Given what follows, that appellation proves to be an act of immensely unwarranted boasting. The production company proves to be American General Pictures. We cut to a lion tamer act, accompanied by cheerful circus music and the opening credits.
So the ape suit guy reaches towards the camera, then the camera zooms in on the woman, like it’s approaching her, then we fade to black. Admittedly, you have to fill in the action because, unlike any of the often dirt-cheap productions we’ve examined during the last four weeks, this one can’t afford a giant gorilla prop hand. We cut to a miniature copy of the set-up with a doll standing in for the woman. The ‘native’ woman, who looks a bit like Jo Anne Worley, pretends to be terrified. The ‘gorilla’ beats its chest (of course). How bad it is? Well, it’s much worse than the one used in A*P*E. Also not particularly well hidden is the aforementioned badness of the gorilla costume.
This is cleverly obscured (well, OK, not really) by being shot in an extreme close-up and lit with, I think, a flashlight. Or rather, a guy in a bad ape suit walks under a tree in somebody’s backyard. And sure, a giant ape soon approaches through the nighttime woods. My own such protests, I can assure you, are rather more energetic.Īnyone who’s seen King Kong – and not been struck instantly blind after being the above – knows what we’ll witness next.
Between these are tied a somewhat less then credible ‘native’ woman making some somewhat less then credible protests at her fate. Then we pull back, and see that the skulls are decorating a poorly constructed set of pillars. Whether it’s wise to blow your second best shot this early also remains open to debate. The camera pans left, and to a blare of music, we see…another orange-lit fake skull mounted on the bamboo crossbar. Whether it’s wise to blow your best shot this early remains open to debate.
We open on an orange-lit fake skull mounted on a bamboo crossbar.
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