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I’d been interested in watching this ever since it was cited as the Worst Film Ever on an entry devoted to 1950s sci-fi cinema in a British periodical from the early 1980s entitled “The Movie” (incidentally, the Leonard Maltin Film Guide also awarded this the unenviable BOMB rating). When it came out on DVD last year, I became interested in purchasing the “Cult Camp Classics” Box Set in which it was included (along with QUEEN OF OUTER SPACE [1958] and THE GIANT BEHEMOTH [1959]); however, since recently acquiring QUEEN on DVD-R, I had put paid to the idea.
Happily, I’ve just stumbled upon the film on DivX – however, the print wasn’t culled from the Warners DVD (which is said to boast a surprisingly pleasant-looking transfer) but rather a muddy TV print…though not so much that the detail is lost (in other words, it was like watching the film in sepia as opposed to black-and-white!). Anyway, to get to the matter at hand: I have to admit that, in a way, I was disappointed the film didn’t prove to be the laugh-fest I had anticipated all this time (Maltin calls it “hilariously awful”); actually, I found it quite engaging – and thankfully brief at a little over an hour in length. Some undeniably amusing bits remain though – such as when the old nurse starts screaming her head off at the sight of the 50-foot woman, and when the Sheriff’s deputy almost runs over his chief and the leading lady’s butler in his enthusiasm to be of assistance in such an unusual case. Neither did the special effects hit me as being “among the funniest” (Maltin again) on film – though they’re certainly embarrassingly bad!
O.K., so the idea that an alien (in giant-sized human form, clad in cave-man rags, and radioactive to boot!) coming to Earth in a big ball-shaped(!) spaceship and apparently after the heroine’s prized necklace is utter nonsense – and his quasi-transparent appearance does it no favors at all…but, really, it’s the human story that holds our attention (relatively speaking). The character of the philandering husband isn’t very interesting, but his two women are: wealthy but nagging alcoholic wife Allison Hayes and ambitious, vixenish girlfriend Yvette Vickers. Also involved in the narrative are Hayes’ faithful servant (already mentioned), a couple of cops (one of them, as noted elsewhere, being amiably goofy) and as many doctors (one of whom is named Dr. Cushing[!] and another a specialist who’s called in when Hayes starts growing in size after being exposed to radiation).
Of course, the film could be seen as the reversed female version of THE INCREDIBLE SHRINKING MAN (1957) – though it wouldn’t be fair to compare the two further, as the Jack Arnold/Richard Matheson classic is far more psychological/intellectual in approach; actually, Hayes doesn’t seem to be that bothered with her ‘condition’ and, in fact, takes advantage of it in order to teach her husband a lesson! However, her rampage – exaggerated in movie posters of the era – is rather quaint (especially when considering that it only occurs in the last ten minutes or so); when not shown the damage caused by her enormous but highly unconvincing hand (especially when lifting the puppet that’s supposed to be her husband!), she’s mostly seen walking in long shot and almost from behind (with her size even inconsistent in proportion to the buildings she passes by)!! Still, Hayes’ demise via electrocution (when she bumps into an electrical cable) is competently done.
Finally, I followed this with its 1993 TV remake with Daryl Hannah as the titular creature – which I rented specifically for this purpose.


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