Monster: Humanoids From The Deep (1980). Directed by Barbara Peeters (and Jimmy T. Murakami, uncredited). Produced by Roger Corman (uncredited), Hunt Lowry and Martin B. Cohen. Written by Martin B. Cohen, Frank Arnold and William Martin. Cinematography by Daniel Lacambre. Edited by Mark Goldblatt. Art direction by Michael Erler. Music by James Horner. Creature FX by Rob Bottin. Special FX by Roger George and (uncredited) Chris Walas. Stunts by Diamond Farnsworth and Jack Tyree. Starring: Doug McClure, Ann Turkel, Vic Morrow, Cindy Weintraub, Anthony Pena, Denise Galik, Lynn Theel.
“We’re having a great time down here… we’re waving to people… we’re playing records… we’re doing a whole lot of things!” Mad Man Mike Michaels paints an irresistible radio picture of the annual Noyo Salmon Festival.
Jim Hill (Doug McClure… you might remember him from constant lampooning in The Simpsons) and beautiful scientist Susan Drake (Ann Turkel… you might remember her as the trophy wife of Richard Harris) team up to investigate weird goings on in the fishing town of Noyo. A sinister salmon canning corporation is setting up its new factory upstream, which Hank Slattery (Vic Morrow), his redneck cronies and the townsfolk in general regard as booster for the local economy, though Native American “Johnny Eagle” (Anthony Pena) has eco-conscious-cum-spiritual legal objections to the misappropriation of his people’s ancestral lands. A certain amount of low level racist aggro plays out in this poor man’s Henrik Ibsen scenario before we crack on with what everybody’s actually come to see… i.e. oversexed mutant salmon-men, spawned by sinister corporate attempts to increase fishing yields, chasing large-breasted, bikini-clad lovelies around the cove and impregnating them. “It’s my theory that these creatures are driven to mate with humans, to accelerate their already incredible evolution” speculates Turkel. Who could forget (or indeed forgive?) the scene in which a ventriloquist’s dummy talks a buxotic beach babe out of her bikini, only for a humanoid to invade their tent and violate her?
All hell breaks loose when the Humanoids run amok at Noyo’s annual Salmon Festival, molesting women (and dismembering people of whatever gender) to the running commentary of the exceptionally irritating Mad Man Mike Michaels, a DJ who’s clearly learned his trade from the guy heard over the climax of Zombie Flesh Eaters). Created by Rob Bottin (he’s actually in there under one of his suits), they look fucking great, with long arms that they wave around like Andrew Marr and (unlike Marr) prominent brains that are bashed in by handy-dandy planks, marlin spikes and what have you when the crowd turns on them and drives them into the bay, which Jim Hill (not, under any circumstances, to be confused with Jimmy Hill) ignites.
There’s a touchy feely reconciliation between Johnny Eagle and his erstwhile persecutors. “Everything’s alright now, Sheriff… isn’t it?” asks a character who’s clearly never seen a New World release or any kind of monster movie before, cueing the sucker punch coda in which Turkel supervises the rather messy birth of a humanoid / bikini-clad lovely hybrid, incorporating the ten seconds of alien copying that was obviously all Roger Corman was prepared to fund… ooh, that’s gotta hurt!
Like a dumbed-down Creature From The Black Lagoon / sexed-up Horror Of Party Beach, Monster rattles through its economical 80 minutes ticking all the exploitive boxes to pleasing effect. I first encountered it on a theatrical double bill with Fred Walton’s When A Stranger Calls (1979) and it’s been a firm personal favourite ever since, just crying out for rediscovery by a wider audience (Arrow, are you listening?) Nothing is as powerful as a trash movie whose time has come… not only was M:HFTD parading its eco-consciousness and championing civil / indigenous rights nearly 40 years before David Attenborough started counting all the plastic bags floating around the North Pole, the story behind its production also chimes spookily with today’s feminist movement… but not in a good way. Not if you believe the official account, anyway…
The widely accepted version is that Roger Corman promised Barbara Peeters that she could direct a right on eco-thriller then undermined her by cutting in gratuitous tit’n’ass shenanigans filmed by Jimmy T. Murakami on obviously inferior film stock. Doncha just hate that kind of patriarchal bullshit? But wait just a cotten-pickin’ minute… the “starry eyed neophyte shafted by chauvinist movie mogul” line must have generated some useful hype for the publicity campaign, but how does it square with the known facts? For an alleged sexist, Corman has relied heavily on the collaboration of his wife Julie over the years and has never shown any reluctance to foster female talent (who’s that “Gale Hurd” lurking among the production assistant credits on Monster?) What’s more Peeters had already directed the exploitive Bury Me An Angel (1971) and the sexploitive Summer School Teachers (1974) for Corman, not to mention co-writing and co-directing the dykesploiation epic The Dark Side Of Tomorrow (1970) for Harry H. Novak (never exactly regarded as among the most woke of producers).
As for Murakami, he subsequently directed (among many others) the film adaptation of Raymond Briggs’ anti-nuke parable When The Wind Blows (1986) and video promos for Kate Bush and David Bowie, so for all we know, he was responsible for the eco-conscious stuff and Peeters handled the boob’n’bum aspect. Whatever, her career wasn’t exactly sabotaged by the Corman connection, any more than those of Joe Dante or Jonathan Demme (who earned their spurs shooting bits and pieces for insertion into Corman features) or Gale Anne Hurd were. Although she never attained the same heights as some of those guys, Peeters carved out a respectable career for herself directing episodes of such TV shows as Cagney and Lacey, Falcon Crest and Remington Steele.
Two final thoughts… 1) Jeff Yonis’s 1996 TV movie remake of M:HFTD (despite perpetuating the original’s big boob fixation with the casting of Emma Samms) is a travesty which you can safely avoid. 2) The film under consideration here should also be avoided by anyone who’s about to give birth. In fact anyone who might ever conceivably find themselves in that position should give it a very wide, er, berth indeed…