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How to Make a Monster (1958)

Unrated | | Horror, Sci-Fi | 1 July 1958 (USA)
When a master monster make-up artist is sacked by the new bosses of American International studios, he uses his creations to exact revenge.

Director:

Herbert L. Strock

Writers:

Aben Kandel (original story) (as Kenneth Langtry), Herman Cohen (original story) | 2 more credits »
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Cast

Cast overview, first billed only:
Robert H. Harris ... Pete Dumond
Paul Brinegar ... Rivero
Gary Conway ... Tony Mantell (Teenage Frankenstein)
Gary Clarke ... Larry Drake (Teenage Werewolf)
Malcolm Atterbury ... Security Guard Richards
Dennis Cross Dennis Cross ... Security Guard Monahan
Morris Ankrum ... Police Capt. Hancock
Walter Reed ... Detective Thompson
Paul Maxwell ... Jeffrey Clayton
Eddie Marr Eddie Marr ... John Nixon
Heather Ames Heather Ames ... Arlene Dow
Robert Shayne ... Gary Droz
Rod Dana ... Lab Technician
Jacqueline Ebeier Jacqueline Ebeier ... Jane
Thomas Browne Henry Thomas Browne Henry ... Martin Brace - director of 'Werewolf Meets Frankenstein' (as Thomas B. Henry)
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Storyline

Accomplished but eccentric movie make-up artist Pete Dumond has been with the studio for decades and is totally devoted to his art especially in the creation of screen monsters. His world ends abruptly when new management acquires the company and arbitrarily decides that the horror cycle has run its course, and the studio will now concentrate on escapist musicals. When Dumond hears he will be pink-slipped, the neurotic but usually affable Pete turns psychotic and vows vengeance on the two movie executives responsible. Using a combination of hypnosis and a newly developed chemical formula, Dumond is able to use mind control to compel the young actors playing the teenage Frankenstein and werewolf to exact vengeance for him. Written by duke1029@aol.com

Plot Summary | Plot Synopsis

Taglines:

TERRIFYING! SEE - The Savage Attack of the Monster at Midnight! See more »

Genres:

Horror | Sci-Fi

Certificate:

Unrated | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

1 July 1958 (USA) See more »

Also Known As:

Der Satan mit den tausend Masken See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Ryder Sound Services)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

Hanging on the wall of Pete's home are the heads of several of Paul Blaisdell's monster creations. It Conquered the World (1956), Invasion of the Saucer Men (1957), and The She-Creature (1956). See more »

Goofs

The visitors to the studio are told they are about to visit the set of Horrors of the Black Museum. That film, which was also produced and written by Herman Cohen, was actually shot in England, not at the U.S. studio. See more »

Quotes

Larry Drake: [Looking at the horrific heads on the walls] What are those?
Pete Dumond: My family... my children!
See more »


Soundtracks

You've Got to Have Ee-Ooo
Lyrics by Skip Redwine
Music by Paul Dunlap
Sung by John Ashley
See more »

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User Reviews

 
One of the most amusing horror films of the 50s
11 October 2002 | by funkyfrySee all my reviews

Amusing third sequel to "I Was a Teenage Werewolf" combines the Teenage Werewolf and Teenage Frankenstein. Under fear of termination, a film studio makeup wizard (possibly modelled on one of the family Westmore?) applies "a special fixing agent" to his teenage actor's monster makeup that turns them into real monsters. Given such an unusual, original premise, the results of the film are not too disappointing: several brutal killings, lots of monsters, and even John Ashley's B-grade Elvis impersonation (surely done for laughs, let's hope). the film supposes the existence of "American International Studios" -- a nice thought, but filmmaking had already changed a lot, and AIP was never able to rent a steady digs, so this one just has to stay a fantasy. Did anyone else notice how heavily homoerotic the makeup guy's relationship to the boys was? He always called them "my boys" and talked at one point about having them "in his hands". Plus, note their uncomfortable reaction when he wants them to come to his house for some drinks. Funny stuff, certainly holding up to Herman Cohen's other AIP productions, which were among their best early efforts.


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