L'Atavisme qui tue

Sequel to Captive Wild Woman that is often cited among fans as one of the worst, if not THE worst, of Universal's classic horror films. I can't find much good to say about this to argue against that opinion. Frankly, this stinks. I wasn't much of a fan of Captive Wild Woman in the first place so I am a little perplexed as to why it needed a sequel, let alone two (there's another film following this one!). Once they decided to make a sequel, one would hope they would try to improve on the first movie in some way. Instead we get this thing, told through flashback, that utilizes way too many clips of the first movie. If you have to pad the runtime of a movie that's barely an hour, maybe you just shouldn't make that movie.

Evelyn Ankers, Milburn Stone, and Acquanetta all return from Captive Wild Woman. It helps that this movie has the great J. Carrol Naish in it, as well as solid actors like Douglas Dumbrille and Samuel Hinds. Eddie Hyans plays a simple-minded lab assistant named Willie who provides some unintended laughs for his "Which way did he go, George" method of acting. But this is a snoozer for anyone who's seen Captive Wild Woman or anyone who comes into this expecting some kind of cheesy "beast-woman" fun. The lack of any attempt at making this a real monster movie and the constant clips test your patience. It's a very cheap and ho-hum movie that I wouldn't recommend to anyone but those looking to see every film in Universal's classic horror catalog, regardless of quality.

"Jungle Woman" is a B-movie from Universal. And, with so many of Universal's monster films, this one often completely contradicts the previous film, "Captive Wild Woman"...so much so that it's hard to say that "Jungle Woman" is a sequel exactly...though the half-ape woman, Paula Dupree (Acquanetta) is in each. But instead of being the product of the evil Dr. Walters (John Carradine), she's the result of more benign experiments by Dr. Fletcher (J. Carrol Naish).

The film begins with Dr. Fletcher killing Paula in silhouette (a cheap technique in order to not have to use make-up to make Acquanetta look like an ape). At the inquest, he's hesitant to explain why he did this but eventually he tells...and you see a lengthy flashback which last the rest of the film.

Dr. Fletcher rescued a dying ape...healing it and somehow using glands to make the ape look like a hot woman with an inexplicable accent*. She is beautiful and intelligent but one thing she still lacks is a conscience. Because of this, when she inexplicably falls for Paul, she's determined to kill his girlfriend. And, she also kills the hospital's attendant, Willie, because he was so annoying! Then, she kills chickens and a German Shepherd...but in all these cases you see none of this...again all apparently to save money or, perhaps, because Acquanetta wasn't exactly a great thespian and she was used very sparingly throughout the movie.

So is this any good? Well, the mood is good but the film really could have used some ape/human make-up...something other the tiny scene at the end where she appears to be sporting wolfman make-up! I think they were trying for the Val Lewton experience where you never see the creature...but it just didn't work as well here. Not a terrible film, however, just one that could have been a lot better. For fans of B-horror films, it's worth seeing...most others will find it all a bit silly.

A sad portion appeared to have been taken from "Captive Wild Woman" that bothered me. You see a tiger and lion fighting each other...ostensible for the audience's amusement. Pretty sick and cruel stuff.



*Despite her exotic name and Universal marketing her as 'The Venezuelan Volcano', Acquanetta was from Wyoming....and her exotic accent a phony.

No need to waste time on this sequel mess. Apparently, Universal needed to meet product demand for wartime audiences. So they took a hunk of 1943's Captive Wild Woman and cobbled together some surrounding footage to make something of a story. The result comes across like Val Lewton on a really bad day. The supposedly scary scenes are done in Lewtonesque shadow, but come across as more clumsily cost-cutting than artful. Too bad so many distinguished players (Hinds, Dumbrille, Naish) are wasted in what must have been an embarrassment. I just hope Ankers & Carradine got compensated for the reuse of their earlier footage. But I doubt it given studio dominance of the period. No need to go on. Suffice that this is about the nadir of human-into-animals that were so popular at the time. As Lewton knew, horror needs more than shadow; it needs concept, dread, and mood, elements in short supply here.

