Out of all
of Bela Lugosi’s horror movies, the last to be released in his infamous
Monogram Nine contract, Return of the Ape
Man (1944), remains the hardest of which to track down a copy. Fortunately
for Lugosi fans, and indeed bad film aficionados in general, I was able to get
a decent print on DVD. It’s certainly worth seeing but as with many of the
notoriously banned ‘video nasties’ in 1980’s Britain, the rarity value is
greater than its actual value.
According to
Tom Weaver, Return was meant to be
filmed as part of a proposed actors’ stock company trumpeted in the press by
Monogram producer Sam Katzmann, composed of John Carradine, George Zucco and Frieda
Inescort (from 1943’s Return of the
Vampire). The two male leads were to be teamed up with Lugosi for this and
then the dull, drecky Voodoo Man -
see my review – the latter of which was released first. Technically, Return of the Ape Man represents the
first appearance of this triumvirate in the same movie; yet to add more
confusion is the long-debated question of whether Zucco was actually in the
film despite being credited. We shall get to this shortly.
The title promoted
this film as a sequel to the previous year’s wonderfully dreadful The Ape Man (also examined in this blog)
but mercifully without any connection in plot or character. The director was
Philip Rosen who, although not as fast a sausage factory churner of programmers
as The Ape Man’s infamous William
Beaudine, was capable of shooting in Monogram’s quick, no-frills Poverty Row
style. He had just come off the back of helming two of their popular Charlie Chan series and would in total
rack up six credits that year.
The lack of
continuity with The Ape Man was a
blessing as the prequel literally made a monkey of Lugosi and is often cited as
the worst/best reason for the notoriety of the actor’s Monogram collection.
Here the falling Hungarian star is accorded rather more dignity by being the
instigator of evil and not the victim.
Before we
get to him, regular readers of my blog will know of my penchant for forensic
examination of in-film newspaper headlines. Return
has a couple of doozies and opens with an amusing little gem. In order to
introduce some questionable morality at work, under the headline ‘NOTORIOUS
TRAMP STILL MISSING’ we read that Willie the Weasel, a vagrant ‘familiar among
downtown derelicts’, has disappeared after being driven away by ‘a couple of
distinguished-looking gentleman’. Aside from featuring as little newsworthiness
to the public as most social media pieces today (unless the reader is one of
his tramp fraternity), it contains no geographical details at all. The
journalist doesn’t divulge an area or indeed the city the event happened in, a
technique repeated in a later clipping, leading me to wonder if this is the Anywheresville Gazette.
Nevertheless
we soon fill in the newshound’s gaps by meeting Lugosi in the role of scientist
Professor Dexter and his colleague Professor Gilmore. These distinguished
gentleman have just revived Willie from Dexter’s experimental chamber wherein
unbeknownst to him he has spent the last four months in frozen suspended
animation without food and water. As a drunk he awakes in possibly less of an
addled state than a typical morning-after and gratefully accepts five dollars as
a fee on his way out. The results mark a triumphant breakthrough for Dexter
which he aims to build upon by seeking examples in the arctic of frozen
cavemen.
Being a
Monogram production, Dexter and Gilmore’s ship sets sail in stock footage polar
waters accompanied by inappropriately jaunty library music – a standard
cost-cutting measure that here draws attention to itself more than the usual
Poverty Row titles, underscoring the action like episodes in a Flash Gordon serial. Cut to ten months
later and the scientists are frustrated at their lack of progress, no surprise
as the two employees behind them hack away with their ice-picks at the set
floor as daintily as if defrosting an old fridge. Gilmore the family man tell
Dexter that he must return to his missed loved ones. Single-minded Dexter has
no such sentimentality: “A true scientist is married to his profession”. At
their point of separation suddenly an avalanche occurs that by sheer
coincidence dislodges a frozen caveman for them. This will prove an inciting
incident from which only bad things result.
Back home in
Dexter’s laboratory, he takes a blowtorch to the ice block containing the Ape
Man and soon his conscious prized specimen is released. Audiences were led by
the poster billing to believe that the bearded, hairy Grizzly Adams that
emerges was a shared credit between George Zucco and actor Frank Moran. There
is no evidence however of any trace of Zucco in the part except for an on-set
still photo that appears to show him made up for the role. Any close-ups of the
Ape Man clearly show what must be Moran’s lighter coloured eyes than Zucco’s
beady dark ones. The voice at times is reminiscent of Zucco yet could not have
benefitted from post-production dubbing even if such was possible on a
shoestring budget. The studio certainly gained maximum benefit from touting
Zucco as an attraction; arguably Zucco in turn benefitted from not being
authentically seen in the movie. There was no escape from the hilarious face fuzz
indignity committed on Lugosi in the original film; it would have been even
more cripplingly funny to endure the emoting of a middle-aged Zucco sporting
animal skins and furry booties in addition.
