O Gorila em Conflitos Alucinantes

I have no doubt that the 'Gorilla' series of novels by former secret agent Antoine-Louis Dominique proved fascinating to those who had nothing better to do with their time. This first film adaptation which is likewise aimed at the lowest common denominator, has the presence of mucho macho Lino Ventura, eccentric Charles Vanel, immaculate Pierre Dux and nothing if not sexy Bella Darvi but nonetheless remains simply awful, even by director Bernard Borderie's standards.

Even allowing for its being a pastiche of hard-boiled American film noir it is a risible, unpleasant and nigh-on sadistic opus which is saddled with a repetitive and terminally irritating 'jazzy' score. In keeping with the films title Ventura's character spends a great deal of time impersonating the Orang-utan from 'The Murders in the Rue Morgue'. He is also subject to so many beatings that one wonders how he emerges with a full set of teeth. Not to mention his close encounter with a blow torch!

The film is redeemed somewhat by the cinematography of Louis Page and by our being treated to the delicious French accent of the multi-lingual Miss Darvi. It is also of interest as being the film that firmly established the persona of Monsieur Ventura before he deservedly moved on to better things. His start in films came via a chance meeting with director Jacques Becker and as well as luck, an actor's career can be helped or hindered by choice of roles. 'Le Gorille vous salue bien', despite its being a load of rubbish, served its purpose and he very wisely declined to appear in what turned out to be an even more abysmal follow-up. Although Charles Vanel reprised his role in the follow-up he was far too respected a character actor for it to have an adverse effect! He had a phenomenal career and like Pierre Dux, continued acting until the very end. The chequered life of Bella Darvi ended in suicide in 1971.

Bernard Borderie, on the evidence of this film, and the half-dozen Angélique films he made, was a competent journeyman director. He never inspires but sometimes he pleases the viewer, at least when actors like Pierre Dux, René Lefèvre and Charles Vanel are given sizeable parts. He uses his actors well, and this covers up the mediocrity of the plot (missing atomic weapons secrets, again!).

Lino Ventura uses his panache to get over the absurd aspects of the story--his supposed superhuman powers (breaking his chains, à la Samson) only make us snicker. Such was this man's appeal that we can watch him do the most preposterous things (he was a wrestler, and could do his own stunts) and be entertained.