Teenage Monster


1h 5m 1958

Brief Synopsis

A meteor crash turns a teenager into a raging monster held captive in the basement by his mother.

Film Details

Also Known As
Meteor Monster, Monster on the Hill
Release Date
Jan 1958
Premiere Information
Los Angeles opening: 25 Dec 1957
Production Company
Marquette Productions, Ltd.
Distribution Company
Howco Productions, Inc.
Country
United States
Location
Chatsworth Iverson Ranch, California, United States; Chatsworth--Iverson Ranch, California, United States; Chatsworth/Iverson Ranch, California, United States

Technical Specs

Duration
1h 5m
Film Length
5,870ft (7 reels)

Synopsis

In 1880, just outside of a small Western town, Jim Cannon, his wife Ruth and young son Charlie are still hoping to find gold in an abandoned mine. One day while Jim and Charlie are at the mine, a mysterious object falls from the sky, killing Jim and leaving Charlie seriously injured. Seven years later, Charlie has grown into a strapping teenager, but because of the strange accident, has remained childlike and developed hideous, hairy features. Ruth has kept Charlie's survival a secret from the local townspeople, but despite Ruth's best efforts to keep Charlie hidden, he often runs away. On these escapades, Charlie unwittingly has killed sheep and cattle in an attempt to play with them. One day after being confined in the mine for an especially long period, Charlie escapes and throttles a man to death when he refuses to allow Charlie to pet his burro. When Charlie returns to the cave, Ruth scolds him for running away and reminds him that if he is ever caught, the authorities will take him away from her. Soon after, Ruth and Charlie strike a rich gold vein in the mine. Excited by the discovery, Ruth hastens into town with an ore sample to have it evaluated by the assayer, Fred Fox. While awaiting Fox's appraisal, Ruth dines with Bob the sheriff, a long-time admirer who hopes that Ruth will finally move into town and consider his offer of marriage. Bob's deputy Ed interrupts the couple's meal to report that a dead man has been found outside of town. When Ed relates that the killing is similar to an unsolved murder that occurred the year before, Ruth realizes with horror that Charlie must be responsible. When Ruth learns that the mine strike is legitimate, she arranges to buy Fox's large, modest house at the edge of town, hoping that living in a real home will soothe Charlie. One day some weeks later, Ruth departs on a date with Bob, causing Charlie to throw a tantrum at being left alone. When Ruth does not return by dusk, Charlie goes outside and attacks a neighbor and frightens several children. Charlie then kidnaps waitress Kathy North and takes her back to the house where his aggressive behavior causes Kathy to faint. Meanwhile in town, Ruth overhears Ed telling Bob about the new murder and several children's description of a "monster" roaming the back roads. Bob worries about Ruth living alone on the town's outskirts, but she refuses his offer of help. At home that evening, Ruth is mortified to find Kathy passed out in the closet where a frightened Charlie has hidden her. After reviving Kathy, Ruth confesses that Charlie is her son and offers to pay Kathy $500 a month to remain silent about him. When Kathy wonders how she could explain having so much money, Ruth suggests that Kathy become her companion. Ruth then tells Charlie she must lock him in the house for his own good. A few days later, Kathy meets her boyfriend, Marv Howell, who is anxious to borrow some money. Marv discovers the $500 in Kathy's purse and, believing that she has stolen it, threatens to expose her and takes the money. Angry, Kathy returns to the Cannons where she tells Charlie of Marv's treatment and convinces Charlie to kill him. Upon returning home after murdering Marv that night, Charlie witnesses Bob kissing Ruth goodnight and, overcome with jealousy, attacks Bob. Upon reviving, Bob asks Ruth to describe the assault and she repeats the children's description of the monster. Later, Ruth confronts Kathy about freeing Charlie and Kathy brazenly admits to ordering Charlie to kill Marv. Kathy gloats about her newly found wealth and threatens to blackmail Ruth for more money to keep silent about Charlie. Indignant over Kathy's callous greed, Ruth refuses to sign a note promising to pay Kathy $20,000. Meanwhile Bob and Ed discover Marv's body and decide to question Kathy, who was known as Marv's girl friend. Kathy feigns ignorance, then using Bob's presence to pressure Ruth, asks him to serve as witness to signing the $20,000 promissory note. When Bob privately quizzes Ruth about Kathy's recent activities, Ruth defends her. As Kathy and Charlie eavesdrop, Bob reiterates his concern for Ruth and again proposes, but Ruth remains evasive. Kathy then rouses Charlie's anger at both Bob and Ruth, by convincing him that Ruth wants to abandon him. Later, however, Charlie is confused when he overhears Kathy scorn Ruth for her self-sacrifice. That afternoon at Kathy's urging, Charlie follows Bob and Ruth to the barn where Ruth turns down Bob's proposal, explaining that she has other obligations. When Kathy prompts Charlie to attack the couple, Charlie becomes outraged and seizes Kathy, dragging her away. While riding out to meet Bob, Ed sees Charlie and Kathy. Bob, Ruth and Ed follow Charlie up a steep mountain where he tells Kathy he hates her for using him against his mother. The others watch in horror as Charlie then hurls Kathy off a cliff. Despite Ruth's plea to save her son, Bob shoots Charlie, who then falls to his death.

