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Folk music that reaches to the past, connecting to yesteryear while unearthing primordial magic. Explore music. To keep shooting costs low, director Robert Gordon shot inside an actual submarine, both above and under water, using handheld cameras. For a scene that takes place on a stretch of Pacific coastline, Gordon and his crew dumped several truckloads of sand onto a sound stage at Columbia, which they backed with a rear projection screen. During their scene together, Kenneth Tobey found himself sinking through the sand to the point of appearing shorter than Faith Domergue on camera, forcing him to dig himself out of the hole between every take.
A more extensive love scene had been written for the characters but was literally torn out of the shooting script by Sam Katzman, to keep principal photography from going over schedule. The octopus stop-motion effects were designed and animated by Ray Harryhausen.
The effects budget, however, was getting slightly out of hand, and for this reason, Sam Katzman allowed Harryhausen only enough money for animating six of the octopus' eight tentacles; two were eliminated on the final shooting miniature. Harryhausen jokingly named his giant octopus "the sixtopus" this behind-the-scenes detail was revealed years later in a science fiction magazine.
For the scenes where a single tentacle is seen moving up and around the bridge superstructure, Harryhausen used a single large model tentacle instead of employing the complete animation model.
Some of the bridge scenes employ a shooting miniature of a bridge support, which was then composited in post-production over live footage of the real support; this is the bridge section that the "sixtopus" is seen clinging to in the final scene. Its success led to Harryhausen-Schneer collaborating again for Earth vs. Time Out called it a "minor entry in the '50s cycle of radiation-paranoia sci-fi pics";  and Moria noted, "Most of the film is told in a stolid, flat style that seems more like an Army training documentary than a dramatic film.
The problem is that one has to plod through three-quarters of the film to get to the monster sequences Certainly, when the climactic scenes of wholesale destruction do arrive they are great";  whereas Allmovie wrote that the film "utilized elements of the documentary, with a narration that makes the first half of the movie seem almost like a newsreel, which gives the action a greater immediacy. This is all presented in a cool, clipped realistic manner, with a strong but convincingly stated macho tone It all served to make the first quarter hour of the film almost irresistibly suspenseful, and gave Harryhausen one of the best lead-ins that one could ask for, for his effects";  Leonard Maltin also praised the film's "Breathtaking special effects";  and the Radio Times , whilst acknowledging it as a "classic monster flick", also called the film "Predictable tosh, but good s fun".
The four-issue comic book mini-series It Came from Beneath the Sea A preview of the first issue was included on the 50th Anniversary DVD release of the film.
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From Wikipedia, the free encyclopedia. It Came from Beneath the Sea Theatrical release half-sheet display poster. Peterson as Capt. April 23, Retrieved May 10, Turner Classic Movies.
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