There were many "giant-monster" films from the 50's . Some were terrible. Most were good, including this one. Yeah, if one were picky they could say the stop-motion effects (from King Kong effects man Willis O'Brien) are not as well done as Ray Harryhausen's or the pacing is a bit slow at times. For the most part, the actors do a credible job although Gene Evans (Dr. Karnes) overplays his part a bit. There is enough action to sustain interest and the story is pretty good (if not original). This monster just isn't in a talking mood! It's not only radioactive but has an electric charge that sends out the radiation. There is some decent stock footage as well. If you're a fan of 1950's sci-fi films, give this one a try.
90 Reviews
A Great Little '50's Creature Feature For Your Enjoyment.
P3n-E-W1s35 February 2018
Now, let me tell you I could be a little biased here with my scoring. For this film lit the light of remembrance and melancholy within me. As it took me back to my childhood. There was a time when the good old BBC would play these movies on a Saturday afternoon: On BBC2 while BBC1 had Grandstand. I remember watching these Sci-Fi monster flicks with my Nan on cold and wet winter days, usually in front of a warm gas fire. Those were good days. So, I thank the makers of the film for giving me this memory.
What you have is a pretty bog-standard tale of nuclear radiation mutation... as was par for the course in the fifties. Here though, not only does it mutate a creature to an enormous size, but apparently resurrects a long-dead dinosaur. This then goes on the rampage through London. Though what makes this a little better than the average film in this genre is the extra details. We don't start in London but in a little fishing village in Cornwall where strange things have been occurring; a man being burned with 1st, 2nd, and 3rd degree burns, shoals of dead fish washing up on the beach, and strange lights under the surface of the sea. This pulls the viewer in with the mystery. There's also the brilliant usage of the radiation because if you get too close to the creature then you burn. When we arrive at the rampage, the director uses parts of London not fully rebuilt after the war to create an atmosphere that works well. Also, the large amount of extra's running from the monster is just right - not one or two people, but a hole streets worth of men and women.
The director is very good at his work. He sets the pace of this film perfectly. There's a small crescendo at the beginning when Marine Biologist Steve Karnes' is warning the government about the possible side effects of radiation on the oceans and their populace. Then drops to a steadier pace with the mysterious happenings. Building up slowly to the rampage at the climax. Spot on perfect.
The special effects, for their time, are not quite as good as others. However, they are passable. It's nice the puppeteer changed out to a fully automated Behemoth for the later scenes as the fixed mouth version that attacked the ferry looked a little silly. I have to admit I really loved the part where the Behemoth walks through the dockyards. The part where he wrecks one crane by tearing it apart with his teeth and the other by simply walking through it is one of the better stop animation sequences I've seen. I liked the fact the director filmed it from the position of the pavement, which had the effect of giving size to the creature.
This was a very enjoyable flick, to say the least. The story and the filming were solid as too was the acting. Everybody put their skills into making this a very watchable movie. Not remembering the movie fully, I thought that the two main characters in the fishing village section Jean (Madison) and John (Turner) would be in the whole show, their acting is that good. However, when we leave the village we never see them again.
If you've never caught a '50's sci-fi monster flick then this one would be a nice place to start. And if you are a fan of the genre, then find a copy and watch this once more, it's worth it.
What you have is a pretty bog-standard tale of nuclear radiation mutation... as was par for the course in the fifties. Here though, not only does it mutate a creature to an enormous size, but apparently resurrects a long-dead dinosaur. This then goes on the rampage through London. Though what makes this a little better than the average film in this genre is the extra details. We don't start in London but in a little fishing village in Cornwall where strange things have been occurring; a man being burned with 1st, 2nd, and 3rd degree burns, shoals of dead fish washing up on the beach, and strange lights under the surface of the sea. This pulls the viewer in with the mystery. There's also the brilliant usage of the radiation because if you get too close to the creature then you burn. When we arrive at the rampage, the director uses parts of London not fully rebuilt after the war to create an atmosphere that works well. Also, the large amount of extra's running from the monster is just right - not one or two people, but a hole streets worth of men and women.
The director is very good at his work. He sets the pace of this film perfectly. There's a small crescendo at the beginning when Marine Biologist Steve Karnes' is warning the government about the possible side effects of radiation on the oceans and their populace. Then drops to a steadier pace with the mysterious happenings. Building up slowly to the rampage at the climax. Spot on perfect.
The special effects, for their time, are not quite as good as others. However, they are passable. It's nice the puppeteer changed out to a fully automated Behemoth for the later scenes as the fixed mouth version that attacked the ferry looked a little silly. I have to admit I really loved the part where the Behemoth walks through the dockyards. The part where he wrecks one crane by tearing it apart with his teeth and the other by simply walking through it is one of the better stop animation sequences I've seen. I liked the fact the director filmed it from the position of the pavement, which had the effect of giving size to the creature.
This was a very enjoyable flick, to say the least. The story and the filming were solid as too was the acting. Everybody put their skills into making this a very watchable movie. Not remembering the movie fully, I thought that the two main characters in the fishing village section Jean (Madison) and John (Turner) would be in the whole show, their acting is that good. However, when we leave the village we never see them again.
If you've never caught a '50's sci-fi monster flick then this one would be a nice place to start. And if you are a fan of the genre, then find a copy and watch this once more, it's worth it.
Behemoth a Generation Favorite
cal-5327 December 2005
This film was made before the days of cgi and therefore must seem painfully dated to younger viewers but to us who grew up in the atomic monster age it is both scary and charming. We do not look with judgment on the film but rather on the times in which it was produced. Fond memories of drive-in theaters and Saturday night scarfests with friends. Carefree times of youth and adolescence. That said "Behemoth" is ultimately more entertaining with it's challenging fx than many of our modern day films which completely lack any charm. Simply filling a film with eye catching Cgi does not a movie make. Willis O'Brian's painstaking stop-motion effects and Eugene Lourie's talent with a minuscule budget unite to make a scary premise very entertaining and certainly fondly remembered.
Goodbye, Picadilly (almost!)
reptilicus8 April 2001
Essentially a remake of THE BEAST FROM 20,000 FATHOMS with the dinosaur emitting radiation instead of a deadly disease this is still a good film. Originally the monster was supposed to be invisible (hence the scene where it does not show up on radar) but the producers said that would never do and a monster must be seen by the audience! So Willis O'Brien and Pete Peterson were brought in late in the game to do some effective stop motion effects. The low budget shows. Notice how the monster steps on the same car 3 times and seems to take forever to walk up a single street. When the Behemoth attacks the ferry watch carefully and you will see the wooden base the rubber head is attached to come out of the water! Other scenes are very good though, like the beast "attacking" the high tension wires and when he strolls by the houses of Parliament you almost cannot tell the old British landmark is just a blown up photograph! B-Western stalwart Gene Evans is pretty good as the hero and Andre Morrell, a one time Dr. Watson opposite Peter Cushing's Sherlock Holmes, is good too. Not much time is wasted on a romantic subplot . . .thank goodness! Allegedly when director Eugene Lourie's young daughter saw this film she chided her father "Daddy, you're bad! You killed the beastie." her comment stayed with Lourie and a few years later when he directed GORGO he . . .well . . .that's another story for another review. See you then.
Britain's Godzilla - or at least, one of them
Leofwine_draca22 January 2016
BEHEMOTH THE SEA MONSTER is a British version of the classic GODZILLA story, although it's more closely linked to THE BEAST FROM 20,000 FATHOMS with whom it shares a director in the Russian-born Frenchman, Eugene Lourie. A youthful Douglas Hickox (THEATRE OF BLOOD) is also credited as co-director in British prints.
I always find British monster movies to be a lot of fun and this one is no exception; the cast is full of decent, stiff upper lipped types who instantly band together to tackle whatever great menace is coming their way. And BEHEMOTH THE SEA MONSTER tells a very typical storyline for its era, following a specific template that sees a slow and gradual build-up in the first half lead into some all-out monster action in the second.
