The 1950's brought an era of wonderment in the fields of science-fiction. After the birth of the atomic bomb, common people, not just scientist began to wonder what the long term effects of things like radiation could be. The movie industry in Hollywood was no exception. Besides films of space exploration, the science fiction film began to go off in another direction, that of giant monsters spawned by atomic radiation.

Charles Schneer, an executive at Columbia pictures began toying with the idea of a giant octopus sneaking up on San Francisco and destroying it. He was told about Ray Harryhausen and a meeting was scheduled. Impressed by Ray's vision and willingness to work on the picture, Scheer struck a deal with Ray and the film went into pre-production. As usual Ray prepared sketches for some of the key sequences using the screenplay written by George Worthington Yates. The screenplay and Ray's excellent sketches were all Schneer needed to get the go-ahead from Sam Katzman at Columbia.

Like THE BEAST FROM 20,000 FATHOMS, this film would feature only one monster and Schneer and Harryhausen agreed that not much of the creature would be shown until closer to the films end. Ray began work on the stop-motion model and decided that time-limitations and budget restrictions would not allow for an eight tentacled creature. Since the creature is not a real creature, but a figment of the imagination, a compromise was struck and the creature received 6 tentacles. Much has been made of this fact, is spite of the realization that this creature, though based on reality, is no more real than the rhedosaurus of Ray's earlier film.

Besides the six-tentacled creature, Ray also made a 2 1/2 foot long tentacle that was given much more detail and could be used in close-up shots like the impressive beach sequence in which the tentacle reaches up and uncurls against the backdrop of the California shoreline.

Despite budget limitations, the care and craftsmanship of Ray's work can be seen throughout the special effects in this film. Each scene is meticulously set up and arranged to exploit the most of every sequence.

Using modern science as a backdrop, the film begins with a nuclear submarine exploring new depths. Suddenly an object is picked up on their tracking system and the ship appears to be under attack. After several attempts to free itself, the submarine makes it's way to safe harbor for repairs. An investigation is also put under way after a large piece of some sort of marine life is discovered. Two key scientists are brought in providing an interesting triangle when one of them is discovered to be a very attractive female. The commander of the submarine and the two doctors continue their investigation and soon discover that it is really a giant octopus that feeds on radiation. The discovery that the creature is heading towards San Fransisco is also made and soon the creature is dismantling the Golden Gate Bridge, tearing it down with it's monstrous tentacles and heavy weight. The creature is eventually stopped during an exciting underwater sequence and once again the technology that gives birth to the monster is the same technology that is capable of destroying it.

IT CAME FROM BENEATH THE SEA was released in July of 1955 with mixed reviews, though it's clearly Harryhausen's work that is the redeeming factor in the film. The cast handles the material well enough, delivering straight performances. Kenneth Tobey, who would become a common face in genre pictures of the time (THEM!, THE THING FROM ANOTHER WORLD) said that though he had not really had a chance to get to know Mr. Harryhausen personally, they did have the opportunity to discuss the film and the creature. Ray showed Tobey drawings of the beast he was up against and Tobey was left with the impression that Ray was a very serious and dedicated individual.

Looking at the fantastic effects work of this film, it's a good thing to have someone this dedicated and serious about the film-making process. Ray's particular attention to details is evident in every scene involving the creature. The monster comes off effectively, and it's first appearance as a tentacle rises above the water to destroy a passing ship is an amazing shot. Even though only the tentacle is seen, it is so visually stunning that the mind almost races to create what Ray has left to the imagination and the enormity of the creature becomes overwhelming.

When this film was released to the public a new craze was spreading across the United States.  Numerous claims of UFO sightings that lead to the military's PROJECT BLUE BOOK.  It would become the inspiration for Ray's next film, EARTH VS. THE FLYING SAUCERS.

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