Film Details

Also Known As
Meteor Monster, Monster on the Hill
Release Date
Jan 1958
Premiere Information
Los Angeles opening: 25 Dec 1957
Production Company
Marquette Productions, Ltd.
Distribution Company
Howco Productions, Inc.
Country
United States
Location
Chatsworth Iverson Ranch, California, United States; Chatsworth--Iverson Ranch, California, United States; Chatsworth/Iverson Ranch, California, United States

Technical Specs

Duration
1h 5m
Film Length
5,870ft (7 reels)

Articles

Teen Terror Collection - TEENAGE DOLL, TEENAGERS FROM OUTER SPACE & TEENAGE MONSTER - A Raging Hormones Triple Feature on DVD


Image's Teen Terror Collection is another budget repackaging of titles from the Wade Williams Collection that originally sold at a much higher price point. The shaky theme this time around is that the three films offered have the word "Teen" or "Teenage" in the title. One is a juvenile delinquency mini-epic made by Roger Corman in his most prolific year. The other two are fringe productions in search of an audience. Tom Graeff's lovably modest movie about a teen heartthrob from space received a major release from Warner Bros..Jacques Marquette's anemic monster western is one of the decade's least-liked time wasters.

Directing sensation Roger Corman hit his stride in 1957, pumping out a half-dozen separate features for the drive-in crowd. This 'teenage problem' movie adheres closely to the Production Code while talking a tough line of hood-speak. It features a full cast of name talent from the then-topical Juvenile Delinquent sub-genre.

Synopsis: After a gang fight, Barbara Bonney (June Kenney) is convinced she pushed Tarantula gang member Nan Baker to her death from a rooftop. While the Tarantulas consider her fate, Barbara runs to her con-man boyfriend Eddie Rand (John Brinkley), the leader of the rival Vandals gang. Various gang members have alcoholics, adulterers or repressive fools for parents. Younger sisters and brothers are neglected in sordid home situations. With a gang fight expected, Barbara has to decide whether to run away with Eddie or turn herself into the cops.

Teenage Doll does its best to talk tough. Corman regular Chuck Griffith's script sags under the weight of painfully neutered euphemisms like, "I don't give a flying flip," and "I was weaned on a .38!" The atmosphere is low-budget Corman all the way. Except for a junkyard and a few street scenes most of the settings are improvised on bare sound stages or poorly dressed soundstage exteriors. Floyd Crosby's lighting is professional but flat and Corman's direction rushed. A tame, brief gang fight is hyped with huge "punch" sound effects. Although provocative words like "naked" are frequent, the strongest visual is a close-up of a bra strap being hooked.