The film features a likable imported American star in Gene Evans, backed up by some heavyweight British talent in the form of a tough Andre Morell and the likes of Jack MacGowran. Film fans will be delighted to see some brief snippets of stop motion effects contributed by the one and only Willis O'Brien at the tail-end of his career, although a cheesy model also bolsters the action. And I enjoyed the way the action plays out in a particularly grim fashion, with the monster readily offing men, women, and children thanks to that radioactive death ray.
I always find British monster movies to be a lot of fun and this one is no exception; the cast is full of decent, stiff upper lipped types who instantly band together to tackle whatever great menace is coming their way. And BEHEMOTH THE SEA MONSTER tells a very typical storyline for its era, following a specific template that sees a slow and gradual build-up in the first half lead into some all-out monster action in the second.
The film features a likable imported American star in Gene Evans, backed up by some heavyweight British talent in the form of a tough Andre Morell and the likes of Jack MacGowran. Film fans will be delighted to see some brief snippets of stop motion effects contributed by the one and only Willis O'Brien at the tail-end of his career, although a cheesy model also bolsters the action. And I enjoyed the way the action plays out in a particularly grim fashion, with the monster readily offing men, women, and children thanks to that radioactive death ray.
While not as technically astute as some films of this time, it's still well made and worth seeing.
planktonrules29 September 2011
This is one of the last films on which Willis O'Brien worked. If his name isn't familiar, he's the guy who brought King Kong to life through the miracle of stop-motion cinematography. His work led to the likes of Ray Harryhausen and it's quite enjoyable to watch his creatures come to life. However, I must point out that technically speaking, this is far from O'Brien's best work. In fact, I think the story is far better than the stop-motion special effects.
The story is about a giant marine dinosaur that seems to have been created through the typical menace in 50s films--nuclear radiation. At first, the monster appears in an isolated fishing village and its radioactivity kills or maims. Some (especially Evans) take this very seriously. Everyone does after it attacks London! Will the Brits be okay or are they all destined to be gobbled up like a stack of freshly baked scones?!
This film stars a rather unlikely actor--Gene Evans. Evans was hardly the handsome leading man type and is probably most famous for his gritty sergeant character from Sam Fuller's "Steel Helmet" as well as appearing in Fuller's "Shock Corridor". So, seeing him playing the intellectual scientist was a bit odd but it worked well enough. In fact, the acting all around was very good--no complaints. However, the special effects, at times, looked pretty bad--such as when the creatures is swimming underwater.
By the way, the ending was rather clever. Make sure not to miss it.
The story is about a giant marine dinosaur that seems to have been created through the typical menace in 50s films--nuclear radiation. At first, the monster appears in an isolated fishing village and its radioactivity kills or maims. Some (especially Evans) take this very seriously. Everyone does after it attacks London! Will the Brits be okay or are they all destined to be gobbled up like a stack of freshly baked scones?!
This film stars a rather unlikely actor--Gene Evans. Evans was hardly the handsome leading man type and is probably most famous for his gritty sergeant character from Sam Fuller's "Steel Helmet" as well as appearing in Fuller's "Shock Corridor". So, seeing him playing the intellectual scientist was a bit odd but it worked well enough. In fact, the acting all around was very good--no complaints. However, the special effects, at times, looked pretty bad--such as when the creatures is swimming underwater.
By the way, the ending was rather clever. Make sure not to miss it.
Respectable But Run of the Mill Creature Feature
zardoz-1323 May 2017
Warning: Spoilers
"King Kong" visual effects supervisor Willis O'Brien cooked up a Paleosaurus on a shoe-string budget for French director Eugène Lourié's "The Giant Behemoth," another amphibian monster epic like "Godzilla." Reportedly, the producers wanted Lourié' to steal from his earlier but better monster picture "The Beast from 20,000 Fathoms" instead trying to scare audiences with a blinding blob of a monster. Neither as good as "Beast" nor as "Gorgo," "The Giant Behemoth" qualifies as a respective entry, even if the same car gets squashed three times from different angles. No, it doesn't surpass "Godzilla."
The interesting thing about this atmospheric Allied Artists production is the conspicuous absence of a romance. Gene Evans and André Morell serve as the two heroes. Evans does the heavy lifting, while Morell furnishes him with something to lift. Reportedly, too, Lourié collaborated behind the camera with freshman helmer Douglas Hickox. Later, Hickox went on to direct his own share of distinctive movies and television shows. There is no way that you can tell what Hickox contributed and what Lourié did. The film has a gritty look, and you don't expect that The Grim Reaper has earmarked certain characters. For example, we see a little girl on a ferry playing with her doll baby. Later, after the ferry has sunk, we see the little girl's doll but no sign of its owner.
Overall, "The Giant Behemoth" is a serious but dreary escapade, even the doomed monster takes himself seriously. The British Government conducts itself admirably and doesn't stint on anything in the storyline. The English settings are a welcome change from Tokyo or America. Gene Evans has the rare occasion to take top billing, and he plays Dr. Steve Karnes as a methodical but boring American marine biologist. The writers do not have him call on women but he spends far too much time catch that Paleosaurus. Karnes, however, is only one man, and he helps virtually all the help and information that he needs from Professor James Bickford (André Morell) who oversees the Atomic Energy Commission in Great Britain. If Karnes is like James Bond, then Bickford is like Q who supplies 007's wants and needs. "Exorcist" supporting actor Jack MacGowran steals the show as Dr. Sampson, the Paleontologist of the British Museum. He babbles on about the monster until he realizes that the photograph of the amphibian's foot dwarfs the size of a car parked near it. Unfortunately, the nerdy paleontologist isn't around longer. "The Giant Behemoth" benefits from MacGowran's antics. Evans does well for what is required of him and he shows that he had more range that American producers usually allowed him. André Morell delivers another of his usually reserved but wolfish performances.
"The Great Behemoth" has an uneven quality, probably because the nature of the monster changed from when the fisherman discovered it until Karnes caught a glimpse of it through his binoculars. Initially, it looks like thick shaving lotion and then it emerges as a dinosaur. The monster lacks any sort of personality. The movements seem primitive compared with Ray Harryhausen's stop-action stuff. Sometimes, the directors let the shots of the monster linger far longer than they should have.
The interesting thing about this atmospheric Allied Artists production is the conspicuous absence of a romance. Gene Evans and André Morell serve as the two heroes. Evans does the heavy lifting, while Morell furnishes him with something to lift. Reportedly, too, Lourié collaborated behind the camera with freshman helmer Douglas Hickox. Later, Hickox went on to direct his own share of distinctive movies and television shows. There is no way that you can tell what Hickox contributed and what Lourié did. The film has a gritty look, and you don't expect that The Grim Reaper has earmarked certain characters. For example, we see a little girl on a ferry playing with her doll baby. Later, after the ferry has sunk, we see the little girl's doll but no sign of its owner.
Overall, "The Giant Behemoth" is a serious but dreary escapade, even the doomed monster takes himself seriously. The British Government conducts itself admirably and doesn't stint on anything in the storyline. The English settings are a welcome change from Tokyo or America. Gene Evans has the rare occasion to take top billing, and he plays Dr. Steve Karnes as a methodical but boring American marine biologist. The writers do not have him call on women but he spends far too much time catch that Paleosaurus. Karnes, however, is only one man, and he helps virtually all the help and information that he needs from Professor James Bickford (André Morell) who oversees the Atomic Energy Commission in Great Britain. If Karnes is like James Bond, then Bickford is like Q who supplies 007's wants and needs. "Exorcist" supporting actor Jack MacGowran steals the show as Dr. Sampson, the Paleontologist of the British Museum. He babbles on about the monster until he realizes that the photograph of the amphibian's foot dwarfs the size of a car parked near it. Unfortunately, the nerdy paleontologist isn't around longer. "The Giant Behemoth" benefits from MacGowran's antics. Evans does well for what is required of him and he shows that he had more range that American producers usually allowed him. André Morell delivers another of his usually reserved but wolfish performances.
