You might not recognize the name at first glance, but
if you grew up watching late-show horror pictures in
the 1960s, odds are you've seen the work of director
Richard Cunha. The handful of films he directed in the
late 1950s virtually define the drive-in, B-movie era
of maverick, low-budget filmmaking. From the marauding
500-year-old conquistador of Giant From the Unknown,
to the Nazi scientists and mutant native girls of
She Demons, to the rock men, juvenile delinquents
and giant spiders of Missile to the Moon, if
it was exploitable, Cunha had it covered. With Frankenstein's
Daughter, Cunha and partner Marc Frederic appropriated
a name with built-in cachet and ran with it, fashioning
a film that cult-movie lovers can't seem to forget.
Of all your films, readers seem to ask us about Frankenstein's
Daughter most often. Care to hazard a guess as to
why that might be the one they remember best?
RICHARD CUNHA: I guess that the name Frankenstein
has been well exploited and indicates in one word that
there is horror connected with it. I think people remember
the title and not necessarily the film.