While Larry and I were visiting friends in Tallahassee, Florida, recently, the four of us went to Wakulla Springs State Park. The 6,000 acre wildlife sanctuary offers a magical forty-five minute boat ride that takes its passengers past cypress groves, lovely springs, and a plethora of wildlife. Our tour guide, a delightful woman named Connie, navigated the boat through a narrow, shaded section of the ride and announced that this was the area in which Creature of the Black Lagoon was filmed in 1954.
I was all too familiar with the Creature of the Black Lagoon. When the movie arrived in Keeseville, New York, in 1955, my nine-year-old brother Jay had made plans to see it with a group of his friends. My mother, busy with a newborn, insisted that Jay take me, his five-year-old sister, along. We walked around the corner to the old theater in our small Upstate New York town, my brother grumbling all the way. The first fifteen or so minutes were fine. The minute I saw the huge black amphibian-like creature emerge from the water, however, I became so frightened that I started screaming and crying. Jay had to leave his friends and popcorn behind to bring me home. “I told you I didn’t want to take her with me!” my brother loudly complained to my mother. It was years before he took me to the movies with him again. The next horror movie I saw in its entirety was Psycho, Alfred Hitchcock’s classic, when my college showed it on one of its movie nights.
I didn’t fare any better with scary television shows. On November 11, 1960, my parents hosted a party for a group of their friends. My sister Laura and my brother Jay were supposed to be watching me in the family room while the adults congregated in the living and dining rooms. I insisted on staying awake, even when the Twilight Zone came on. The episode Rod Serling introduced that night was “Eye of the Beholder.” The now-classic told the story of a young woman lying in a hospital bed, her head swathed in white bandages. She awaits the outcome of a surgical procedure performed by the State in a last-ditch attempt to make her look “normal.” In the end, the doctor and nurses, who are only heard but not seen, remove the bandages to reveal a beautiful woman. As the medical team gasp with disappointment and revulsion, the camera moves to their twisted, grotesque faces. Beauty, it seemed, was in the eye of the beholder. In a scene reminiscent of what happened five years before in the movie theater, I screamed in fear and went running into the living room. The guests all trickled out as my parents tried to calm down their hysterical ten year old.
The end result was—well—“horror-able.” I had nightmares for weeks. Laura and Jay were grounded for months. And it took years for me to watch the complete episode—ten months short of forty years, to be exact. On New Year’s Eve, December 31, 1999, one of the cable stations offered a Twilight Zone marathon. The-episode-not-to be-named was shown between 11:30 pm and midnight. I watched it until the end, when the beautiful woman (played by Donna Douglas of later Beverly Hillbillies fame) was led out of the hospital by an equally handsome man to a place that accepted “ugly” people as their normal. It was only until the credits rolled did I turn the station to Dick Clark’s show and watch the ball drop at Times Square to mark the new millennium.
For my entire life, I have avoided scary movies unless they are very old (The original versions of Phantom of the Opera and Frankenstein), very funny (Little Shop of Horrors; Young Frankenstein), or very well acted. (Silence of the Lambs; The Sixth Sense).
Or made for children. Let’s face it. Children’s movies can be scary. Larry was so traumatized by the Wicked Witch of the West when he first saw The Wizard of Oz as a four year old that he refused to watch the annual television broadcast for years. The evil queen in Disney’s Snow White was as frightening to me when I was a child as Hannibal Lecter was to me as an adult. And the sea witch Ursula in The Little Mermaid still chills me to the bone when she appeared in her plump purple presence both on film and on the stage. But these animated antagonists who provided the tension in the children’s classics didn’t scare me enough to turn them off.
Once I became a parent, I shared my love for fairy tales with all their heroes and heroines and scary villains with Adam and Julie. Thanks to Blockbuster and our VCR, we watched Dorothy, Snow White, Cinderella, Aladdin, and Ariel confront and conquer their demons again and again and again.
In 1991, when Adam and Julie were thirteen and ten respectively, Beauty and the Beast was released. It remains one of my favorite movies of all time, up there with Casablanca and Schindler’s List. I was drawn to Belle’s intelligence, her feminist streak, her strength. And I loved the Beast, with all his bluster and bellows, for his transformation into a loving, caring individual once he both received and gave the gift of love.
Julie told me this summer that my two-year-old granddaughter Sylvie loved the music from the movie, and I was more than willing to share my enthusiasm with her. Together Sylvie and I listened to the sound track, watched some clips on You Tube, danced to the title song across the living room floor, and sang the songs on the way to her daycare. By the end of the summer, I had purchased the video and downloaded it to my laptop. Sylvie sat on my lap and watched mesmerized the entire length of the film.
When Larry and I returned to Colorado in October, however, Sylvie’s attitude changed. Yes, “Little town, little quiet village…” was fine. But the minute the Beast arrived on the scene, Sylvie hid her face in her hands and said, “I no want to watch the Beast! I scared!” My showing her that short segment triggered a fear of all monsters, the ones in her closet, the ones under her bed, the ones hiding in the trees.
So the movie is off the radar for a while. Maybe by next summer, she will realize that Gaston, the handsome but chauvinistic and selfish oaf, is much more frightening than the considerate, loving Beast. Maybe she will have to wait five or ten or even forty years to watch the movie in its entirety. And maybe, like Rod Serling’s classic, she will realize like my heroine Belle that beauty is in the eye of the beholder.