Thu 2 Nov 2017
A Movie Review by Dan Stumpf: THE MONSTER AND THE GIRL (1941).
Posted by Steve under Crime Films , Horror movies , Reviews[11] Comments
THE MONSTER AND THE GIRL. Paramount, 1941. Ellen Drew, Philip Terry, George Zucco and Rod Cameron. Written by Stuart Anthony. Directed by Stuart Heisler.
A unique mix of True Confession, Gangster Film and Monster Movie, done with a patina of Paramount gloss — perhaps too much so.
Ellen Drew starts off the story telling us how she was lured into a life of shame, and how her brother (Philip Terry) got framed for murder trying to redeem her honor. There’s a bit too much of this, including a lengthy flashback to wholesome brother-and-sister life back in Grover’s Corners or wherever, where he’s the Church Organist and she’s eager to go out and make it in the Big City.
Eventually Ellen heads for the bright lights, and we get a bit more romantic drama as she meets a nice young man (Robert Paige), falls in love, and marries him. And about the time an astute viewer starts asking “Where the hell’s the monster?†there’s a nice bit where the kindly old man who marries them shows a shoulder holster.
At which point we segue into Gangster Film territory. It seems this romance has all been part of elaborate and somewhat unlikely scheme to lure our Ellen into prostitution –only hinted at here, but very broadly hinted.
Well we’ve all; had relationships like that, haven’t we? Anyhow, her brother Phillip Terry (remember him?) gets wind of the whole shameful thing, quits pounding the organ and comes after the rat who done her wrong.
But he’s up against a cold deck because the gang here includes Paul Lukas, Joseph Calleia, Marc Lawrence and Gerald Mohr, and the astute viewer (remember him?) won’t be surprised to see them quickly rub out a gangland rival, callously pin the crime on Phil, and swiftly get him railroaded to the Chair by DA-for-hire Onslow Stevens.
That’s when George Zucco comes on — and high time, too — as a benign (for him) Mad Doctor who wants to advance Science by transplanting a human brain into a gorilla. Okay, if that’s what the kids are doing these days, that’s fine. There’s a nice brain-transplant scene, and finally we get to the Monster Movie as the gorilla-with-Phil’s-brain escapes to wreak vengeance on the bad guys.
Any Monster-Lover who has lasted this long should enjoy a last twenty minutes or so of creepy menace and building tension as the bad guys get their brutal comeuppance. To his credit, director Stuart Heisler gets a lot of visual interest out of the ape prowling about the city rooftops and fire escapes, and it never looks as silly as it should. Then too, George Barrows’ gorilla mask seems unusually expressive here, evincing sorrow, alarm and rage from appropriate camera angles.
But basically what you get here is about a third of a monster movie, and a long wait for it. The Monster parts make satisfying viewing, but what it takes to get there…. Well maybe that’s why God gave us Fast-Forward.
November 2nd, 2017 at 8:58 am
I don’t want to see the film, but the review was a pleasure to read.
November 2nd, 2017 at 12:35 pm
Do they make films like this today?
November 2nd, 2017 at 1:47 pm
Randy, I don’t think they make any films today under two-and-a-half hours long.
November 2nd, 2017 at 5:27 pm
As long as you write reviews like this I know which movies I don’t need to see.
November 2nd, 2017 at 6:02 pm
Hey Randy, if you ever get a chance to catch the last half, go for it!
November 2nd, 2017 at 7:10 pm
At least the gorilla doesn’t sit down to play something on the organ, a la Frank Moran’s piano rendition of “Moonlight Sonata” in RETURN OF THE APE MAN.
Stuart Heisler directed AMONG THE LIVING, a nifty little B thriller with Albert Dekker the same year.
THE MONSTER AND THE GIRL is a good one for character actor-spotting. Even Universal horror veteran Edward Van Sloan pops up in a bit bit as the prison warden.
Dan, according to various sources, Charles Gemora was the man inside the gorilla suit.
November 3rd, 2017 at 12:03 am
Ellen Drew may be seen at her best in Johnny O’clock and Man In The Saddle. In the Powell film she personifies sensuality and corruption, in the excellent Scott western, quite the opposite. Warm and sweet.
November 3rd, 2017 at 8:33 am
Almost thou convinceth me to want to seek this out. I may watch it if I stumble across it. Good review, showing your great affection for these time of films, highlighting their short comings all the while realizing that they are part of the fun. Fine job.
November 3rd, 2017 at 10:57 am
Once upon a time my late brother and I were passing the time watching a ’40s movie, not dissimilar to this one.
Sean said to me:
“People actually paid to see this?”
I said to Sean:
“People actually paid to makethis!”
I ought to put that on a sampler …
November 3rd, 2017 at 3:53 pm
I’m detecting a strong anti-gorilla bias here.
November 3rd, 2017 at 6:37 pm
A casting oddity in the movie is Tom Dugan playing the lead detective, with Willard Robertson as his subordinate. Seems like it should’ve been the other way around.