrow down anything to a mere 5 is quite a challenge. But I venture to say that if I cheat and mention a few who would have made the list, angry villagers won’t be hurling flaming torches at my porch if I do…

A little bit about Anti-Film School’s blogging philosophy from their About page!

“Founded in July of 2011, Anti-Film School is a film website that reviews both new and old films while also heavily focusing on grindhouse cinema, exploitation flicks, cult cinema, B-movies, and classic horror. Since its launch, it has gone on to receive 100,000 views, become a member of the Large Association of Movie Blogs, and be featured on Total Film online under "3 Cool Film Blogs to Visit," GuysNation, Flights, Tights, and Movie Nights, Furious Cinema, and the Grindhouse Cinema Database. It is all tied together by a retro drive-in aesthetic. We apologize in advance for any missing reels, the sticky floors, shady audience members, stale popcorn, and broken seats.”- 

Oh those woebegone days of broken velvet-covered creaky seats, your feet sticking to the floor from spilled coke and milk duds… the smell of popcorn, salty sweat, and the tallest person in the theater sitting directly in front of you when there are loads of empty seats left…! I wonder why that always happens to me all the time…?

When you think of existentialism, well, when I the MonsterGirl nerd of all time, think of EXISTENTIALISM, Camus, Sartre & Kierkegaard immediately come to mind. When Steve asked me to think of 5 movie monsters that endeared themselves to me, I started to think of what it was, that essence of the thing, that impressed upon me so much about each monster’s character. It’s that they are Monsters in Search of an Existential Crisis.

EXISTENTIALISM

Descartes said, “I think, therefore I am.”  Existentialists say “I am, therefore I think.”

This philosophy emphasizes radical skepticism and the uniqueness and isolation of the individual experience, an individual who is inhabiting an indifferent universe. Existentialism regards human existence as unexplainable and completely free. In this universe, there is no guiding Dogma that can help us. We’re all faced with equally unfortunate choices which ultimately lead to doom and despair. All human endeavors are meaningless and virtually insignificant, so when faced with the fact that existence, humans feel despair. Existential angst is when we are aware of the awful pointlessness of our existence. So life is an unknowable concept with strange forces that spring from this mysterious existence, with nothing that has any meaning, and fighting it is futile. Cheerful stuff…

Without further ado, here are our 5 monsters stuck in an existential landscape of despair, angst & searching for an identity in a cruel cruel universe.

Frankestein's Monster an existential man

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curse of the demon

What is it about monsters that we love? What truly remains with ‘us’ classic horror fans is something deeper and eternally soldered into our collective psyches. Something about ‘the monster’ has either caused us to ‘identify’ with them or has triggered a profound fear response that lasts a lifetime.

All monsters, you could say are inherently existential figures because they come from a place of alienation, the unknown, and live outside the realm of perceived normalcy. ‘5 Monsters in Search of an Existential Crisis’ seeks to understand how these particular characters are either the epitome of the existential ‘deviant’ (not to suggest deviancy in the context of being perverse but in the sense that they deviate from the norm of ‘accepted’ human nature, like a freak or a sword swallower or a drag queen), or have been placed in the middle of an existential environment.

When you think of the quintessential films that introduced themes of existential alienation into the narrative I think of Jack Arnold’s masterpiece The Incredible Shrinking Man (1957) written by the late Richard Matheson, Don Siegel’s Invasion of the Body Snatchers (1956) and of course William Cameron Menzies’ Invaders from Mars (1953).

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Invasion of the Body Snatchers 1956 Dana Wynter and Kevin McCarthy
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Luce Potter as the Martian Intelligence in William Cameron Menzies’s fantastical Invaders from Mars 1953.
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Jack Arnold’s quintessential journey of the existential transcendent man Grant Williams in The Incredible Shrinking Man.

But poor Grant Williams was not a monster, he was only a transcendental man on a journey, projected into a monstrous world where the ordinary becomes a nightmare landscape for him. Films based on stories where the alien, be it from space or here on earth, are a figure used to criticize rationality, conformity, tolerance, and lack of empathy and often create discord between science and the military. They raise the question of fear of losing one’s identity amidst the cold war environment, or just to show that there are sinister threats from without & within!