Regardless,
Moran the Man goes ape at his revival until Lugosi resourcefully trains the
blowtorch on him, gloating “You see? Fire is his master. He probably never
understood it”. What Dexter really implies is that he will be the caveman’s
master, intending to make him his slave to perform unspecified dark deeds. This
can only be achieved though once Dexter has transplanted part of an intelligent
modern brain into him, just enough to give reasoning and speech without obscuring
his existing primitive mind. This naked playing of Dexter’s true God complex
card appals Gilmore into accusing his colleague of planned murder: “Murder is
an ugly word,” broods Lugosi thickly. “As a scientist I don’t recognise it.”
Later that
night, a Gilmore home dinner party celebrates the engagement of Steve Rogers (Tod
Andrews) to Gilmore’s daughter Anne (Teala Loring). As a side-note it may not
be a coincidence that both these young leads changed their stage names in the
same year that Return of the Ape Man
came out (from the credited Michael Ames and Judith Gibson respectively)
to protect their later work from B-movie
connotations. Andrews would have the longer of the two careers including Beneath the Planet of the Apes (1970).
To be fair,
as the plot unfolds it’s made with no less a workmanlike quality than the
standard B-movie medical madman horror in spite of its absurd developing
premise and the occasional amusing unintended detail. The differences between
Dexter and his host are at least capably illuminated further at the party by
Robert The Ape Man Charles’ functional
screenplay that supports the two stars playing effortlessly to type. Carradine
gives Gilmore his calm, cadaverous geniality while furrowed-brow Lugosi sits at
a cold remove from the other guests, judging them with disdain – “Some people’s
brains would never be missed” – and opportunistically eyeing the young
groom-to-be.
Events move
on apace when Dexter drugs Steve in order to make him the donor brain for his
shaggy slave. Gilmore breaks off from playing Beethoven’s Moonlight Sonata for
his guests and races to the lab just in time to prevent Steve becoming an eligible
candidate for more than matrimony. (He threatens Dexter with a gun mystifyingly
pulled from his tuxedo trousers – had he anticipated refereeing a
violently-contested game of Charades back home?). “Fool! You’ll pay for this”,
vows Dexter after Gilmore leaves.
The catalyst
for all hell breaking loose is Dexter experimenting with an electrified
steel-plate later intended to entrap his associate. The Ape Man doesn’t
appreciate being labelled a guinea pig either, makes a bar-bending jailbreak and
jumps out of the window; howler-spotters may enjoy the glimpse of his
twentieth-century white underpants as he does so. The city news desk is soon on
the case, reporting in another exclusive that a beat cop is subsequently
strangled ‘by a weird-looking character in primitive garb, with supernatural
strength’ – once again with no clues as to where in the world this took place.
Poor Prof.
Gilmore then becomes the paralysed victim of Dexter’s electro-plated trap. Such
is his decency that in the face of potentially fatal brain theft he nobly goes
along with it out of misplaced guilt: “If someone has to the victim of your
madness, I’m glad it’s me”. You have to admire Dexter’s dexterity as a surgeon
- his resuscitated post-op neanderthal bears no trace of any skull work
whatsoever. Not only that, but seemingly within minutes the cave slave has
shimmied up the ivy outside casa Gilmore and broken in to play his new
alter-ego’s favourite piano piece. His recital takes a sinister turn though and
it isn’t long before he high-tails his hirsute way back to the lab to sheepishly
admit to his master “I killed (Anne’s Aunt) Hilda”.
All too late
Dexter realises he has thawed out what should have remained in nature’s
freezer. Even the police’s bullets have no effect upon the rampaging beast and
he scrappily throttles Lugosi as he has everyone else in the movie - glaringly
bereft of a fight director). Dexter sees the error of his medical meddling just
in time to warn the police “There is only one way…fire!” - before checking out
in wide-eyed ham death throes, leaving them to clean up his mess.
This just
leaves a haphazard climax beginning with the fleeing primate kidnapping Anne
and bustling her through an empty theatre. Backstage, he takes time out to slap what he
thinks is a real warrior for staring at him - actually a Mongol stage mannequin
– before taking her back to the lab and inadvertently setting fire to the place
to his own terminal cost. Meanwhile heroic Steve is in tow backed up by two
patrolmen. (We’d seen the station chief calling out for ‘all units in the
vicinity’ so we must presume it’s been a busy night elsewhere.)
Return of the Ape Man never stood a chance of being a good
film (any scenario that involves a Lugosi scientist pursuing a furry caveman down a city street with a blowlamp will never compete
with Citizen Kane) but it rattles
along at a fair pace, hovering in and out of the Entertainingly Bad red zone of
amiable movie daffiness.
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