Enjoyment rating: 5/5
“He slowly asked Bradford what was in store for humanity. Bradford was pessimistic, but implied that maybe all was not lost. After all, he told him, the vastness of the universe was incredible.”
Sometimes I worry that giving a film a low rating will deter people from watching it. Of course, sometimes the low rating should be taken on face value, and he movie should be avoided at all costs. Other times, however, the low rating doesn’t even remotely reflect the sheer enjoyment that can be experienced watching a film that is technically terrible. This is, I suppose, my way of saying that some films are “so bad they’re good,” although I’m loathe to use that phrase because it’s so problematic. More appropriate is to describe such films as “so bad they’re pleasurable” and, as pleasurable experiences go, The Creeping Terror is way up there.
Actor-director-editor-producer Vic Savage’s film is, on the surface at least, a fairly standard 1960s teen-oriented sci-fi picture: a rocket lands, an alien emerges, and chaos ensues. Narratively it’s no more or less interesting than so many of the other low-budget drive-in movies of the times, but aesthetically it’s quite fascinating, and rumours and myths have followed the movie around for years. It gained notoriety when it was included in the Medved’s hugely influential Golden Turkey Awards, nominated for the “most ridiculous monster in screen history” award (eventually losing out to Ro-Man of Robot Monster fame), then featured in their follow-up Son of Golden Turkey Awards, where it won the “most laughable concept for an outer space invader” award. The aliens, which are most frequently described as “carpet monsters”, are a sight to behold – gigantic slug-type creatures with tentacle-covered “faces” and huge mouths for people to helpfully climb into. The Medveds claim that at one point you can see the shoes of one of the students beneath this giant, moth-eaten rug-creature, but I’ve looked pretty carefully and all I’ve ever spotted is a pair of big fluffy monster feet (and the Medveds were not particularly known for their accuracy, preferring to repeat stories that emphasise the wacky regardless of the truth).
One of the stories the Medveds relate regarding The Creeping Terror concerns its strange use of a voice-over narrator and the obviously dubbed dialogue. There are a significant number of films of the time that were shot MOS (without sound) as a cost-cutting measure, with dialogue dubbed in afterwards (Manos: The Hands of Fate does this, though poorly; Beast of Yucca Flats is also clearly shot without a soundtrack; there are plenty of other examples) and, on the surface at least, it seems that The Creeping Terror is no different. Legend has it, however, that the film’s strange (lack of) sound is a mistake, the result of Savage accidentally dropping the sound reel into Lake Tahoe. It’s a great story, one that emphasises incompetence and stupidity, highlighting the conditions by which these older bad movies were made, and it would be great if it was true. However, just a few years later, the Medveds don’t mention this, reporting instead that the style was intentional rather than accidental. Regardless, the myth is still repeated – it’s far more interesting than the mundane truth, after all. While I don’t want to claim that the initial tale is accurate, there is evidence in the film to support such a claim, namely that the film appears to be shot precisely as though it had sound. Characters have long conversations with each other, filmed in classic shot-reverse-shot technique, prioritising the speaker, yet what we hear is the voice-over narrator relating the conversation in distinctly literary tones. As an example: “the sergeant reported seeing an amazingly large creature in the aft section of this strange craft. He further reported that it was secured by a kind of metal harness, but that the creature could still move around somewhat, and for that reason they had not gotten too close to it. There was no trace of either Ben or Jeff. The colonel ordered continuous guard duty around the spaceship, and decided to set up a temporary military headquarters at the sheriff’s office in town.”
It would be quite fascinating to get a lip-reader to watch The Creeping Terror, to see what the characters are actually saying during these scenes – they’re clearly speaking to each other, but we’re rarely privy to their conversations. There are occasional moments of dubbing, and at times it’s clear that what they are saying doesn’t correspond correctly with either the added voice-over or the dubbed dialogue: at one point, a woman (soon to be eaten by a Terror) clearly mouths “there there” to a baby, although we hear her say “poor baby”; later on the voice-over narrator claims that the sergeant tells scientist Bradford to “go to hell,” but this is immediately followed by the sergeant saying “get out of my way!”
So why is the film so enjoyable? Partly it’s because of the visible and aesthetic badness, further emphasised by the voice-over, which speaks in such serious tones, and infuses the film with a bizarre contrast between what is being shown, and what we are being told. There’s plenty more badness on show, of course – the acting is non-descript (and further limited by the voice-over’s insistence of speaking on behalf of the characters, making their appearance on screen frequently redundant), for example. Mostly, however, it’s the Terrors themselves. These creatures are brilliant – physically absurd, technically inept, ludicrously conceived. The people who get devoured (and there are plenty – it’s a pretty impressive death count) have to advance towards the creatures, rather than the other way around, and then either get “swallowed up” by inserting themselves into the conveniently positioned mouth-hole, or the Terror appears to just flop down on top of them. It’s delightfully bonkers, incredibly kitsch when viewed today and, at a short 75 minutes, never gets boring. It might be currently sitting on IMDb as the 30th worst rated film of all time, but for sheer entertainment, surely it would be among the top.
Bonus: You can watch the whole film on Youtube here!