| Rock Hudson | ... | Dr. Paul Holliston | |
| Barbara Carrera | ... | Victoria Spencer | |
| Diane Ladd | ... | Martha Douglas | |
| Roddy McDowall | ... | Frank Riley | |
| Anne Schedeen | ... | Helen Holliston | |
| John Elerick | ... | Gordon Holliston | |
| Vincent Baggetta | ... | Collier | |
| Jack Colvin | ... | Dr. Jim Winston | |
| Joyce Brothers | ... | Herself (as Dr. Joyce Brothers) | |
| Dick Winslow | ... | John Forbes | |
| Ken Washington | ... | Dr. Brink | |
| Lina Raymond | ... | Janet Novak | |
| Sherri Zak | ... | Nurse | |
| Joyce Spitz | ... | Trainer | |
| George Sawaya | ... | Policeman | |
| Hank Robinson | ... | Ambulance Attendant | |
| Chuck Comisky | ... | Fireman | |
| rest of cast listed alphabetically: | |||
| Bob Reynolds | ... | Doctor (uncredited) | |
Directed by | |||
| Ralph Nelson | |||
Writing credits(in alphabetical order) | ||
| Anita Doohan | writer | |
| Jack W. Thomas | screenplay | |
| Jack W. Thomas | story | |
Produced by | |||
| Anita Doohan | .... | producer | |
| Michael S. Glick | .... | associate producer | |
| Sandy Howard | .... | executive producer | |
| Arnold H. Orgolini | .... | producer | |
Original Music by | |||
| Gil Melle | |||
Cinematography by | |||
| Fred J. Koenekamp | |||
Film Editing by | |||
| John A. Martinelli | |||
Casting by | |||
| Lea Stalmaster | |||
Production Design by | |||
| Joe Alves | (as Joseph Alves Jr.) | ||
Set Decoration by | |||
| Phil Abramson | |||
Costume Design by | |||
| Moss Mabry | |||
Makeup Department | |||
| Edwin Butterworth | .... | makeup designer | |
| John Chambers | .... | makeup designer | |
| Frank Griffin | .... | makeup designer | |
| Lynn Del Kail | .... | hair stylist | |
| Mark Reedall | .... | makeup artist | |
| Daniel C. Striepeke | .... | makeup artist (as Dan Striepeke) | |
| Daniel C. Striepeke | .... | makeup designer (as Dan Striepeke) | |
Production Management | |||
| Michael S. Glick | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Gary Credle | .... | second assistant director | |
| Michael S. Glick | .... | assistant director | |
Sound Department | |||
| Bud Alper | .... | sound mixer | |
| George Fredrick | .... | sound editor | |
Special Effects by | |||
| Roy Arbogast | .... | special effects | |
Stunts | |||
| Everett Creach | .... | stunt coordinator | |
| Jerry Brutsche | .... | stunts (uncredited) | |
| Kevin N. Johnston | .... | stunts (uncredited) | |
| Dick Warlock | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| John Murray | .... | key grip | |
| Gene Stout | .... | gaffer | |
Costume and Wardrobe Department | |||
| Sandra Burke | .... | wardrobe | |
| Nick Mezzanotti | .... | wardrobe | |
Editorial Department | |||
| Scott C. Eyler | .... | assistant editor | |
Music Department | |||
| Gil Melle | .... | conductor | |
Transportation Department | |||
| James D. Brubaker | .... | transportation coordinator (as James Brubaker) | |
Other crew | |||
| Charles R. Brinkman | .... | technical advisor (as Charles R. Brinkman III M.D.) | |
| Renee Brown | .... | auditor | |
| Cindy Cullen | .... | animal trainer (as Cindy James Cullen) | |
| Chip Fowler | .... | production coordinator | |
| Bonnie Pendergast | .... | script supervisor | |
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| The Wasp Woman | The Island of Dr. Moreau | The Fly | Shivers | Monsters vs Aliens |
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| Full cast and crew | Company credits | External reviews |
| IMDb Horror section | IMDb USA section | Add this title to MyMovies |
This film has aged as gracefully as Mickey Rourke. The special effects are hilariously bad, the lab equipment belongs in a museum and the plot is dubious to say the least. And yet, these are the very things that make "Embryo" such entertaining viewing.
I think it's only fair to judge special effects in old movies by the technology available to the filmmakers at the time. However, even by 1970s standards, the special effects in this film are remarkably unconvincing. The obvious use of dolls for babies, the fluffy toy that doubles for a dog and the mesmerising plastic canine foetus are all memorable. Personally, I find these kind of effects utterly charming. They inject humour into the film (albeit unintentionally) and due to their lack of authenticity, make the subject matter of experimenting on foetuses more palatable.
Technology junkies will love the bus sized computers and pre-historic lab equipment. The film's heartening lack of moralising is almost as much of its time as the outdated hardware. I hate to think how preachy this film would be if it were made today.
This film is a bizarre and amusing time capsule of 1970s technology and morality. See it, if only for the bewildering dog foetus.