Little Red Monkey

Superintendent Harrington (Russell Napier) is charged with investigating the deaths of British nuclear scientists.

A monkey creature is present when the killings took place. Maybe the Russians have trained primates to carry out the killings.

Bill Locklin (Richard Conte) is the State Department official who has flown into London to bring a Russian defector to America.

However the Russian spies are hot on his heels with the help of collaborators.

Locklin and Harrington need to keep them at bay while the press act as a nuisance.

Little Red Monkey is a passable B movie set during the 1950s cold war. Conte is the obligatory American star.

It moves along nicely as the audience work out just how a monkey could be an assassin. The presence of a little boy is a clue as to how the deaths may have been carried out.

Within minutes, one could be forgiven for thinking that the elusive monkey of the title is the director, making a Hitchcock style cameo appearance and for questioning Hollywood stalwart Richard Conte's integrity for signing up to this clunker. Throw in a low budget, lo-fi, occasionally laughable score, which sounds like it was performed by the same outfit responsible for Ed Wood's 'Jailbait' and it quickly appears that this bargain basement yarn about the bumping off of eminent scientists is headed straight for the buffers. A total train wreck of a movie!

When the brainbox behind guided missiles has a stop over in London en route to the U. S. A., despite embarrassing lapses in security and a dismissal of the monkey's existence, the authorities remain calm and bullishly stiff upper lipped. Most people would have gone ape! Visiting State Department agent Conte is given assurances regarding safety, but soon our hero has a harsh reality check. Exasperated by inert British police, hampered and harangued, by probing, all mouth and trousers reporter, Colin Gordon, kidnapped and beaten to a pulp by Russian agents, he still finds time for several stiff drinks and a spot of romance with Rona Anderson, clearly not put off by his extensive bruising and black eye.

Continued viewing spurs a combination of mirth and macabre fascination, until......wait a minute, the momentum picks up, tension mounts and against all expectations a passably noirish thriller emerges, leading to a finale in which the monkey and a midget martian contrive to (almost) steal the show, endorsing the adage; 'Never work with animals or children'.

This is a mid-fifties British B picture (aka LITTLE RED MONKEY, the original title, which is on the DVD) for which they brought in the American Richard Conte as a visiting FBI agent, to fetch a Russian scientist defector to America. The script was co-written by Ken Hughes (1922-2001), who also directed it, and whom I knew rather well. Ken was never a highbrow when it came to literature, though his taste in art was good because of his obsession with the paintings of Delvaux, of which he had a gigantic example on his wall above his sofa. (It is now in a national museum somewhere.) I must say, Richard Conte makes just about the least sentimental lover in the history of the cinema. The way he treats the girl who falls in love with him is so rude and inconsiderate that one wonders about his orientation. Never mind. The British police and secret service bungle spectacularly throughout this tale, making mistake after mistake, taking no basic safety or security precautions, and the attempt to look after a major defector is portrayed as an utter farce. A bit too close to real life. It reminds me of the dealings between MI6 and Gaddafi. What is there about the word 'incompetence' that the British security experts do not understand? They presumably have their noses buried too deep in dodgy dossiers, of which there has been a spectacular example recently, something to do with the number 70,000. Hahaha. Well here they go again in this film, letting everybody get killed, with the almost equally hapless Yank finally saving them, more or less by chance. The monkey of the title really exists and climbs up buildings and opens windows for entry by humans to commit dastardly deeds. There are other elements revealed at the end which I shall duly keep top secret, something which no one in the film seems to know the meaning of.

The usual brilliant scientist with a Cherman accent is in Great Britain, about to be sent to the US. Scotland Yard thinks it has matters well in hand, but it takes American Richard Conte from the State Department to make things come out right, when he is not romancing Rona Anderson.

It's pretty standard B movie fare, except for the score, which consists of half blaring, sprightly organ music and half overly romantic piano tinkling. There are a trio of spies with East European accents talking about how their plans and executions are flawless -- they aren't --and some sharp photography by Josef Ambor. I found it unengaging.

THE CASE OF THE RED MONKEY, aka LITTLE RED MONKEY, is a fun little mix of murder mystery and spy thriller of the 1950s. This is very much a film of its era, complete with a title and theme tune taken from a popular tune of the era and a Cold War backdrop. When nuclear scientists are being murdered in London, it takes a US special agent in the form of Richard Conte to track down the killer. The addition of the monkey to the plot is a novel and offbeat twist, and there's enough disparate elements from action to romance to spy shenanigans and the like to keep it bubbling away merrily from beginning to end.