The Monstrous Eighties
The water monster B-films from the 1980s
The horror landscape of the eighties, often characterized by slashers and classics like John Carpenter’s The Thing (1982) and Stanley Kubrick’s The Shining (1980), also featured a remarkable amount of horror films set in the deep sea. Let me take you on a dive into the murky waters of this fascinating era, where sea monsters reigned supreme in the B-movie realm.
While the horror genre had been forever marked by Steven Spielberg’s iconic blockbuster Jaws (1975), the mere suggestion of a sequel was initially dismissed by the acclaimed director. According to his biographer Joseph McBride, Spielberg found the idea of crafting a sequel to be “a cheap carny trick.” However, Universal Pictures disregarded this sentiment and went on to release Jaws 2 in 1978.
Spielberg’s apprehension toward sequels aside, Jaws 2 proved to be a financial success. The impact of this unexpected success has transcended time, shaping the landscape of horror cinema and influencing subsequent generations of filmmakers. In the realm of B-movies, the sea monster emerged as a prominent figure, weaving its tentacles around the eighties.
B-movies
As the new decade begins, the masses find themselves still captivated by cinematic sharks and sea monsters. Film studios churn out B-movie after B-movie, each unveiling a horrifying creature from the deep sea.
In Humanoids from the Deep (1980), a coastal village is plagued by murderous humanoid monsters coming from the sea, their menace escalating to grim proportions as they not only kill but also assault the female population. The macabre atmosphere is heightened by the exceptional monster costumes crafted by the Rob Bottin, who worked on iconic films such as Star Wars (1977), The Thing (1982), and Robocop (1987).
In 1981, ‘schlockmeister’ Larry Buchanan released the Loch Ness Horror. A low budget disaster based on the famous legend of loch ness. Known for his budget-friendly yet lucrative horror productions, Buchanan left a mark on Hollywood by making low-budget double features that appealed mostly to teenagers. The Loch Ness Horror, however, failed to impress audiences and was quickly forgotten.
In 1981, Piranha 2: The Spawning surfaced as James Cameron’s directorial debut, a thematic precursor to his illustrious career in cinema, where water would continue to play a pivotal role. Despite facing production challenges, including clashes with an Italian crew that hindered Cameron’s access to footage, the film served as a stepping stone for the director’s future successes. Lead actors Lance Henriksen and Tricia O’Neil, initially associated with the ill-fated sequel, found redemption in subsequent collaborations with Cameron, landing roles in blockbusters like The Terminator (1984), Aliens (1986), and Titanic (1997).
Each of these films adheres to the archetypal crew established by the Jaws blueprint: a scientist, an experienced fisherman, a rugged hero, and, to divert attention from the thin plot, an attractive woman. This formulaic approach became a hallmark of the era’s iconic creature features.
The prevalence of water monsters in 1980s cinema coincided with a growing public awareness of the underwater world. Greenpeace’s activism played a pivotal role in the International Whaling Commission’s 1982 ban on whaling, utilizing the distribution and playback of whale songs as a campaign technique. This strategy allowed the public to forge a connection with the world’s largest mammal.
While the image of whales improved, the great white shark faced a contrasting fate. Universal’s release of Jaws 3-D in the summer of 1983 further reinforced the misguided perception of these creatures as man-eating menaces (rather than endangered animals that rarely pose a threat to humans). Directed by Joe Alves, who’d worked on the original mechanical sharks featured in Jaws and Jaws 2, the 3D sequel achieved financial success but also marked the end of Alves’ directorial career.
Jaws 3-D, later achieved cult status thanks to its comically awkward 3D effects. A particularly cringe-worthy scene involves the monster shark breaking through a glass panel. The creature’s cardboard-like appearance and the underwhelming impact of the breaking glass underscore the film’s unintentional comedic power.
Beaten to death
Following the dissapointing reception of Jaws 3-D, major film studios appeared to distance themselves from sea monster films. It seemed as though the weariness induced by increasingly lackluster Jaws and Friday the 13th sequels had taken its toll on horror enthusiasts. Younger audiences in particular, preferred to spend their money on an action- or fantasy film rather than another mindless horror sequel.
The American media landscape experienced a shift in 1985 when oceanographer Robert Ballard filmed the wreck of the Titanic. This event, coupled with the tragic end of the space program due to the Shuttle Challenger explosion in 1986, led to a dwindling interest in space exploration. In contrast, an emerging fascination with the mysteries of the deep sea took root. Although Hollywood didn’t fully embrace this trend until 1989, the groundwork for a renewed interest in underwater stories had been laid.