Corman may have recruited some of the cast from his acting class. Genre fans will feel right at home with familiar Corman faces Barboura Morris and Richard Devon, and June Kenny, Fay Spain, and Ed Nelson. Many of the performances, though, are downright embarrassing. The teens talk like 14 year-olds but look to be pushing 25. Each is afforded a fat 'audition' speech to strut their stuff, making the dramatic structure resemble a string of amateur improvs. Although Ziva Rodann does a nice job as a gang-ette named 'squirrel,' one young hood menacing Barbara ruins several scenes with his overacting. June Kenney looks distraught but keeps a perfect wave in her hair throughout, while Fay Spain barks out unconvincing threats and orders like a bad imitation of 'Anybody's' in West Side Story.

The rushed, cheap picture lasts only 68 minutes; some of Corman's science fiction and horror pix of the period are lavish by comparison. An Allied Artists release from the Woolner brothers, Teenage Doll is recommended for Corman fans and hardcore devotees of the teen-pix subgenre.

Image Entertainment's DVD of Teenage Doll looks clean and snappy. The crisp photography is handsome but the transfer may be slightly cropped at the sides. The accompanying trailer ("Hellcats in tight pants!") is almost identically framed.

This impoverished production was actually a winner in the 1950s independent sweepstakes. Warner Bros. reinvented Toho's Godzilla Raids Again as Gigantis: The Fire Monster and needed a co-feature to send out on a quickie double bill. A look at what was available turned up Tom Graeff's affable turnip of a space invasion picture, a homemade but rather handsomely shot poverty picture with a clear plotline and characters a seven-year old could understand. In fact, the movie played best to monster-crazy seven year-olds.

Synopsis: A flying saucer lands outside Los Angeles, disgorging four young aliens in search of a planet suitable as grazing turf for millions of giant Gargon monsters. Sensitive Derek (David Love) objects when he finds signs of intelligent life, and runs away. The commander dispatches the hateful Thor (Bryan Grant) to bring Derek back. Not realizing he's being followed, Derek meets cute Betty Morgan (Dawn Anderson) and her pleasant grandfather (Harvey B. Dunn). In his pursuit Thor 'skeletonizes' several unlucky people with his disintegrator ray. Government security agents and Betty's journalist boyfriend Joe Rogers (Tom Lockyear, actually director Graeff) track down Thor, while Derek takes steps to see that his alien comrades menace the Earth no more!

With a title like Teenagers from Outer Space nobody expects anything watchable, let alone good. By 1959 the 'teenage' craze was fading and the majors were driving cheapie productions off the market by releasing fantastic films in color (The Blob, The Fly, The 4-D Man). Tom Graeff's little one-man show is more coherent than many broken-down efforts from the same year, like Attack of the Giant Leeches and The Brain Eaters. It looks every bit as professional as television productions of the time, and plays out at the measured pace of a TV show like Father Knows Best.

The painfully literal script gives all the players expository speeches that pigeonhole them into neat character slots. The sweet girl-next-door adopts Derek practically as a replacement for her lost puppy. Grandpa fills every conversational gap with mellow happy-speak. Joe the reporter wears a hat suitable for 1930 and affects a gee-whiz manner to match. The soul-sick Derek, a disillusioned defector from a brutal interplanetary civilization, waxes philosophical about his particular cosmic predicament. He's a stranger in a strange world and adopts Earth as his new home. Everyone's speech patterns have a measured cadence; Graeff once offered the information that, because he could not afford live audio recording, he carefully timed out and then pre-recorded all of the film's speeches. The tapes were played back on the set and the actors did their best to match their lips to them, a method tried and abandoned by Orson Welles at RKO in 1940. Whether or not the dialogue had to be re-looped, the pitch of the performances was established before the chaos of filming, reducing director Graeff's workload on the set. The filming style must have been the exact opposite of improvisation.

Production-wise, Teenagers from Outer Space is staged at the level of a high-school play. The aliens wear cheap jump suits, use Air Force surplus jet helmets and tote ordinary footlockers to carry their gear. One Gargon monitoring device bears the markings of an audio mixer. Thor's disintegrator gun looks like an antiquated dime store Flash Gordon toy, and the ray gun firing effect is simply a mirror reflecting sunlight. Graeff's clever cutting sells the idea of victims instantly converted to skeletons, as noted in the promotional hype about a "Ray Gun Rampage" and the sight of "Flesh Blasted from Bones." The skeletonized victims come complete with sawed skulls, metal brackets and wire rib holders, indicating that the "prop" had to be returned to the school science lab after filming.