"The Great Behemoth" has an uneven quality, probably because the nature of the monster changed from when the fisherman discovered it until Karnes caught a glimpse of it through his binoculars. Initially, it looks like thick shaving lotion and then it emerges as a dinosaur. The monster lacks any sort of personality. The movements seem primitive compared with Ray Harryhausen's stop-action stuff. Sometimes, the directors let the shots of the monster linger far longer than they should have.
Enthusiastic and unusually clever stomp at a well worn template
pyrocitor24 April 2012
Warning: Spoilers
While the 1950s giant monster movie genre remains almost exclusively dominated by American cinema, The Giant Behemoth marks a rare (and welcome) caper set in Britain. The unconventional setting is what largely helps the film stand out from the ranks of its competitors of the time, as, apart from allowing for some wry tongue-in-cheek quips at the Americanization of the genre (particularly a witty 'ending twist'), the film benefits from an infusion of more (relatively) serious and classy sensibilities, as if leaning more towards breaking ground as opposed to rehashing ground oft-tread.
In actuality, the film emerges as a thinly veiled remake of director Eugene Lourie's prior genre staple, 1953's The Beast from 20,000 Fathoms. However, the comparison is not a negative one. Like 20,000 Fathoms, Behemoth boasts comparatively superb production values for the genre, including gorgeous, highly photogenic location shooting, particularly in the film's Cornwall-set seaside opening, as well as impressively gruesome burn prosthetics administered to the titular Behemoth's victims.
Additionally, like 20,000 Fathoms, Behemoth devotes particular care to the 'scientific research procedural' aspect of tracking and classifying the creature and determining means of stopping it. This 'science-babble', delivered fast and furious from under a succession of grimly furrowed brows, is largely convincing, even if the film's attempts to seemingly trump all genre competitors sometimes overstretch the limits of plausibility – the 'Behemoth', effectively a radiation-saturated dinosaur, proved surprisingly 'sellable', until the abrupt and never-explained revelation that it is electric as well ("like an eel!"). Conversely, the film's focus on radiation and its unanticipated environmental effects on all aspects of the ecosystem proves in many ways grimly insightful and prophetic for an entry in a genre normally dismissed as escapism. Indeed, the film, particularly in an opening didactic address, proves chock full of facts about radiation and its varying concerns, almost suggesting it as a strange kind of educational film on the possible outcomes of atomic warfare for a Cold War anxiety- riddled culture. With this in mind, it is interesting to note the thematic effect of the Behemoth itself, being somewhat of a fusion of 'old' and 'new' threats – a dinosaur mixed with the very modern threat of radiation – as if conflating the two to further stress the dire seriousness of atomic power as just as menacing as any primal fears.
Nonetheless, the construction of the Behemoth itself is somewhat of a mixed bag. When brought to life through masterful work by stop-motion icon, King Kong's Willis O'Brien, the Behemoth, particularly in a climactic sequence rampaging through London, its impressively textured trunk-like dinosaur legs flattening cars, teeth bared and tongue sweeping back and forth like a murderous serpent, the Behemoth is a delightfully foreboding and captivating adversary. Nonetheless, the creature itself is more often than not betrayed by the film's evidently low budget, with instances of laughably poor continuity (the Behemoth fluctuates in size and shape, occasionally undulating, serpent-like, despite having the physicality of a stocky dinosaur, and in one laughable instance a ship with a deck one second filled with screaming passengers suddenly empty when the Behemoth sinks it in the following shot) and some overly obvious work with miniatures (when the Behemoth sinks into the sea, the water droplets that fly up are curiously nearly as large as its head) undercutting the usual veneer of sustained tension.
Cast-wise, while the film does retain the seemingly inescapable (yet unintentionally entertaining) genre staple of wooden acting, it is, again, in general several cuts above many of its contemporaries, as the acting remains largely credible enough to maintain suspension of disbelief. Gene Evans and André Morell offer a satisfyingly sturdy one-two protagonist act as grim scientists from America and Britain respectively. In addition, particularly worth noting is the scene-stealing performance of Jack MacGowran as a loopy, bug-eyed paleontologist, whose (all too brief) presence greatly enhances the film's entertainment factor.
All in all, while the film hardly revolutionizes the template for the giant monster genre (it falls particularly prey to the frequent complaint of substantial pre-climax lagging), The Giant Behemoth does prove an unconventionally fun and smart monster camper, and unquestionably a cut above most contemporaries. Indeed, for all monster enthusiasts, the film, whether for the sheer number of antagonistic tropes amalgamated into a single foe, its comparative class or its generally substantial stop motion work, is definitely worth a watch.
-6/10
In actuality, the film emerges as a thinly veiled remake of director Eugene Lourie's prior genre staple, 1953's The Beast from 20,000 Fathoms. However, the comparison is not a negative one. Like 20,000 Fathoms, Behemoth boasts comparatively superb production values for the genre, including gorgeous, highly photogenic location shooting, particularly in the film's Cornwall-set seaside opening, as well as impressively gruesome burn prosthetics administered to the titular Behemoth's victims.
Additionally, like 20,000 Fathoms, Behemoth devotes particular care to the 'scientific research procedural' aspect of tracking and classifying the creature and determining means of stopping it. This 'science-babble', delivered fast and furious from under a succession of grimly furrowed brows, is largely convincing, even if the film's attempts to seemingly trump all genre competitors sometimes overstretch the limits of plausibility – the 'Behemoth', effectively a radiation-saturated dinosaur, proved surprisingly 'sellable', until the abrupt and never-explained revelation that it is electric as well ("like an eel!"). Conversely, the film's focus on radiation and its unanticipated environmental effects on all aspects of the ecosystem proves in many ways grimly insightful and prophetic for an entry in a genre normally dismissed as escapism. Indeed, the film, particularly in an opening didactic address, proves chock full of facts about radiation and its varying concerns, almost suggesting it as a strange kind of educational film on the possible outcomes of atomic warfare for a Cold War anxiety- riddled culture. With this in mind, it is interesting to note the thematic effect of the Behemoth itself, being somewhat of a fusion of 'old' and 'new' threats – a dinosaur mixed with the very modern threat of radiation – as if conflating the two to further stress the dire seriousness of atomic power as just as menacing as any primal fears.
Nonetheless, the construction of the Behemoth itself is somewhat of a mixed bag. When brought to life through masterful work by stop-motion icon, King Kong's Willis O'Brien, the Behemoth, particularly in a climactic sequence rampaging through London, its impressively textured trunk-like dinosaur legs flattening cars, teeth bared and tongue sweeping back and forth like a murderous serpent, the Behemoth is a delightfully foreboding and captivating adversary. Nonetheless, the creature itself is more often than not betrayed by the film's evidently low budget, with instances of laughably poor continuity (the Behemoth fluctuates in size and shape, occasionally undulating, serpent-like, despite having the physicality of a stocky dinosaur, and in one laughable instance a ship with a deck one second filled with screaming passengers suddenly empty when the Behemoth sinks it in the following shot) and some overly obvious work with miniatures (when the Behemoth sinks into the sea, the water droplets that fly up are curiously nearly as large as its head) undercutting the usual veneer of sustained tension.
Cast-wise, while the film does retain the seemingly inescapable (yet unintentionally entertaining) genre staple of wooden acting, it is, again, in general several cuts above many of its contemporaries, as the acting remains largely credible enough to maintain suspension of disbelief. Gene Evans and André Morell offer a satisfyingly sturdy one-two protagonist act as grim scientists from America and Britain respectively. In addition, particularly worth noting is the scene-stealing performance of Jack MacGowran as a loopy, bug-eyed paleontologist, whose (all too brief) presence greatly enhances the film's entertainment factor.
All in all, while the film hardly revolutionizes the template for the giant monster genre (it falls particularly prey to the frequent complaint of substantial pre-climax lagging), The Giant Behemoth does prove an unconventionally fun and smart monster camper, and unquestionably a cut above most contemporaries. Indeed, for all monster enthusiasts, the film, whether for the sheer number of antagonistic tropes amalgamated into a single foe, its comparative class or its generally substantial stop motion work, is definitely worth a watch.