Sequel to CAPTIVE WILD WOMAN is often said to be one of Universal's worst horror films, and with some good reason. For one thing the first 15 or 20 minutes agonizingly drone on and on with flashback sequences from the first movie, and has to be seen to be believed (it actually feels like you're watching 3 different films at times). Acquanetta returns as Paula the Ape Woman and it's hilarious to watch her terrible acting performance, especially the robotic way in which she delivers her lines! At least the original had her mute throughout; this one gives her a lot of dialogue she can't handle. Along with the unintended laughs to make things survivable, at least this one features the competent J. Carrol Naish as the latest scientist trying to experiment with Paula, and to its very slight credit director Reginald LeBorg directs a couple of scenes in a Val Lewtonesque manner (such as Paula's creepy attack on a row boat and her eerily stalking her victim through the woods). I've never understood why these films didn't take more advantage of using more of their Ape Woman woman in full makeup to keep things more lively. ** out of ****

A sequel can sometimes be either a virtual remake of the original film, it can devote some of the running-time to re-telling the first film's plot in compressed form (via scenes lifted directly from that one) and, other times, the second entry could cheat by borrowing action scenes from the preceding effort and pass them off as its own. However, this is the only case I know of where a film is all three at once (though, technically, the animal footage here is part of the flashback framework, they were still ripped off from an earlier non-related picture)! Universal's three-movie "Ape Woman" franchise is surely among the most maligned to emerge during the vintage horror era (even by hardened buffs) but, maybe because I was in a receptive frame-of-mind, I recall enjoying CAPTIVE WILD WOMAN (1943; directed by, of all people, Edward Dmytryk!) back when I had watched it and certainly did not mind catching up with the two sequels now i.e. the film under review and THE JUNGLE CAPTIVE (1945), which followed on the very next day!

To get to the matter at hand: this, then, follows the pattern of THE MUMMY'S TOMB (1942), Universal's third movie in the Egyptology stakes but actually the second 'episode' in their "Kharis" saga. Anyway, the film has a complex structure in that we begin with the titular figure's demise, of whose murder the 'mad doctor' (who is not really) of this one, J. Carroll Naish, is accused, then we go into a flashback to learn how we got there but, corroborating his evidence, as it were, are the hero and heroine of the first film who relate their own experiences by recounting the events of CAPTIVE WILD WOMAN! Amusingly, Universal 'scream queen' Evelyn Ankers receives top billing here but she only appears during these basically expository scenes and, of course, the 'stock footage' though not in JUNGLE WOMAN's narrative proper (that is to say, Naish's recollections)! Incidentally, I wonder what John Carradine, star of CAPTIVE WILD WOMAN (1943), made of the fact that, unofficially, he also had this on his resume'!

When I said that this was more a remake than a sequel was due to its having the 'monster' (once again played by Acquanetta but, unwisely taking a leaf from BRIDE OF FRANKENSTEIN {1935}, she is made to speak – except that we are never told in this instance just who taught her – and, boy, is she wooden!) once more instantly fall for the doctor's daughter's fiancé and grows insanely jealous of the girl. By the way, in a reversal of "Dr. Jekyll & Mr. Hyde", here the monster turns human without the use of drugs, so that the girl is found prowling the grounds of Naish's sanatorium by a simple-minded patient (who, subsequently doting excessively on Acquanetta, unsurprisingly becomes one of her victims). At one point, the Ape Woman swims underwater and capsizes the lovers' canoe, an act which is actually blamed on the oafish orderly who is currently missing – even if the former makes no secret of her impulsive affections for the impossibly bland leading man (unfortunately, a constant thorn in the side of the Golden Age of Horror!).

Curiously, the film naively (since the original film had already established the transformation as a fact!) attempts to follow the psychological Val Lewton route by never showing the monster (except once amidst the flashback footage and again in the very last shot – even her death is played out in the shadows, though the images of a female figure leaping on the doctor only to be injected with an overdose belies the animal noises on the soundtrack!) but, for all that, the film remains mildly enjoyable – certainly eminently watchable – along its trim 60-minute duration, largely owing to Naish's grey-haired presence (though he is not quite running on full cylinders here, as in the same year's THE MONSTER MAKER) and the unmistakable Universal Studios atmosphere.