The Ape

If it weren't for the presence of Boris Karloff, this would be pretty bad. Apparently there has been a bout with polio in the community (paralysis) and there is a pretty young victim who the doctor fancies as looking like his late daughter. He makes it his life work to cure her. Unfortunately, he needs the bodily fluids of others to bring about that cure. Of course, he chooses the base, the outcast, for his work because the young pretty girl has more worth in the society than these others. He chooses his victims by judging this worth. He kills them by dressing in the skin of an ape that he killed and skinned. If this sounds silly, it's hard to defend. There's also a subplot of the jealousy of a young man who loves the young woman but may feel if she recovers she will reject him. Karloff's doctor is the constant victim of the community. They don't know what he's doing in that house and so he is victimized by the local kids (your garden variety brats), and looked on with suspicion. He is such a kindly man, it seems odd that there is such venom when it comes to him. Anyway, it's a small town and people do need their preoccupations. It just seems that a doctor with this much imagination could be a little more creative in his methods than the one he chooses. Imagine how lacking in dexterity if you were about 60 years old, running around in an ape pelt. It's rather forgettable and predictable, but it's fun to see Karloff's character.

I'm not sure what I'd name this film. It was probably named "The Ape" to bring in crowds - thoughts of an ape gone rogue and Boris Karloff creeping about would do so in 1940. Dr. Bernard Adrian (Karoloff) is introduced immediately. He is visiting a girl, Frances, who is paralyzed on what would have been Adrian's daughter's 18th birthday. Both his daughter and wife were lost in an epidemic of what is called "paralysis". It is probably polio, but the disease is never named. The girl is like a second daughter to Adrian, and she has a beau, the rather simple but kindly Danny.

A local circus goes up in flames and an ape belonging to the circus is on the loose. The ape badly injures his cruel trainer/keeper in the process of escaping and the trainer is brought to Dr. Adrian. Adrian figures the man is going to die anyways, and uses his spinal fluid in a serum he is concocting to help Frances and other paralytics walk again.

There are several mysteries going on here. The ape only seems to kill people who are evil - you are given a scene in which each of his victims does something awful. How does the ape know? Plus the ape is hanging around the doctor's house. Why?? Also, in one scene the ape is said to be killed but is shown walking about later, still on a mad spree. How?

Is this all just bad editing? Why are chronically ill young people always shown as so patient and kind in these B films? Will the doctor push the boundaries of medicine too far and have Frances remove the blanket on her legs to reveal hairy ape legs? If so will Danny make a run for it? Watch and find out the ridiculous ending.

This film is five out of ten just because of Karloff. He creeps up the atmosphere and adds depth to just about any character he plays. Everybody else in the cast is just a cardboard cutout next to him. It makes me wonder why he even did this film. Probably for Karloff completists only.

William Nigh directs this low-budget Monogram picture about a circus ape escaping simultaneously with an eccentric doctor trying to cure a young girl's paralysis. Somehow the two plot strands meet and end in a very far-fetched denouement. Fantastical plot notwithstanding, The Ape is a quality picture at least as far as Monogram pictures go. Sure it has some real cheap sets and a threadbare, ridiculous story. The direction is adequate but nothing more. But what it does have is a fine performance from Boris Karloff as the doctor working endlessly to free a girl from the confines of her wheelchair all the while blurring the line of good and bad. For me there are three types of mad doctors. The first and probably most familiar is the crazed, maniacal, egocentric mad doctor looking for revenge or glory or the affections of a girl. These guys are the ones full of themselves and usually are dedicated in some form or fashion to evil. Bela Lugosi excelled at these. The second type is the same maniacal, crazed doctor but one that is more worldly. He wants money or power and position. He knows oftentimes that what he is doing is wrong(differentiates him from first type). I think Lionel Atwill played this type very well. The third type - and a very broad one - is the mad doctor who crosses the line of acceptable behaviour but his action are all done with good at the core. Karloff really perfected this type. The Ape has just such a "mad doctor" in it. Karloff gives such a good performance despite everything working against him. He creates genuine pathos in his role. The rest of the cast in this film is nothing too special. I enjoyed Henry Hall as the lawman, and Gertrude Hoffman as Karloff's quiet maid was chilling in her demeanor and silence. The Ape should not be overlooked simply because of its less than stellar roots with Monogram. Karloff rises above the material and this film rises above the standard fare usually created. The ape itself, well, quite ridiculous. In this one George Barrows gets a break and Ray "Crash" Corrigan(the alien in It! The Terror from Beyond Space)dons the unrealistic simian outfit.

