Winter 2018
Particularly timely in light of the #MeToo movement, this book is more than simply a tribute to a forgotten pioneer of special effects and makeup design, Milicent Patrick. The creator of the iconic mask used in Creature from the Black Lagoon (1954), and one of the first female animators for Walt Disney, Patrick seemed destined for a memorable career before encountering the sexism of male coworkers threatened by her talents. When she was a child, her father had been superintendent of construction at newspaper magnate William Randolph Hearst's Hearst Castle, so readers are also treated to a fascinating side story about life in and around San Simeon, CA, as well as the peripatetic life of Patrick's family. But it's the book's subtitle that clearly has a twofold meaning for author, screenwriter, and producer O'Meara, reflecting her passion for the project. The individuals she discusses are also those who are part of the internalized misogyny of the industry, and she and her subject had to handle very similar situations and prejudices. VERDICT This engaging, forthright, and personal history of both the author and her muse will be a valuable addition to most libraries.—Peter Thornell, Hingham P.L., MA
…the book's meandering path should not come as a surprise. O'Meara freely admits early on that she's not an experienced or even objective biographer, and her infectious enthusiasm for her subject may hook similarly curious readers wondering whatever became of the Creature's creator…Despite the disjointed narrative, O'Meara achieves her goal. Thanks to her persistent efforts, The Lady From the Black Lagoon pulls Milicent Patrick and her considerable accomplishments out of the murky swamp of overlooked history and back into the light.
The New York Times Book Review - J. D. Biersdorfer
★ 11/19/2018Creature from the Black Lagoon . O’Meara traces Patrick’s journey from precocious art student to her tenure as one of the first female animators at Disney and her discovery by Universal Studios’ head of makeup, Bud Westmore. After designing the creature for the hit film and being sent on a whirlwind press tour, Patrick became the target of Westmore’s jealousy, was fired, and subsequently was denied credit for her work. O’Meara also shares her own filmmaking experiences in modern-day Hollywood, including being accused of getting a job by sleeping with the boss and being sexually harassed by a voice actor, to highlight the continuing challenges for women in the film industry. These personal anecdotes may initially appear a distraction from Patrick’s story, but O’Meara’s enthusiasm for her subject soon overcomes all objections. This is a fascinating slice of Hollywood history with a feminist slant, correcting a sexist wrong from decades ago and restoring Patrick to her rightful place of esteem. Agent: Brady McReynolds, JABberwocky Literary Agency. (Mar.)
Engaging and compelling.... a fierce and often very funny guide to the distaff side of geekdom.” —Los Angeles Times Maureen Corrigan, NPR “Fresh Air” The Lady From the Black Lagoon is a hybrid — part biography, part memoir, part detective story and part #MeToo pushback against the film industry’s deep-rooted patriarchal tendencies, highlighted in revelations of sexually predatory behavior by male actors, directors and moguls.” —The Washington Post Christian Science Monitor Shelf Awareness The Lady from the Black Lagoon has you in its grip, it won’t let go.” —The Mary Sue “The Lady From the Black Lagoon restores Patrick to the pantheon of Hollywood trailblazers, where she belonged all along.” —Refinery29, Best Book of the Month Pick Hidden Figures , you’ll love this much-overdue biography of Disney’s first female animator, and Hollywood’s only woman (still) to design a monster for a major motion picture.” —Town and Country The Lady from the Black Lagoon is a marvel.” — Tor.com —Bustle Publishers Weekly (starred review)Kirkus Reviews Booklist (starred review) Library Journal Julie and Julia …Even if you’re not a fan of horror films, The Lady from the Black Lagoon is a riveting, sincere Hollywood saga that will quickly win your heart.” —BookPage (starred review)—Charlaine Harris The Lady From the Black Lagoon is not just a story that needed to be told, the exact right person told it. At some point, the book starts to resemble troika dolls: echoes of Milicent Patrick’s life can be heard in Mallory O’Meara’s life, and echoes of Mallory’s can be heard in ours, the readers. It’s then that you realize how profound this book really is.” —Josh Malerman, author of Bird Box —Sam Maggs, author of Girl Squads and Wonder Women —Mindy Johnson, author of Ink & Paint: The Women of Walt Disney's Animation The Lady from the Black Lagoon is a celebration of the life and shamefully overlooked work of Milicent Patrick. It's also an unflinching, from-the-front-lines recounting of Hollywood's toxic patriarchal culture, a history of all manner of monsters. You'll be infuriated at the legacy of continuing injustice but inspired by the talent, will, and spirit of Milicent Patrick and Mallory O'Meara." —Paul Tremblay author of A Head Full of Ghosts and The Cabin at the End of the World The Lady from the Black Lagoon shines a vital light on one of the unsung women heroes of cinema." —Jovanka Vuckovic, author of Zombies! An Illustrated History of the Undead The Lady from the Black Lagoon , Mallory O’Meara dives deep into one of these