Julie, an American on vacation in Mexico, spots a giant, one-eyed amoeba rising from the ocean, but when she tries to tell the authorities, no one believes her. She finally teams up with a marine biologist in an attempt to destroy it.
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Swimming near a Mexican village that has been terrorized by a sea monster, Julie Blaie (Anne Kimball), and American artist, is terrified when an object rises to the surface. It turns out to be a one-man submarine piloted by biologist Steve Dunning ('Stuart Wade' (qb)). Later an abalone diver vanishes and Julie faints after seeing the monster's eye rise from the sea. Pablo (Wyott Ordung) and Tula (Inez Palange) plot to offer Julie as a sacrifice to their gods. Pablo deliberately attracts a shark while Juilie is skin-diving, but she escapes, and her line snags an object that Steve and Dr. Baldwin (Dick Pinner) establish as part of a huge sea monster. Written by
Les Adams <email@example.com>
The original title was to be "It Stalked the Ocean Floor," but the distributors objected on the grounds it was "too cerebral." See more »
As the film opens, and the camera pans to a landscape where "no white man has ever been," at the top right of the screen a car can be seen traveling down Pacific Coast Highway in Malibu, where this scene was filmed. See more »
Why do you suppose there were no reports of this thing until 1946? What could have happened then to start the story?
1946? Well that's when the Bikini underwater expeirments were set off, maybe that started something.
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I rented this film because the composer was a good friend of my musician father Felix De Cola (who may have played the piano on the score!). It's a silly movie with an absurd monster, but there's a scene around minute 40 where the heroine encounters a shark that had me quite startled. The fish appears to be 2 meters long and its open mouth comes at the camera and then at the girl in several shots. Even if she was an experienced diver, this must have been an unsettling experience. And no, it's almost certainly not an animatronic.
This was a time when the psychotechnology of horror films was developing at its fastest, so you can see how the director (clumsily) tries to manipulate our fears. Crude films often teach us more than well-made ones.
As for the music, there's a distant similarity between Brummer's music and John Williams' Jaws theme, but I doubt the link is real.
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