Humanoid monsters

Superman and the Mole-Men

The first Superman feature film debuted in 1951 with legendary George Reeves in shoulder pads and a winning grin. Despite a decent budget, it’s shoddy and thinly scripted, although its sincere call for solidarity and inclusiveness carries on the original vision of the comic, and might just win you over. 4/10.

The Son of Dr. Jekyll

Edward Jekyll tries to clear his family name by recreating his father’s experiments, but a scandal-hungry society, his friends and even his own sanity seems to conspire against him. A laudable, but meandering 1951 low-budget effort from the pen of Jack Pollexfen. 4/10

Tales of Tomorrow

The first SF anthology TV show aired live in the US from 1951 to 1953. With material by some of the greatest SF authors of all time, its adult-oriented, intelligent scripts are often unsettling to watch even today. The cast boasts Leslie Nielsen, Rod Steiger, Paul Newman, Eva Gabor, James Dean, Joanne Woodward and many more. 6/10

House of Dracula

Universal’s third monster mash film from 1945 is a decent, if not necessarily worthy, farewell to the studio’s legendary ghouls. Despite flashes of originality, it feels as if we are re-heating the same TV dinner for the umpteenth time before the SF movies of the US caught up with the new post-war reality. Scifist Rating: 4/10

The Jungle Captive

The third and final instalment of Universal’s Ape Woman series was released in 1945 to an indifferent audience. The film piles one mad scientist trope on another as a nutty egghead conspires to raise the ape woman from the dead, using the leading lady’s vital fluids to do so. Nevertheless, it’s high camp and fairly entertaining if you’re in the right mood. 3/10

House of Frankenstein

Universal’s House of Frankenstein sees Boris Karloff as a mad scientist hiring Dracula as a hit man, attempting to cure the Wolf Man and restart the Frankenstein monster. All while J. Carrol Naish’s hunchback is trying to bonk a gypsy girl who’s in love with the werewolf. While the nutty story can be entertaining, this 1944 film’s downfall is its contrived plot and structure. 4/10

Una luz en la ventana

Arguably Argentina’s first horror movie proper, A Light in the Window from 1942 feels like an amalgamation of every old dark house film made in Hollywood in the twenties. Horror icon Narciso Ibáñez Menta stars as the acromegalic mad doctor kidnapping trespassers in order to perfect a cure for his condition. Cheap and derivative, but not terrible. 4/10

El hombre bestia

A magnificent train wreck. That’s perhaps the most fitting description of Argentina’s first horror, SF and monster film, The Beast Man from 1934. This no-budget monstrosity throws every conceivable Hollywood genre cliché in the mix, following the exploits of a beast man created by a mad scienist, who’s kidnapping women in a small town. 2/10

Jungle Woman

Acquanetta the Ape Woman returns in a 1944 sequel to Universal’s Captive Wild Woman. The first 20 minutes go by in flashbacks from the original picture, before the wild woman is resurrected and goes ape, off-screen, in a mental asylum. An ill-conceived and clumsy effort, this is a monster movie without a monster, trying feebly to emulate Val Lewton’s Cat People. 3/10

The Lady and the Monster

Braaaaaiiiins! The first adaptation of Curt Siodmak’s cult novel Donovan’s Brain turns up the mad scientist factor to eleven. The 1944 film sees Erich von Stroheim as the resident Frankenstein, as a disembodied brain takes control over his assistant’s mind. Atmospheric cinematography and an overall strong cast compensates for ice skater Vera Hruba Ralston’s lack of acting experience in the female lead. 5/10

The Monster Maker

J. Carroll Naish is the mad scientist in this 1944 low budget effort from Poverty Row outfit PRC, a man trying to win the affections of a woman by infecting her father with the deforming syndrome acromegaly. If you can get past the gruesome premise, it’s a pretty decent horror SF programmer with unusually good performances. 4/10

The Mad Ghoul

Universal horrors in the forties were not only Wolf Men and Frankensteins. This 1943 low budget entry is a standalone feature, and it’s not bad. It’s subject matter is rather gruesome, but it cleverly bypasses the Hays Code. An early zombie movie, it does suffer from a thin script and too much operetta. 5/10

Revenge of the Zombies

A good black supporting cast led by comedian Mantan Moreland saves this 1943 film, directed by The Day of the Triffids director Steve Sekely. John Carradine sleepwalks through his second outing as a mad scientist, this time creating zombies out of his staff and even his own wife. The white heroes of the movie are really just killing time between Moreland’s comedy skits. 4/10.

Captive Wild Woman

Director Edward Dmytryk cuts and pastes together a surprisingly coherent and enjoyable tale of a gorilla being turned into a woman by a nutty John Carradine in his first mad scientist role. The 1943 film made the mysterious Acquanetta an over-night star, and garnered two sequels, despite the fact that one third of the movie is reused footage from an old lion-taming film. 5/10