tales. She tells the story of Milicent Patrick, who designed an iconic monster and was an important Disney animator at a time when women were more tolerated than celebrated. Weaving strands of Hollywood lore with Patrick’s biography and her own personal history, O’Meara has written a book that’s as entertaining as it is necessary.” —Richard Kadrey, author of Hollywood Dead The Lady from the Black Lagoon , Mallory O'Meara has performed true magic. It's a non-fiction detective story, with O'Meara chasing the mystery of how the woman who designed one of cinema's most famous monsters was erased from movie history. It's an intimate, personal quest, and an irrefutable indictment of Hollywood sexism both past and present. It's a love letter to monsters, and to those of us who cherish them. Even if you're not a regular non-fiction reader, you owe it to yourself to read this book. You'll thank me later." —Christopher Golden, New York Times bestselling author of Ararat and The Pandora Room Alexandria Brown, Librarian and author of Hidden History of Napa Valley The Lady from the Black Lagoon is a stunningly honest, compassionate investigation into the life of a woman who changed the face of horror. Milicent Patrick's story is as heartbreaking as it is relatable, and O'Meara has written her story with empathy, vulnerability, and courage. The direct discussion of what it's like to be a woman in the film industry—to be a woman in any industry—is incredibly refreshing; The Lady from the Black Lagoon is a blast of fresh air. I've never read anything like The Lady from the Black Lagoon , and I hope it's just the beginning." —Sarah Gailey, author of Magic for Liars
Mallory O’Meara offers her first audiobook after a career in the independent film and new media industries. Her pleasant but mostly unvaried narration does little to shed light on her well-researched portrait of the first of very few women who have designed monsters for horror films, former Disney animator and special effects designer Milicent Patrick. Much of the audiobook is about O’Meara herself and the sexist discrimination she and Patrick have met since the release of THE CREATURE FROM THE BLACK LAGOON in 1954. O’Meara’s tone and vulgar language often reflect her anger toward the predominantly male film industry. Patrick, who also acted on the silver screen, was a woman ahead of her time, but O’Meara’s framing of the interesting bits within a strongly feminist agenda does little to boost understanding of the accomplishments of the Creature’s creator. W.A.G. © AudioFile 2019, Portland, Maine
Mallory O’Meara offers her first audiobook after a career in the independent film and new media industries. Her pleasant but mostly unvaried narration does little to shed light on her well-researched portrait of the first of very few women who have designed monsters for horror films, former Disney animator and special effects designer Milicent Patrick. Much of the audiobook is about O’Meara herself and the sexist discrimination she and Patrick have met since the release of THE CREATURE FROM THE BLACK LAGOON in 1954. O’Meara’s tone and vulgar language often reflect her anger toward the predominantly male film industry. Patrick, who also acted on the silver screen, was a woman ahead of her time, but O’Meara’s framing of the interesting bits within a strongly feminist agenda does little to boost understanding of the accomplishments of the Creature’s creator. W.A.G. © AudioFile 2019, Portland, Maine
2018-12-03
An idiosyncratic, much-needed biography of "a woman before her time."
Screenwriter and genre film producer O'Meara's first book is an engaging chronicle of Milicent Patrick (1915-1998), a woman trailblazer in the film industry, as well as the personal story of O'Meara's own, not always pleasant, experiences in the industry. As the enthusiastic author writes, in 2018, Patrick is "still the only woman to have designed an iconic movie monster." Yet "she's not just the queen of monsters, the goddam Joan of Arc." O'Meara set out on a nearly three-year journey to piece together the life of this largely unrecognized artist. Mildred Elisabeth Fulvia Rossi was born in El Paso, Texas. When she was 6, her father, Camille, was hired to be the on-site superintendent of construction for the William Randolph Hearst estate, and Patrick spent 10 wonderful years as "Alice in Wonderland." Years later, she changed her name in honor of Hearst's wife, Millicent (Patrick left out the second "l"). In 1935, she began her study of illustration and drawing at the Chouinard Art Institute. In 1938, "her work caught the eye of Walt Disney," and she joined his studio, working on The Sorcerer's Apprentice and Dumbo . Patrick did some bit acting and modeling before getting a big break in 1952, when she was the first woman hired by Bud Westmore for his famous special effects makeup department at the male-dominated Universal Studios. After designing monsters for some science-fiction movies, she took on her most famous design, Gill-Man, for the classic Creature from the Black Lagoon , "still one of the best designed and recognizable movie monsters in Hollywood history." She never received any on-screen credit, and a highly successful tour she did promoting the film got her fired by a jealous Westmore.
Jam-packed with many funny, goofy footnotes, this passionately written biography will do much to bring Patrick the recognition she deserves.
