While on a South Seas trip, a professor falls in love and marries an exotic native woman. What he doesn't know is that she was raised by superstitious natives who believe her to be some ... See full summary »
A mad scientist is forced to leave San Francisco when his experiments become known. He lands on a tropical island, takes control and terrorizes the local populace. The survivor of a ... See full summary »
Marcel De Lange is a struggling sculptor whose work and sanity are derided by the New York art critics. After waspishly officious critic F. Holmes Harmon ruins a sale for De Lange by dismissing his expressionistic cubist work as "tripe" and later gloating about it in his column, the distraught artist goes to the river to drown himself. There he discovers the half-drowned body of the notorious serial killer, the Creeper, and takes him back to his studio to recover. Feeling empowered by the friendship of the acromegalic sociopath, De Lange tasks him with murdering the critics who have pilloried him in print. When successful commercial artist Steve Morrow is wrongly suspected of the crimes, his art critic girlfriend Joan Medford decides to follow her instinct about a mysterious bust De Lange has suspiciously covered in his studio, and she decides to snoop around.Written by
Part of the original Shock Theater package of 52 Universal titles released to television in 1957, followed a year later with Son of Shock, which added 20 more features. See more »
In the penultimate scene, De Lange talks about the Creeper in seeming unawareness of his presence, even though the Creeper has already left his place of concealment and is standing right in front of De Lange. See more »
More than "the creeper" himself ,the real monster is Marcel (a sculptor with a French name meaning "from the angel"!)Martin Kosleck is actually the stand out with his piercing eyes,his banal look and his aspiration for glory ;at the beginning he seems a nice guy feeding his pet cat and coming to a man's rescue.But further acquaintance shows this :he gradually goes nuts and the statue becomes a transparent metaphor for the monster he is creating (a Frankensteinesque relationship,which the ending confirms).
This is also a fierce attack on art critics "who judge works but do not know they are judged by them "(Jean Cocteau),a subject which "theatre of blood" will resume in the seventies.
4 of 5 people found this review helpful.
Was this review helpful to you?
| Report this