DAVIES: We’re not talking about a retarded kid, and you know it. We’re talking about a monstrosity of some kind.
Flipping through books on horror movies when I was a child I would continually run into the poster of It’s Alive – the wicker basket with the mutant baby’s hand hanging over the side. And probably on the same page would be a picture of the mutant baby itself. Needless to say I had a few sleepless nights over those images. Now some 20 years later I have finally watched the film whose ad campaign alone gave me nightmares.
Well. I wasn’t scared. At all. In fact I laughed more than I jumped. But somehow I was thoroughly entertained by this film.
The first thing I noticed was how similar the music was to Brian De Palma’s 1973 cult classic Sisters. Now I realize how dated Bernard Herrmann’s soundtracks have become (or perhaps even cliché) but having watched both of these films recently, it’s safe to say that they haven’t lost any of their impact in contributing a great atmosphere. I also realized that just prior to directing It’s Alive, Larry Cohen directed two of my favorite blaxploitation films: Black Caesar (1973) and Hell Up in Harlem (1973) starring the great Fred Williamson.
This is a B-movie! The dialogue makes sure that we’re aware of that! We’ve got the scientists giving their pseudo explanations for the mutant baby phenomena and policemen and detectives contemplating the great mystery – all in classic B-movie fashion. Naturally, the acting is subpar, but I did feel that the cast gave an honest effort; especially the mutant baby’s father played by John P. Ryan (at least those tears looked genuine).
Watching It’s Alive has made me meditate on just how terrible B-movie acting has gotten recently. I think rising actors back in the day were less concerned about being “noticed” and more concerned about the art of acting. They didn’t always rise to the occasion - but at least they gave it an honest go.