A local doctor and scientist (Boris Karloff) is working on a treatment for paralysis. He finds the cure requires human spinal fluid. But to get such a thing, he must kill. And then a local circus starts on fire and a murderous ape escapes...

First, let me give a shout out to director William Nigh of Berlin, Wisconsin. I always have to support my local directors, even if they're dead. And while there was nothing really out of the ordinary as far as directing style, it was good just the same. And Nigh has a history of working with Karloff, which I'm sure helps quite a bit (look at Tim Burton and Johnny Depp).

This film has a strong point, a weak point and a mediocre pint. The strong point is the plot. My summary will sound strange to those who haven't seen the movie. There is a circus, an ape, a scientist and people are getting killed. It really fits together very nicely, and I found this to be impressive. Many older films fill time with extra fluff, but this one was only the necessities and even that was pretty thorough.

The weak point is the film quality. I don't think I can blame the movie for its quality, but the sound is not great, the picture is not great, and many frames are missing entirely. Either lost, or filmed with bad equipment. Once I adjusted, this wasn't such a big deal. But other films from this time period have fared better, so I wish this had been one of them. A restored, touched up version of this film would have been vastly superior.

The mediocre point is the costume designer. The ape was obviously a man in a costume. However, despite this being obvious it was still a very good costume and worked for the sake of the picture. Can I reasonably expect a better ape without a real ape being used (which would be much harder to control, of course)? Perhaps not. So I give them credit for the effort. (And I assume the costume here is much nicer than the one used in the earlier theatrical production.) This film was alright. As far as older, lower quality movies go, I think this is better than much of the stuff we now call "classic". Karloff delivers, as usual... and we get a good story that has a nice dark comedy element to it, or at least an element of sympathy for evil acts. And that's always nice.

It doesn't sound like much of a compliment, but this cheapie was better than I expected, thanks not only to Karloff's sympathetic performance but to a script by Curt Siodmak, who did much better things. Once you accept that the main idea is stupid, you can appreciate that each individual scene is well-written in terms of character development. Everyone is slightly more ambiguous than their stock character usually would be. The "mad" doctor is sincerely concerned with the insipid heroine who reminds him of his daughter, and his madness is a kind of beautiful tragedy. The "good" boyfriend says he doesn't want her hurt, but he also seems jealous of the doctor and resentful that the heroine won't be so dependent on him. There's real tension in their triangle. The hick sheriff is almost sharp enough to figure things out. The town blowhard gets several scenes showing what a well-chiseled wretch he is, especially the scene with his pathetic wife. The small-towners are all various little unflattering types--lazy, suspicious, gossipy, narrow-minded--not exactly an ad for rural life. Karloff's maid seems mute except when she suddenly whispers one word. There's a city doctor who comes on as an antagonist, then gets converted into an ally by Karloff's evidence, and disappears from the movie! There's the wise caretaker, introduced in a surprising pan shot that begins with a black circus worker playing a trumpet for a dancing elephant and ending with the ape being provoked by the rotten trainer. The very ending, too, has a certain power if you meet the movie halfway. The trouble is, just as you're pulled into the simplicity and effectiveness of all these human scenes, along comes another scene with that apesuit to pull the rug out from under the movie's credibility. The ape is the worst thing about THE APE!