The Gorilla

About the production

The picture was rushed into production to capitalize on The Ritz Brothers' popularity and the 'old dark house' comedy trend. The gorilla suit was created by RKO's special effects department and was reportedly quite convincing for its time. The picture featured extensive use of RKO's standing sets, particularly the mansion interiors. Production was completed in just 18 days, typical of RKO's rapid B-unit schedule.

Themes

Themes & topics

Historical background

Twentieth Century-Fox released the Ralph Spence play adaptation in May 1939, pairing horror-mystery plotting with Ritz Brothers slapstick during Hollywood's classic B-picture cycle.

Why this film matters

The production is remembered as a late pairing of Bela Lugosi with old-dark-house tropes and as one of the Ritz Brothers' few starring features outside their stage revues.

Making of

The production of 'The Gorilla' exemplified RKO's B-unit efficiency under producer Pandro S. Berman. Director Allan Dwan, a Hollywood veteran since the silent era, was tasked with blending comedy with mystery elements, a popular formula at the time. The Ritz Brothers, known for their chaotic ad-libbing style, frequently clashed with the more structured approach of Dwan, leading to tension on set. Lionel Atwill, playing the butler, was a horror film veteran and reportedly took his role seriously despite the comedic context. the picture's gorilla was played by Charles Gemora, a renowned animal suit performer who specialized in ape roles throughout the 1930s and 1940s. The mansion set was redressed from previous RKO productions, a common cost-saving measure. the picture's rapid 18-day shooting schedule meant many scenes were shot in single takes, preserving some of The Ritz Brothers' spontaneous comedy but also resulting in continuity errors visible in the final cut.

What critics said

Contemporary reviewers split between amusement at the brothers' mugging and impatience with the creaky stage plot; later cult audiences treat it as campy comfort viewing.

Did you know?

• This was the third film adaptation of Ralph Spence's play, following silent versions in 1927 and 1930
• The Ritz Brothers were reportedly unhappy with the picture, feeling it didn't properly showcase their comedy talents
• Actor Bela Lugosi was originally considered for the role of the butler, which ultimately went to Lionel Atwill
• The gorilla suit used in the picture was the same one that appeared in other RKO productions of the era
• the picture was released just weeks before 'The Wizard of Oz' and 'Gone with the Wind,' contributing to its modest box office performance
• Director Allan Dwan was a veteran filmmaker with over 200 directing credits by 1939
• the picture's success led to RKO pairing The Ritz Brothers with horror elements again in 'The Ghost Comes Home' (1940)
• Anita Louise, who played Norma Stevens, was one of Hollywood's busiest actresses in the late 1930s
• the picture's script was heavily rewritten during production to add more comedy sequences for The Ritz Brothers
• The 'locked room' mystery elements were inspired by contemporary pulp magazines and radio dramas

Visual style

The cinematography, handled by Jack MacKenzie, employed standard high-contrast black and white lighting typical of RKO's B-unit productions. the picture utilized dramatic shadow play during the mystery sequences, particularly in the mansion's corridors and secret passages, creating an atmosphere reminiscent of film noir techniques that would emerge later in the 1940s. MacKenzie employed low-angle shots during the gorilla appearances to enhance the creature's imposing presence, while comedy sequences featured more conventional, flat lighting to ensure the Ritz Brothers' physical gags were clearly visible. The camera work was functional rather than innovative, with most scenes captured using static or minimally mobile setups to accommodate the rapid shooting schedule. the picture's visual style effectively balanced the eerie atmosphere required by the mystery elements with the clarity needed for the comedy sequences.

Innovations

While 'The Gorilla' was not a groundbreaking technical achievement, it demonstrated RKO's efficient B-unit production capabilities. the picture's most notable technical element was the gorilla suit, created by RKO's special effects department under the supervision of Vernon L. Walker. The suit featured articulated facial features and realistic fur texture, representing the state of the art in creature effects for 1939. the picture's practical effects, including secret passages and disappearing tricks, were accomplished through simple but effective stagecraft techniques. The production made innovative use of RKO's standing sets, redressing them to create the illusion of an expensive production on a modest budget. the picture's rapid 18-day shooting schedule demonstrated the efficiency of the studio system's production methods, with the unit completing multiple camera setups per day while maintaining acceptable technical quality.