The sight of the corkscrew-shaped flying saucer worming its way into the ground is cleverly done, but by the last reel the special effects go way downhill. The cast points upward and tells us that hundreds of Gargon transport ships are converging in the sky, but Graeff neglects to show any of them. The worst visual is the Gargon itself. Seen when small as an ordinary, unhappy-looking lobster, the giant Gargon is a crudely matted silhouette that may be the least convincing effect of the 1950s.

Tom Graeff's film works because its heart is in the right place. Derek is peace loving and gentle, Thor is a nasty baddie, and poor Betty loses both her dog and its romantic replacement from the stars. The primitive theatrics are actually quite touching -- the show finds its own humble level of dramatic integrity.

Image's DVD of Teenagers from Outer Space looks fine, and may come from Tom Graeff's original elements. His photography is consistent and clear. Hollywood residents will notice many locations. A high angle shot of the town is the entrance to the Beachwood drive enclave, and we get a good look at the side of the Cole Street fire station as well as an entrance to Hollywood High. The marble steps seen in the big G-Man battle (with scratched film representing the guns firing) may be the Wilcox Post Office, and a winding hillside road may be the one leading to the Hollywood reservoir dam.

Jacques Marquette must have made Teenage Monster with money left over from The Brain from Planet Arous, a much more enjoyable film. Originally titled Meteor Monster and shown under that title on television, this is one of the dullest of the late 50s drive-in quickies.

Synopsis: A meteor kills miner Jim Cannon (Jim McCullough) and scars his young boy Charles (Stephen Parker). Fifteen years later, Charles (Gilbert Perkins) has grown into a king-sized freak with a scarred face, ugly teeth and fur that covers his entire body. He's also a murderous half-wit. Charles' mother Ruth (Anne Gwynne) has kept him hidden all these years, but the mysterious killings escalate when they strike gold, and Ruth starts seeing more of Sheriff Bob Lehman (Stuart Wade). Charles abducts waitress Kathy North (Gloria Castillo) and Ruth attempts to bribe her into silence. Instead, the conniving Kathy uses Charles to murder Marv Howell (Charles Courtney), a faithless lover. A posse closes in on the Cannon's new house, eager to kill the now-legendary monster.

Critics and reviewers can't be blamed for calling Teenage Monster sordid, as 1957 was way too early for a genre picture that featured mental retardation with an unsavory sexual angle. Gil Perkins' stammering, whining furry killer doesn't evoke enough interest to be either pitiful or unintentionally funny.

The Freudian setup quickly becomes a bad joke as furry Charlie kills people left and right, only to be really sorry when his mother berates him. Then he goes out and kills some more, demonstrating that neither of them has learned their lesson. Put Ann Blyth and Joan Crawford in the Charlie and Ruth roles and this might have been the logical horror successor to Mildred Pierce -- What's a mother to do? Charles goes off the deep end as soon as he sees Mom getting cozy with her new boyfriend, the Sheriff. Charles immediately tries to kiss and cuddle with Kathy North, his kidnap victim, but the film is too incompetent to tell us who he really wants to sleep with.

The film is so primitive that none of the ugly subtext seems to matter. The same four interior sets carry the entire film, and exterior scenes frequently jump from day to night. Marquette's action direction is terrible. The people on horseback ride as if they had their first lesson half an hour before. Plodding from event to event, the film barely holds our attention.

Impossible characters defeat the actors, even favorite Gloria Castillo (Ruby in The Night of the Hunter). Castillo does her best to act like an evil woman (yes, yet another film that puts the Blame on Mame) but her big sad eyes give her away. Although the makeup man is the legendary Jack Pierce, Gil Perkins' proto-Wookie has no menace, looking more like a victim of The Curse of the Tribbles.

The movie and especially its conclusion appear to have been filmed at Stony Point, a rocky outcropping at the beginning of the Santa Susana pass between the San Fernando Valley and Simi Valley. Back in 1957 it had several impressive views; now it is hemmed in on all four sides by developments and freeways.

