| Phil Morton | ... | Col. Steve Connors | |
| June Travis | ... | Ruth | |
| George Perry | |||
| Lois Brooks | |||
| Rork Stevens | |||
| Peter M. Thompson | (as Peter Thompson) | ||
| Robert Simons | |||
| Barry Hopkins | |||
| Stu Taylor | |||
| Lorri Perry | |||
| Del Clark | |||
| Art Scott | |||
| Leonard Gelstein | |||
| Aviva Crane | |||
| Dean Tompis | |||
| Jim Bassler | |||
| Rick Paul | |||
| Henry Hite | ... | Frank Douglas / Monster | |
| rest of cast listed alphabetically: | |||
| Herschell Gordon Lewis | ... | Narrator (voice) (uncredited) | |
| Bill Rebane | ... | Radio Announcer (voice) (uncredited) | |
Directed by | |||
| Bill Rebane | |||
| Herschell Gordon Lewis | (uncredited) | ||
Writing credits | ||
| Jeff Smith | (screenplay) & | |
| Dok Stanford | (screenplay) & | |
| Bill Rebane | (screenplay) | |
| Herschell Gordon Lewis | (additional dialogue) (as Sheldon Seymour) | |
Produced by | |||
| Herschell Gordon Lewis | .... | producer (as Sheldon S. Seymour) | |
| Henry Marsh | .... | assistant producer | |
| Bill Rebane | .... | producer | |
Cinematography by | |||
| Frank Pfeiffer | (director of cinematography) | ||
Production Design by | |||
| Herschell Gordon Lewis | (as Seymour Sheldon) | ||
Makeup Department | |||
| Lillian Toth | .... | makeup artist | |
Production Management | |||
| William Johnson | .... | second unit manager | |
| Andy Romanoff | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Stu Taylor | .... | assistant director | |
Sound Department | |||
| Paul Allen | .... | chief sound engineer | |
| George Turek | .... | sound recordist | |
| Howard Warren | .... | sound mixer | |
Costume and Wardrobe Department | |||
| Merigail Moreland | .... | wardrobe | |
| Barbara J. Rebane | .... | wardrobe (as Barbara Rebane) | |
Editorial Department | |||
| Alex Ameri | .... | editorial supervisor (as Peter Guilfhoyle) | |
| Thomas Casey | .... | editorial supervisor | |
Other crew | |||
| Ray Foster | .... | production assistant | |
| Leonard Gelstein | .... | production assistant | |
| Bobby Vercruse | .... | crew chief (as Robert Vercruse) | |
| Seymour Zolotareff | .... | production assistant | |
|
|
|
|
|
| The Phantom from 10,000 Leagues | Frankenstein Meets the Spacemonster | The Incredible Melting Man | The Crawling Hand | The Black Scorpion |
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
| Full cast and crew | Company credits | External reviews |
| IMDb bottom 100 movies | IMDb Sci-Fi section | IMDb USA section |
| Add this title to MyMovies |
Ask many people what the worst film ever made is, and they will probably respond with either "Ishtar" or "Manos, The Hands of Fate". I, on the other hand, have seen those two and this one, and I have to tell you, this is the low point in my book. Several key points using "Manos" for comparison:
--Manos was in color. --Manos has better costumes. --Manos is at least unintentionally funny. --Manos has more of a surreal approach.
MONSTER, on the other hand, is a black and white sleeper of a film (and I mean sleeper in the sense that you will probably fall asleep waiting for something to happen). The badly paced dialogue cuts present in "Manos" are here, but sadly, they aren't interspersed with freaky costumes (not counting the odd go-go outfit) or for that matter, memorable dialogue. As an example of exactly how dull this film is, I showed it (admittedly, the Mystery Science Theater 3000 version) to some MST3K friends of mine who are avid collectors of bad/tacky cinema. OK, they had been drinking...a little. But regardless, they were both out in the first 20 minutes and did not wake up at all for the rest of the film. I don't think _I_ have ever sat through a viewing and remained awake.
Therefore, I would like to recommend this film as a fine sleep aid to anyone suffering from recurring insomnia. If you do decide to watch the film, and manage to remain awake to the conclusion, please refrain from damaging your video equipment if you find the ending...perplexing.