Writers like Charles Beaumont, Richard Matheson, and Ray Bradbury were great at conjuring these “Outsider’ themes. I’d love to have included It Came From Outer Space (1953) with the amorphous Eye creatures that happened to be friendly aliens who crash land in a desert cave.

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It Came From Outer Space 1953 Richard Carlson and Barbara Rush.

I love these existential fellas, scary as they may be. Like Grendel who is the consummate existential literary figure and he was hideous, yet he’s one of my favorite characters in literature. Grendel struggles with the eternal question, am I a monster or a hero?

While these movie monsters may be hideous to some, I find them compelling and heroic in their journey to claim their place in a hostile world. Except for those nasty soul-eating land crabs whom I love just because they’re so cheeky, cheesy, and entertaining as hell!

For me, the quintessential existential man/monster, (and that’s not a pants monster ) is Mary Shelley’s literary Prometheus re-imagined by James Whale’s flagrant masterpiece. A man-made from the scraps of robbed corpses and brought to life by the electrical secrets of heaven. Yes, Frankenstein’s Monster portrayed by the great Boris Karloff manifested a truly complex enigma of conception, creation, and existential angst that’s both fearsome yet sympathetic.

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We can sympathize with the monster, as with Frankenstein, & The Gill Man from Creature From the Black Lagoon. We can find our involvement (at least I can), as one viewed with empathy toward the monster’s predicament. Depending on how much the film constructs its viewpoint it leans toward creating pathos in the narrative. Usually permitting these monsters to express human desires, and then making sure that those desires are thwarted and frustrated and ultimately destroyed. ‘The Outsider Narrative” can be seen so clearly in the horror/sci-fi hybrid Creature From The Black Lagoon. Film monsters like The Gill Man form vivid memories for us, becoming icons and laying the groundwork for the classical experience of good horror.

I think Creature From The Black Lagoon is quite a perfect film, as it works on so many different levels. The most obvious is that scientists have invaded a unique creature’s habitat only to force their domination and belligerence on him. And in the midst of this evolves a sort of skewed Romeo and Juliet romance. The Gill Man never intends to threaten Julie Adam’s character Kay Lawrence. Quite the contrary, it’s the two opportunistic men who tote phallic harpoons around like extra penises on hand to fight each other about questions of ethics, how to conduct scientific research, and over Kay like spoiled children.

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My favorite five are…! (the Curtain lifts)

1) FRANKENSTEIN’S MONSTER: As portrayed by the great BORIS KARLOFF

Boris Karloff, Frankenstein

“Oh, in the name of God! Now I know what it feels like to be God!”- Henry Frankenstein

Boris Karloff’s poignant yet terrifying transformation into Frankenstein’s monster, thanks to the great make-up artist Jack Pierce is the most memorable, indelible ‘classic monster’ for me. Boris Karloff said in 1957 Jack’s words still echo in my mind: ‘This is going to be a big thing!'”

Mary Shelley created a transfixed symbol of existential angst. The gentleness that Boris Karloff imbued his character with will always touch my heart so deeply. Most memorable for me is the scene with the blind priest who breaks bread and shares his humble shack with his new ‘friend’ in Bride of Frankenstein my favorite of the three films where Karloff portrayed the monster.

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From Wikipedia-Frankenstein; or, The Modern Prometheus is a novel written by Mary Shelley about an eccentric scientist Victor Frankenstein, who creates a grotesque creature in an unorthodox scientific experiment. Just a brief mention in regards to the literary source, Victor Frankenstein, is told by the monster that he refers to himself as “the Adam of your labors”, and elsewhere as someone who “would have” been “your Adam”, but is instead “your fallen angel.”

