Les fauves meurtriers

Welcome to the Michael Gough School of Dramatic Acting where subtlety is as foreign as class is for Roseanne Barr. Gough teams up with producer Herman Cohen for one more time(previously making Horrors of the Black Museum and Konga together). The result is a fun if not flawed film. Gough plays Michael Conrad the owner of Conrad's Animal Kingdom and one man accustomed to getting his way in life. Seems to also have quite a good relationship with his zoo pals, especially the big cats: a lion, a lioness, a pair of cheetahs, a tiger, a black panther, and also a fake looking gorilla(George Barrows AGAIN!). Gough plays organ music to his animal friends in his living room, belongs to a cult group of animal worshipers, and uses his friends to kill any personages that get in his way. To say Gough overacts is an incredible understatement. He bellows his lines with ferocity in scenes that do not need such vigour, but he is always fun to watch. The film is really very interesting as the cats are real and they have been trained very nicely. The acting, aside from Gough, is uniformly good with a nice performance turned in by Rod Lauren(The Crawling Hand) as a mute assistant forced to aid Gough. Jeane Cooper is lovely and does well as Gough's wife, and the character acting of Elisha Cook, Ed Platt, Virginia Grey, and Jerome Cowan all enhance the film. Make no mistake though, even though he wildly overacts, Gough is the film's main attraction. You have to look a ways to find a more over-the-top performance and a bigger slice of ham! The film also boats a wonderful scene where a tiger gets buried. Amidst the swirling fogs and moody backdrops, Gough, with mute assistant and wife, gives a eulogy before all the big cats. Effectively eerie.

BLACK ZOO marks the third and final teaming of producer Herman Cohen and actor Michael Gough and the results are definitely mixed. This is a pity because the other two movies, the incredibly lurid HORRORS OF THE BLACK MUSEUM and the deliriously outrageous KONGA are guilty pleasures of the first order. ZOO doesn't quite measure up to the other two although it does have its moments which I will mention later on.

Although responsible for the first two films, screenwriters Aben Kandel & producer Herman Cohen ran out of steam this time around. This screenplay is not lurid or outrageous enough and it recycles themes and plot development (young assistant to do his dirty work, unhappy female partner) from the others. It may have been cheaper to shoot it in America (and these were certainly not big budget productions) but this one does look cheap due to the claustrophobic sets in pastel colors (the colors are recycled from KONGA) but at least there is some creative background lighting.

Fortunately BLACK ZOO is graced by a number of fine performances from Jerome Cowan's sleazy developer to Gough's tormented wife as played by future soap opera star Jeanne Cooper. Former child star Virginia Grey is very good in her small part as Cooper's agent and Elisha Cook Jr is...Elisha Cook Jr. There are a few outstanding scenes that linger long after the film is over. One is the sequence where Gough entertains his big cats with an organ recital while they lounge on furniture just like domestic ones. Another is the funeral of a tiger which is staged as if it were one of Roger Corman's Poe films. Finally the gathering of the animal worshipers must be seen to be disbelieved.

When I first saw this back in the mid 1960s it was on TV and it was in black & white. This Warner Archive DVD-R is a high quality transfer that preserves the original widescreen aspect ratio as well as the early 1950s color scheme. I only wish that it contained subtitles so that I could really follow and enjoy the "remarkable" dialogue. While not his best, this rarity is still a must for fans of Michael Gough...For more reviews visit The Capsule Critic.

Michael Conrad (Michael Gough) owns Conrad's Animal Kingdom, home to cheetahs, lions, tigers, and a gorilla. A busload of tourists pay for a tour of the small zoo and art school students stop by to sketch the big cats. Conrad explains he doesn't use fear and intimidation to train his animals, but love and affection. If only he would show the same regard for the humans in his life. His wife Edna (Jeanne Cooper) performs with a trained chimp act for zoo customers, but hits the bottle after hours in the wake of Conrad's domineering abuse ("You're the last person I want to hurt," Conrad tells her after he's slapped her around). Carl (Rod Lauren), Conrad's mute aide and handyman, is likewise subjected to his master's imperious rants.

