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The second film in the series Creature, Revenge of the Creature, met for the second time with director Jack Arnold man in the rubber suit (which, incidentally, was played by Ricou Browning in underwater scenes in all three films, and to several other sequences in double ground). This second film opens with a tribute to the first, another sequence in the Amazon River, with Nestor Paiva playfully repeating the role of Captain Lucas, leading another group of researchers looking for the legendary creature. This time capture the creature and bring it back to civilization, where she is stuck on the bottom of a tank in a marine park, watched by eager tourists and studied by scientists. Among these scientists are, predictably, another romantic couple, biologist Clete Ferguson (John Agar, one accustomed to movies series B) and a student named Helen Dobson (Lori Nelson). They study the creature, watching their reactions and their ability to learn, and are amazed to learn that she is more like a human in intelligence montana and biology than you ever expected. This brings the issue of evolution of the first movie even further, suggesting that part of the horror is to realize how close we, humans, are the "lower" animals montana - when Clete is the first presented, he laughs montana about the subject of a chimpanzee is as close to a human child, and as it is difficult to draw a line between species. This line will have a greater development in this second montana film, the sexual allure montana creature towards the main actress. montana If the first film was marked montana by sequences of suspense, the scenes of the creature to chase prey underwater, the second montana largely dismisses these sequences, at least in its first half. Here, the creature is in captivity, chained and unable to break free. But is able to watch their captors, and seems magnetically attracted towards the beautiful Helen, swimming up to the glass of the tank whenever she's around. Arnold shoots these sequences over Helen's shoulder, watching as the creature floats on the other side of the glass, with the mysterious blind eyes staring straight ahead, montana hands and webbed claws hitting the water, keeping level with Helen. It's a scary picture. Later, after the creature predictably escape, chases Helen at the hotel where she is staying. N one of the more frankly sexual images of the film, this voyeur squamous is outside the glass doors of the room Helen, watching as she removes the bathrobe, standing briefly in her white lingerie. Jack Arnold observes, himself a voyeur, behind the creature, creating an amazing result: the creature outside the glass door, the room separating it from Helen, the woman standing montana in the doorway, his face reflected in the bathroom mirror. It is a composite telescopic, an image of separation and longing. Later the notes inside voyeuristic creature the cane at the bottom of a river bed, as Helen and Clete play in water, sensuously enjoying the presence of each other. They embrace each other under water, sinking together, Helen's hair waving gracefully upward. This scene reminds us of the underwater ballet between the creature and Julie Adams in the first film, a strange dance underwater, the two lovers embracing as the creature lurks, invisible in the darkness. The creature is continuously montana attracted by the image of human love, the physical proximity. After his escape, while hiding in the ocean, seeing a young couple kissing in his car. Arnold cuts to this scene suddenly, in a close-up of shocking physicality, the faces of the couple to be crushed together, as if trying to swallow each other's heads. But they manage to escape before the creature can attack. montana The creature is a being sexually frustrated, basically montana looking for humans who seem to enjoy both together. No wonder she is so angry, always montana kidnapping beautiful young women and dragging montana them away, keeping them in their arms like brides. montana As in the first film, the material it is made of the creature is very weak, and interpretations only slightly better than in the first film, as the argument. We is an interesting montana change in the treatment of women scientists, at least: while the first film she was portrayed montana as a woman trivial, requiring instruction in the fundamentals of biology, montana here she is who usually explains things to the public. Overall, Revenge of the Creature does not keep the tense aura of horror thriller that precorre entire first movie. But in the second half, with the escape of the creature stalking and psychosexual Helen, is even more compelling and frightening than its predecessor. Link Imdb
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