My love for DC Comics’ Swamp Thing began in the mid-’80s when I started picking up Alan Moore’s run on the series from my local newsstand (remember those?). I was probably too young to be reading some of that stuff, but I suppose that was par for the course in a Gen X childhood. By the time Jim Wynorski’s The Return of Swamp Thing debuted in 1989, I was already a full-fledged Swamp Thing fanatic. I was also a burgeoning horror fan and I didn’t quite understand what the prolific B movie director was doing with his approach to the property. I’m still generally allergic to camp, but Wynorski’s brand of enthusiastic silliness and simple thrills eventually won me over as I revisited the film over the years. May 12th sees the flick celebrate its 35th anniversary, so I decided to take a look back.
Brawny actor/stuntman Dick Durock, who starred as the titular swamp monster in Wes Craven’s 1982 film, reprises his role and starts the film off with a confrontation against a creature that appears to be half man and half leech. It seems that malevolent businessman Anton Arcane (aristocratic Louis Jourdan, also reprising his role from the first movie) somehow survived his last encounter with Swamp Thing and is now manufacturing genetically mutated monsters in a search for an anti-aging drug. Meanwhile, Arcane’s stepdaughter Abby (bouncy Heather Locklear) decides to pay a visit to her estranged parent in order to find out what really happened to her late mother. Significant supporting roles belong to Sarah Douglas (aka Ursa from SUPERMAN II) as a scientist and Arcane’s lover, Ace Mask as another scientist in Arcane’s employ, Monique Gabrielle and Joey Sagal as a pair of mercenaries, and RonReaco Lee and Daniel Taylor as pair of sassy and enterprising local kids.
Contrary to the semi-serious approach that Craven took and the straight up horror offered by the ‘70s and ‘80s era comics, Wynorski chose to deploy some overt irony. It’s not meta or slapstick, but the director certainly seems to wink at the audience in his own way. Contrasting with the tortured and relatively soulful performance Durock gave in his first go as the muck-encrusted man monster, he delivers a more uncomplicated forthright effort here. So, there’s a certain amount of light self-aware humor that’s fairly prevalent. I’m not sure if Neil Cuthbert and Grant Morris’ script specifically intended for that approach, but Wynorski’s generally mischievous attitude is ever present in the production. The mood is more akin to a low-budget superhero romp, albeit a quirky one, than any sort of horror. In any case, I find the writing to be clear and straightforward.
Durock definitely delivers a pleasing turn, but Locklear is also engaging as the bubbly Abby. Evidently, Wynorski did not get along with Jourdan, as their temperaments seem diametrically opposed from what I know of both of them. The stately actor still gives a nicely smug performance and his Arcane is easy to root against. Some of the other acting is less than polished, but it all works within the film’s cheesy framework.
As a huge comic book fan and one who has read every issue of the Len Wein/Bernie Wrightson and Alan Moore runs, I really appreciated the title sequence that incorporated tons of art from those actual comics. Seeing that artwork in HD on my large TV is one of my favorite aspects of the movie, now. The script mines some moments from those iconic books, but this is far from a faithful adaptation of any particular storyline, so I recommend letting go of those kinds of expectations and just rolling with what Wynorski brings to the lore.
Swamp Thing’s creature design and costume are excellent. It looks really cool and allows for fluid movement, which is good considering the amount of fisticuffs that Swamp Thing engages in. Considering the number of prosthetics involved, Durock gives an easy and likable performance within the confines of his suit. The other creatures’ makeup is much less complex. Though goofy-looking in spots, they’re still effective, and in all honesty, they add to the story’s charm.
Locations and sets are a huge plus. Watching the actors trudge around in a legit bog takes off some of the harder edges of the campiness and allows for some immersion into the story. Arcane’s regal mansion and comic book-y secret laboratory vibe well with the tone and performances. Production design overall is impressive, as it looks like the filmmakers squeezed out as much value as they could from their $4M budget. There are also a surprising amount of real explosions, which is always a treat to see since CGI has almost made them extinct in current times.
Chuck Cirino, a frequent collaborator of Wynorski’s, drops a heroic and buoyant score. Surprisingly, the producers were able to license the use of Creedence Clearwater Revival’s “Born on the Bayou.” Playing over the title sequence and the end credits, it lends some Cajun cred to the piece and, along with the Swamp Thing suit, sets, and locations, makes the film feel bigger than it is.
Jim Wynorski’s The Return of Swamp Thing is a whole lotta fun. While it maintains some continuity with Wes Craven’s film via storyline, actors, and transitional editing, it really is its own beast that mostly stands on its own. Unpretentious and committed to a tongue-in-cheek tone that doesn’t go overboard, I find it to be a hugely enjoyable respite from DC’s more dour recent offerings. Recommended for fans of Chopping Mall, The Incredible Hulk TV movies, and Showa Era Godzilla flicks.
Michael Cavender