Der Würger von Coney Island

One of the "gems" from Anne's first stab at Hollywood. Drive in fodder would be completely forgotten if not for its cast. Anne Bancroft, looking sensational in Technicolor, is as good as the script allows-meaning she manages to keep a straight face during the ridiculous contrivances that the movie presents. Raymond Burr and Lee J. Cobb also put in professional performances, although Lee must have been longing for the days of the Group Theatre during production of this lulu. It's fun to see Lee Marvin just starting out as a clumsy cop. The whole thing is nonsensical but harmless unless you count the mystifying decision to make the usually brunette Cameron Mitchell a bleached blond, it does him no favors.

I've seen this film being bashed before within other circles and forums and I'm always somewhat puzzled by it. We're talking 1950's era, 3-D, monster hokum here folks. Fun, lighthearted with none of it meant to be taken all that seriously. It's sort of like trying to critique, ' Plan 9 From Outer Space ' ; it's all a little beyond that, isn't it ? Let's all go to the Saturday matinée for some laughs and a good time ! Visually enjoyable in wonderful color, great nostalgia value centering around the old amusement park with the fun house, room of mirrors, dodgems, trapeze act and all the rest. Including cotton candy ! The impressive, high profile cast, ( see the credits for yourself ) must of been having a grand old time with it all. The unoriginality of the ' gorilla ' is usually the main focus point for the films negative comments. Sure, you keep an eye on him to stay up to speed with the story but Anne Bancroft is, of course, the main attraction. At twenty - something and gorgeous, she spends the majority of her on screen time in Capri swim suits and black, fishnet tights; often contorted or strategically placed into unconventional physical positions. Yessiree. So who was paying attention to the big monkey ? MONTER ON THE MIDWAY !! Recommended.

It's not so much that there's more than meets the eye as it is what

does meet the eye that makes this picture worth a look-see.

Sure, if you want to be all serious, then you could easily object to a

rather predictable plot, or some wooden performances (though I'd

have something to say about that), or a delightfully inept gorilla suit

that looks more like an animated swatch of shag carpet (the eyes

are so...human!). You could moan and groan about the film's

portrayal of women, etc., etc. You could call it a bad movie.

But you shouldn't! Firstly, it does offer the sorts of thrills that

B-movie fans relish: the lurid carny life, cartoonish violence,

trapeze artists in skimpy costumes, emotions writ large and

unambiguously (at least ostensibly).

In fact, I'd say that many of the performances are great, not

because they are especially moving or "realistic," but rather,

because the conventions of the genre frame them in such a way

as to be quite effective, and not least of all, gratifying. Anne

Bancroft smolders magnificently as a trapeze artist with quite a

shady past. Raymond Burr's controlling, yet ambiguous carnival

manager never fails to intrigue. Lee Marvin is great as a feckless,

blow-hard police officer. And perhaps most compellingly, there is

Lee J. Cobb, as a no-nonsense, cigar-chomping gumshoe. You

really get a sense of what an entirely watchable performer he is in

this picture, and personally I think he's better here than he is in "On

the Waterfront" (gasp!).

Camp values aside, the technical aspects of the film are

breathtaking. The picture's technicolors blast out of the screen,

aided by 3-D that is so sharply defined and brilliant that you feel

like you are watching some sort of moving ViewMaster reel. A

restored print has recently been struck and you'll be blown away if

you have a chance to see it. I'd say that its use of technicolor and

3-D are perhaps more impressive than even "House of Wax," and

certainly more accomplished than such unnecessarily 3-D'd

features such as "Dial M for Murder" or "Miss Sadie Thompson."

Color, violence, a beautiful girl and a gorilla--and in not one, nor

two, but THREE dimensions. What's not to like?

I had heard about "Gorilla at Large" for years, but avoided watching it because of the campy title and brief clips I had seen, usually of the gorilla swinging on a vine. Recently, this movie was broadcast on Fox Movie Channel. On a whim, I recorded it with my PVR and watched it the next day. To my surprise, I found "Gorilla at Large" to be an entertaining movie. It's not a monster film at all, or even a jungle themed movie. Rather, it's a crime/detective story that keeps you guessing. "Gorilla" has a very good cast and interesting story. A young Lee Marvin has an amusing role as a policeman. The sexy Anne Bancroft is the main star....although some might claim it is the gorilla.

"Gorilla At Large" is a very good example of a 1950's 3-D film. If you only see it in 2-D, you are literally seeing only half the picture. Why do you think the bars are in the foreground, the gorilla jumps at the screen, the girl is trapped in a house of mirrors, or the rockets are shot at the gorilla? Because it is supposed to be seen in 3-D. That's why.

Having said that, 23 year old Anne Bancroft gives an interesting sex-pot performance. She spends most of the time either in her trapeze costume or in lingerie. Raymond Burr, known as a bad guy at this time, gives a very offbeat performance. And a very young Lee Marvin is extremely funny as a cop who doesn't have a clue.

The 1950's saw a great many 3-D films that are no longer available in that format. It is really too bad we can't see "Gorilla At Large", "House Of Wax" and "Dial M For Murder" the way they were meant to be seen.