-6/10
"Extra! Extra! Monster attacks London!" Pretty good by 50's monster film standards.
poolandrews24 July 2006
Warning: Spoilers
Behemoth, the Sea Monster begins as American scientist Steve Karnes (Gene Evans) lectures his British counterparts in London about the threat of Nuclear testing & the resultant radioactive materials released into the atmosphere, the British upper-class idiots scoff at his theories. Meanwhile in Cornwall a Fisherman named Tom Trevethan (Henri Vidon) has a close encounter with a giant radioactive sea monster & ends up dead, shortly after lots of dead fish wash up onto a beach. Back in London Steve hears the news on the TV & thinks that atomic radiation may be responsible so he heads over to his mate & Government minister Professor James Bickford (Andre Morell) who heads the Atomic Energy Commission, together they decide to check the situation in Cornwall out & upon examination of the dead fish their worst fears are realised when it is confirmed that they are radioactive. Karnes eventually discovers that a 70 foot tall, 200 foot long prehistoric Dinosaur has been revived by radiation & is heading towards London destroying all in it's path, it's up to Karnes & Bickford to find a way to destroy it...
This English American co-production was directed by Eugene Lourie who also co-wrote & gets a production design credit as well together with Douglas Hickox who according to the IMDb was uncredited, well not that it matters but I promise you now the version I saw yesterday definitely credited both directors. The script by Lourie & Daniel James is your standard 50's giant monster/Dinosaur created by radiation on the loose causing huge amounts of property damage type film, Behemoth, the Sea Monster isn't the best example in the genre but it's far from the worst & it's watchable if nothing else. The first half is pretty slow going with lots of people trying to act very seriously & warn all of us about the dangers of radiation (you see even horror films have messages!) but it just about held my attention before the behemoth himself rises from the Thames & attacks a ferry & eventually London itself. This part of the film is pretty fun as we get to see a giant Dinosaur walk through the streets of London, it doesn't do much other than walk around a bit but it's still cool to watch although I'm not sure about this radiation nonsense. I mean every so often the monster emits loads of radiation along with an annoying computer beeping sound when it does! Films have come a long way since Behemoth, the Sea Monster & anyone who has seen any monster film post Jurassic Park (1993) will be disappointed, extremely unimpressed with the somewhat stiff looking stop-motion special effects & probably bored but I thought the monster & the film as a whole had a certain likability & innocent charm about them plus it runs for less than 80 minutes so that means it won't take too much of your life up.
Directors Lourie & Hickox do alright, most of the film isn't anything special & their overall ambitions were probably fairly low in a 'lets make a monster film where a Dinosaur tramples it's way through London' sort of way. The monster itself looks OK, it's a bit rubbery & looks a bit too much like a model at times but for the majority of the time it's on screen it's a reasonably decent looking thing animated by Willis H. O'Brien & his team. I particularly liked the shot at night when the monster walks in front of a silhouetted Houses of Parliment & Big Ben, it's actually quite a cool looking scene. The shots of it rising up from the water were achieved using a glove puppet which was so cheap the jaw doesn't even move. Just in case your wondering the monster doesn't get to eat anyone which definitely loses it a star.
Technically Behemoth, the Sea Monster is OK, the special effects are alright & it's competently made if nothing else. The acting was OK & everyone did their best.
Behemoth, the Sea Monster won't go down as a classic in the genre of giant radiation mutated monsters & Dinosaurs on the rampage films but manages to hold it's head above water & is a decent, fun & entertaining little monster film in it's own right. Don't expect the Earth, don't spend too much money on it & you may just enjoy it.
This English American co-production was directed by Eugene Lourie who also co-wrote & gets a production design credit as well together with Douglas Hickox who according to the IMDb was uncredited, well not that it matters but I promise you now the version I saw yesterday definitely credited both directors. The script by Lourie & Daniel James is your standard 50's giant monster/Dinosaur created by radiation on the loose causing huge amounts of property damage type film, Behemoth, the Sea Monster isn't the best example in the genre but it's far from the worst & it's watchable if nothing else. The first half is pretty slow going with lots of people trying to act very seriously & warn all of us about the dangers of radiation (you see even horror films have messages!) but it just about held my attention before the behemoth himself rises from the Thames & attacks a ferry & eventually London itself. This part of the film is pretty fun as we get to see a giant Dinosaur walk through the streets of London, it doesn't do much other than walk around a bit but it's still cool to watch although I'm not sure about this radiation nonsense. I mean every so often the monster emits loads of radiation along with an annoying computer beeping sound when it does! Films have come a long way since Behemoth, the Sea Monster & anyone who has seen any monster film post Jurassic Park (1993) will be disappointed, extremely unimpressed with the somewhat stiff looking stop-motion special effects & probably bored but I thought the monster & the film as a whole had a certain likability & innocent charm about them plus it runs for less than 80 minutes so that means it won't take too much of your life up.
Directors Lourie & Hickox do alright, most of the film isn't anything special & their overall ambitions were probably fairly low in a 'lets make a monster film where a Dinosaur tramples it's way through London' sort of way. The monster itself looks OK, it's a bit rubbery & looks a bit too much like a model at times but for the majority of the time it's on screen it's a reasonably decent looking thing animated by Willis H. O'Brien & his team. I particularly liked the shot at night when the monster walks in front of a silhouetted Houses of Parliment & Big Ben, it's actually quite a cool looking scene. The shots of it rising up from the water were achieved using a glove puppet which was so cheap the jaw doesn't even move. Just in case your wondering the monster doesn't get to eat anyone which definitely loses it a star.
Technically Behemoth, the Sea Monster is OK, the special effects are alright & it's competently made if nothing else. The acting was OK & everyone did their best.
Behemoth, the Sea Monster won't go down as a classic in the genre of giant radiation mutated monsters & Dinosaurs on the rampage films but manages to hold it's head above water & is a decent, fun & entertaining little monster film in it's own right. Don't expect the Earth, don't spend too much money on it & you may just enjoy it.
Something of a mixed bag.
Hey_Sweden25 April 2015
Warning: Spoilers
Strange things are happening in England - thousands of dead fish are littering the shores, a strange substance has likewise appeared, people are suffering radiation burns. Two scientists working for the Atomic Energy Commission, Steve Karnes (Gene Evans), and James Bickford (Andre Morell), come to believe that an enormous marine animal, which is radioactive to boot, has been created. The culprit is a mammoth paleosaur, which wreaks havoc on London, until Karnes and Bickford and others can devise a weapon capable of destroying the beast in a safe manner.
"The Giant Behemoth" isn't bad, but it's basically a rehash of a plot that had already been done - and done better - by production designer / director Eugene Lourie on "The Beast from 20,000 Fathoms". The script, by Lourie himself, gets bogged down in supposed "science fact" and talks itself to death for its first half. (That being said, there are still some good and atmospheric moments.) It isn't until the final 35 minutes or so that things really get interesting. The scenes of panic and action are as well directed as one could hope for.
The performances by the well chosen cast are very sincere and effective. Morell, as always, has an authoritative presence, but so does American actor Evans. Jack MacGowran makes the most of a rather small role as a paleontologist excited by these findings, and more than anything yearns to view the beast.
The special effects are handled by a handful of people, chief among them Willis O'Brien of "King Kong" fame who creates a pretty good stop motion animated monster. Once we get to see the monster in all of its glory and the chases begin, things get fun. It's just a matter of whether the audience will be able to sit through all of the set-up.
Good, but not great, for this type of thing.
Six out of 10.
"The Giant Behemoth" isn't bad, but it's basically a rehash of a plot that had already been done - and done better - by production designer / director Eugene Lourie on "The Beast from 20,000 Fathoms". The script, by Lourie himself, gets bogged down in supposed "science fact" and talks itself to death for its first half. (That being said, there are still some good and atmospheric moments.) It isn't until the final 35 minutes or so that things really get interesting. The scenes of panic and action are as well directed as one could hope for.
The performances by the well chosen cast are very sincere and effective. Morell, as always, has an authoritative presence, but so does American actor Evans. Jack MacGowran makes the most of a rather small role as a paleontologist excited by these findings, and more than anything yearns to view the beast.
