Attack of the Giant Leeches

Plot

In the swamps of the Florida Everglades, local game warden Steve Benton and Dr. Brad Gray begin investigating a series of mysterious disappearances that have plagued the area. When a local poacher named Lem Sawyer is found dead with strange sucker marks on his body, the authorities dismiss it as an alligator attack, but Steve and Brad suspect something more sinister. Their investigation leads them to discover that giant, mutated leeches have been emerging from underwater caves, dragging victims to their underwater lair to feed on them. The situation escalates when Liz Walker, having an affair with local store owner Cal Moulton, witnesses one of the creatures but is not believed by the skeptical sheriff. As more people disappear, Steve and Brad must convince the authorities of the danger and find a way to destroy the creatures before they claim more victims in their insatiable hunger.

Historical Background

Released in 1959, 'Attack of the Giant Leeches' emerged during the golden age of American monster movies, a period heavily influenced by Cold War anxieties and nuclear fears. The late 1950s saw an explosion of low-budget creature features, often produced by American International Pictures, which specialized in programming double features for teenage audiences. This era was marked by films featuring radiation-mutated creatures, alien invasions, and scientific experiments gone wrong, reflecting public fears about atomic radiation and the unknown dangers of modern science. The film's production coincided with the Space Race's early years and growing environmental awareness, though these themes were not explicitly addressed in the movie. The drive-in theater culture was at its peak, with films like this serving as perfect programming for teenage audiences looking for thrills and chills on weekend nights.

Making Of

The production faced numerous challenges due to its minimal budget and tight schedule. The underwater sequences proved particularly difficult, as the production had to rent time at the Fox studio's water tank between other productions. The giant leech costumes, while impressive for the budget, were extremely uncomfortable for the performers, who could barely see or breathe while wearing them. Director Kowalski had to be creative with his camera work to hide the limitations of the monster suits, often using murky water and quick cuts to suggest movement. The film was shot in just seven days, with the cast and crew working long hours to complete production on time. Many of the swamp scenes were actually filmed at Malibu Creek State Park, which doubled for the Florida Everglades. The film's success led to director Kowalski being given larger projects, including the cult classic 'Night of the Blood Beast' the following year.

Visual Style

The cinematography, handled by Floyd Crosby, made effective use of the limited resources available. Crosby, an Academy Award-winning cinematographer, brought a level of professionalism to the production that elevated it above typical B-movie fare. The film made clever use of shadows and murky underwater photography to hide the limitations of the monster costumes. The swamp settings were photographed to create an atmosphere of isolation and dread, with Crosby using natural lighting to enhance the sense of realism in the outdoor scenes. The underwater sequences, while technically challenging for the time, were shot with a sense of movement and menace that helped sell the creature threat. The film's use of Cinemascope, unusual for such a low-budget production, allowed for wider shots that emphasized the vastness of the swamp and the isolation of the characters.

Innovations

For its extremely low budget, the film achieved several notable technical accomplishments. The underwater filming techniques, while primitive by modern standards, were innovative for a B-movie production of the era. The creature effects, created by Paul Blaisdell, represented an impressive attempt at creating convincing monsters with minimal resources. The film's use of Cinemascope on such a tight budget was unusual and demonstrated the producers' commitment to giving the film a more professional look. The production team developed creative solutions for filming in water, including specialized camera housings and lighting techniques that allowed for underwater photography. The editing, particularly in the attack sequences, used quick cuts and camera movement to create the illusion of faster monster movement than was actually possible with the cumbersome costumes.

Music

The musical score was composed by Alexander Laszlo, who created a suitably ominous and atmospheric soundtrack that enhanced the film's tension despite the limited budget. Laszlo's music featured low, rumbling brass sections and discordant strings to create a sense of menace during the monster sequences. The score also included more traditional romantic themes for the film's human drama elements. The sound effects were particularly important in creating the illusion of the giant leeches, with suction sounds and underwater gurgles adding to the creature's menace. The film's audio mix made effective use of stereo separation to create a sense of movement in the underwater sequences. While not released as a standalone album, the score has been appreciated by fans of 1950s horror film music for its effective use of limited orchestral resources.

Memorable Scenes

• The opening sequence where the first victim is dragged underwater by an unseen creature
• The discovery of the underwater cave filled with the leeches' victims
• The scene where Liz Walker witnesses a leech attack but is dismissed by authorities
• The final confrontation with the giant leeches in their underwater lair
• The dramatic rescue attempt in the flooding cave system

What Critics Said

Contemporary critical reception was largely negative, with most reviewers dismissing the film as typical B-movie fare with poor production values and unconvincing monster effects. Variety noted that 'the leeches look more like giant rubber gloves with eyes' and criticized the film's lack of originality. Modern reassessments have been more charitable, with many critics appreciating the film's charm and its place in horror cinema history. The film is often praised for its effective atmosphere despite budget limitations and for Bernard Kowalski's competent direction. Some modern critics have noted that the film contains surprisingly effective moments of tension and makes good use of its swamp setting. It's frequently included in lists of the best worst movies ever made and has developed a reputation as an enjoyable example of 1950s monster movie excess.

What Audiences Thought

Initial audience reception was modest, with the film performing adequately as part of AIP's double-bill programming strategy. Teenage audiences of the era, the primary target demographic for such films, generally found it entertaining despite its obvious flaws. Over the decades, the film has developed a cult following among horror fans and B-movie enthusiasts who appreciate its earnest attempt to create scares with minimal resources. The film's public domain status has contributed to its enduring popularity, making it widely available on various home video formats and streaming platforms. Modern audiences often watch the film for its camp value and as a representative example of 1950s monster cinema. The film has developed a reputation as a fun, if silly, monster movie that delivers exactly what its title promises.

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