Reflections in a Black Lagoon--A Few Thoughts on Ben Chapman as the Creature
In the wake of Ben Chapman's passage to the next life on February 21, 2008, a lot has been written by fans saying, "He was such a nice guy . . .," etcetera. Not surprisingly, I can add my name to that list. I met him two times and talked to him at some length once at a horror and sci-fi show. He was very eager to tell his story and while he joked and stole every show he was in, he was also remarkably humble and thankful for the fans.
The simple fact that so many folks can say this is a real testament to the truth of Ben Chapman's open hearted nature and so, that's all I will say about that.
Instead, I'd like to take a moment to acknowledge what a tremendous job he did in that film. Just to clarify, though most readers here will know this, Ben's role was the land Creature and his scenes were shot entirely in California. His underwater counterpart, Floridian Ricou Browning, also produced magnificent work and was an equal part of the success of the film, but for the moment, it is the land Creature in the spotlight.
To assess the portrayal, it is important to keep a few things in mind. First, the film works because Ben (and Ricou) played the creature believably. There is real acting going on, which is critical because the Creature is a pure biological fantasy and therefore must be played believably. The 1950s was replete with rubber-suited menaces, and a quick comparison reveals how few maintain believability as well as Ben Chapman's Creature. Ben never forgot that his character was literally a fish-out-of-water
Secondly, he is also subject to many conditions, which means there has to be some range in his behavior. The Creature is invaded, netted, drugged, imprisoned, shot, speared, stabbed, burned and spurned . . . and it is the last one that really hurts. According to Mr. Chapman, he never got much direction as to how to portray the creature beyond Jack Arnold's dictum that he not lift his feet. Therefore, Ben is largely responsible for the convincing behavior when he is captured. He looks drugged, but more than that it is not quite human, not quite animal. Ben must have understood the script very well, which essentially calls for a competition of instincts between self-preservation and desire for a mate. In fact, in his many interviews, he was quick to point out that the Creature behaved like a threatened animal, not a villain, and he would never hurt Kay (a.k.a Julie Adams) as much as he may have longed for her.
But there are other moments when we see some very convincing acting as well. One of the best is short and subtle, but it really communicates Ben's understanding of the Creature as a character. I am referring here to the scene just before he escapes his captivity on the boat. The creature raises his head out of the water and slowly looks around, gasping like a fish in air. He is not violent (yet), but rather he is assessing the situation . . . as I say, bringing animal and human together in a unique way. After a cut away to a conversation between Kay and Thompson, we return to see the Creature methodically testing his cage, gradually breaking free. It is only after he is out that he becomes highly active, thrashing and attacking. It is a very short scene, but it is moments like that which make the film powerful in the end because Ben Chapman made that scene believable.
Later in the film, when he has been drugged again and the Rita is trying to make its escape, the Creature returns for Kay. As he boards the boat, he snaps away part of the railing in his semi-somatic state and pulls himself up with a rope. It is not overdone in any way, a real temptation near the climax of a sci-fi horror flick. His energy is reserved for garnering his prize, his lovely mate.
Another consideration must be the limitations of the suit, especially the limited visibility and the weight of the costume when wet. And according to Ben in an interview on the Creature from the Black Lagoon box set, he had to maintain a steady weight, because just a few pounds more and he would be unable to get in the suit . . . a few pounds less and it would wrinkle and buckle. The heat of a sound stage and the rigors of shooting a B-movie quickly must have been a drain, but we never see that in this film from Chapman.
In a now famous story, Ben accidentally struck Julie Adam's head on the grotto wall while shooting the final scenes as a result of these limitations. A photo was eventually released to the press showing Ben kneeling over Julie, which somehow indicates his deep concern despite the fact that he is not even facing the camera . . . and he has the Gillman suit on. Perhaps, that photo says it all and lets us in on why this film is still so captivating.
Thanks, Mr. Chapman.
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