Creature from the Black Lagoon

"It's easy to use, all you do is aim it and squeeze."

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While Creature from the Black Lagoon is not a supernatural horror film in the same vein as something like The Exorcist or Poltergeist or any of the other films that Carol Clover discusses in “Opening Up,” it still exhibits one of the main conflicts seen in this sub-category of horror. This particular conflict is the positioning of white science against an otherworldly force. The Creature from the Black Lagoon may not deal with a possession or haunting, but the titular monster is perceived to be every bit as threatening to the scientists and audience. Even though it is not a ghostly or demonic presences, the film constructs the threat of monster much like how it does for an occult film, as it often displays the creature’s hand or foot slowly creep into the scene, only to have Kay react by screaming moments later. This bears a strong resemblance to the “snakes, tentacles, or other suchlike forcing their way into terrified women's mouths and throat” (Clover, 80) that Clover highlights as persistent in this genre. The monster is rarely shown full body when it is out of the water because it gives it its humanoid appearance, which makes it less frightening. Something inhuman crawling toward its victim is much more other worldly and menacing.

Although there is not a literal marginalized character in this film advocating to stop the monster by way of an ancient precedent, it still exemplifies a tale of white science against black magic, and therefore presenting a conflict of male and female. The role of the marginalized character has actually been fulfilled by a different aspect of the film: the home for which the creature resides in. The reason this setting is called the Black Lagoon is because it is the film’s embodiment of black magic. It is a dangerous underwater depth full of inexplicable mysticism. The characters initially try to fight the black magic by capturing the creature for research. David is determined to keep it alive while Mark attempts to kill it at first sight. Mark does his best to assert his male dominance over the monster, black magic, and overall situation. He seems to carry his harpoon gun around with him all the time. He uses it as an extension to penetrate the monster to ensure that white science and his male presence triumphs. After multiple deaths and failed attempts to capture the creature, the characters, except for Mark, come to the familiar conclusion that their white science must coexist with black magic. They exhibit this by trying to leave the lagoon without their scientific finding of the captured creature, although it keeps the boat from leaving as revenge. The ending of the film portrays somewhat of a happy (but tragic) medium between magic and science, as Mark dies at the hands of the creature and the crew retaliates. They end up killing it without the harpoon, and David insists on leaving the body in the water, which keeps the balance of the opposing forces.