The infamous sub-genre of giant monster B-movie horror films tend to generally be regarded by audiences, arguably more than any other genre of film, as interchangeable, seen as having roughly the same plot structures, flaws and sense of kitschy entertainment. And while such hasty generalizations might be to some extent serviceable, it remains a relief that upon further examination, individual examples such as The Black Scorpion stand out individually among the genre. While its plot may be just another excuse for giant animals to run rampant, The Black Scorpion easily proves a functional and unique enough film among its contemporaries to warrant seeing.
It can hardly be disputed that such films are generally perused more for entertainment than for any sort of quality, and on the fun front The Black Scorpion seldom disappoints. That being said, the complaint can be raised that even at only 88 minutes the film feels overlong, taking a lengthy and uncommonly dialogue fraught opening sequence to establish the story context and seemingly instill credibility into what remains, in essence, a trashy monster movie. As such, the monster mayhem itself, the primary draw of the film, often feels disappointingly fleeting. Nonetheless, when the creature action is present it is rousingly effective and exhilarating stuff, as the giant scorpions destroy trains, 30 foot worms, tanks, helicopters and each other in a series of infectiously entertaining brawls which easily more than make up for the slow exposition. Furthermore, considering the film's alleged budget constraints (with tales of recycled monster props, sound effects and voice acting from past horror efforts as classic King Kong and genre staple Them!) the film boasts a veneer of highly impressive production values, with rich, imaginative prehistoric cavernous sets and an undertone of credibility from attributes such as the riveting documentary footage of the film's opening volcano eruption.
In fact, while realism is hardly the operative word, the film devotes more care and attention to facets such as an uncommonly positive and politically correct depiction of a Mexican town destroyed by the scorpion attacks than one would expect, coming as a welcome surprise. Considering his genre of choice, director Edward Ludwig is daringly unafraid to take his time, or to devote surprising expanses of time to character development (however superficial) and the blossoming romance between his two protagonists, complete with endearingly corny dialogue. Ludwig also demonstrates an uncommon flair for memorable visuals: in one blink- and-you-miss-it transition between scenes, a crucifix is superimposed over the travelling geologist protagonists, suggesting subtle messianic undertones, and, more obviously, the recurring close up of the drooling, gnashing fanged scorpions remains one of the most lingering and memorable sights of the genre, anatomical incorrectness aside.
However, it cannot be denied that for all its previous attention to pacing and expanses of characterization, the film's mostly intact logic gets somewhat thrown to the wind in favour of a gloriously entertaining and senselessly madcap climax fraught with welcome monster action. Perhaps such a struggle between flirtations with conventional quality and guilty pleasure entertainment can best serve to encapsulate The Black Scorpion - though its occasional bouts for credible mainstream storytelling may be only remotely effective despite the effort being commendable, the unquenchable sense of sheer fun makes it consistently worth it.
Richard Denning proves a sufficient emotional anchor as the film's leading geologist, maintaining an appealing impish charisma amidst his serious exterior. Carlos Rivas, despite being laughably poorly dubbed, also gives a commendably likable performance as Denning's fellow geologist. Mara Corday manages to mostly suppress damsel in distress clichés as Denning's inevitable love interest, and Mario Navarro maintains a comically stilted and entertaining performance despite fulfilling every "foolish child in need of rescuing" convention as impetuous boy Juanito.
For all of its inevitable genre shortcomings and uncommon flirtations with conventional cinematic quality, the sheer sense of demented fun lurking at the heart of The Black Scorpion makes the film easily stand out among the other giant monster movies of its era. The scorpions themselves prove impressively fierce adversaries and Ludwig's willingness to immerse them in exhilarating action sequences while providing the odd commendable story tweak demonstrates just enough uncommon self-awareness to make the film continually valid and still worth watching and enjoying in a contemporary context.
-5/10
It can hardly be disputed that such films are generally perused more for entertainment than for any sort of quality, and on the fun front The Black Scorpion seldom disappoints. That being said, the complaint can be raised that even at only 88 minutes the film feels overlong, taking a lengthy and uncommonly dialogue fraught opening sequence to establish the story context and seemingly instill credibility into what remains, in essence, a trashy monster movie. As such, the monster mayhem itself, the primary draw of the film, often feels disappointingly fleeting. Nonetheless, when the creature action is present it is rousingly effective and exhilarating stuff, as the giant scorpions destroy trains, 30 foot worms, tanks, helicopters and each other in a series of infectiously entertaining brawls which easily more than make up for the slow exposition. Furthermore, considering the film's alleged budget constraints (with tales of recycled monster props, sound effects and voice acting from past horror efforts as classic King Kong and genre staple Them!) the film boasts a veneer of highly impressive production values, with rich, imaginative prehistoric cavernous sets and an undertone of credibility from attributes such as the riveting documentary footage of the film's opening volcano eruption.
In fact, while realism is hardly the operative word, the film devotes more care and attention to facets such as an uncommonly positive and politically correct depiction of a Mexican town destroyed by the scorpion attacks than one would expect, coming as a welcome surprise. Considering his genre of choice, director Edward Ludwig is daringly unafraid to take his time, or to devote surprising expanses of time to character development (however superficial) and the blossoming romance between his two protagonists, complete with endearingly corny dialogue. Ludwig also demonstrates an uncommon flair for memorable visuals: in one blink- and-you-miss-it transition between scenes, a crucifix is superimposed over the travelling geologist protagonists, suggesting subtle messianic undertones, and, more obviously, the recurring close up of the drooling, gnashing fanged scorpions remains one of the most lingering and memorable sights of the genre, anatomical incorrectness aside.
However, it cannot be denied that for all its previous attention to pacing and expanses of characterization, the film's mostly intact logic gets somewhat thrown to the wind in favour of a gloriously entertaining and senselessly madcap climax fraught with welcome monster action. Perhaps such a struggle between flirtations with conventional quality and guilty pleasure entertainment can best serve to encapsulate The Black Scorpion - though its occasional bouts for credible mainstream storytelling may be only remotely effective despite the effort being commendable, the unquenchable sense of sheer fun makes it consistently worth it.
Richard Denning proves a sufficient emotional anchor as the film's leading geologist, maintaining an appealing impish charisma amidst his serious exterior. Carlos Rivas, despite being laughably poorly dubbed, also gives a commendably likable performance as Denning's fellow geologist. Mara Corday manages to mostly suppress damsel in distress clichés as Denning's inevitable love interest, and Mario Navarro maintains a comically stilted and entertaining performance despite fulfilling every "foolish child in need of rescuing" convention as impetuous boy Juanito.
For all of its inevitable genre shortcomings and uncommon flirtations with conventional cinematic quality, the sheer sense of demented fun lurking at the heart of The Black Scorpion makes the film easily stand out among the other giant monster movies of its era. The scorpions themselves prove impressively fierce adversaries and Ludwig's willingness to immerse them in exhilarating action sequences while providing the odd commendable story tweak demonstrates just enough uncommon self-awareness to make the film continually valid and still worth watching and enjoying in a contemporary context.
-5/10