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The opening narrative of the film goes like this: “We are about to unfold the story of Frankenstein, a man of science who sought to create a man after his own image without reckoning upon God. It is one of the strangest tales ever told. It deals with the two great mysteries of creation.; life and death”

Beware; for I am fearless and therefore powerful."
"• Mary Shelley, Frankenstein
"Nothing is so painful to the human mind as a great and sudden change."
"• Mary Shelley, Frankenstein
"Life, although it may only be an accumulation of anguish, is dear to me, and I will defend it."
"• Mary Shelley, Frankenstein
"If I cannot inspire love, I will cause fear!"
"• Mary Shelley, Frankenstein
"How dangerous is the acquirement of knowledge and how much happier that man is who believes his native town to be the world, than he who aspires to be greater than his nature will allow."
"• Mary Shelley, Frankenstein
"I do know that for the sympathy of one living being, I would make peace with all. I have love in me the likes of which you can scarcely imagine and rage the likes of which you would not believe. If I cannot satisfy the one, I will indulge the other."
"• Mary Shelley, Frankenstein
"I ought to be thy Adam, but I am rather the fallen angel…"
"• Mary Shelley, Frankenstein

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Victor Frankenstein possessed great hubris. As many, a mad scientist seeking the secrets of life tends to be. I suppose you must have that kind of insane drive to push back against the boundaries of the knowable to discover what lies beyond. BUT, when a man tries to act as God himself, one who creates life from the dead, challenging the biological fact that it is ‘women’ who give birth, who produce that life in the end. Ultimately, Victor Frankenstein’s monster is an existential failure. He justifies his work to Dr. Waldman “Where should we be if nobody tried to find out what lies beyond? Have you never wanted to look beyond the clouds and stars, to know what causes trees to bud and what changes darkness to light? But if you talk like that people call you crazy…! Well, if I could discover just one of these things, what eternity is, for example, I wouldn’t care if they did think I was crazy.”

That scene is shattered by the imposing first sight of the monster. Jack Pierce’s, extraordinary make-up on Boris Karloff combined with the actor’s facial expressions and gestures are sheer brilliance.

The first glance

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Boris Karloff conveys a dead man’s angst who’s brought to life by a heretical scientist, inhabits his new world with such wonder, conflict, and rage, so exquisitely it’s actually painful to watch as he is scorned and tormented as a ‘thing.’ who never asked to be created in the first place.

For the sake of brevity, I’ll call him Frankenstein although he is ‘the monster.’Frankenstein has become an accepted name for Victor’s/Henry’s film version of scientific yet unorthodox achievement.

And like that of Grendel, Frankenstein is the ultimate existential monster and Karloff gives him a child-like quality that wrenches at your heart with pathos. Born into an unknown world, unaware of his purpose in life, why he was created, and essentially who he is.

frankenstein bride Mae Clarke

Karloff recalled “I don’t think the main screenwriter Bob Florey, really intended there to be much pathos inside the character. But Whale and I thought that there should be. We didn’t want the kind of rampaging monstrosity that Universal seemed to think we should go in for. We had to have pathos, Whale wanted to leave an impact.” And they certainly achieved that with Karloff’s performance and Whale’s vision.

And I say this because he is born a black slate, tabula rasa. Only to have men of science and the surrounding community, some inherently belligerent, some like Henry’s assistant Fritz who is abusive and brutal and torture the monster, defining who he is because of his ‘difference’. It’s after Frankenstein’s first rampage that the monster evokes our sympathy.

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Frankenstein still

At first, the monster is like a new born infant. Henry tells him to sit down, but he doesn’t understand the word yet. He follows the doctor’s gestures and hand signals.

Again Karloff,“Whale and I saw the character as an innocent one {…} Within the heavy restrictions of my make-up I tried to play it that way. This was a pathetic creature like us all, had neither wish nor say in our creation and certainly didn’t wish upon itself, the hideous image which automatically terrified humans whom it tried to befriend. The most heart rending aspect of the creature’s life, for us was his ultimate desertion of his creator-it was though a man in his blundering searching attempts to improve himself was to find himself deserted by God.”- from Karloff More Than a Monster- Stephen Jacobs

Boris Karloff in

This sentiment is the essence of why Frankenstein is such a profoundly existential character, his crisis of alienation and detachment from his creator. In Cynthia Freeland’s book, The Naked and The Undead she cites Gregory Mank: “From the beginning Karloff’s approach to his ‘dear old monster’ was one of love and compassion. To discover and convey such sympathy was an outstanding insight.-considering that rarely has an actor suffered so hideously by bringing to life a character.”