Music

The musical score was composed by Roy Webb, RKO's prolific house composer who worked on over 200 films for the studio. Webb's music alternated between suspenseful orchestral themes during mystery sequences and lighter, jazz-influenced pieces for the comedy moments. the picture featured several musical numbers showcasing The Ritz Brothers' vaudeville talents, including their signature dance routines and harmonizing. These musical interludes, while not advancing the plot, were expected elements of comedy team pictures of the era. The sound design emphasized the gorilla's menacing presence through deep, resonant effects and heavy footsteps, creating an auditory contrast with the high-pitched, rapid-fire dialogue of the comedy sequences. the picture's audio quality was typical of RKO's productions of the period, with clear dialogue recording and effective use of sound effects to enhance both suspense and humor.

Famous quotes

Garrity: 'If there's a gorilla in this house, I'm going to find him, even if I have to look in every closet and under every bed!'

Harrigan: 'A gorilla? In this neighborhood? He must be lost!'

Mullivan: 'I'm not afraid of no gorilla... unless he's bigger than me!'

Walter Stevens: 'Gentlemen, I need protection, and you three are the only detectives available!'

Norma Stevens: 'But how could a gorilla get into a locked room?' Garrity: 'Maybe he used the door!'

Memorable scenes

• The opening scene where The Ritz Brothers attempt to demonstrate their detective skills by 'solving' a mock crime in their office, resulting in complete chaos and destroyed furniture
• The dinner sequence where the trio tries to act as sophisticated bodyguards while comically failing at proper table manners
• The climactic chase scene through the mansion's secret passages, with all three detectives and the gorilla creating a slapstick spectacle of confusion
• The scene where The Ritz Brothers attempt to capture the gorilla using improvised traps made from household items

What audiences thought

Audience reception in 1939 was generally positive among fans of The Ritz Brothers, who appreciated the team's signature brand of physical comedy and musical interludes. the picture performed adequately in urban markets where comedy teams had strong followings, though it struggled in smaller markets where audiences preferred more straightforward mysteries or dramas. The gorilla element proved particularly popular with younger audiences, a demographic that comedy teams often targeted. Modern audiences encountering the picture through television and streaming have found it to be a time capsule of 1930s comedy sensibilities, with some appreciating its historical value while others find the humor dated. the picture has developed a modest cult following among classic comedy enthusiasts and is occasionally screened at film festivals specializing in Hollywood's Golden Age.

Film connections

Influenced by

• The Cat and the Canary (1927)
• The Old Dark House (1932)
• The Thin Man series (1934-1947)
• Abbott and Costello's early routines
• The Marx Brothers' mystery-comedy hybrids

This film influenced

• Hold That Ghost (1941)
• Scared Stiff (1945)
• Abbott and Costello Meet Frankenstein (1948)
• The Bowery Boys Meet the Monsters (1954)

Film restoration

the picture is preserved in the Library of Congress collection and has been restored by RKO Pictures' successor companies. A 35mm print exists in the UCLA Film and Television Archive. the picture entered the public domain in 1968 due to copyright renewal failure, leading to numerous home video releases of varying quality. The best available versions come from 16mm prints that were struck for television distribution in the 1950s. While not officially restored by major studios, several specialty labels have produced cleaned-up versions for home video.

Where to watch

• Available on various streaming platforms specializing in public domain films
• DVD releases from Alpha Video, Mill Creek Entertainment, and other public domain distributors
• Occasionally broadcast on Turner Classic Movies and other classic film channels
• Available for purchase or rental on Amazon Prime Video and YouTube Movies
• Can be found on free streaming services like Tubi and Pluto TV