Creature from the Black Lagoon

and is ogled from below by
yet another male admirer, the gill-man.

Julie Adams is doubled here
by Ginger Stanley,

a "mermaid" swimmer
at Weeki Wachee Spring.

When the camera is underwater, it's
cinematographer Welbourne's camera,

and you see Ginger Stanley.
When the camera is above water,
it's cinematographer William Snyder

photographing Julie Adams
in Park Lake at Universal.

Browning's performance in this scene is
the poetic/dramatic highlight of the movie.

The thing that makes the creature
as image and myth

are the wonderful, dynamic, swimming-
Ricou shots you're about to see.

There's no dialogue for a few minutes,
so now is a good time

to talk about the music
of Creature from the Black Lagoon.

Sci-fi movie music expert David Schecter,
who releases classic sf film scores on CD

under the umbrella title Monstrous
Movie Music, calls the Creature score

"one of the most varied and memorable
in all of '50s sci-fi horrordom".

"Part of the experience of the film is the
considerable musical accompaniment."

And he's right. A hefty 63 per cent
of Creature has background music.

Of the 44 cues listed
on Creature's cue sheets,

29 were composed
specifically for the movie,

with the other 15 lifted from
prior Universal pictures.

The 29 originals were,
according to Schecter,

composed by Hans J Salter, twelve,
Henry Mancini, ten,

and Herman Stein, seven. The music
we're hearing now is by Herman Stein,

and the cue is called
"Kay and the Monster".

"The older films that contributed music to
Creature's score were from many genres"

writes Schecter. "Some, like Mr Peabody
and the Mermaid, were water-themed,

which is why the music was
considered for use in Creature,

and why it was so well-suited. Westerns
also played a role in Creature's score,

as they did in other Universal
sci-fi scores of the '50s."

"But what sets Creature's score apart
from that of other Universal sci-fi films

is its reliance upon a single musical
motif, Stein's three-note creature theme."

"In the film, practically every time you see
the creature, his hands, his back, his feet,

or even his wet footprints,
you hear his three-note theme,

often played on flutter-tongued trumpets."