In 1987, Universal made a belated addition to its iconic monster franchise with Jaws 4: The Revenge. The film, however, reinforced the notion that the general public was growing weary of the Jaws franchise. Despite boasting a budget two million dollars higher than its predecessor, Jaws 4 raked in a whopping 40 million dollars less at the box office. Not even the presence of acclaimed actor Michael Caine could divert critics from the film’s disjointed plot and lack of tension.
The turning point arrived in 1989 with the release of James Cameron’s The Abyss. At the time, Cameron was renowned for directing beloved action films like Terminator and Aliens, with blockbusters like Titanic and Avatar still on the distant horizon. Professing a deep love for the sea, Cameron embarked on his most ambitious project yet, aiming to craft an epic underwater thriller using a blend of practical and special effects. The Abyss marked a pivotal moment, not only for Cameron’s career but also for reigniting Hollywood’s interest in the enigmatic depths of the ocean.
The abuse
What James Cameron couldn’t have foreseen was that the production of The Abyss would become an (underwater) hell. Initially eyeing the picturesque coast of the Bahamas for filming, Cameron heeded Steven Spielberg’s advice, drawing on lessons from the trouble-ridden set of Jaws. Opting for an abandoned nuclear power plant as the shoot location instead, preparations proved to be expensive and a lot of work. Filling the massive tanks became a Herculean task. Problems arose when the the stagnant water proved to be an ideal breeding ground for algae, limiting visibility to a mere few centimeters. To combat this, copious amounts of chlorine were added by crewmembers, resulting in skin irritations and bleached hair for the cast. Actors, required to obtain diving licenses, faced life-threatening situations, with Cameron himself narrowly escaping drowning when his oxygen tank unexpectedly ran empty. Ed Harris, too, confronted a near-death experience when a crew member mishandled supplying him with more oxygen, leading him to ingest water instead of just air.
Dubbed ‘The Abuse’ by the crew, the film’s extended shooting days and Cameron’s perfectionism led to a hostile atmosphere on set. Challenges persisted even on dry land, as production and special effects issues caused a one-month delay in the release of the sci-fi epic. Despite this, The Abyss received positive acclaim and eventually garnered a cult following over the years.
Around the time The Abyss was released, a surge of sea monster films flooded the box office. Five horror films about the deep sea, including DeepStar Six, Leviathan, Lords of the Deep, The Evil Below (all released in 1989), and The Rift (1990), emerged during that period. While their overall quality may be considered low, these films collectively stand as a testament to Hollywood’s sudden fixation on the underwater world. The trend, lacking a specific cause, has been loosely associated with heightened attention to whaling and renewed interest in the Titanic wreckage.
DeepStar Six features a submarine crew inadvertently unleashing a prehistoric creature with dynamite. The highlight of the film are Mark Shostrom’s practical effects, who are still convincing to this day. Leviathan, often hailed as the standout film of 1989’s water monster releases, delivers an imposing hybrid sea monster but falls short in terms of an original script, borrowing heavily from The Thing.
The Evil Below, released directly to videotape in 1989, is a forgettable low-budget thriller about an adventurer seeking a Spanish treasure guarded by a supernatural water monster. While the film may not be remembered for its quality, the videotape has become a collector’s item for horror enthusiasts eager to complete their 1989 monster film collection.
In Lords of the Deep, a sci-fi thriller produced by Roger Corman, future Oscar winners Janusz Kamiński and Robert Skotak played crucial roles in cinematography and the underwater special effects. Despite their contributions, the film is considered a slow burn, notable only for its unexpected plot twist — an environmentalist message highlighting the consequences of overexploitation.
The Rift, the final American underwater film made in the 1980s, sees a submarine confronting hellish creatures at the ocean’s depths. Despite an impressive cast featuring R. Lee Ermey and Ray Wise, the film faltered at the box office. However, practical effects enthusiasts can find solace in the Lovecraftian sea monsters, creating a nihilistic atmosphere and tension.
With the exception of The Abyss, all of the sea monster films around the end of the eighties flopped at the box office, marking an eight-year period during which studios shied away from underwater settings. It wasn’t until the late 1990s that a new wave of water monster films, including Deep Rising, Deep Blue Sea, and Lake Placid, surfaced. In stark contrast to the B-movies’ crews, both Hollywood and the audience had seemingly outgrown their fascination with the mysteries of the deep sea.★
By Jelle Havermans