The special effects are handled by a handful of people, chief among them Willis O'Brien of "King Kong" fame who creates a pretty good stop motion animated monster. Once we get to see the monster in all of its glory and the chases begin, things get fun. It's just a matter of whether the audience will be able to sit through all of the set-up.
Good, but not great, for this type of thing.
Six out of 10.
Outraged by the commentary
Jmorrissey5-118 May 2017
Yes, yes, yes, it's a pallid remake of Beast From 20,000 Fathoms with a mixed bag of effects, but the commentary by special effects masters Dennis Murren and Phil Tippett is condescending in the extreme. Granted their focus was on the special effects - which in many cases are poor due to a low budget - but their absolute ignorance about some of the cast members was shocking. Most particularly they were sarcastically dismissive of the great Jack McGowan who's credits include "The Quiet Man" and "Lord Jim" to name just a few. They didn't even realize that he was in "The Exorcist" and in fact died while making that film. In future, Warner Brothers might be better served by including commentaries by film makers (or even fans) who are not so narrowly focused and who might contribute to one's enjoyment of the film rather than detract from it.
first rate thriller
Guenzel_D@MSN.com9 April 2008
Let me quickly begin by putting to rest once and for all a terrible error that is popping up everywhere concerning this film: THE GIANT BEHEMOTH was not, repeat NOT, "co-directed" by Mr Douglas Hickox. He was not an "uncredited" contributor to the film. Period. End of discussion. It was solely directed from start to finish by Eugene Lourie, a director (and production designer) of taste and imagination. How this rumor about Mr Hickox ever got started is beyond me.
If I accomplish nothing else but put this falsehood to rest I will be quite happy.
Now, on to the film. I recommend it highly. It is well-written, well-acted, nicely photographed and edited, and well-scored by Edwin Astley. It is a good example of what can be done on an extremely low budget. The producers were merciless in their budget-cutting which was very hard on master animators Willis O'Brien and Pete Peterson but it is a testament to their skill and integrity that they managed as well as they did. Their animation of the giant creature is of a very high order and is, of course, vastly superior to the work of a second special effects crew which was brought in to do the ferry boat sequence. The less said about that work the better, though the scene played well due to the fine editing and music scoring.
I greatly admire what was accomplished here by these talented people having almost no money to work with. That should be an inspiration to many an aspiring movie-maker.
If I accomplish nothing else but put this falsehood to rest I will be quite happy.
Now, on to the film. I recommend it highly. It is well-written, well-acted, nicely photographed and edited, and well-scored by Edwin Astley. It is a good example of what can be done on an extremely low budget. The producers were merciless in their budget-cutting which was very hard on master animators Willis O'Brien and Pete Peterson but it is a testament to their skill and integrity that they managed as well as they did. Their animation of the giant creature is of a very high order and is, of course, vastly superior to the work of a second special effects crew which was brought in to do the ferry boat sequence. The less said about that work the better, though the scene played well due to the fine editing and music scoring.
I greatly admire what was accomplished here by these talented people having almost no money to work with. That should be an inspiration to many an aspiring movie-maker.
big monsta stomps stuff
ksf-220 January 2020
So the title itself is redundant... the definition of "Behemoth" is something of giant size, so the Giant was really un-necessary. a horror flick from Allied Artists stars Gene Evans and André Morell. those durn nuclear tests have caused disturbances which woke the sleeping monster. first a man is found dead on the beach. and now it's attacking the large cities. How can they stop it before it destroys everything?? and should the scientists really be touching the radio-active fish without SOME kind of protective gloves?? this production seems to be a mix of British and US actors. and there seems to have been some conflict over the directors, as well as the actual writers. I was hoping this would have either Lon Chaney or Boris Karloff. but no. and the science and instruments they use are pretty shady. it's okay. some interesting scenery from all over England. and honestly, for 1959, the stop motion action is actually pretty good. including when Behemoth pulls down the transmission line towers.
London is (radioactive) Toast!
Coventry20 September 2023
When I hear the word "Behemoth" I immediately think of brilliant black metal from Poland. Of course, long before this band saw the light of day (or, in their case, the dark of night) there was this tacky 50s movie from England. For those interested: the Behemoth is a biblical monster, open for interpretation on what it looks like, and the creature in this flick is definitely an "ordinary" dinosaur. The first casualty gets the honor of naming the monster, and as his last words he mumbles "Behemoth".
In short, "The Giant Behemoth" is a rehash of the director's own previous (and superior) movie "The Beast from 20,000 Fathoms". He - Eugene Lourié - would later repeat his success formula one more time with "Gorgo". In between "The Beast from 20,000 Fathoms" and "The Giant Behemoth", the Japanese released what is probably the decade's ultimate giant monster movie with "Godzilla", hence "The Giant Behemoth" also borrows many elements of that classic. Does everyone still follow?
The plot opens very traditionally, with an auditorium full of egg-headed scientists skeptically listening to marine biologist Steve Karnes' stern warnings that our world leaders are gradually turning the oceans radioactive with all their reckless atomic testing and the dumping of radioactive waste. Karnes' premonition turns into reality even quicker than he feared himself, as millions of dead fish and other strange phenomena are reported in from Cornwall. Humanity's carelessness brought a massive radioactive dinosaur to life, and it's heading for London!
Monster flicks from the 50s are usually worth seeking out for their stop-motion special effects, and for the one or two campy scenes of mass-hysteria when the titular creature overshadows and ravages the city. Although "The Giant Behemoth" features both trademarks, they surprisingly aren't the highlights. The radioactive critter remains out of sight for 2/3 of the film, and the city-in-panic footage is mediocre at best (with shots of the same toy car getting crushed three times). The attack on a sightseeing vessel is good entertainment, but the best and most atmospheric moments take place in Cornwall at the beginning of the film. It even feels weird how the plot totally abandons the characters of fisherman's daughter Jean and her lover John as soon as the behemoth decides to take a city trip to London.
In short, "The Giant Behemoth" is a rehash of the director's own previous (and superior) movie "The Beast from 20,000 Fathoms". He - Eugene Lourié - would later repeat his success formula one more time with "Gorgo". In between "The Beast from 20,000 Fathoms" and "The Giant Behemoth", the Japanese released what is probably the decade's ultimate giant monster movie with "Godzilla", hence "The Giant Behemoth" also borrows many elements of that classic. Does everyone still follow?
The plot opens very traditionally, with an auditorium full of egg-headed scientists skeptically listening to marine biologist Steve Karnes' stern warnings that our world leaders are gradually turning the oceans radioactive with all their reckless atomic testing and the dumping of radioactive waste. Karnes' premonition turns into reality even quicker than he feared himself, as millions of dead fish and other strange phenomena are reported in from Cornwall. Humanity's carelessness brought a massive radioactive dinosaur to life, and it's heading for London!
Monster flicks from the 50s are usually worth seeking out for their stop-motion special effects, and for the one or two campy scenes of mass-hysteria when the titular creature overshadows and ravages the city. Although "The Giant Behemoth" features both trademarks, they surprisingly aren't the highlights. The radioactive critter remains out of sight for 2/3 of the film, and the city-in-panic footage is mediocre at best (with shots of the same toy car getting crushed three times). The attack on a sightseeing vessel is good entertainment, but the best and most atmospheric moments take place in Cornwall at the beginning of the film. It even feels weird how the plot totally abandons the characters of fisherman's daughter Jean and her lover John as soon as the behemoth decides to take a city trip to London.
Well-done treatment of a standard sci-fi theme.
