If one goes into Embryo (1976) hoping to find a similar cinematic experience to The Unborn (1991), one will be sorely disappointed. The now public domain Embryo is a strange little slice of science fiction in which Rock Hudson plays a scientist who grows a Barbara Carrera from fetus into adulthood via artificial means. The opening title card of the film warns viewers that what they are about to see is possible with modern science.
Embryo is clearly hoping to tap into the paranoia surrounding cloning in the late seventies, even if clumsily. However in terms of actual science very little is ever explained. Instead the filmmakers opt to trade in familiar visual signifiers, most of which go back to James Whale’s Frankenstein pictures in the thirties. For some this isn’t a bad thing. Mad scientist films have a certain appeal in their inherent entertainment factor. To others much of what Rock Hudson’s character attempts to explain will sound like contradictory gibberish.
Tonally director Ralph Nelson doesn’t seem sure what kind of picture he’s making. Is it an attempt at an objective commentary on the dangers of cloning or an ill fated B-movie thriller. Nelson, a veteran director of such illustrious films as Lillies Of The Field (1963) and Requiem For A Heavyweight (1962), can’t even seem to define the sexual/paternal relationship that Rock Hudson has with Carrera in the film.
Embryo is more of a curiosity than anything else. There are some delightfully campy moments here and there of course, but mostly it will appeal to viewers nostalgic for late night movies on public television. Personally I am a little surprised that Mark Rappaport didn’t sample more footage from Embryo for his masterful Rock Hudson’s Home Movies (1992).
