To most outside observers, Bride of the Monster probably seems like a ridiculously inept horror film, and in many ways it is just that. To connoisseurs of the work of director Edward D. Wood Jr., however, it is the biggest budgeted film in his entire output, made with the resources of a normal B-movie (as opposed to his usual totally emaciated finances) and the most easily accessible of his three horror films. Bela Lugosi, in his final complete performance, portrays Dr. Eric Vornoff, a renegade Eastern European scientist with a plan to create a race of atomic supermen, giants charged with radioactivity. The problem is that the hapless hunters and other passersby at Lake Marsh, where he has set up shop with his hulking, mute assistant Lobo (Tor Johnson), whom the pair waylay, keep dying when he straps them in and switches on his atomic ray machine (which is a not-at-all disguised photographic enlarger). A dozen victims later, reporter Janet Lawson (Loretta King) goes out to investigate the disappearances -- attributed to a monster -- and falls into Vornoff's hands, with her police detective fiance Dick Craig (Tony McCoy) hot on her trail, and a devious spy (George Becwar) from Vornoff's former nation also nosing his way around the swamp and the old house. Vornoff dresses Lawson in a wedding gown and plans to irradiate her but Lobo refuses to allow it, straps Vornoff into the machine, and turns him into a radioactive giant (and into stuntman Eddie Parker, totally unconvincing in his doubling for Lugosi). With his laboratory in flames and the police closing in on all sides, the now super-strong Vornoff goes up in a mushroom cloud when he falls into the clutches of the giant octopus that he uses to dispose of his victims.