THE MONSTER AND THE APE

"Scientists complete mechanical man" screams the headlines of one of the many broadsheets that spin on to the screen in the opening moments.

Next, a breathless narration tells us how five of the world's most eminent scientists have gathered in the esteemed Professor Arnold's (Ralph Morgan) laboratory for an exclusive demonstration of how his latest invention works: a robot that responds to electrical energy, and goes by the unofficial name of the Metalogen Man.

The onlookers observe startled as lightning bolts flash across the room and the robot - a primitive mix of the Golem and the Tin Man from THE WIZARD OF OZ - lumbers into life. First, it shows off its strength by lifting a huge rock. Then it displays its intelligence by, er, ripping a door from its hinges.

The Metalogen Man's unveiling is a resounding success. That is, until three of its co-inventors are murdered by a huge ape called Thor (Ray Corrigan in monkey attire). Arnold is understandably perturbed by the deaths of his colleagues, and the mystery surrounding them.

Arnold enlists the help of Morgan (Robert Lowery), a young representative of the company who ordered the robot's creation. But before Morgan can get to Arnold, he's abducted by two henchmen and left for dead in the desert.

Fortunately - and incredibly coincidentally - Arnold and his daughter Babs (Carole Mathews) are driving by at the time, and they stop to save Morgan. "I have reason to believe that your invention is in imminent danger of being stolen" he exhales.

So, everyone races back to the laboratory and, sure enough, the Metalogen Man has been pilfered by the aforementioned henchmen. But who is behind this diabolical scheme? Who would resort to theft and, furthermore, training an ape to do his murderous work?

Twenty minutes in, and we learn that the culprit is envious scientist Ernst (George Macready). He has a plan for global domination and needs the robot to fulfil this cunt's trick. There's only one problem: the robot in turn needs "wonder metal" metalogen to function.

Ernst returns to the laboratory with this in mind, and the first of many enjoyably cruddy fist-fights ensues as he and his hoodlums come face-to-face with goodies Arnold, Morgan and Babs.

All of this occurs in episode one of this completely gonzo fifteen-instalment serial that was originally shown theatrically in America throughout 1945.

Episode two maintains the hell-bent pace and machine-gun dialogue, with more ape murders (this simian is particularly adept at strangulation) and even more fisticuffs to keep the viewer smiling. There's even a bit of naive racism thrown in, just to keep the whole affair indicative of its era.

Episode three, "The Flames Of Fate" affords a little more screen time to the ape and, despite being one of the most worn-looking chapters in this set, is great fun as a result.

The remainder of the whopping 450-minute story is essentially a cat-and-mouse chase between Arnold and Ernst, with various nefarious scheming and threatening situations thrown in along the way. Each episode ends on a cliff-hanger, with scenarios such as characters being left tied down to crematorium conveyor belts, slowly edging closer to the furnace flames ...

In fact, the zealous performances, ripe script and breakneck pace - coupled with the copious fist-fights and cheesy cliff-hanger scenes - make this play out like an entertainingly bad earlier variant on the 1960s "Batman" TV series. All it's missing are the "POW!" and "ZAP!" bubbles.

The serial is presented in its original full-frame aspect ratio, in black-and-white. Picture quality is somewhat murky and blacks look more dark grey than anything else. Detail is fairly soft and vertical lines are a permanent fixture on some episodes. It all adds to the charm.

English mono audio is quiet but clean, and free from drop-outs.

Disc one of this two-disc set opens with a static main menu page which in turn leads to a scene-selection menu allowing access to the serial's first nine chapters.

Extras on the first disc are limited to a four-minute trailer for other titles available from Cheezy Flicks. These include ZOMBIES OF THE STRATOSPHERE (another serial, reviewed elsewhere on the SGM site), KING OF THE ROCKET MEN and the literally explosive G-MEN VERSUS THE BLACK DRAGON.

From there, there is a three-minute vintage Intermission reel that plays out as a gumbo of frivolous music, cheap cartoons and naff commercials for the likes of ancient car heating systems. Very amusing.

We also get the Cheezy Flicks manifesto, presented in the form of a single page of text declaring their love for, well, cheesy films.

Disc two, which is home to the final six episodes, offers much of the same in the way of menus and chapters selections.

Extras this time around include another trailer showcasing more Cheezy Flicks titles. This one is three minutes and length, and treats us to clips from CONVOY, JIVE TURKEY and the excellent HORROR HOTEL (a.k.a. CITY OF THE DEAD).

Another two-minute Intermission also surfaces from the archives.

THE MONSTER AND THE APE is frequently exciting, consistently bananas and filled with so much energy that it will leave you exhausted. The acting is hilariously hyperactive and the sets look to be dangerously flimsy. But if you like watching men in monkey costumes strangling people, mad scientists cackling and robots (the monster of the title) that look like pieces of cereal boxes bent into shape and covered in tin foil, then this is the film for you.

The discs are region free.

Review by Stu Willis