A cowboy named Tuck Kirby seeks fame and fortune by capturing an Allosaurus living in the Forbidden Valley and putting it in a Mexican circus. His victim, called the Gwangi, turns out to have an aversion to being shown in public.
The dumping of radioactive waste in the ocean disturbs a prehistoric monster than can project electric shocks and radioactive beams. After terrorizing the English coast, it is discovered that if the creature is destroyed with conventional weaponry it would spread a dangerous amount radioactive contamination over the entire country, with this fact preventing the military from attacking the monster as it nears London.Written by
Jeremy Lunt <firstname.lastname@example.org>
The helicopters in the movie are a US H-5 Dragonfly and an H-19 with RAF markings. See more »
When the monster comes ashore, a car with the license plate 911-MMF stops, the driver gets out and flees, leaving the door open and colliding with a pedestrian. In the close-up shot, the driver exits the vehicle, but the door swings closed and there is not a pedestrian close enough to run into him. When the scene goes back to wide angle, the car door is wide open again. See more »
The writing credits for this film are locked by the WGA. However, the opening credits should read: Story: Robert Abel and Allan Adler (both uncredited) Screen Play: Eugène Lourié (as Eugene Lourie) Order #1,1,1 See more »
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.
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