BLACK ZOO's script, by Aben Kandel and producer Howard Cohen, cleverly makes Conrad's character into a variation of his wild animals. In the film's opening scene, a young woman is attacked by Baron, one of Conrad's tigers, on a city street at night. We learn that she was a "meddling secretary" who had to be silenced, and that Conrad's love for his animals goes beyond benign conservationism. He's insane, and has trained his beasts to kill those who get in his way or crosses him. His victims invade his territory -- a land developer who tries to bully him into selling the zoo to make way for tract homes; and Edna's agent, who tries to lure her away from Conrad with promises of a better venue for her chimp act.

When a sadistic zoo worker (Elisha Cook Jr.) shoots Baron dead, an enraged Conrad first beats the man with a metal prod and then throws him to one of his hungry lions. Edna turns the other cheek and Carl actually helps him. Should we say (to paraphrase Forry Ackerman) the family that slays together stays together?

Not exactly. When Edna realizes Conrad is behind the murder of her agent, she convinces Carl to pack it in and escape with her. But Conrad disrupts their defection and threatens to throw her to the lions, too.

The movie is a step up from Cohen's KONGA (1961), but doesn't hit the gross-silly highs of HORRORS OF THE BLACK MUSEUM (1959). The animal attacks, which are fairly violent and effective, alternate with labored melodrama. Near the end, the whole movie is hobbled by a long scene of detectives debating whether or not trained animals committed the murders (despite their exposition, they never connect the deaths to Conrad).

BLACK ZOO's cast plays the material straight, despite some risible elements. Conrad frequently refers to the animals as "the family," holding group meetings with them in his home, where he plays lugubrious organ music and talks to them as though they were human. Also, he attends secret meetings of the "true believers," a cult of animal-worshipers who chant to monotonous tom-toms and oversee the "transfer" of Baron's soul to a live cub.

The real reason to see BLACK ZOO is to watch Michael Gough's delightful overplaying as Conrad. Each line is delivered with a side of ham, spit out through pursed lips and oozing nastiness even when he smiles unconvincingly and interacts with benign children and teenage art students.

BLACK ZOO (1963) marks another pairing for B-movie producer Herman Cohen and star Michael Gough, following on from their HORRORS OF THE BLACK MUSEUM and KONGA. This time around the story is set in America, where Gough plays a zookeeper who specialises in all manner of big cats. His philosophy is to show his creatures the utmost kindness and care, but he doesn't treat people in quite the same way...

Although the film begins with an arresting murder, this turns out to be quite the plodder. The nature of the production means that the kills are typically kept off screen and are few and far between as it is. Gough delivers a delightful barnstorming performance as usual - truly an underrated presence in the genre - but the rest is pretty talky with only the occasional element of depth or interest.

All through the opening credit sequences of "Black Zoo", I anticipated to see the typical disclaimer-message "no animals were harmed during the shooting of this film" appear, but it didn't come. Five minutes later, though, I exactly knew why it didn't come. Beautiful big cats, like Siberian tigers and African lions, walk little circles in ridiculously small cages, chimpanzees are dressed up in hideous clothing and forced to inhale cigarette smoke for the sake of "entertainment", and that sort of things. Perhaps these animals weren't physically abused, but they certainly were traumatized for life. But hey, it was the early sixties and organizations like ALF or PETA didn't exist yet, so let's assume we believe Michael Gough's character when he claims his animals love and respect him.

"Black Zoo" is fantastic 60s horror entertainment, with a grotesquely absurd plot and preposterous lead characters! Simply the idea that someone penned down a horror plot in which a tyrannical private zoo owner assumes he can get away with letting animals commit gruesome murders is delightful, or at least in my crazy world it is. Michael Conrad unleashes his mighty lion in arrogant realtors' mansions or sends his grinning gorilla to the garage of female talent agents, and he honestly thinks he's untouchable! It must be said, though, the sequences with the animal attacking are genuinely impressive; - kudos to the trainers.

Gough goes genially over the top once again, just like he did in "Horrors of the Black Museum" and "Konga"; - his previous collaborations with producer Herman Cohen. True horror-fanatics adore Michael Gough. He may not be in the same league as the Vincent Prices, Christopher Lees or Boris Karloffs of this world, but his movies never disappoint!