The Manster (1962)

It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

This is a gorgeous movie made by a gorgeous spirit.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

It’s sentimental, ridiculously long and only occasionally funny

This was an excellent film and it really surprised me that it was included in my cheapo Mill Creek 50-pack, 'Nightmare Worlds'. The pair that played the married couple in the film were actually married in real life, and the actor who played the evil Japanese mad scientist was born, like me, Canadian. This would have scored higher for me had the mutation not given Larry a second head--they needn't have overdone it there. This was made very suspenseful, with nourish undertones, and it was a greatly enjoyable alternate take on the Jekyll and Hyde story, complete with allusions to: a) The power of alcohol in transforming one's personality and morality; b) how difficult it is in one's life to be faithful and monogamous, when life has more than its share of temptations.; and c) The power of both unconditional love in both friends and one's spouse.This certainly deserves a better rating than it tends to get in cinephilic circles, and I wholeheartedly recommend it to any fans of the genre.

So - Are two heads better than one? Well - I guess you'll just have to watch this truly zany, Sci-Fi flick called "The Manster" to find out the answer to that daunting question.Released in 1962 - The Manster is actually a kinda fun Mad Scientist/Horror movie to watch, providing, of course, that one doesn't take its goofy, far-fetched story at all seriously.I found The Manster to be one of those outrageously low-budget, fright flicks from that particular era that was so bad that, somehow, it was actually (almost) good.I think that it was a very wise move on the part of the director, George Breakston, to see to it that news-reporter Larry Stanford's hideous, two-headed transformation was kept partially concealed within the shadows of near-darkness - Otherwise the intended horror of Larry's horrific predicament would've, I'm sure, been completely lost by a string of unintentional laughs.All-in-all - Even though I would never, ever consider The Manster to be great horror, I still thought that it was a least well-worth one honest viewing.

I think it would only be fair to say that The Manster is something of a cult item. It isn't especially well known but when you see it you'll probably remember it. For one thing, it's a US/Japanese co-production which wasn't exactly common in the 50's, especially given the proximity to the end of the Second World War and the atomic bomb. As it is, this one is set in Japan but with an American lead. It's about a mad scientist who experiments with mutations; he injects an American journalist with a serum which results in the man turning into....the Manster! Perhaps unsurprisingly, this creature is half man, half monster.There's nothing very original in any of this when you describe it of course but that's only telling half the story. The transformation of the Manster is somewhat memorable. At first the poor journalist develops a hairy hand but soon after things begin to go into hyper-drive. An ominous eye appears on his shoulder, which in turn soon sprouts a second head! This climaxes in him splitting apart into a man and a monster (this scene was paid homage to by Sam Raimi in Army of Darkness, no less). All this stuff is really great. It's kind of silly but I guess it more than likely freaked a few folks out back in the day. But there is more to this one that an interesting monster – there are also two interesting women. Firstly there is the mad scientist's wife who is kept in a cage; the woman is a disturbing mutant as a result of one of his insane experiments. Secondly there is Tara his assistant, played by the gorgeous Terri Zimmern who doesn't seem to have acted in anything else; something of a shame considering that she is the best actor on show.This is one of those 50's sci-fi horror flicks that does kind of deliver on its promise. It's a very campy movie of course and it hardly could be accused of taking itself too seriously. On the other hand it does work as a horror film in that it has some pretty striking and memorable imagery; as well as the Manster and the mutant wife, we also have a fairly explosive finale on top an erupting volcano. I think for sure the combination of an American sensibility with Japanese influence is a big part of the reason that the Manster turned out so distinctive. But whatever the case this one is a bit of a blast.

Mad Japanese scientist Dr. Robert Suzuki (Tetsu Nakamura) hopes to create a serum that will advance human evolution, but all efforts so far have been less than successful, earlier attempts having turned his wife and brother (who apparently volunteered for the experiment, making them just as mad as he is) into hideously deformed monsters.Not one to admit defeat, Suzuki—aided by his glamorous assistant Tara (Terri Zimmern)—gives it one last go, drugging and injecting roving US reporter Larry Stanford (Peter Dyneley) without his knowledge. The serum takes effect gradually, Larry becoming progressively more wild and uncontrollable, first succumbing to the pleasures of booze and geisha girls, but eventually turning to murder. As his personality becomes more monstrous, so does his appearance: his hand gets hairy, an eyeball appears in his shoulder, and he grows a second head, eventually splitting into two separate beings.A wonderfully subversive storyline and a standout central performance from Dyneley help distinguish The Manster from most of its contemporaries; Stanford's insatiable sexual appetite and violent outbursts, Tara's dubious past (I'm guessing that she used to be a hooker), Dr. Suzuki's callous and calculating approach to his 'work', and the unforgettably surreal transformation from man to beast all go to make this film a genuinely freaky and thoroughly enjoyable ride into darker-than-usual 50s B-movie monster territory.7.5/10, rounded up to 8 for IMDb.