Cuban refugee Sergio Aragones drew the credits for this movie. He went on to become famous drawing "Spy Vs. Spy" for Mad Magazine. Although I doubt Aragones had much more to do with this movie, somehow his connection to it tells the whole story - and also explains why so many reviewing the film here seem to be scratching their heads, since the satirical edge of the film depends on knowing something of its context.
Corman and crew are making connections here that politicians of the time would have preferred left buried: The mafia's involvement in the Bastista government and the CIA's initial support for Castro's revolution. This informs a "drive-in horror" movie turned on it's head. In a world where secret agents, criminals, dictators and revolutionaries are all exposing their cupidity and stupidity (leaving the people of Cuba to suffer - or, like Aragones, escape), only the raggedy z-movie rubber monster makes any sense.
Miss this edge, and you miss the film. You might still not have a taste for Mad-magazine style looniness of this beatnik variety, but please allow that there are those of us who do.
Frankly I think it's a gas.
Corman and crew are making connections here that politicians of the time would have preferred left buried: The mafia's involvement in the Bastista government and the CIA's initial support for Castro's revolution. This informs a "drive-in horror" movie turned on it's head. In a world where secret agents, criminals, dictators and revolutionaries are all exposing their cupidity and stupidity (leaving the people of Cuba to suffer - or, like Aragones, escape), only the raggedy z-movie rubber monster makes any sense.
Miss this edge, and you miss the film. You might still not have a taste for Mad-magazine style looniness of this beatnik variety, but please allow that there are those of us who do.
Frankly I think it's a gas.