Dhawley-210 January 2005
Director Eugene (Gene) Lourie made three similarly-themed giant monster flicks, beginning with 1953's 'Beast From 20,000 Fathoms' to 1961's 'Gorgo', with 'Behemoth' sandwiched in between. The story line is much like a myriad of other films of the era (and very much like 'Beast...") but this one is a cut above. This time, the irradiated creature (weren't they all during the 50s?) turns up in British waters. Unlike 'Beast' and 'Gorgo' (as well as Godzilla and the others), this Behemoth not only was a huge creature, but also had the ability to project 'electrified fields of radiation', causing people to literally burn to death. Scenes with Behemoth climbing out of the Thames, destroying buildings and burning people to death (even kids aren't spared) is pretty exciting. While close-ups of Behemoth are not realistic (compared to Ray Harryhausen's work in 'Beast'), the full-body scenes done by Willis O'Brien are very effective. The acting, untypical of these films, is actually pretty well done. Character actor Gene Evans and Hammer Films regular Andre Morell do splendid jobs, and the supporting cast is fine too. One can quibble over which of these films is the best, but I agree with an observation made in Psychotronic Encyclopedia of Film that The Giant Behemoth was "the scariest giant monster-on-the-loose film ever made." At least up to that point, anyway. Well worth having if you're a fan of old sci-fi & horror films.
Beast vs. Behemoth
ferbs5429 December 2014
Warning: Spoilers
It had been many decades since I last saw "The Giant Behemoth." When I was a kid, I had always grown restless with the film, largely because director/co-screenwriter Eugene Lourie withholds a good, establishing glimpse of the titular creature until the picture is almost 2/3 over; an interminable amount of time for an impatient youth who just wants to see a freakin' monster. As I plopped the DVD in recently, my one thought was, would I be as restless as an adult? "Behemoth," of course, was the second in Lourie's loose dinosaur trilogy. In the first film, 1953's classic, superb, artful and trendsetting "The Beast From 20,000 Fathoms," Lourie, with the assistance of stop-motion wizard Ray Harryhausen, and working from a short story by Ray Bradbury, had given to the world the template for all thawed-out-dinosaur flicks to come, including the following year's "Gojira." Fans would have to wait until 1959 for Lourie's "Behemoth" follow-up, and then until 1961 for his much-loved baby boomer favorite, "Gorgo." "Beast From..." has been one of this viewer's very favorite films since elementary school; the greatest dinosaur movie ever made, for my money. And so, again, the question: How would "The Giant Behemoth" strike me as an adult, all these many years later?
The film follows much the same story line as had been laid down by "Beast" six years earlier. Due to the effects of hydrogen bomb testing, a nasty, prehistoric monstrosity is released (in "Beast," the "rhedosaurus" is merely thawed out from its hibernation; here, the paleosaurus, an actual extinct animal as opposed to the fictitious rhedosaurus, is awoken and imbued with radioactivity, a la Gojira itself). As in "Beast," the creature initially wreaks havoc amongst coastal communities (primarily the south coast of England, here, as opposed to the Beast's Canadian maritime scourge), and an American scientist investigates. Thus, Steve Karnes (wonderfully played by Gene Evans), who had coincidentally just been giving a lecture on the possibilities of radiation-induced mutations, and the head of a British scientific society, Prof. Bickford (Andre Morell), go to the Cornish village of Looe, where a fisherman had recently been burnt to death by...something, and where thousands of dead fish had washed ashore. And as in "Beast," before long, the prehistoric menace goes on a rampage through a major city (New York in the earlier film; London, as in "Gorgo," in the latter), before our heroes dispose of the marauder by shooting a radioactive missile into it.
Good as it is, "The Giant Behemoth," sadly, comes up short in every single department, as compared to the 1953 film. In "Beast," we are treated to the awesome spectacle of the monster, amidst a North Pole blizzard, within the film's first 10 minutes (I always loved that fact as a little kid, and still do); "Behemoth" makes the viewer wait 50 full minutes. "Beast" had given us such marvelous buildup scenes as the rhedosaurus' attack on a fishing trawler, on a lighthouse (beautifully done in nighttime silhouette) and on a bathysphere, whereas "Behemoth" only gives us the sight of several innocents being slain by concentric rings of electrically discharged radiation. The creature that Harryhausen devised for "Beast" is one of his greatest creations; it moves gracefully, seems truly alive, has a personality, and is absolutely terrifying when it looks into the camera. On the other hand, the paleosaurus here, when not being brought to life by a puppet, is a fairly clunky stop-motion creation, despite being the work of King Kong creator Willis O'Brien and a quartet of others. It does not move realistically or gracefully, and is hardly convincing. Wisely, Lourie often keeps his camera in close-up on the Behemoth's snarling mug, a mug that admittedly can engender chills when it also looks straight into the camera. And whereas the Beast's rampage through downtown Manhattan is one of the most exciting sequences in sci-fi history, the Behemoth's carries a distinct aura of deja vu, with too much emphasis on the fleeing populace and not enough on the monster itself. Oh...and the climax of "Beast," the thrilling, flaming cataclysm at the roller coaster, is as awe inspiring as can be (especially when seen on the big screen); the climax of "Behemoth" is nowhere near as spectacular, a bubbling underwater affair in which our monster cannot even be clearly seen. As I said, "Beast" kicks prehistoric butt on "Behemoth" in every single department; it is a genuine work of inspired cinematic art, as opposed to just being an enjoyable monster movie.
Still, "Behemoth" does have its selling points. The early sequences in the Cornwall fishing village are very atmospheric, and there is a refreshing lack of a romantic subplot to distract the viewer and our hero. As in "Beast," a nighttime attack sequence, done in silhouette, works marvelously. Here, the Behemoth destroys a trio of electrical towers as it advances right into Lourie's camera. For once, the creature is genuinely intimidating and scary. And if you are wondering whether or not the adult me felt restless during the film's first 50 minutes, as I had as a kid, I will admit that I was not; at least, not overly much. The film IS intelligent and well acted by all, and Evans is immensely likable. Perhaps I would have been more inclined to be generous had I not seen "The Beast From 20,000 Fathoms" before, and many dozens of times since I was 5 years old. As it is, "The Giant Behemoth" strikes me as being merely fun stuff, and surely outclassed by its older brother....
The film follows much the same story line as had been laid down by "Beast" six years earlier. Due to the effects of hydrogen bomb testing, a nasty, prehistoric monstrosity is released (in "Beast," the "rhedosaurus" is merely thawed out from its hibernation; here, the paleosaurus, an actual extinct animal as opposed to the fictitious rhedosaurus, is awoken and imbued with radioactivity, a la Gojira itself). As in "Beast," the creature initially wreaks havoc amongst coastal communities (primarily the south coast of England, here, as opposed to the Beast's Canadian maritime scourge), and an American scientist investigates. Thus, Steve Karnes (wonderfully played by Gene Evans), who had coincidentally just been giving a lecture on the possibilities of radiation-induced mutations, and the head of a British scientific society, Prof. Bickford (Andre Morell), go to the Cornish village of Looe, where a fisherman had recently been burnt to death by...something, and where thousands of dead fish had washed ashore. And as in "Beast," before long, the prehistoric menace goes on a rampage through a major city (New York in the earlier film; London, as in "Gorgo," in the latter), before our heroes dispose of the marauder by shooting a radioactive missile into it.
Good as it is, "The Giant Behemoth," sadly, comes up short in every single department, as compared to the 1953 film. In "Beast," we are treated to the awesome spectacle of the monster, amidst a North Pole blizzard, within the film's first 10 minutes (I always loved that fact as a little kid, and still do); "Behemoth" makes the viewer wait 50 full minutes. "Beast" had given us such marvelous buildup scenes as the rhedosaurus' attack on a fishing trawler, on a lighthouse (beautifully done in nighttime silhouette) and on a bathysphere, whereas "Behemoth" only gives us the sight of several innocents being slain by concentric rings of electrically discharged radiation. The creature that Harryhausen devised for "Beast" is one of his greatest creations; it moves gracefully, seems truly alive, has a personality, and is absolutely terrifying when it looks into the camera. On the other hand, the paleosaurus here, when not being brought to life by a puppet, is a fairly clunky stop-motion creation, despite being the work of King Kong creator Willis O'Brien and a quartet of others. It does not move realistically or gracefully, and is hardly convincing. Wisely, Lourie often keeps his camera in close-up on the Behemoth's snarling mug, a mug that admittedly can engender chills when it also looks straight into the camera. And whereas the Beast's rampage through downtown Manhattan is one of the most exciting sequences in sci-fi history, the Behemoth's carries a distinct aura of deja vu, with too much emphasis on the fleeing populace and not enough on the monster itself. Oh...and the climax of "Beast," the thrilling, flaming cataclysm at the roller coaster, is as awe inspiring as can be (especially when seen on the big screen); the climax of "Behemoth" is nowhere near as spectacular, a bubbling underwater affair in which our monster cannot even be clearly seen. As I said, "Beast" kicks prehistoric butt on "Behemoth" in every single department; it is a genuine work of inspired cinematic art, as opposed to just being an enjoyable monster movie.
