The Giant Behemoth

An odd but welcome entry ..., as its tone is far more serious than the "Cult Camp" label implies, Eugène Lourié's "The Giant Behemoth" is often viewed as little more than a minor retread of the director's earlier, highly influential radioactive-dinosaur-on-the-loose picture "The Best from 20,000 Fathoms." And in a way it is; it's a by-the-numbers affair plot-wise (with many story points copied in full), the characters are less than memorable, and, aside from a few key sequences, the effects aren't as impressive this time around.


And yet "Behemoth" (aka "Behemoth, the Sea Monster") is, if not a great film, then a solid one, clever and smart in the right places. True to its nature as a British genre effort, it intends to be more cerebral. The story is more a straight-up procedural than a thriller, and once the monster arrives, it does more damage by accident than by brute force, burning hapless citizens with its radiation.

This last point is a leftover from the screenplay's original concept. Writers Robert Abel and Alan J. Adler had proposed a more abstract monster, something of a formless whatzit that kills by emitting the deadliest radiation. The producers were eager for something a little more sensational, and so the script was quickly retooled to feature instead a dinosaur that crawls from the ocean depths and eventually makes its way to the heart of London.


The final script follows the usual formula: a few mysterious happenings, an investigation by respectable scientists (including Gene Evans as the American added for Stateside box office appeal), a close call or two with the beast, some more scientist goings-on, and, finally, the rampage. The science stuff holds its own rather well, maintaining interest despite a slow-going approach. Curiously, the story ignores any efforts at more personal interests - there's no love story, and we don't get much about the lives of anyone involved (even the villagers who first encounter the beast, and who could have added a human touch).


"Behemoth" would be one of the last films to feature effects work by stop-motion legend Willis O'Brien, who served here in a more supervisory position. Most of the more impressive effects are credited to Pete Peterson, who makes the beast's stumble through the city a rousing spectacle, the sort of monster fun fans love. Unfortunately, the impact of these shots is diluted with many shots being reused, while others fail to match in quality. (One early reveal of the beast is laughably fakey.)


Even then, though, the film thrills. It may be a lesser giant-monster flick, but it's still a blast. (David Cornelius)