| Photos (see all 11 | slideshow) |
| Grant Williams | ... | Scott Carey | |
| Randy Stuart | ... | Louise Carey | |
| April Kent | ... | Clarice | |
| Paul Langton | ... | Charlie Carey | |
| Raymond Bailey | ... | Doctor Thomas Silver | |
| William Schallert | ... | Doctor Arthur Bramson | |
| Frank J. Scannell | ... | Barker (as Frank Scannell) | |
| Helene Marshall | ... | Nurse | |
| Diana Darrin | ... | Nurse | |
| Billy Curtis | ... | Midget | |
| rest of cast listed alphabetically: | |||
| Lock Martin | ... | Giant (scenes deleted) | |
| John Hiestand | ... | KIRL TV newscaster (uncredited) | |
| Joe La Barba | ... | Joe (milkman) (uncredited) | |
| Orangey | ... | Butch the Cat (uncredited) | |
| Regis Parton | ... | Bit part (uncredited) | |
| Luce Potter | ... | Violet (uncredited) | |
Directed by | |||
| Jack Arnold | |||
Writing credits | ||
| Richard Matheson | (screenplay) | |
| Richard Matheson | (novel "The Shrinking Man") | |
| Richard Alan Simmons | uncredited | |
Produced by | |||
| Albert Zugsmith | .... | producer | |
Original Music by | |||
| Irving Gertz | (uncredited) | ||
| Earl E. Lawrence | (uncredited) | ||
| Hans J. Salter | (uncredited) | ||
| Herman Stein | (uncredited) | ||
Cinematography by | |||
| Ellis W. Carter | |||
Film Editing by | |||
| Albrecht Joseph | (as Al Joseph) | ||
Art Direction by | |||
| Robert Clatworthy | |||
| Alexander Golitzen | |||
Set Decoration by | |||
| Russell A. Gausman | |||
| Ruby R. Levitt | |||
Costume Design by | |||
| Jay A. Morley Jr. | |||
| Martha Bunch | (uncredited) | ||
| Rydo Loshak | (uncredited) | ||
Makeup Department | |||
| Joan St. Oegger | .... | hair stylist | |
| Bud Westmore | .... | makeup artist | |
| Jack Kevan | .... | makeup artist (uncredited) | |
Production Management | |||
| Lew Leary | .... | unit manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| William Holland | .... | assistant director | |
Art Department | |||
| Floyd Farrington | .... | props (uncredited) | |
| Ed Keyes | .... | props (uncredited) | |
| Whitey McMahon | .... | props (uncredited) | |
| Roy Neel | .... | props (uncredited) | |
Sound Department | |||
| Leslie I. Carey | .... | sound | |
| Robert Pritchard | .... | sound | |
Special Effects by | |||
| Charles Baker | .... | special effects (uncredited) | |
| Fred Knoth | .... | special effects (uncredited) | |
Visual Effects by | |||
| Everett H. Broussard | .... | optical effects | |
| Roswell A. Hoffmann | .... | optical effects (as Roswell A. Hoffman) | |
Camera and Electrical Department | |||
| Clifford Stine | .... | special photography | |
| Tom McCrory | .... | special photography (uncredited) | |
| William Walling | .... | still photographer (uncredited) | |
Music Department | |||
| Joseph Gershenson | .... | music supervisor | |
| Harris Ashburn | .... | music supervisor (uncredited) | |
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| Marie Galante | The Exorcist | Superman | AVP: Alien vs. Predator | Johnny Got His Gun |
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Instead of the typical blood and gore screaming sensationalism of many 1950s sci-fi films, this is an amazingly well thought-out film that is underplayed and even philosophical.
There are some amusing moments in the film, such as when we discover Scott in a dollhouse, but much of the story is handled seriously -- the topics of being different, surviving in an unsympathetic world, crass commercialism, and loneliness are well portrayed.
The theme of the film is what is really amazing. Despite the rather schlocky title, we are given a view of humanity's place in the universe. The final sequence is an imaginative portrait of the balance between the macrocosm and the microcosm.
The film is more than it first appears. Definitely see this one.