Still, "Behemoth" does have its selling points. The early sequences in the Cornwall fishing village are very atmospheric, and there is a refreshing lack of a romantic subplot to distract the viewer and our hero. As in "Beast," a nighttime attack sequence, done in silhouette, works marvelously. Here, the Behemoth destroys a trio of electrical towers as it advances right into Lourie's camera. For once, the creature is genuinely intimidating and scary. And if you are wondering whether or not the adult me felt restless during the film's first 50 minutes, as I had as a kid, I will admit that I was not; at least, not overly much. The film IS intelligent and well acted by all, and Evans is immensely likable. Perhaps I would have been more inclined to be generous had I not seen "The Beast From 20,000 Fathoms" before, and many dozens of times since I was 5 years old. As it is, "The Giant Behemoth" strikes me as being merely fun stuff, and surely outclassed by its older brother....
Found this very disturbing as a kid.
tles73 April 2018
Warning: Spoilers
Shown extensively, on WOR-TV in NYC in the 1960s, the death scenes by radiation were very disturbing to see as a child. It was also rare for a kid to be killed in a horror movie. The 1st half of the movie is very good and fascinating to watch. Unfortunately, seeing the special effects today as an adult is disappointing due to the film's low budget. The first appearances of the behemoth are laughable--a stiff puppet neck and head tipping over a toy boat and cars. The nighttime scenes are better. You can see wires on the tossed cars and jerky crowd scenes as the live action is mismatched with the stop motion inserts. You can even see marks on the lens or prints when combining the miniature with live action shots. The movie is basically a rework of Harryhausen's Beast from 20,000 Fathoms. That movie had much better effects although made 6 years earlier (the lighthouse scene is a work of art). I was always curious about the pulsating "radioactive"' blob in the beginning of this film that the young guy stupidly touches (more like a pulsating piece of canvas). That scene was left in the picture. It was made at the time when the "behemoth" was written as a blob-like creature and not a dinosaur.
All in all, I really like this movie and have for decades.
B-movie: The British Beast
daniewhite-129 July 2020
Excellent ultra low budget 50's monster flick from a British-American viewpoint that cashes in on the Japanese and American giant monster movie industries despite it being from late in the cycle and clearly made very cheap.
'Behemoth' is slow and deliberate for it's first two acts, introducing it's characters and giving them a bit of time to interact together whilst keeping the beast off screen and operating on proceedings solely through hints and the consequences of it's rampage.
The final third uses smashing stop motion special effects for the arrival of the Behemoth in London and a cheap and convenient method to resolve it.
Overall the direction works well as the tension and jeopardy is developed gradually and the leading pair play well off each other in playing clearly defined characterisations.
The films sound effects and score are complementary and I really recommend to any vintage monster madness film fans who haven't yet seen this film.
I rate a satisfied 5/10 for a minimum production effort that packs a fair amount of punch but always, by necessity, on a minimal scale.
'Behemoth' is slow and deliberate for it's first two acts, introducing it's characters and giving them a bit of time to interact together whilst keeping the beast off screen and operating on proceedings solely through hints and the consequences of it's rampage.
The final third uses smashing stop motion special effects for the arrival of the Behemoth in London and a cheap and convenient method to resolve it.
Overall the direction works well as the tension and jeopardy is developed gradually and the leading pair play well off each other in playing clearly defined characterisations.
The films sound effects and score are complementary and I really recommend to any vintage monster madness film fans who haven't yet seen this film.
I rate a satisfied 5/10 for a minimum production effort that packs a fair amount of punch but always, by necessity, on a minimal scale.
Entertaining but Inaccurate
ffedarko26 January 2022
Warning: Spoilers
Interesting concept, an irradiated dinosaur making an appearance after an absence of millions of years. But inaccuracies like an essentially land creature hiding in the ocean depths or its power to radiate like an eel detracts from its qualifications as sci fi.
NOTE: There is an error in the Behemoth's Quotes section. The one attributed to the Doctor about his fearing what disease the creature has brought belongs in the article for "The Beast from 20,000 Fathoms."
NOTE: There is an error in the Behemoth's Quotes section. The one attributed to the Doctor about his fearing what disease the creature has brought belongs in the article for "The Beast from 20,000 Fathoms."
Cut-rate Brit kaiju
jamesrupert201428 May 2017
Warning: Spoilers
"The Giant Behemoth" covers much the same ground as 1953's "The Beast from 20,000 Fathoms" but with considerably less success. There are a few good moments of stop-action monster rampage, reflecting Willis O'Brien's participation but most of the movie is stock footage or shots of people yelling and pointing (but few good shots of what they are yelling about or pointing at). In addition to being some kind of pointy-toothed apatosaur, the titular beast seems to be able to radiate lethal radioactivity at will (perhaps a sign of contemporaneous atomic paranoia). At one point this pulsing death ray incinerates a group of soldiers in a clumsily done transition from live actors to what appears to be a charcoal drawing of corpses. The radiation also seems to be able to buffet a submarine, which makes even less sense. The movie plods along the usual trajectory from disbelief to realization to determining the obligatory Achilles heel (like "Reptilicus", the Behemoth is protected from simply being bombed to hell and back by a convenient plot device (the aforementioned 'radiation')). Watchable by the monster-movie fraternity but far from one of the better examples of the canon.
Above Average Giant Lizard Movie
Hitchcoc15 May 2015
This is a bit talkie but overall it fulfills the Cold War fear of radiation and its implications. The monster here seems determined to destroy. Animals, generally have two things on their minds, food and reproduction. This big lizard apparently has a third thing: it enjoys rampaging. Why it feels the need to crush cars and chase people down the street seems to imply motivations that are more punitive. It also seems to have the ability to disperse radiation when it wants to, frying people who confront it. The film is strongest in the action leading to the discovery of the creature. The science is valid and interesting. Some say it's a rip off of "The Best from 20,000 Fathoms." I guess in many ways it is, but it has a good story to tell and leaves us guessing at the end.
One of the last films Willis O'Brien made, but it isn't a very good movie
zetes12 October 2008
Giant radioactive monsters, while apparently preferring Tokyo, do occasionally attack other major cities, whether they be San Francisco in It Came from Beneath the Sea, or London, as in this movie. This one, called the behemoth, I think is referred to as a plesiosaur but looks more apatosaurus-like. The Giant Behemoth, aka Behemoth the Sea Monster, is your average monster-attacks-city movie. It spends an inordinate amount of time on people jabbering along, scientists trying to figure out what gave dead people radiation burns, et cetera, et cetera. By the time I started nodding off, the monster makes his first appearance, and looks kind of like a piñata. Later it comes on land and is a stop-motion effect. This was Willis O'Brien's penultimate film. At this point, O'Brien and his techniques had been surpassed by those of his student, Ray Harryhausen. The behemoth looks not much better than the dinosaurs of the silent The Lost World. Still, I quite like it. There's just something about stop-motion effects that charms me. But these effects are too few and far between to make the movie worth anything.
Other subtitle for US release?
omeyer20 November 1999
I first saw this movie when I was 9 years old and it was the scariest movie I'd ever seen. I vividly recall the scenes of terrified people running from the monster and being melted by the radiation waves emitted by the beast!
I watched the movie again last year and still found it compelling, albeit in a low budget way. I remember the sub-head, or perhaps the trailer to be "It came from the sea." Or, perhaps I was hiding under the sheets and didn't hear it correctly.
I watched the movie again last year and still found it compelling, albeit in a low budget way. I remember the sub-head, or perhaps the trailer to be "It came from the sea." Or, perhaps I was hiding under the sheets and didn't hear it correctly.
