Panique sur la ville

One of the "gems" from Anne's first stab at Hollywood. Drive in fodder would be completely forgotten if not for its cast. Anne Bancroft, looking sensational in Technicolor, is as good as the script allows-meaning she manages to keep a straight face during the ridiculous contrivances that the movie presents. Raymond Burr and Lee J. Cobb also put in professional performances, although Lee must have been longing for the days of the Group Theatre during production of this lulu. It's fun to see Lee Marvin just starting out as a clumsy cop. The whole thing is nonsensical but harmless unless you count the mystifying decision to make the usually brunette Cameron Mitchell a bleached blond, it does him no favors.

I've seen this film being bashed before within other circles and forums and I'm always somewhat puzzled by it. We're talking 1950's era, 3-D, monster hokum here folks. Fun, lighthearted with none of it meant to be taken all that seriously. It's sort of like trying to critique, ' Plan 9 From Outer Space ' ; it's all a little beyond that, isn't it ? Let's all go to the Saturday matinée for some laughs and a good time ! Visually enjoyable in wonderful color, great nostalgia value centering around the old amusement park with the fun house, room of mirrors, dodgems, trapeze act and all the rest. Including cotton candy ! The impressive, high profile cast, ( see the credits for yourself ) must of been having a grand old time with it all. The unoriginality of the ' gorilla ' is usually the main focus point for the films negative comments. Sure, you keep an eye on him to stay up to speed with the story but Anne Bancroft is, of course, the main attraction. At twenty - something and gorgeous, she spends the majority of her on screen time in Capri swim suits and black, fishnet tights; often contorted or strategically placed into unconventional physical positions. Yessiree. So who was paying attention to the big monkey ? MONTER ON THE MIDWAY !! Recommended.

This semi-indie murder mystery from the fifties has a little bit of something for everyone. For one thing, it has an amazing cast: Anne Bancroft, Cameron Mitchell, Lee Cobb, Lee Marvin and Raymond Burr. It captures perfectly the tail-end of the amusement park era that was drawing to a close at this time due to television and Disneyland. Men dress in garish suits in this one, and smoke cigars, and there is, as always seemed to be the case with films with a circus or carnival setting, the air of an alternate reality just around the corner, in a sideshow or a funhouse.

This picture was an oddity even when it was new, feeling at times more like an episode of Superman than a movie. The gorilla looks exactly like what it is, a man in a gorilla suit, yet somehow this is acceptable, the way painted backdrops in silent movies are acceptable. If the big ape were presented realistically it would throw the whole film off. Method actors Mitchell and Cobb deliver fine B movie performances that give no hints that they were in fact classically trained, not to mention that they had once played together as father and son in the original Broadway production of Death Of a Salesman. Miss Bancroft was a babe, yet restrains her natural talent to give the sort of Suzanne Pleshette performance her part demands. Raymond Burr, still a few years away from Perry Mason, draws on his natural and inscrutable saturninity. His occasional moments of smiling and bonhomie remind me a little of Peter Lorre at his most forlorn, as he comes off like a grim, serious man trying awfully hard to be a good sport, which in turn makes him a perfect red herring. Lee Marvin plays a dumb cop named Shaughnessy, a good indication of the cleverness of the script.

Yet the movie works on its own terms. The color is well above average for this basically small-scale picture. Director Harmon Jones was a seasoned Hollywood veteran and knew how to slow down the action to create a sense of place, whether a policeman's office, a pier, a trailer or the ersatz jungle set, complete with trapeze. This sort of stylized, non-realistic movie was, like amusement parks, going out of fashion at the time it was made, and yet it has its virtues, notably a commitment to artifice rather than a representation of the real world, which freed the imaginations of the men behind the camera, allowing them to make little experiments with color, space and lighting. The movie is much better than camp. It's more like Edward Hopper Goes To the Circus.

The title of this film would bring to mind the myriad low budget shockers from the 50's. But with a cast including Anne Bancroft, Lee Marvin, Raymond Burr, Cameron Mitchell, Lee J. Cobb, John Kellogg, and Warren Stevens, we're talking 8 Academy Award nominations, and 2 wins. That doesn't sound like the typical low budget 50's shocker and this Technicolor 3-D thriller is nothing of the sort. Of course, none of the nominations had yet occurred, and whether this film was the springboard that launched the careers of the aforementioned actors is no absolute. But there is no question that shortly after this film all of them began to appear on a regular basis in more important roles and in more important films and television, the most successful examples being Anne Bancroft, Lee Marvin, Raymond Burr and Lee J. Cobb. And this film is a perfect example of Lee Marvin's early work where it was obvious he was emblazoned with "Star". Oddly, it was the director Harmon Jones whose career seemed to go downhill after this film. After having previously directed such notable efforts as, Paddy Chayefsky's "As Young as You Feel", the popular biopic "The Pride of St. Louis", "The Silver Whip", "The Kid from Left Field", and "City of Bad Men", Harmon's career seemed from then on to be destined for weekly television episodes.

As for production values, script, suspense and action, the film is not bad. That is with the exception of the man in a gorilla suit which was supposed to be a real gorilla. I guess they were never able to get that right until "Planet of the Apes"! We're fortunate that Fox Movie Channel had rediscovered this peculiar gem. Although the film's current condition is good, a restoration for release on DVD and the inclusion of 3-D glasses would surely be a success.

I had originally watched this one a long time ago during my childhood days on a now-defunct Sicilian TV channel; in hindsight, it can now best be considered as a guilty pleasure and, besides, the fact that it isn’t really a bona-fide horror film (given that the murders are not actually committed by the titular beast but rather by somebody conveniently donning a simian costume) might perhaps endear it to those film buffs who normally shun the genre.

The terrific cast is also a definite attraction here: Lee J. Cobb and Lee Marvin are particularly fun to watch as, respectively, the cigar-chomping Police Detective heading the murder investigations under the Big Top and a loudmouth but sleepy-eyed cop left to guard the caged gorilla but, inevitably, ending behind its bars himself! Cameron Mitchell, Raymond Burr and Anne Bancroft – who, arguably, never looked lovelier on screen than she does here as the star trapeze artist of husband Burr’s circus – all have good roles and gleefully enter into the fun spirit of the thing. Interestingly enough, both Cobb and Burr were about to embark on their signature screen roles that same year in, respectively, ON THE WATERFRONT and REAR WINDOW! The gorilla keeper (Peter Whitney) is also a noteworthy and malevolent presence, particularly when trapping a victim into his self-designed mirror maze and when offering to teach Mitchell how to raise ex-wife Bancroft over his head for the crowd's pleasure!

The belated identification of the real killer is a big surprise – which makes the sequence of Burr taking on the blame for the circus murders and his eventual revelation as a cripple by Mitchell in front of Cobb a moving one and the film’s highlight. While the ape itself is clearly a man in a suit, it’s not a particular liability to one’s enjoyment of the show; the 3-D effects are not especially obtrusive either and are limited to the beast swinging by rope or walking into camera and passing through the revolving merry-go-round at the film’s climax. In conclusion, this modest production proved to be highly enjoyable hokum – although, admittedly, the nostalgia factor may have had a hand in how much I wound up liking the whole thing. Being a picture originally distributed by Fox, it was surprisingly (but thankfully) added to the coveted “Midnite Movies” line of DVD releases (which has recently been taken over by Fox from MGM) along with the unrelated Spanish adventure effort MYSTERY ON MONSTER ISLAND (1981) featuring genre icons Peter Cushing and Paul Naschy and which I will get to later on during this Halloween marathon.