SWAMP THING (1982) Three stars
This is the “green” movie I should have watched on St. Patrick’s Day.

Either that or perhaps any of the Incredible Hulk movies or the first SHREK.

Anything, just about anything, would have been preferred over LEPRECHAUN.

SWAMP THING rates as one of those indelible films that leave me with a goofy smile on my face and a warm glow in my heart, probably green colored in this particular case.

It’s been duly noted that filmmaker Wes Craven (1939-2015) earned an undergraduate degree in English and psychology from Wheaton College and a master’s in philosophy and writing from Johns Hopkins. He worked as English teacher before a four-decade film career predominantly associated with exploitation and horror.

Believe it or not, many of his films are informed by his educational, literary background.

Craven’s feature debut THE LAST HOUSE ON THE LEFT (1972) updated Ingmar Bergman’s THE VIRGIN SPRING (1960) for modern times in America; THE VIRGIN SPRING itself told a tale based on a 13th Century Swedish folk ballad incorporating rape, murder, and revenge.

Craven’s third film THE HILLS HAVE EYES (1977) took inspiration from 16th Century Scotland with Sawney Bean and His Cannibal Clan (45 members), responsible for the mass murder and cannibalization of over 1,000 people.

Even Craven’s arguably most famous film, A NIGHTMARE ON ELM STREET (1984), started after Craven read stories in the Los Angeles Times about how Southeast Asian refugees — who fled to the United States after the atrocities in Laos, Cambodia, and Vietnam — began experiencing terrifying nightmares and refused to sleep. Some of these men, ranging from age 19 to 57, even died in their sleep.

Based on a comic book, SWAMP THING, Craven’s fifth feature, was his first attempt to break away from the horror genre that would both be his blessing and his curse.

I suspect that one’s enjoyment of SWAMP THING depends on an individual’s level of sympathy for mad scientists, a megalomaniac and his nasty henchmen, a damsel-in-distress, secret formulas, mutations, comic book action, and Harry (FRIDAY THE 13TH) Manfredini’s relentless music that sounds echoes of his most famous work.

Busty actress Adrienne Barbeau proved to be at the peak of her film career at the time of SWAMP THING — it was the fifth picture in a six-picture run beginning with THE FOG (1980) and continuing with ESCAPE FROM NEW YORK, THE CANNONBALL RUN, THE THING (“Computer Voice”), and SWAMP THING before concluding later in 1982 with CREEPSHOW. She’s at her very best in SWAMP THING, and her very worst in CREEPSHOW.

Barbeau was married to filmmaker John Carpenter from 1979 to 1984, and half of those films listed in the above paragraph came from Carpenter in a flurry of films after HALLOWEEN.

Barbeau’s most famous talents are on display in the “international version” and the original DVD copies in America before viewers complained and had that “smut” recalled. Seriously, who would complain about Barbeau’s boobies, them magnificent mammaries? American DVD and Blu-ray issues since 2005 feature the American theatrical ‘PG’ version, and it would make America great again if we could have the “international version” of SWAMP THING.

Barbeau herself understands what makes SWAMP THING better than one more run-of-the-mill “creature feature.”

“When I read it, I fell in love with the screenplay,” Barbeau said of SWAMP THING. “It was whimsical, and charming, and lovely. I didn’t see it as a horror film. I guess I don’t see it as a horror film to this day, actually. It’s Beauty and the Beast — it’s more of a fantasy or a fairy tale, maybe, in my mind.”

I’ve long had admiration for Boris Karloff as Frankenstein’s Monster and Peter Weller as RoboCop. We can add stunt man and actor Dick Durock (1937-2009) as Swamp Thing to that list.

Like both Karloff and Weller, Durock creates great sympathy for Swamp Thing.

That human element — pieced together with Swamp Thing’s relationship with Alice Cable (Barbeau) — lifts SWAMP THING out of the swamp, if you will.

Just as when the Monster speaks in BRIDE OF FRANKENSTEIN, there’s poignancy when Swamp Thing says a line like “Much beauty in the swamp, if you only look.”

Swamp Thing and Cable have a better relationship than what the Monster and His Bride had in BRIDE OF FRANKENSTEIN. Cable gets far more screen time than the poor Bride, as well.

SWAMP THING has some of the same wit and same spirit as BRIDE OF FRANKENSTEIN.

I always say, “There’s much beauty in B-movies, if you only look.”