The hours of make-up and constructing the heavy suit Karloff had to endure, wearing it on the set during long days of shooting eventually crippled his legs and left him extremely bow-legged and in immense pain.

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Dr. Henry Frankenstein (Colin Clive) and his assistant Fritz (Dwight Frye) go to a graveyard and steal a body. The fanatical Dr. Frankenstein believes that life can be created from death. He challenges the systems of morality for an ambiguous crack at being God-like. We, therefore, shift our allegiance and empathy toward the monster who becomes the central figure of the story. And now that he’s been forced into existence he wants Henry to create a mate for him and why not! All god’s children got a girl…

Again if I could have had a few more choices The Bride would have been on my list in a flash of lighting! I adore Elsa Lanchester and Franz Waxman’s score is perhaps one of the most evocative themes I just can resist becoming ebullient when ever I hear it!

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With his bizarre experiments, Henry defies the laws of nature, and the mortal contract with the universe and dares to try to give birth to his own creation. When he sends his assistant to steal a brain, the cruel knucklehead mistakenly takes a criminally insane brain without the Dr. realizing it. Shutting himself off from the outside world and his fiance Elizabeth (The gorgeous Mae Clarke) she arrives at the castle to see what’s going on. Meanwhile, the constructed body from scraps, sewn together from various bodies of several dead men is strapped to the slab and raised up into the violent electrical storm. Lightening surges into the body of the monster and soon… “Look! It’s moving. It’s alive. It’s alive… It’s alive, it’s moving, it’s alive, it’s alive, it’s alive, it’s alive, IT’S ALIVE!” – Henry Frankenstein.

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Frankenstein emerges from his electrifying awaking into a dire world he did not ask to come into. To be shunned and controlled and reviled within only a few moments of his awareness. He has no chance to make his own choices or choose his own journey, He’s automatically an outsider who threatens those who perceive him as different and thus dangerous.

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Frankenstein is an ‘object of the grotesque’ in this typified mad scientist /monstrous creation movie where a scientist is obsessed with the ‘secrets of life itself’, his creation turns out to be a monster, the assistant is deformed in some way, and often is antagonistic to the monster setting off a provoked rampage, and the lab is fabulous with scientific regalia and various apparatus in an isolated setting.

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Ken Strickfaden’s designs or ‘special electrical properties’ buzzing light shows knobs and bottles and tubes in Henry Frankenstein’s lab are astounding. Charles D Hall’s art direction & set aides in the creation of an ambivalent scenery where science and morality conflict. The outside world is lenses as an ordered world, stylistically counter-posed to the clandestine dark and unorthodoxy of Henry’s laboratory. James Whale injected a lot of camp into the Gothic sensibilities.

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Frankenstein is labeled a ‘monster.’ Therefor, he causes suffering to others and perpetuates the idea that he is in fact ‘a monster’ But most of us can see him as an existential anti-hero. It is the law of the existential philosophy that says HE must be responsible for his actions. Actions that have justification but still have no bearing on the violent things he does. We are conflicted because we sympathize with his dilemma. Like a confused child who asks where do I come from? Why am I here? Who is my creator? Why have they abandoned me and what is friendship? Watching Frankenstein journey through a hostile landscape is painful for me as he’s chased by angry villagers with flaming torches. He only wanted to see the little girl float like a flower… He’s strung up on a cross like an obvious Christ figure, beaten, chained, drugged, and sought after to be deconstructed, he is a figure in an eternal existential crisis. A monster who doesn’t understand if he’s a man or truly a monster.

Interesting note: Bela Lugosi turned the part of the monster down because he didn’t want to grunt and John Carradine refused to play monsters at all, and also rejected the offer to play Frankenstein.

