The Monster and the Girl

1940's THE MONSTER AND THE GIRL, not to be confused with Republic's 1944 THE LADY AND THE MONSTER, was a rare Paramount excursion into Universal horror territory. This was the studio that brought genre fans the 1931 DR. JEKYLL AND MR. HYDE, 1932's ISLAND OF LOST SOULS, 1933's MURDERS IN THE ZOO, 1939's DR. CYCLOPS, and 1940's THE MAD DOCTOR, all quite distinctive and respectable. Leonard Maltin's review praises the originality of the white slavery angle, depicting how poor Ellen Drew is lured into a life of prostitution, while her brother (Phillip Terry) is executed for a murder he didn't commit, donating his brain to Dr. Parry (the great George Zucco) to use in a surgical procedure that puts his mind in the body of a gorilla. Maltin dismisses the mad doctor stuff as clichéd, but the truth is, all the characters are strictly by the numbers; it's quite possible that if it consisted of one storyline over the other, the results would never be remembered today. Like Boris Karloff in Warners' 1936 THE WALKING DEAD, the vicious racketeers are marked for death from beyond the grave, and the second half of the film shows how the gorilla (Charles Gemora) manages to escape detection as it travels around town, executing all the gangsters with virtually no interference, aided by his faithful dog (!). This is not A BOY AND HIS DOG, and it really is better than it sounds, it's only disappointing in that little is made of Zucco's experiment, and his role is very small. Best of all is Charles Gemora's sensitive portrayal of a gorilla with a human mind, and it is excellent; it couldn't have been easy to act in such a costume, but it looks as good as any from old Hollywood, and is light years superior to Emil Van Horn's embarrassment in Bela Lugosi's THE APE MAN. A remarkable cast of familiar faces make this an easy watch, apart from the condescending Paul Lukas, whose accent was no match for Lugosi's (surely Bela would have been available). Look fast for unbilled Edward Van Sloan, veteran of FRANKENSTEIN and THE MUMMY, playing the prison warden who helps Zucco get the plot moving toward its inevitable climax (Zucco proved to be even busier than Lionel Atwill in that department).

After the horror revival of the late thirties, Paramount decided to get in on the act with this rare excursion into "monster movies." But this is a weird hybrid, as if a film about a white slavery ring was in production and the powers that be decided to tear off the last half of the script and graft a ham-fisted (or banana-fisted) monster subplot onto it. It certainly makes for fascinating viewing, as long as you know what's coming. A tenuous similarity could be considered with 'From Dusk Til Dawn' wherein a story about two hostage-taking killers on the run suddenly switches gears half-way and becomes an outlandish vampire gore-a-thon. This 1941 release does have a resemblance to Karloff's 1939 'The Man They Could Not Hang' (Karloff a hanged scientist brought back to life with electricity proceeds to kill off the jurors that convicted him.) Nonetheless, this film's bifurcated storyline is almost delightful if only from the sheer crackpot audacity of trying to pull it off.

No need to recount the plot, it's simple enough. It's thirty minutes of trial and flashback to the white slavery set-up, then thirty minutes of Frankenstein-ian ape-crazed nonsense with a quick wrap up. The only hurdle to overcome is the amateur performance of Phillip Terry as the condemned man Webster. He drudges his way through as if told he was in a zombie movie, then behaves like a Stepford Wife in the flashback, then later does an over-the-top hysteria jag in his last scene. Inept. But he doesn't play the ape, thank goodness! That job is performed by Charles Gemora (who played the martian in 1953's 'War of The Worlds') and he does it subtly and effectively. Considering the highly-charged second half, it's too bad the writer and director didn't take advantage and really play up the tension and the murder scenes. Here's a case where a film could have run a little longer for a change. And thankfully the ape doesn't talk and Webster's sister (Ellen Drew) doesn't do that "I recognized him by his eyes" nonsense that it looks like it was heading for. There's also a terrific cast of familiar second-tier actor faces employed including Marc Lawrence, a young Rod Cameron, Joseph Calleia, Abner Biberman, Cliff Edwards and even Bud Jamison (Jamison familiar to Three Stooges fans). Granted the film's short running time doesn't give them much screen time (but oddly enough, the faceless unknowns Robert Paige, Terry and Drew get most of the camera-time). And one last enjoyable note is seeing George Zucco as the transplant doctor hovering throughout the film. In the first part of the film he is just hanging around, given little attention, as if waiting like the rest of us to get to the 'monster' part of the story. Then after he does his movie-changing brain transplant, he once again hangs around mostly in the background (at each murder scene), with no one really asking him why he's always there. It's all part of the oddness of this little curio.

