Gorilla at Large (1954)

A brilliant film that helped define a genre

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

The film never slows down or bores, plunging from one harrowing sequence to the next.

"Gorilla At Large" is a very good example of a 1950's 3-D film. If you only see it in 2-D, you are literally seeing only half the picture. Why do you think the bars are in the foreground, the gorilla jumps at the screen, the girl is trapped in a house of mirrors, or the rockets are shot at the gorilla? Because it is supposed to be seen in 3-D. That's why.Having said that, 23 year old Anne Bancroft gives an interesting sex-pot performance. She spends most of the time either in her trapeze costume or in lingerie. Raymond Burr, known as a bad guy at this time, gives a very offbeat performance. And a very young Lee Marvin is extremely funny as a cop who doesn't have a clue.The 1950's saw a great many 3-D films that are no longer available in that format. It is really too bad we can't see "Gorilla At Large", "House Of Wax" and "Dial M For Murder" the way they were meant to be seen.

This film works out to be a mystery film wrapped around a fascination of Anne Bancroft getting pawed by a gorilla. It was made for the 3D glasses that came with it in the same time as Hondo (John Wayne) and House of Wax (Vincent Price). I mention these because these 3 films were part of a 3D film revival in the late 1980's on television which spurred some new 3D productions after.This film is Raymond Burr's second film with a gorilla. I am not sure why he would be in 2 of them & I have not seen the other one. Burr in this one is the obvious suspect which is why he turns out not to be the guilty party. He really does not get a lot of script to work with.The settings and era of the 1950's nostalgia is here but the film itself pretty much fits a normal who done it formula of the period. Burr's next film would be Rear Window which has much more to recommend it than this one.

GORILLA AT LODGE is an oddity--a "B" picture with a distinguished cast of more than competent actors--CAMERON MITCHELL, ANNE BANCROFT, LEE J. COBB, LEE MARVIN, WARREN STEVENS and RAYMOND BURR--and is filmed in excellent Technicolor using the gimmick of 3D which was just a passing fad at the time.It's a murder mystery with most of the action taking place in a colorful amusement park called "The Garden of Evil", all of the atmosphere fully taken advantage of by the color photography which accents the garish while the story accents the puzzling background of several suspects who might be involved in the shady doings.ANNE BANCROFT was at her physical prime in a part that requires more acrobatics than acting skill, but still there's a glimmer of the actress to be. LEE J. COBB is a gruff cigar smoking detective who treats everyone like a suspect, and LEE MARVIN is amusing as an Irish cop whose intelligence is questionable. PETER WHITNEY (who played those amusing twin brothers in a screwball comedy from the '40s called MURDER, HE SAID), is creepy as the chief suspect and the Gorilla is obviously a man in a gorilla suit.But it's all meant to be strictly lightweight entertainment, a no brainer for the kiddies and nothing that puts a strain on anyone's thinking cap. It's mildly entertaining but strains credibility at almost every turn.

This semi-indie murder mystery from the fifties has a little bit of something for everyone. For one thing, it has an amazing cast: Anne Bancroft, Cameron Mitchell, Lee Cobb, Lee Marvin and Raymond Burr. It captures perfectly the tail-end of the amusement park era that was drawing to a close at this time due to television and Disneyland. Men dress in garish suits in this one, and smoke cigars, and there is, as always seemed to be the case with films with a circus or carnival setting, the air of an alternate reality just around the corner, in a sideshow or a funhouse. This picture was an oddity even when it was new, feeling at times more like an episode of Superman than a movie. The gorilla looks exactly like what it is, a man in a gorilla suit, yet somehow this is acceptable, the way painted backdrops in silent movies are acceptable. If the big ape were presented realistically it would throw the whole film off. Method actors Mitchell and Cobb deliver fine B movie performances that give no hints that they were in fact classically trained, not to mention that they had once played together as father and son in the original Broadway production of Death Of a Salesman. Miss Bancroft was a babe, yet restrains her natural talent to give the sort of Suzanne Pleshette performance her part demands. Raymond Burr, still a few years away from Perry Mason, draws on his natural and inscrutable saturninity. His occasional moments of smiling and bonhomie remind me a little of Peter Lorre at his most forlorn, as he comes off like a grim, serious man trying awfully hard to be a good sport, which in turn makes him a perfect red herring. Lee Marvin plays a dumb cop named Shaughnessy, a good indication of the cleverness of the script.Yet the movie works on its own terms. The color is well above average for this basically small-scale picture. Director Harmon Jones was a seasoned Hollywood veteran and knew how to slow down the action to create a sense of place, whether a policeman's office, a pier, a trailer or the ersatz jungle set, complete with trapeze. This sort of stylized, non-realistic movie was, like amusement parks, going out of fashion at the time it was made, and yet it has its virtues, notably a commitment to artifice rather than a representation of the real world, which freed the imaginations of the men behind the camera, allowing them to make little experiments with color, space and lighting. The movie is much better than camp. It's more like Edward Hopper Goes To the Circus.