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Continue reading “5 Movie Monsters in Search of an Existential Crisis: AntiFilm School Presents the 3rd Annual Halloween Horror Movie Spooktacular!”

The Tacky Magnetism of Paul Blaisdell’s Fantastically Ridiculous Sci-Fi/Horror Puppetry

I want to add this little note to my post. I did happen to find mention of Blaisdell in at least 2 books so far that are part of my library. Since I’ve moved to the coastal city of Bath Maine, my studio and library are in a disarray, so many of my books and things are sort of caught between worlds of stasis and static. Keep Watching the Skies by Bill Warren volume II 1958-1962 does cover Paul Blaisdell a bit as well as D. Earl Worth’s Sleaze Creatures. And now Randy Palmer's book, Paul Blaisdell: Monster Maker This makes me a little less sad! M.G.

Paul Blaisdell was an unsung asset to American International Pictures (A.I.P) and to the truly unprecedented, unintentional pioneer and auteur of cheap, cheesy and campy gems on shoe string budget that somehow have been elevated to icon status because of their enduring charm.

THE GREAT ROGER CORMAN

Thanks to Roger Corman for giving Paul Blaisdell the opportunity to create his omnipresent monster — the busty Beulah the incarnation of an arcane female manifestation from out of the primordial ooze channeled through Marla English during regressive hypnosis, in The She Creature (1956).

THE GREAT PAUL BLAISDELL



Beulah went on to appear albeit altered +crazy wig for Voodoo Woman (1957).

and an oddly incongruous to the plot, a derivation of her had a cameo in The Ghost Of Dragstrip Hollow (1959).

Beulah in The Ghost Of Dragstrip Hollow is just a little less busty!

The reason Beulah got around was due to the production company having no budget for any special effects so they asked Blaisdell if he would let them use Beulah and he was kind enough to consent allowing them to bring her out for a command performance.

I especially love the adorably nasty little bug-eyed creatures with large heads somewhat like brussel sprouts who loved to get cows drunk, not to mention a young Frank Gorshin in Invasion Of the Saucer Men (1957)

LITTLE CABBAGE HEADED BUG EYED FIENDS!


And we can’t forget his laughable cucumber Mutant in It Conquered the World (1956), and of course the alien cucumber’s little flying minion a crusty umbrella bat thingy that implanted a doodad in your neck so you’d do its bidding.

Of course, there’s the mutant that was supposedly most likely a bear at one time before the fallout’s noxious vapors transformed it into a monstrous 3 eyed horny creature in Day The World Ended(1955)


And one of my personal favorites is the awesome Tabanga tree stump equipped with a beating heart that walked really slow and could hardly move a branchy arm yet inspired great fear amongst the superstitious jungle folk and interloping Western scientists alike.

5 Movie Monsters in Search of an Existential Crisis: AntiFilm School Presents the 3rd Annual Halloween Horror Movie Spooktacular!

Paul Blaisdell was an artist who worked in rubber like Auguste Rodin.


worked in marble, well maybe not, but to those of us who grew up with his cheesy monsters, it was art after all.

At first, Blaisdell was a sketch artist, fine arts painter, and sculptor, being an artist/musician myself I understand how poor one person can be by doing what they love. He never made a lot of money as a monster maker in the height of the fabulous 50s. Also, like me, he drew monsters and did models as a kid.

I used to make all the Aurora Universal monster models. Collected all of Forrest J. Ackerman’s Famous Monsters of Filmland Magazines.

and sketched the creatures from those sacred rags and superheroes from my huge Marvel and D.C. comic book collection. I would be stinkin’ rich if I hadn’t sold each and every one for 10 cents a copy while sitting on the street corner back in the good old days, in the suburbs of Long Island New York.

little monster girl and her pop who didn’t mind her playing with monsters!

Obviously, Blaisdell was really good at what he did, because he wound up making a great and lasting contribution to the monster business and Roger Corman’s campy cult films of the 50s. Me I went on to become a songwriter inspired by these glorious childhood memories, but I am better at playing piano and songwriting than building giant rubber mutants with bulging eyes. Although I did try to build a space station in the basement with parts that I got from our vacuum cleaner, which wasn’t broken at the time… don’t ask.