I learned about this movie from a sidebar to an article on "horror noir" in Films in Review, where it was highly recommended.

It does mix horror and film noir in its own peculiar fashion. It starts off more noir than horror. A woman addresses the camera, surrounded by smoke or fog, to tell us a tale. We're taken to a courtroom, where a stoic man is being tried for murder. The woman from the introduction enters the court as a spectator, and a couple of the other spectators call attention to her.

The man on trial doesn't say much in his defense, speaking in a monotone. The woman jumps up to insist on speaking. She seems like a tough dame, and it turns out she's the man's sister. What she says doesn't help much, and she isn't a credible witness; it's implied she's a prostitute.

Through a flashback to better days, we see the siblings when they were much more animated and happy. She wanted to leave their small town, but when she goes to the city she finds it hard to get work. She meets a man she falls in love with, and gets married, but when she wakes up after a party on her wedding night, he's disappeared. A strange man is in her bedroom informing her how much she owes for the room and party, and offers her work in a cabaret entertaining men...

The brother goes to the city to find the missing husband, and gets framed for murder by a criminal conspiracy by the men his sister now works for. Back in the courtroom, he's convicted, vows revenge, and is executed, but not before he agrees to donate his brain to science.

Post-mortem, his brain is implanted into an ape. It's not clear what the scientist hopes to accomplish by that. Something about evolution, perhaps seeing what the ape's potential is if its brain is upgraded. For some reason, the scientist seems to expect an intelligent ape, rather than a man's mind in an ape's body. It isn't clear to what extent the executed man's brain retains its personality or memories, but the ape does carry out his vow of revenge, and his own dog seems to recognize him.

There were several other primate horror movies Universal made, among them the three titles in the Paula the Ape Woman series: Captive Wild Woman (1943), Jungle Woman (1944/I), Jungle Captive, The (1945), and then the Bela Lugosi film Murders in the Rue Morgue (1932). It's a funny thing about primates and horror, they go back pretty far. The Doctor's Experiment, The Professor's Secret, and The Monkey Man (all 1908) are three of the earliest ones, the latter one even involving a brain transplant!

Monster and the Girl, The (1941)

** 1/2 (out of 4)

Strange but effective film from Paramount mixes the noir and horror genres. Mobsters frame an innocent man for murder but before his execution he swears vengeance on them all. After his death a scientist (George Zucco) experiments by putting the dead man's brain into the body of a gorilla who goes out for revenge. The biggest problem with this film is its short running time of 65-minutes, which isn't enough time for the two stories to work. We get a fast paced and fun movie but it could and should have been a lot more. This is certainly a very weird film that noir and horror fans should check out.

This Paramount film has the kind of outlandish plot often found in minor studio cheapies of the same period: Phillip Terry's sister (Ellen Drew) foolishly falls for a gangster and ends up sold into "white slavery." Her brother tries to rescue her but ends up getting framed for murder by the mobsters. Convicted and sent to die in the electric chair, his body ends up stolen by mad scientist George Zucco, who puts his brain in the body of a gorilla. The gorilla now with Phillip Terrys brain, escapes and proceeds to kill off the mobsters one by one. Along the way his dog instinctively knows the gorilla is his (hers?) old master and tags along on his murderous rampage of vengeance. If one view this film ignoring the outlandish plot, this actually a very well made film with good Paramount production values, good stylish direction by Stuart Heisler, good atmospheric photography, and good performances by most of the films cast. Charlie Gemora's gorilla costume is more realistic looking than the cheesy moth eaten suits worn by George Barrows or Ray Corrigan in minor studio pictures. Also Gemora manages express real feelings and emotions underneath that gorilla suit. Also Gemora's gorilla actually walks and gestures like a real gorilla. THE MONSTER AND THE GIRL is an incredible film and is recommend if you are looking for something really outlandish but not trashy.