Kids of the 50's Loved This Stuff
LeonLouisRicci19 August 2012
Interesting in an historical sense because of Willis O'Brien and Eugene Lourie, both contributors to the "monster on the loose" genre that is with us to this day.
That said, both of those artist best work can be found elsewhere. This low budget restraint is not worthy of their talent but they did complete it and did the best they could with the limited time and resources.
The movie is quite professional looking and really is a lot better because of those involved in spite of its restrictions. The formula for the genre is by the numbers but executed with some suspense and realism. It has an effectively ominous musical score and when TGB arrives it has a nasty look and disposition.
The ending of the atomic anomaly (or is it an anomaly?) is rather rushed and anti-climatic, but so is the life of the aforementioned format that would come to a halt in the following year with Gorgo (1960) also directed by Lourie.
That said, both of those artist best work can be found elsewhere. This low budget restraint is not worthy of their talent but they did complete it and did the best they could with the limited time and resources.
The movie is quite professional looking and really is a lot better because of those involved in spite of its restrictions. The formula for the genre is by the numbers but executed with some suspense and realism. It has an effectively ominous musical score and when TGB arrives it has a nasty look and disposition.
The ending of the atomic anomaly (or is it an anomaly?) is rather rushed and anti-climatic, but so is the life of the aforementioned format that would come to a halt in the following year with Gorgo (1960) also directed by Lourie.
Even the visual effects commanded by Willis O'Brien seem unnaturally stilted
TheUnknown837-18 May 2011
Russian-born French director Eugene Lourie only directed four feature-length movies in his career. He only seems to be memorable because three of those four pictures involved seemingly indestructible sea monsters running amok in the midst of a big city of shrieking civilians. His first one, "The Beast from 20,000 Fathoms" was and still is, in a small way, a classic. His last one, "Gorgo" has gone on to become a cult favorite and understandably so. However, the one in-between, titled "The Giant Behemoth" (a.k.a. "Behemoth the Sea Monster," the title that actually makes grammatical sense) is less than special. It only reminded me just how much better the other two movies are.
Its premise is promising and simple enough. Atomic tests awaken and mutate a serpentine monster which eventually, in the film's climax (the only energized moment in the picture) begins a lengthy assault on London. However, the filmmakers throw the final product together rather sloppily. From the zest-deprived screenplay, to the almost universally lifeless performances, to the quirky and uncharacteristically stilted visual effects helmed by Willis H. O'Brien of all people makes the fact that it was a rushed, passionless product stick out like a sore thumb.
The core fault lies in the screenplay written by director Lourie and Daniel James. The movie spends a fair amount of time building up the tension before the monster's eventual appearance: a typical method in monster pictures. Their fault? They took too long. Way too long. The movie's down to its third act before the behemoth attacks London and the two acts preceding it are as monotonous as the wooden, care-free expressions upon supporting actor Andre Morell's face. The movie also starts several subplots that are developed to a point and them simply cut off. For example: characters affected by the monster's appearance near a fishing village. A good length of time is spent attempting to develop this subplot, and a couple of characters involved in it, and then the screenplay just drops it. No conclusion, no pay-off, no transition. It just abandons the story dead right there.
And so with a screenplay as passion-free as the one here, the saviors would really have to be the actors, at least until the monster arrives. Unfortunately, leading man Gene Evans (an unlikely casting choice for a heroic lead) is the only one who seems to have given a hoot about acting here. He's the only one who presents any simulated emotion, any care about the context of the picture. Mr. Morell, as I mentioned before, is shockingly lifeless and dull, as if he had read all his lines off cue cards the entire time or had been filmed while going through rehearsals. The multiple personalities imitating military personnel are just as dim and energy-free. And a ship captain transporting Mr. Evans in search of the creature gives one of the most wooden, couldn't-care-less performances I've seen in a while.
Now I know, good acting is not usually attached to monster movies. But usually we see campy, attempted acting. Or overacting. Here, there is no real attempt to act except by Mr. Evans a few stand-outs.
Even though Mr. O'Brien (the worker of the magic if pictures like "King Kong") commanded the special effects crew, even the work of the department here seems stilted. The behemoth is portrayed via two methods. One is an awkward, stiff, entirely unconvincing head and neck puppet with next to no movement or flexibility. The second is stop-motion animation and even this, which Mr. O'Brien was one of the mastering pioneers at, seems unnaturally stilted with stiffer, more quirky movements especially in the neck area. But the scenes with this effect are the most entertaining and as I said, the fifteen-minute rampage of the creature in London is virtually the only moment in "The Giant Behemoth" that contains any genuine energy or spark of creative passion. A scene of the behemoth tearing down some electrical towers, reminiscent of "Gojira," is particularly enjoyable.
But sadly, the picture really just has the feeling of an assignment given to somebody hopelessly unhappy in their field as opposed to a work done by people who love their jobs. Eugene Lourie directed two very entertaining monster movies. "The Beast from 20,000 Fathoms" and "Gorgo." I would recommend monster fans check those out instead and pass on this one. With a lack of energy and no real enthusiasm "The Giant Behemoth" is a plodding bore.
Its premise is promising and simple enough. Atomic tests awaken and mutate a serpentine monster which eventually, in the film's climax (the only energized moment in the picture) begins a lengthy assault on London. However, the filmmakers throw the final product together rather sloppily. From the zest-deprived screenplay, to the almost universally lifeless performances, to the quirky and uncharacteristically stilted visual effects helmed by Willis H. O'Brien of all people makes the fact that it was a rushed, passionless product stick out like a sore thumb.
The core fault lies in the screenplay written by director Lourie and Daniel James. The movie spends a fair amount of time building up the tension before the monster's eventual appearance: a typical method in monster pictures. Their fault? They took too long. Way too long. The movie's down to its third act before the behemoth attacks London and the two acts preceding it are as monotonous as the wooden, care-free expressions upon supporting actor Andre Morell's face. The movie also starts several subplots that are developed to a point and them simply cut off. For example: characters affected by the monster's appearance near a fishing village. A good length of time is spent attempting to develop this subplot, and a couple of characters involved in it, and then the screenplay just drops it. No conclusion, no pay-off, no transition. It just abandons the story dead right there.
And so with a screenplay as passion-free as the one here, the saviors would really have to be the actors, at least until the monster arrives. Unfortunately, leading man Gene Evans (an unlikely casting choice for a heroic lead) is the only one who seems to have given a hoot about acting here. He's the only one who presents any simulated emotion, any care about the context of the picture. Mr. Morell, as I mentioned before, is shockingly lifeless and dull, as if he had read all his lines off cue cards the entire time or had been filmed while going through rehearsals. The multiple personalities imitating military personnel are just as dim and energy-free. And a ship captain transporting Mr. Evans in search of the creature gives one of the most wooden, couldn't-care-less performances I've seen in a while.
Now I know, good acting is not usually attached to monster movies. But usually we see campy, attempted acting. Or overacting. Here, there is no real attempt to act except by Mr. Evans a few stand-outs.
Even though Mr. O'Brien (the worker of the magic if pictures like "King Kong") commanded the special effects crew, even the work of the department here seems stilted. The behemoth is portrayed via two methods. One is an awkward, stiff, entirely unconvincing head and neck puppet with next to no movement or flexibility. The second is stop-motion animation and even this, which Mr. O'Brien was one of the mastering pioneers at, seems unnaturally stilted with stiffer, more quirky movements especially in the neck area. But the scenes with this effect are the most entertaining and as I said, the fifteen-minute rampage of the creature in London is virtually the only moment in "The Giant Behemoth" that contains any genuine energy or spark of creative passion. A scene of the behemoth tearing down some electrical towers, reminiscent of "Gojira," is particularly enjoyable.
But sadly, the picture really just has the feeling of an assignment given to somebody hopelessly unhappy in their field as opposed to a work done by people who love their jobs. Eugene Lourie directed two very entertaining monster movies. "The Beast from 20,000 Fathoms" and "Gorgo." I would recommend monster fans check those out instead and pass on this one. With a lack of energy and no real enthusiasm "The Giant Behemoth" is a plodding bore.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