Teenage Monster is sourced from a better-than-average theatrical print with few scratches and only a couple of minor splice breaks. A trailer is included that cannot make the show look like anything but what it is...a real snooze.

Image's Teen Terror Collection isn't the best of Wade Williams' crop of 1950s oddities, as the third feature Teenage Monster will send any cult film freak back to the mainstream. All three are in better shape than many of Williams' offerings. The fat keep case holds three discs and is decorated with a collage of graphics from the original posters.

For more information about Teen Terror Collection, visit Image Entertainment. To order Teen Terror Collection, go to TCM Shopping.

by Glenn Erickson
Teen Terror Collection - Teenage Doll, Teenagers From Outer Space & Teenage Monster - A Raging Hormones Triple Feature On Dvd

Teen Terror Collection - TEENAGE DOLL, TEENAGERS FROM OUTER SPACE & TEENAGE MONSTER - A Raging Hormones Triple Feature on DVD

Image's Teen Terror Collection is another budget repackaging of titles from the Wade Williams Collection that originally sold at a much higher price point. The shaky theme this time around is that the three films offered have the word "Teen" or "Teenage" in the title. One is a juvenile delinquency mini-epic made by Roger Corman in his most prolific year. The other two are fringe productions in search of an audience. Tom Graeff's lovably modest movie about a teen heartthrob from space received a major release from Warner Bros..Jacques Marquette's anemic monster western is one of the decade's least-liked time wasters. Directing sensation Roger Corman hit his stride in 1957, pumping out a half-dozen separate features for the drive-in crowd. This 'teenage problem' movie adheres closely to the Production Code while talking a tough line of hood-speak. It features a full cast of name talent from the then-topical Juvenile Delinquent sub-genre. Synopsis: After a gang fight, Barbara Bonney (June Kenney) is convinced she pushed Tarantula gang member Nan Baker to her death from a rooftop. While the Tarantulas consider her fate, Barbara runs to her con-man boyfriend Eddie Rand (John Brinkley), the leader of the rival Vandals gang. Various gang members have alcoholics, adulterers or repressive fools for parents. Younger sisters and brothers are neglected in sordid home situations. With a gang fight expected, Barbara has to decide whether to run away with Eddie or turn herself into the cops. Teenage Doll does its best to talk tough. Corman regular Chuck Griffith's script sags under the weight of painfully neutered euphemisms like, "I don't give a flying flip," and "I was weaned on a .38!" The atmosphere is low-budget Corman all the way. Except for a junkyard and a few street scenes most of the settings are improvised on bare sound stages or poorly dressed soundstage exteriors. Floyd Crosby's lighting is professional but flat and Corman's direction rushed. A tame, brief gang fight is hyped with huge "punch" sound effects. Although provocative words like "naked" are frequent, the strongest visual is a close-up of a bra strap being hooked. Corman may have recruited some of the cast from his acting class. Genre fans will feel right at home with familiar Corman faces Barboura Morris and Richard Devon, and June Kenny, Fay Spain, and Ed Nelson. Many of the performances, though, are downright embarrassing. The teens talk like 14 year-olds but look to be pushing 25. Each is afforded a fat 'audition' speech to strut their stuff, making the dramatic structure resemble a string of amateur improvs. Although Ziva Rodann does a nice job as a gang-ette named 'squirrel,' one young hood menacing Barbara ruins several scenes with his overacting. June Kenney looks distraught but keeps a perfect wave in her hair throughout, while Fay Spain barks out unconvincing threats and orders like a bad imitation of 'Anybody's' in West Side Story. The rushed, cheap picture lasts only 68 minutes; some of Corman's science fiction and horror pix of the period are lavish by comparison. An Allied Artists release from the Woolner brothers, Teenage Doll is recommended for Corman fans and hardcore devotees of the teen-pix subgenre. Image Entertainment's DVD of Teenage Doll looks clean and snappy. The crisp photography is handsome but the transfer may be slightly cropped at the sides. The accompanying trailer ("Hellcats in tight pants!") is almost identically framed. This impoverished production was actually a winner in the 1950s independent sweepstakes. Warner Bros. reinvented Toho's Godzilla Raids Again as Gigantis: The Fire Monster and needed a co-feature to send out