kevinolzak Review of Giant from the Unknown

Giant from the Unknown (1958)

Less pulchritude than in Richard E. Cunha's cofeature "She Demons"

[4/10 · 11 January 2021]

1957's "Giant from the Unknown" marked the directorial debut of cinematographer Richard E. Cunha, kicking off a quartet of infamous titles issued in two double bills by notorious Astor Pictures Corporation, a Poverty Row outfit that did few of its own productions before expiring in 1963. Compared to cofeature "She Demons" and second twin bill "Frankenstein's Daughter" and "Missile to the Moon," this comes off as a much more low key affair without a bevy of bodacious beauties to catch the eye (Sally Fraser the exception). Cunha's vehicles generally were completed in a week on actual locations or in real homes, here Big Bear Lake providing an excellent backdrop for a slight story badly scripted, from working titles "Giant of Devil's Crag," "The Diablo Giant," or "Giant from Diablo Pass." The opening scene reminds one of the serene country setting for Columbia's 1956 "The Werewolf," a small town victimized by several deaths, people and animals being mutilated, and Bob Steele's Sheriff determined to pin the crimes on archaeologist Wayne Brooks (Ed Kemmer, from "Earth vs the Spider"), who has been spending his time digging in the mountains. Indian Joe (Billy Dix) suggests a curse from interfering with sacred Indian burial grounds, but considers the honest Brooks a trusted friend. Enter ever reliable Morris Ankrum, doing much of the heavy lifting as fellow archaeologist Frederick Cleveland, Sally Fraser as his beautiful daughter Janet easily catching Wayne's eye. Both men rejoice at the discovery of a lizard long thought extinct that was found alive in suspended animation inside a tomb of stone, deducing that something in the rich soil preserves its dead and buried. Cleveland's reason to be there is to find evidence of a 15th century Spanish conquistador named Vargas, the 'Diablo Giant,' finding an axe, helmet, chest plate, even a gold amulet to offer enough proof that his remains must be close by. An electrical storm is blamed for the Giant's revival, Buddy Baer (younger brother of boxing champion Max Baer) doing the honors in Jack Pierce makeup, rising from his shallow grave to retrieve his armor and stalk whoever crosses his path. Poor Indian Joe is found hanging on a hook in his own shack, and young Ann Brown (Jolene Brand) is murdered as well, the Sheriff only convinced of the Giant's presence once he makes off with Janet. The screenplay commits the cardinal sin of opening with a series of murders that are promptly dropped at the midway point when Vargas comes to life, botching any attempt to link the Giant with the killings preceding his revival (this kind of confused, unsolved padding also afflicted the 1962 "Terrified," in which the surprise killer couldn't possibly be the culprit driving folks off the road early on). Baer is effective though kept silent as a menace , the climax similar to the Karloff "Frankenstein" in that a mill proves the final destination, a light snowfall capturing the quiet beauty of the surroundings before Vargas takes his fatal plunge. Morris Ankrum, equally at home here as a professor or as military leaders in "Flight to Mars" and "The Giant Claw," probably enjoys his most screen time as a supporting player, Sally Fraser was a veteran of "It Conquered the World," "War of the Colossal Beast," and "Earth vs the Spider." Bob Steele's mulish characterization initially brings back fond memories of Curly in "Of Mice and Men," eventually coming around from this stubborn streak to lead the charge against the Giant. The most surprising cast member is young Gary Crutcher as the working brother of victimized Ann Brown, here making his film debut before the camera but later churning out screenplays for such cult films as William Grefe's "Stanley" and John Carradine's "Superchick."