From that point on, every time the hammer went missing in my house, my father would give me the most piercing looks and start yelling. To his credit, he’s the one who would take me to the local mom-and-pop stationery store to buy or bring me home the latest Famous Monsters Magazine, and never said, “Little girls shouldn’t be interested in monsters”, so he was truly a great guy, even if he did yell about the hammer a lot! So anyway…

Blaisdell submitted his illustrations to pulp sci-fi publications like Spaceways


and Otherworlds. And eventually, he was discovered by magazine publisher Forrest J. Ackerman who was so impressed with Paul’s work that he became his agent.

Because of Ackerman, Blaisdell got his first film job designing the alien creature for The Beast With a Million Eyes (1955). He actually helped the project out because at the point he came on board, there wasn’t any little alien yet in the movie at all, which would have to be problematic!

Paul and Jackie Blaisdell with ‘Little Hercules’ between them.

The beastly slave of the alien is a hand puppet created by the cheesy greatness that was Paul Blaisdell.

Interesting side note: For The Beast with a Million Eyes (1955), Corman needed someone to design the alien who originally was supposed to be an invisible force marauding through the galaxy hitching rides on various life forms and taking over their consciousness, like the mind control of the animals in the film. In Bill Warren’s informative book Keep Watching the Skies, Corman contacted friend collector/historian Forrest Ackerman suggesting stopping animation genius Ray Harryhausen (who obviously was way out of Corman’s league and price range) Warren-“Corman recoiled in economic in shock.” Then Forrest recommended Jacques Fresco a futuristic eco-conscious architect and designer who had created the space station and rockets for Project Moon Base (1953)

But Fresco wanted too much money to do the job, so Ackerman came up with another idea. There was an illustrator who designed cover art and did illustrations for his magazines, named Paul Blaisdell. It wasn’t like Blaisdell had the experience building movie models but the young guy did build model kits (the Aurora kind I used to spend the days gluing and painting) and he also did some sculpting. Blaisdell said he would try it for $200 for the job and another $200 for materials. It was still more than Corman wanted to invest, but it seemed the last resort if he wanted a creature in his film. Corman sent the poster to Blaisdell as a composite and informed him that it didn’t have to do much more than show itself on screen for a few moments, then collapse. Blaisdell could then make it on a small scale, using only the upper torso since the rest would be hidden by the ship’s hatch. And so he made a hand puppet which was a dragon-like creature with wings he molded from clay and placed a simple latex mold over it. Paul’s wife Jackie modeled its hands. The Blaisdell nicknamed him “Little Hercules.”

Blaisdell made him a leather jacket, an eight-starred medallion, and a toy gun and then added manacles and chains to its arms to point out that he was really a slave to the alien intelligence. According to Randy Palmer's book, Paul Blaisdell: Monster Maker he was happy with his work, and so were the crew.

Corman and American Releasing Corp must have been satisfied enough with Blaisdell’s skill and his price as well, as he went on to become the go-to monster-maker for the studio during the 1950s. Including The busty She-Creature (1956), the cucumber alien in It Conquered the World (1956), The fanged umbrella bat in Not of This Earth (1957), The alcoholic Google-eyed brain invaders in Invasion of the Saucer Men (1957), my personal favorite Tobanga the walking tree spirit in From Hell it Came 1957 and the alien stow away in It! The Terror from Beyond Space (1958).

He also acted inside the suits he designed, created special effects, and did his own dangerous stunts in Corman's movies. However, the 60s were not kind to Blaisdell and he decided to retire. He did co-publish a monster movie magazine with fellow collector and friend Bob Burns but walked away from the industry entirely. Blaisdell passed away in 1983 suffering from stomach cancer at the age of 55.