on a quickie double bill. A look at what was available turned up Tom Graeff's affable turnip of a space invasion picture, a homemade but rather handsomely shot poverty picture with a clear plotline and characters a seven-year old could understand. In fact, the movie played best to monster-crazy seven year-olds. Synopsis: A flying saucer lands outside Los Angeles, disgorging four young aliens in search of a planet suitable as grazing turf for millions of giant Gargon monsters. Sensitive Derek (David Love) objects when he finds signs of intelligent life, and runs away. The commander dispatches the hateful Thor (Bryan Grant) to bring Derek back. Not realizing he's being followed, Derek meets cute Betty Morgan (Dawn Anderson) and her pleasant grandfather (Harvey B. Dunn). In his pursuit Thor 'skeletonizes' several unlucky people with his disintegrator ray. Government security agents and Betty's journalist boyfriend Joe Rogers (Tom Lockyear, actually director Graeff) track down Thor, while Derek takes steps to see that his alien comrades menace the Earth no more! With a title like Teenagers from Outer Space nobody expects anything watchable, let alone good. By 1959 the 'teenage' craze was fading and the majors were driving cheapie productions off the market by releasing fantastic films in color (The Blob, The Fly, The 4-D Man). Tom Graeff's little one-man show is more coherent than many broken-down efforts from the same year, like Attack of the Giant Leeches and The Brain Eaters. It looks every bit as professional as television productions of the time, and plays out at the measured pace of a TV show like Father Knows Best. The painfully literal script gives all the players expository speeches that pigeonhole them into neat character slots. The sweet girl-next-door adopts Derek practically as a replacement for her lost puppy. Grandpa fills every conversational gap with mellow happy-speak. Joe the reporter wears a hat suitable for 1930 and affects a gee-whiz manner to match. The soul-sick Derek, a disillusioned defector from a brutal interplanetary civilization, waxes philosophical about his particular cosmic predicament. He's a stranger in a strange world and adopts Earth as his new home. Everyone's speech patterns have a measured cadence; Graeff once offered the information that, because he could not afford live audio recording, he carefully timed out and then pre-recorded all of the film's speeches. The tapes were played back on the set and the actors did their best to match their lips to them, a method tried and abandoned by Orson Welles at RKO in 1940. Whether or not the dialogue had to be re-looped, the pitch of the performances was established before the chaos of filming, reducing director Graeff's workload on the set. The filming style must have been the exact opposite of improvisation. Production-wise, Teenagers from Outer Space is staged at the level of a high-school play. The aliens wear cheap jump suits, use Air Force surplus jet helmets and tote ordinary footlockers to carry their gear. One Gargon monitoring device bears the markings of an audio mixer. Thor's disintegrator gun looks like an antiquated dime store Flash Gordon toy, and the ray gun firing effect is simply a mirror reflecting sunlight. Graeff's clever cutting sells the idea of victims instantly converted to skeletons, as noted in the promotional hype about a "Ray Gun Rampage" and the sight of "Flesh Blasted from Bones." The skeletonized victims come complete with sawed skulls, metal brackets and wire rib holders, indicating that the "prop" had to be returned to the school science lab after filming. The sight of the corkscrew-shaped flying saucer worming its way into the ground is cleverly done, but by the last reel the special effects go way downhill. The cast points upward and tells us that hundreds of Gargon transport ships are converging in the sky, but Graeff neglects to show any of them. The worst visual is the Gargon itself. Seen when small as an ordinary, unhappy-looking lobster, the giant Gargon is a crudely matted silhouette that may be the least convincing effect of the 1950s. Tom Graeff's film works because its heart is in the right place. Derek is peace loving and gentle, Thor is a nasty baddie, and poor Betty loses both her dog and its romantic replacement from the stars. The primitive theatrics are actually quite touching -- the show finds its own humble level of dramatic integrity. Image's DVD of Teenagers from Outer Space looks fine, and may come from Tom Graeff's original elements. His photography is consistent and clear. Hollywood residents will notice many locations. A high angle shot of the town