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Everything about this movie says “stinker,” yet I fair can’t assist but like it; I’ve watched it at least half-a-dozen times since my early teens and unprejudiced don’t fetch tired of it. As every Giant Gila fan must know, it was produced by Ken Curtis (deputy Festus Haggen on TV’s Gunsmoke) and directed by Ray Kellogg (The Green Berets, My Dog Buddy) back-to-back with The Killer Shrews. The pedestrian script is by Jay Simms, who did noteworthy better with Shrews, Dread in Year Zero, and Creation of the Humanoids, and the repetitious ‘eerie’ soundtrack is courtesy of Jack Marshall (who penned the memorable Munsters’ TV theme) . While all the kids tool around in custom “slingshots” and mouth some nifty jive talk, Giant Gila is unprejudiced too NICE to qualify as a (typically sleazy) JD/monster flick. Don Sullivan (Teenage Zombies, Monster of Piedras Blancas) stars as fervent teen Ride Winstead, who’s so virtuous and upstanding that he ought to be canonized. He’s working in a garage to aid his family, keeps his buddies in line (no dragging!), helps the sheriff search for missing gila victims, writes and sings religious pop songs, is taking a correspondence course in engineering, and saves his money to choose leg braces for his polio-stricken kid sister! It’s enough to manufacture you gag. He gets additional saint points because his dad died on an oil rig owned by wealthy jerk Mr. Wheeler, and he’s also got a comely but annoying and nearly unintelligible French girlfriend (Lisa Simone) . Fred Graham, aged of numerous westerns and flyboy flicks, plays the thought sheriff, and Shug Fisher (formerly a member of the Sons of the Pioneers vocal group, along with Curtis) provides some cornball ‘comedy’ as Frail Man Harris, whose 1932 Model-A is lusted after by the hot-rodders. Ken Knox is humorous as hep-cat DJ “Steamroller” Smith (he’s driving while completely smashed when we meet him, yet nobody seems too concerned) . The giant gila monster itself honest seems to be sitting on the sidelines (exactly where is never really definite), observing a lot, and looking very normal-sized (the “effects” crew obviously had no understanding how to shoot miniatures properly) . When it does do some attacking it never interacts with any of the live actors (the film lacks a single matte shot, or even a cheesy double-exposure a la Bert I. Gordon, that would have do the monster and humans in the same frame) . Since Ray Kellogg was a customary special photographic effects technician at 20th Century Fox, it’s a mystery why the monster scenes here are so lackluster. As if all this weren’t enough, Sullivan sings the utterly cringeworthy “Laugh, Children, Laugh” (with ukelele accompaniment) not once, but TWICE during the portray (imagine a really lame Ricky Nelson or Everlys tune), although his rock’n'roll number, spun by Smith at the climactic “platter party,” is fairly passable (it sounds like an Elvis ripoff) . The gila monster gets to atomize a toy tanker truck and electric convey, and is finally annihilated by Promenade, naturally, who destroys his custom rod in the process. While never achieving greatness, Giant Gila Monster is a relatively painless 75 minutes of corn-fed schlock that should please fans of 1950s monster cheapies (and/or Green Acres) .
Not as pristine as most Image/Wade Williams releases, Giant Gila Monster is level-headed presented here in better overall shape than any video or DVD copy I’ve seen yet. The box says it’s matted at 1.85:1, though by my calculations it’s closer to 1.66:1 (1.70:1 to be trusty) and anamorphically enhanced. Print quality is very worthy to respectable, generally exhibiting only light speckling, blemishing, and lining, although there are a few stretches where the speckling/blemishing is a bit heavier; not enough to be a major distraction, but noticeable. Otherwise, the dim level, brightness, difference, sharpness, and shadow/highlight detail are marvelous throughout. The accompanying trailer is also matted to about 1.70:1 and looks pretty except for some light to moderate speckling and lining. Additional extras include 12 chapter stops, five Wade Williams Collection trailers, and an Images Journal essay that’s nearly as comical as the movie, wherein Giant Gila Monster is discussed in scholarly terms more befitting a Bergman or Godard film. As is typical with this sort of thing the type is too minute and condensed, making for difficult on-screen reading (at least on a 27″ monitor) . For the extremely cost-conscious, Diamond’s full-frame edition (paired with Killer Shrews) isn’t absolutely bad (physical pain is a bit worse, plus it’s softer, darker, more contrasty, and generally lacking in detail), but if you want the best available transfer, this is it.
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Ah those were the days, Rock’n Roll Music, Drive-in’s showing the latest Troy Donahue or monster flick, hotrodders, and “making out”, in mild country lanes in “souped up” wagons. Gee the ’50′s must have been a gas! Well at least that’s what I’m told it was like for teenagers serve then as I wasn’t around to know myself. Despite it’s many faults 1959′s “The Giant Gila Monster”, is a dependable favourite of mine among the “Monster on the loose”, genre of “B” movie making of the time. In every respect it’s very powerful a product of the decade it was made in despite being released honest on the tail slay of the era that basically “invented”, the teenager. By 1959-60 the gothic horrors dealing with Vampires and Wolfmen produced by the likes of Hammer Studios had largely replaced in current appeal the 1950′s Sci Fi/Horror dramas which usually fervent some over sized creature, the result of misuse of atomic power, threatening mankind. Efforts such as “The Gila Monster”, then were really the swansong for these type of monster films that had been so incredibly favorite for the last decade. The title of this film is self explanatory but the film itself is moving in that the “teenagers” in the anecdote, impartial as in the classic “The Blob”, are revealed as not the usual delinquents so often depicted in films of this era but instead as responsible and caring young people. The Gila Monster itself almost takes a secondary role here and is unfortunately rarely seen and underused and instead it’s the human drama that keeps this memoir racy along. Front and centre to the action is the lead character played by generous looking Don Sullivan, and while his character would appear to the cynical leer as being too apt to be accurate he comes across in my thought as a very engaging character who makes this admittedly “B” level memoir noteworthy more fascinating than it probably deserves to be.
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