How to Make a Monster (1958)

Herbert L. Strock once again directs a horror thriller for AIP, but this time with a twist: This story is about AIS studio make-up artist Pete Dumond(inspired by real-life Universal make-up artist Jack Pierce?) who turns homicidal after new owners fire him, intending to phase out horror pictures altogether! Enraged, he uses a combination of hypnosis and his own chemical compound to transform actors Gary Conway(Teenage Frankenstein) and Gary Clarke(Teenage Werewolf, in place of Michael Landon)into real monsters, who kill all those who would put Pete out of work. Local police are of course baffled. Despite a clever premise, this is otherwise uninspired, being just another standard revenge picture, leading to a silly and abrupt finale. Still, it is amusing to think of the unfinished "Teenage Werewolf Vs. Teenage Frankenstein" picture being made in the film!

Surprisingly good film, with an undercurrent of self-satire. If the potentially humorous aspects of the story had been pushed more, it might well have ended up a black comedy like Corman's Little Shop of Horrors, or Bucket of Blood. There are certainly some satirical bits that poke fun at the Hollywood system, but the overall storyline is presented seriously, favoring horror over humor.Robert Harris is brilliant as the veteran makeup man let go by the new owners of the movie company he has worked for most of his life. He brings a quiet dignity to his role of under-appreciated workman/artist, and never overdoes the insanity. Even at his most demented, at the climax of the picture, he avoids cackling craziness, and plays Pete Dumond as almost a tragic character.Many reviewers have commented on the homosexual undertones of the character, with his paternalistic attitude toward the young actors he refers to as his " boys". How much of this was intentional is hard to say, but it's there.This is a clever film, that offers AIP fans an in-joke by the studio. I wonder if the writer and producer dreamed up the idea after a few drinks at a Hollywood watering hole one night.

If you enjoyed "I was a Teenage Werewolf","Blood of Dracula" and "I was a Teenage Frankenstein", you will enjoy this. It mixes the two genres that helped American International Studios become successful: teenage exploitation and horror films. A make-up artist is told his services will no longer be needed after new studio bosses arrive. Seeking revenge, he mixes an unknown substance into his make-up. After applying the formula and foam, hair,etc. onto the teenage actors' faces, he bids them to kill those who had fired him. The acting is decent, the music is a blend of old and reused scores("I was a Teenage Frankenstein" for one)and there is enough action to keep things moving along. Gary Conway reprises his Frankenstein role and there are supporting roles from B movie vets Morris Ankrum and Thomas B. Henry. Overall,a film that has some good elements and is enjoyable Drive-In fare from the 1950s.

Pseudo "behind-the-scenes" look at Hollywood from American International Pictures, filmed (naturally) on the cheap though still retaining a certain cheesy style that is both commendable and entertaining to watch. A nefarious make-up man for a movie-studio is up to no good, turning the actors he's working on into killers. Has some movie-monster camp appeal, and A.I.P. stable-hunk John Ashley has a fabulous scene midway through (singing "You Gotta Have That Eee-Uuu!" while surrounded by a bevy of fishnet-clad chorus girls!). It's a great bit, with Ashley snarling and snapping his fingers like a post-pubescent Elvis, but the rest of this horror outing is a bit too tame and talky. ** from ****