Paula the ape woman (Acquanetta) is alive and well, and running around a creepy old sanitarium run by the kindly Dr. Fletcher (J. Carrol Naish), also reverting to her true gorilla form ...
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Once again Paula ape woman is brought back to life, this time by a mad doctor and his disfigured assistant, who also kidnaps a nurse in order to have a female blood donor. By this time, ... See full summary »
While on a South Seas trip, a professor falls in love and marries an exotic native woman. What he doesn't know is that she was raised by superstitious natives who believe her to be some ... See full summary »
Paula the ape woman (Acquanetta) is alive and well, and running around a creepy old sanitarium run by the kindly Dr. Fletcher (J. Carrol Naish), also reverting to her true gorilla form every once in a while to kill somebody. Written by
Jeremy Lunt <email@example.com>
Contains footage of 1943's Captive Wild Woman that introduced the ape-woman. Retells that story through court proceeding flashbacks. See more »
Dr. Fletcher, as long as you have elected to take the stand at this inquest, I again urge you to give us more information regarding the circumstances surrounding the death of the deceased. You are being of no help to us by your continued silence.
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No need to waste time on this sequel mess. Apparently, Universal needed to meet product demand for wartime audiences. So they took a hunk of 1943's Captive Wild Woman and cobbled together some surrounding footage to make something of a story. The result comes across like Val Lewton on a really bad day. The supposedly scary scenes are done in Lewtonesque shadow, but come across as more clumsily cost-cutting than artful. Too bad so many distinguished players (Hinds, Dumbrille, Naish) are wasted in what must have been an embarrassment. I just hope Ankers & Carradine got compensated for the reuse of their earlier footage. But I doubt it given studio dominance of the period. No need to go on. Suffice that this is about the nadir of human-into-animals that were so popular at the time. As Lewton knew, horror needs more than shadow; it needs concept, dread, and mood, elements in short supply here.
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