Paul went on to design monsters for all the low-budget American International Pictures like the little flying thingy in Not of This Earth (1957). The bug-eyed little green men in Invasion of the Saucer Men (1957) and Earth Vs. the Spider (1958). He was also responsible for an uncredited corpse in The Undead (1957), but I don’t know if that counts as a monster, unless it was a crusty rubber corpse with bulging eyes. Blaisdell also created the imposing alien creature in the tautly paced and fantastic It, The Terror From Beyond Space (1958), which was an inspiration for Ridley Scott’s Alien (1979)

One of my absolute favorites is the Tabanga tree monster in From Hell It Came (1957) as well as the cucumber guy, as they are both hilarious and I simply just adore trees and cucumbers.


In terms of the cucumber mutant, I don’t know if I dreamt this up, pulled it out of my arse, or am just misremembering reading an interview or watching a documentary with Corman saying that Blaisdell’s cucumber creature sat in a shed for years until Paul and Roger got drunk one night and took it out and played with it until the arms fell off. If anyone else recollects hearing or reading this, please drop me a note so that I don’t start doubting myself.

So Blaisdell had a unique vision with the design of his campy mutants and aliens and little flying thingies  He probably will be most remembered for Beulah the grotesque representation of primordial womanhood with the scaly protruding mounds of what were supposed to be her luscious scaly creature boobs? in The She Creature.

Of course, he’ll be fondly thought of for the outrageous cucumber creature in It Conquered the World that terrorized Beverly Garland thanks to husband Lee Van Cleef who invited the damn thing to earth. It’s just sad that he doesn’t get more notoriety for creating some of the most ludicrously delicious and silly monsters of all time.

In addition to designing these creatures, he also often played them as well. Unfortunately, Blaisdell became disillusioned with the film business and just quit making anything more for the movies in the 50s. How many times can Beulah make an entrance right?

I would have thought that Paul designed the giant Crab Monsters for Corman in what else but Attack of the Crab Monsters,(1957) but he was already working on The She Creature and apparently the low budget for the special effects on that film had put Blaisdell off.

In the early 60s, Blaisdell started his own magazine called Fantastic Monsters of the Films but it was a very short-lived endeavor which featured a “how to” section called The Devil’s Workshop

In the early 60s, he did some conceptual artwork on several movies which never made it out of the can. And like a lot of talented people, he wound up living out his life in obscurity. I’ve tried to find his name in several indexes of the film books about the 50s genre that I have here and I can’t find mention of him at all. It made me a little sad.

It would be really interesting to see what kind of monsters he could envision today if he were still with us.

Blaisdell had a knack for working with no budget and yet slapping something together although absurd and silly looking he always came through for AIP and even Bert I Gordon who soon realized that Blaisdell could get things done – and not just make rubber monster suits. Bert I. Gordon hired him to build all the miniature and oversized props needed for his films The Amazing Colossal Man, (19570 Earth vs. the Spider, and Attack of the Puppet People (1958). It was Blasidell who was responsible for the giant hypodermic needle in Colossal Man and for the set of doll-sized items used in Puppet People.

He also worked doing some conceptual sketches for the Milner brothers, designing my favorite Tabanga Tree in From Hell It Came. While the Milners based their menacing tree-stump on his designs, Blaisdell didn’t receive any money, and awful but true he didn’t even get credit for it either, that’s why it’s a lesser known fact that he was responsible for the Tabanga Tree Guy at all.

Sadly, Paul died of stomach cancer at the very young age of 55 on July 10, 1983, in Topanga Canyon, California. But Beulah, the cuke, the flying thingies, Tabanga, all the little bug-eyed guys, and Paul Blaisdell’s devoted fans like me, will always appreciate the giggles and chills he/they evoked when watching his wonderful creations come to life.

Paul Blaisdell’s film contributions:

I found these two links about Paul Blaisdell and thought that both people put a lot of heart and effort into collecting great information about this unsung patron saint of foam rubber and glue.

http://www.badmovieplanet.com/3btheater/tributes/Paul_Blaisdell/paul_blaisdell.html

http://www.bloodsprayer.com/uncategorized/how-to-make-a-monster-paul-blaisdell-remembered/