is the entrance to the Beachwood drive enclave, and we get a good look at the side of the Cole Street fire station as well as an entrance to Hollywood High. The marble steps seen in the big G-Man battle (with scratched film representing the guns firing) may be the Wilcox Post Office, and a winding hillside road may be the one leading to the Hollywood reservoir dam. Jacques Marquette must have made Teenage Monster with money left over from The Brain from Planet Arous, a much more enjoyable film. Originally titled Meteor Monster and shown under that title on television, this is one of the dullest of the late 50s drive-in quickies. Synopsis: A meteor kills miner Jim Cannon (Jim McCullough) and scars his young boy Charles (Stephen Parker). Fifteen years later, Charles (Gilbert Perkins) has grown into a king-sized freak with a scarred face, ugly teeth and fur that covers his entire body. He's also a murderous half-wit. Charles' mother Ruth (Anne Gwynne) has kept him hidden all these years, but the mysterious killings escalate when they strike gold, and Ruth starts seeing more of Sheriff Bob Lehman (Stuart Wade). Charles abducts waitress Kathy North (Gloria Castillo) and Ruth attempts to bribe her into silence. Instead, the conniving Kathy uses Charles to murder Marv Howell (Charles Courtney), a faithless lover. A posse closes in on the Cannon's new house, eager to kill the now-legendary monster. Critics and reviewers can't be blamed for calling Teenage Monster sordid, as 1957 was way too early for a genre picture that featured mental retardation with an unsavory sexual angle. Gil Perkins' stammering, whining furry killer doesn't evoke enough interest to be either pitiful or unintentionally funny. The Freudian setup quickly becomes a bad joke as furry Charlie kills people left and right, only to be really sorry when his mother berates him. Then he goes out and kills some more, demonstrating that neither of them has learned their lesson. Put Ann Blyth and Joan Crawford in the Charlie and Ruth roles and this might have been the logical horror successor to Mildred Pierce -- What's a mother to do? Charles goes off the deep end as soon as he sees Mom getting cozy with her new boyfriend, the Sheriff. Charles immediately tries to kiss and cuddle with Kathy North, his kidnap victim, but the film is too incompetent to tell us who he really wants to sleep with. The film is so primitive that none of the ugly subtext seems to matter. The same four interior sets carry the entire film, and exterior scenes frequently jump from day to night. Marquette's action direction is terrible. The people on horseback ride as if they had their first lesson half an hour before. Plodding from event to event, the film barely holds our attention. Impossible characters defeat the actors, even favorite Gloria Castillo (Ruby in The Night of the Hunter). Castillo does her best to act like an evil woman (yes, yet another film that puts the Blame on Mame) but her big sad eyes give her away. Although the makeup man is the legendary Jack Pierce, Gil Perkins' proto-Wookie has no menace, looking more like a victim of The Curse of the Tribbles. The movie and especially its conclusion appear to have been filmed at Stony Point, a rocky outcropping at the beginning of the Santa Susana pass between the San Fernando Valley and Simi Valley. Back in 1957 it had several impressive views; now it is hemmed in on all four sides by developments and freeways. Teenage Monster is sourced from a better-than-average theatrical print with few scratches and only a couple of minor splice breaks. A trailer is included that cannot make the show look like anything but what it is...a real snooze. Image's Teen Terror Collection isn't the best of Wade Williams' crop of 1950s oddities, as the third feature Teenage Monster will send any cult film freak back to the mainstream. All three are in better shape than many of Williams' offerings. The fat keep case holds three discs and is decorated with a collage of graphics from the original posters. For more information about Teen Terror Collection, visit Image Entertainment. To order Teen Terror Collection, go to TCM Shopping. by Glenn Erickson

Quotes

Trivia

Notes

The working titles of the film were Monster on the Hill and Meteor Monster. As several reviews noted, actor-stuntman Gilbert "Gil" Perkins, who portrayed the teenage monster, was not an adolescent. The film was shot on location at the Iverson Ranch in Chatsworth, CA. Although reviews credit George Anderson as sound man, only Phillip Mitchell receives onscreen credit.

Miscellaneous Notes

Released in United States 1957

Released in United States 1957