The Ape (1940 film)

Plot

Dr. Bernard Adrian, a kindly scientist turned small-town physician after his theories were rejected, works to cure local girl Frances Clifford of polio-induced paralysis. With the quiet support of his mute housekeeper Jane, he determines that human spinal fluid is needed to complete his experimental serum. Meanwhile, a vicious circus ape named Nabu kills its handler and escapes, terrorizing the townspeople. The ape eventually breaks into Adrian's lab, and the doctor kills it, but all his spinal fluid vials are destroyed in the struggle.

After performing an autopsy on the dead handler, Adrian skins the ape and disguises himself as the beast, murdering townspeople to extract their spinal fluid while blaming the killings on the escaped animal. His conviction strengthens when he sees positive results from the remnants of his formula on Frances.

Near the film's end, Adrian is shot and mortally wounded, collapsing at his doorstep. The townspeople discover his disguise, and as he dies, he sees Frances walk for the first time. The film concludes with Frances and her sweetheart Danny Foster looking forward to their future.

Production

Boris Karloff had previously worked at Monogram Pictures playing detective James Lee Wong in five films within two years. After the success of Son of Frankenstein (1939), Keye Luke took over the Wong role while Karloff was cast in The Ape. On July 9, 1940, Curt Siodmak was hired; he and screenwriter Richard Carroll wrote a story similar to the mad doctor films Karloff made with Columbia Pictures, following only the plot point of a character disguising as an ape.

Siodmak stated he never used original material for adaptations. Maris Wrixon, on loan from Warner Bros., received the script one or two days before shooting. She enjoyed working with Karloff and Nigh but described working at Monogram as like living in a poor apartment or a foxhole. Gene O'Donnell echoed that poverty row studios were very frugal.

Production began on August 6, 1940, in Newhall, Santa Clarita, California. Though promoted as a larger-budget Monogram film, film historian Tom Weaver noted that circus footage appeared taken from another film and some shots of Karloff's character are repeated. According to Wrixon, filming finished within a week.

Reception

Contemporary reviews were mixed. The New York Times gave a dismissive review, suggesting the film might scare only those under twelve and criticizing the acting as in the 1912 style. Variety found the film boring and lacking suspense. Kate Cameron of the New York Daily News stated the plot does not bear scrutiny but achieves some good horror effects.

Irene Therer of the New York Observer gave a FAIR ranking, calling the film not awfully exciting and noting Nigh directed rather tamely. The Los Angeles Times reviewer K.G. praised Karloff's performance for making a far-fetched story believable, though noting loose ends like an unnecessary fire sequence. The Hollywood Reporter found the film a better Monogram production, well-made and notable for excellent performances, especially Karloff. In the UK, Kinematograph Weekly praised it as first-class thriller fiction with Karloff acting with conviction and sincerity.

Retrospective reviews have been critical: Phil Hardy's The Encyclopedia of Horror Movies found the film agreeably dotty but distressingly tacky. Michael Weldon's The Psychotronic Encyclopedia of Film called it probably the silliest movie in Karloff's career. The Motion Picture Guide stated the film never finds the right groove, veering between odd thriller and ridiculous mad scientist tale. Vic Pratt of the British Film Institute found it may be the most ludicrous of Karloff's career but no less wonderful for that.

Did You Know?

• The film was based on a play by Adam Hull Shirk that had previously been adapted by William Nigh as The House of Mystery (1934).
• The film has received numerous home video releases from Roan Group, Alpha Video, Millcreek Entertainment, and EchoBridge.