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How to Make a Monster (1958)

 -  Horror | Sci-Fi  -  1 July 1958 (USA)
5.1
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Ratings: 5.1/10 from 467 users  
Reviews: 23 user | 16 critic

When master monster make-up man Pete is sacked by the new bosses of American International studios he uses his creations to exact revenge.

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(original story), (original story), 2 more credits »
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Cast

Cast overview, first billed only:
Robert H. Harris ...
Pete Dumond
...
Rivero
Gary Conway ...
Tony Mantell (Teenage Frankenstein)
Gary Clarke ...
Larry Drake (Teenage Werewolf)
...
Security Guard Richards
Dennis Cross ...
Security Guard Monahan
Morris Ankrum ...
Police Capt. Hancock
Walter Reed ...
Detective Thompson
Paul Maxwell ...
Jeffrey Clayton
Eddie Marr ...
John Nixon
Heather Ames ...
Arlene Dow
Robert Shayne ...
Gary Droz
Rod Dana ...
Lab Technician
Jacqueline Ebeier ...
Jane
Thomas Browne Henry ...
Martin Brace - director of 'Werewolf Meets Frankenstein'
Edit

Storyline

Accomplished but eccentric movie make-up artist Pete Dumond has been with the studio for decades and is totally devoted to his art especially in the creation of screen monsters. His world ends abruptly when new management acquires the company and arbitrarily decides that the horror cycle has run its course, and the studio will now concentrate on escapist musicals. When Dumond hears he will be pink-slipped, the neurotic but usually affable Pete turns psychotic and vows vengeance on the two movie executives responsible. Using a combination of hypnosis and a newly developed chemical formula, Dumond is able to use mind control to compel the young actors playing the teenage Frankenstein and werewolf to exact vengeance for him. Written by duke1029@aol.com

Plot Summary | Plot Synopsis

Taglines:

See the Ghastly Ghouls in Flaming Color! See more »

Genres:

Horror | Sci-Fi

Certificate:

Unrated | See all certifications »
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Details

Country:

Language:

Release Date:

1 July 1958 (USA)  »

Also Known As:

Der Satan mit den tausend Masken  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Ryder Sound Services)

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

In one scene the visitors to the studio are told that they are going to be taken to the set of Horrors of the Black Museum (1959). This was an advanced plug for what would be the next film to be produced and written by Herman Cohen. See more »

Goofs

The visitors to the studio are told they are about to visit the set of Horrors of the Black Museum. That film, which was also produced and written by Herman Cohen, was actually shot in England, not at the U.S. studio. See more »

Quotes

Detective Thompson: A Hollywood murder is OK on the screen but not at the studio.
See more »

Connections

Remade as How to Make a Monster (2001) See more »

Soundtracks

You've Got to Have Ee-Ooo
Lyrics by Skip Redwine Music by Paul Dunlap
Sung by John Ashley
See more »

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User Reviews

 
One of the most amusing horror films of the 50s
11 October 2002 | by (Oakland CA) – See all my reviews

Amusing third sequel to "I Was a Teenage Werewolf" combines the Teenage Werewolf and Teenage Frankenstein. Under fear of termination, a film studio makeup wizard (possibly modelled on one of the family Westmore?) applies "a special fixing agent" to his teenage actor's monster makeup that turns them into real monsters. Given such an unusual, original premise, the results of the film are not too disappointing: several brutal killings, lots of monsters, and even John Ashley's B-grade Elvis impersonation (surely done for laughs, let's hope). the film supposes the existence of "American International Studios" -- a nice thought, but filmmaking had already changed a lot, and AIP was never able to rent a steady digs, so this one just has to stay a fantasy. Did anyone else notice how heavily homoerotic the makeup guy's relationship to the boys was? He always called them "my boys" and talked at one point about having them "in his hands". Plus, note their uncomfortable reaction when he wants them to come to his house for some drinks. Funny stuff, certainly holding up to Herman Cohen's other AIP productions, which were among their best early efforts.


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