Halloween Havoc!: CAPTIVE WILD WOMAN (Universal 1943)

Universal decided the time was ripe for a new monster, and 1943’s CAPTIVE WILD WOMAN introduced the world to Paula Dupree, aka The Ape Woman! What’s that you say? You’ve never HEARD of her? Don’t worry, you’re not alone – The Ape Woman is the most obscure of the Universal Monsters despite the fact she was featured in three films, with various degrees of quality. The first is the best of the bunch, a fun little ‘B’ lifted by the presence of John Carradine in the first of his patented mad scientist roles.

Animal trainer Fred Mason returns from Africa with a shipload of lions, tigers, and a powerful female gorilla named Cheela. He’s greeted at the docks by his sweetie Beth Colman, who tells Fred that her sister Dorothy has “some kind of glandular problem” and is being treated at Crestview Sanitarium by endocrinology expert Dr. Sigmund Walters. Walters has some rather strange ideas on treatment, including experimenting with large animals.

The outwardly charming doctor is invited to visit Whipple’s Circus, where Fred and Beth work, at their winter headquarters. He spies Cheela and gets one of his aforementioned strange ideas, and uses Gruen, fired from his job as animal handler for being drunk, to steal Cheela away. Gruen does so, and is promptly dispatched when Walters tosses him to the big ape. Walters will let nothing stand in his way of the advancement of science, including murder, as his nurse finds out! Her brain is used to transform Cheela into a beautiful woman, who he dubs ‘Paula Dupree’ (apparently because he just likes the name!). Walters brings ‘Paula’ to visit the circus, and when Fred is attacked in the cage by the big cats, she enters and the kitties back off! Now Fred wants to use ‘Paula’ as part of the act, but when she sees Fred and Beth making out, her jealousy transforms her into The Ape Woman…

Yep, it’s another “Science Gone Too Far” scenario, and Carradine has a grand old time as Walters, killing in the name of science and creating his Ape Woman. He’d go on to play the “mad scientist” part in almost two dozen films, the horror role he’s most remembered for by genre fans. I love Evelyn Ankers in this; Universal’s #1 “Scream Queen” gets to do more than just be a pretty decoration in need of saving, and even disposes of the villain on her own! Milburn Stone (GUNSMOKE’s Doc Adams) plays Fred; his resemblance to famed circus lion tamer Clyde Beatty (at least from the back!) allowed Universal to use lots of stock footage from Beatty’s 1933 film THE BIG CAGE for all the animal action shots.

The lovely but not-so talented Acquanetta is ‘Paula’, product of Walters’s mad science. She plays the part mute, which is fine, because the former model wasn’t the greatest of thespians. Born Mildred Davenport in South Carolina, the studio dubbed her “The Venezuelan Volcano” because of her exotic good looks. Acquanetta later claimed to be of Arapaho ancestry, though most research points to an African-American heritage. Whatever the case, her film career was brief, but later in life she became a local celebrity in Mesa, Arizona by starring in her third husband’s car dealership commercials on TV, and hosting segments of the local late nite movie show. She passed away in 2004 at the age of 83.

Ray “Crash” Corrigan  broke out his gorilla suit to play Cheela, a teenaged Martha Vickers (under the name MacVicar) is little sister Dorothy, Lloyd Corrigan (no relation to Crash) circus owner Whipple, and Vince Barnett, Paul Fix , Fay Helm, Frank Mitchell, Ray Walker, and Grant Withers all pop up in small roles. CAPTIVE WILD WOMAN was directed by Edward Dmytryk, whose later filmography includes BACK TO BATAAN , CROSSFIRE, THE CAINE MUTINY, and THE CARPETBAGGERS. It’s not the greatest of Universal Horrors, but compared to its two sequels, it’s a classic, as we’ll soon find out…

Cleaning Out the DVR #20: ALL-STAR PRE-CODE LADIES EDITION!



I know all of you, like me, will be watching tonight’s 89th annual Major League Baseball All-Star G
ame, and… wait, what’s that? You say you WON’T be watching the All-Star Game? You have no interest in baseball? Heretics!! But I understand, I really do, and for you non-baseball enthusiasts I’ve assembled a quartet of Pre-Code films to view as an alternative, starring some of the era’s most fabulous females. While I watch the game, you can hunt down and enjoy the following four films celebrating the ladies of Pre-Code:

DAUGHTER OF THE DRAGON (Paramount 1931; D: Lloyd Corrigan) – Exotic Anna May Wong stars as Princess Ling Moy, an “Oriental dancer” and daughter of the infamous Dr. Fu Manchu (Warner Oland)! When Fu dies, Ling Moy takes up the mantle of vengeance against the Petrie family, tasked with killing surviving son Ronald. Sessue Hayakawa (BRIDGE ON THE RIVER KWAI) plays Chinese detective Ah Kee, assigned to Scotland Yard to track down the last of Fu’s organization, who falls in love with Ling Moy. This was the last of a trilogy of films in which Oland portrays the fiendish Fu (1929’s THE MYSTERIOUS DR. FU MANCH, 1930’s TH RETURN OF FU MANCHU), and though he perishes early on, honorable daughter Wong is just as devious as dear old dad! Director Corrigan and cinematographer Victor Milner do some interesting work with shadows and light, overhead shots, and camera angles; though Corrigan is best remembered today as a character actor, he directed 12 features (and one short) between 1930 and 1937, and is quite good behind the camera. A film that’s structured like a serial, with secret passageways, sadistic tortures, and definite horror undertones, fans of Anna May Wong won’t want to miss it. Fun Fact: Bramwell Fletcher, who plays Ronald, was the actor who “died laughing” in 1932’s THE MUMMY .


MILLIE (RKO 1931; D: John Francis Dillon) – For a brief, shining moment in the early 1930’s, sad-eyed beauty Helen Twelvetrees was one of the Pre-Code Era’s most popular stars, gaining fame in a series of “women’s weepies”. MILLIE was my first chance to see this actress I’d heard so much about, and she excels as Millie Blake, who we first meet as an innocent college girl who marries rich Jack Maitland (Robert Ames), has a child, then discovers he’s a cheating cad. Getting a divorce (and giving up custody in the process), Millie’s next beau also turns out to be a two-timer, causing her to declare her independence from men and become a wild party girl. Years pass, and her now 16 year old daughter (Anita Louise) is almost compromised by one of Millie’s ex-lovers (John Halliday ), whom Mama Bear Millie shoots, leading to a scandalous trial. Joan Blondell and Lilyan Tashman are on hand as Millie’s golddigging pals (see picture above), and director John Francis Dillon knew his soapy stuff, having also guided Pre-Code ladies Ann Harding (GIRL OF THE GOLDEN WEST), Evelyn Brent (THE PAGAN LADY), and Clara Bow (CALL HER SAVAGE). MILLIE’s a bit dated (okay, more than a bit) and slow going in places, but Miss Twelvetrees made it all worthwhile. Fun Fact: Edward LeSaint plays the judge, and made a career out of magistrate roles; Three Stooges fans will recognize him from their 1934 short DISORDER IN THE COURT.

THE STRANGE LOVE OF MOLLY LOUVAIN (Warner Brothers 1932; D: Michael Curtiz ) – “I’m a pretty bad egg”, says Molly, but Ann Dvorak (SCARFACE, THREE ON A MATCH, HEAT LIGHTNING) is a pretty good actress, starring as poor working girl Molly, who gets pregnant and jilted, gives up her child, and hits the road with small-time crook Leslie Fenton. She leaves the bum to work in a dance hall, encountering naïve young Richard Cromwell. Fenton shows up, steals a car, kills a cop, gets shot himself, and Molly and the starry-eyed kid take it on the lam. Dubbed “the beautiful brunette bandit” by the press, Molly dyes her hair blonde, and the pair lay low… until fast-talking reporter Lee Tracy makes his appearance! There’s great chemistry between Dvorak and Tracy in this racy, double entendree-laden little movie, with a dynamite twist ending I did not see coming. It’s also packed with Familiar Faces: Ben Alexander, Louise Beavers, Richard Cramer, Guy Kibbee , Hank Mann, Frank McHugh , Charles Middleton, and Snub Pollard all pop up in small roles. This lightning-paced entry is an unjustly neglected Pre-Code gem that deserves a larger audience! Fun Fact: A newspaper headline misspells Molly’s last name as “Louvaine”.

SMARTY (Warner Brothers 1934; D: Robert Florey ) – Queen of Pre-Code Joan Blondell is back, and therapists would have a field day with her character of Vicki, a manipulative minx who equates being hit with being loved. Before you jump out of your skin, this is a romantic comedy – now you can jump! S& M overtones abound, and sexual innuendoes fly freely, as Joan’s incessant teasing of hubby Warren William (including a reference to “diced carrots”, obviously a penis size dig) leads him to slapping her face at a bridge party, and Joan winding up married to her divorce lawyer, Edward Everett Horton , who she also tortures into smacking her – but it’s a ploy to get back together with Warren! The censors must’ve been apoplectic viewing SMARTY, one of the last films in the Pre-Code cycle, as Joan also appears in various stages of undress, a voyeur’s delight. Despite the kinky subject matter, the movie is quite funny, with solid support from Claire Dodd, Frank McHugh, and Leonard Carey. Let me be clear: hitting women is NOT funny, but you’re doing yourself a disservice in letting that stop you from watching this outrageous screwball comedy. Fun Fact: Look fast for Dennis O’Keefe in one of his early, uncredited parts as a nightclub patron.