Upon its release in 1954, *Creature from the Black Lagoon* was a significant commercial success, though critical reviews were mixed. While it is now revered as the final "Universal Classic Monster" masterpiece, contemporary critics often viewed it as a standard "B-movie" monster feature, albeit one with exceptional visual flair and a groundbreaking use of 3D technology.
### **1. Critical Reception**
The film's reception was largely split between those who praised its atmospheric thrills and those who dismissed its thin plot.
* **Variety (Positive):** One of the most enthusiastic reviews came from *Variety*, which called the film "solid horror-thrill entertainment." The reviewer specifically noted the effective tension created by the underwater sequences: "The below-water scraps between skin divers and the prehistoric thing are thrilling and will pop goose pimples on the susceptible fan." They also credited director Jack Arnold for building "effective chills and suspense."
* **The New York Times (Negative):** The influential critic Bosley Crowther was far less impressed. In his May 1954 review, he dismissed the film as a "clumsy try at an African adventure film" (referring to the Amazon setting) and compared the story to "lost comic books." He found the narrative shallow and criticized the pacing, noting that the only excitement came from the 3D "gimmicks" such as spears being thrown at the camera.
* **The Hollywood Reporter (Positive):** The trade publication was favorable, echoing *Variety* by stating the film "makes for solid horror-thrill entertainment" and noting that it effectively utilized the "beauty and the beast" trope.
### **2. 3D Technology and Visual Impact**
The film's primary selling point in 1954 was its use of **Polaroid 3D**. Universal marketed the film heavily on its "startling" 3D underwater photography.
* **A Fading Fad:** By the time the film was released in early 1954, the initial 3D craze (which peaked in mid-1953) was already beginning to wane. Consequently, many audiences in smaller towns saw the film "flat" (in 2D), while major city theaters still utilized the 3D projection.
* **Underwater Breakthroughs:** Even critics who disliked the story admitted the underwater photography was technically impressive. At the time, scuba diving was a relatively new and exciting novelty to the public, and the film was praised for being the first to effectively capture feature-length action under the surface.
### **3. Commercial Performance**
Despite the mixed critical bag, the film was a massive hit for Universal-International.
* **Box Office:** On a budget of approximately **$500,000**, it grossed roughly **$1.3 million** in its initial run. This was a substantial return that immediately prompted Universal to greenlight two sequels: *Revenge of the Creature* (1955) and *The Creature Walks Among Us* (1956).
* **Pop Culture Impact:** The "Gill-man" became an overnight icon. Unlike Dracula or Frankenstein, who were based on 19th-century literature, the Creature was a purely cinematic creation of the 1950s, bridging the gap between Universal's Gothic past and the Atomic-Age science fiction that was beginning to dominate the genre.
### **4. Key Takeaways from 1954 Reviews**
* **The Suit:** The design of the Gill-man (now known to be largely the work of Millicent Patrick, though she was uncredited at the time) was frequently cited as one of the best "rubber suit" monsters ever created, with critics noting its realistic movements in water.
* **The "Beauty and the Beast" Angle:** Many reviews noted the sexual undertones and the creature's obsession with the heroine, Kay Lawrence (Julia Adams). The "underwater ballet" scene—where the creature swims beneath Adams—was recognized even then as a visually poetic highlight of the film.