DbcultAccessing Vault...
6.5/10
Archivist John
Senior Editor
A definitive 6.5/10 rating for a film that redefined the boundaries of cult cinema. The Gorilla remains a cornerstone of transgressive art.
Should you watch The Gorilla today? Short answer: yes, but only if you have a high tolerance for the frantic, unpolished energy of silent-era comedy-mysteries. This is not a film for those seeking a modern slasher or a grounded detective procedural; it is for the cinematic archaeologist who wants to see the blueprint of the 'Old Dark House' genre before it was perfected by the likes of James Whale.
This film works because it leans heavily into the absurdity of its own premise, refusing to take the 'ape-on-the-loose' trope with a straight face. However, it fails because the comedic timing of Charles Murray and Fred Kelsey often drowns out the genuine atmosphere Santell tries to build with his lighting. You should watch it if you are a fan of early Walter Pidgeon or if you want to understand how 1920s audiences balanced their appetite for horror with a desperate need for a laugh.
If you are looking for a definitive answer, here it is: The Gorilla is worth watching as a historical curiosity. It represents a specific moment in Hollywood where the industry was obsessed with adapting stage plays that utilized 'spook' elements. It isn't 'scary' by any stretch of the imagination, but it is fascinating. For a modern viewer, the value lies in seeing the archetypes of the 'bumbling detective' and the 'damsel in distress' in their rawest forms. If you enjoyed the tension in The Grip of Evil, you might find the tonal shifts here jarring, but the energy is undeniable.
The Gorilla was adapted from a popular stage play by Ralph Spence, and that theatrical DNA is visible in every frame. Most of the action takes place within the confines of a single, sprawling estate. This creates a claustrophobic environment that was common in films of the era, such as The City. The mansion is a character in itself, filled with the requisite secret passages and hidden levers that would become clichés by the 1940s. In 1927, however, these were fresh, exciting tools for building suspense.
Director Alfred Santell uses these spaces to orchestrate a series of near-misses. Characters walk through a door just as the 'ape' emerges from a wall behind them. It is repetitive. It is predictable. But it is also strangely hypnotic. There is a specific rhythm to silent comedy that requires the audience to pay close attention to physical cues. When Charles Murray’s eyes bulge in terror, the film isn't just asking you to laugh; it's asking you to share in the heightened reality of the silent screen.
The most surprising element of the film is seeing a young Walter Pidgeon. Long before he became the dignified patriarch of MGM’s golden age, Pidgeon was a versatile leading man who could hold his own in these genre mashups. His performance here is grounded, providing a much-needed anchor for the audience while Murray and Kelsey run around like chickens with their heads cut off. Pidgeon’s presence suggests a level of prestige that the film doesn't always earn, but his charisma is undeniable.
The comedic duo of Murray and Kelsey is the film's biggest gamble. Their brand of humor is broad—very broad. They represent the 'Mulligan and Garrity' archetype: two detectives who are clearly out of their depth. While their antics can become tiresome in a 1500-word analysis, in the context of a 1927 matinee, they provided the 'relief' in 'comic relief.' Compared to the more subtle performances in Chickie, the acting here is loud, even without a soundtrack. It’s a mess. But a fun one.
Visually, The Gorilla is a product of its time, but with some clever flourishes. The use of shadows is particularly effective. The 'Gorilla' itself is often seen only as a silhouette or a hairy hand reaching around a doorframe. This was a necessity born of a limited budget—the suit itself looks like a moth-eaten carpet when seen in full light—but it serves the suspense well. Santell understands that what we don't see is always scarier than a man in a cheap costume.
The pacing, however, is where the film struggles. Silent films often suffer from 'intertitle fatigue,' where the flow of the action is constantly interrupted by text. In a mystery-comedy, timing is everything. When a joke is set up in a wide shot, then interrupted by a card, then resolved in a close-up, the punchline loses its teeth. There are moments in the second act where the film feels like it's treading water, waiting for the next 'scare' to happen. It lacks the tight narrative drive found in Desert Driven.
Pros:
- Walter Pidgeon provides a strong, early-career performance.
- The film captures a unique era of 'spook' comedy.
- Excellent use of shadows and lighting to hide budget constraints.
- The physical comedy, while dated, is expertly choreographed.
Cons:
- The 'mystery' is incredibly thin and easily solved.
- The gorilla suit is unintentionally hilarious when fully revealed.
- Some comedic bits go on for far too long.
- The tonal shift between horror and slapstick can be jarring.
Here is something most critics miss: The Gorilla is actually a biting satire of the private investigation industry of the 1920s. At a time when detectives were often romanticized in pulp novels, this film presents them as cowardly, incompetent, and more interested in a paycheck than justice. It’s a cynical take wrapped in a silly package. The detectives aren't the heroes; they are the obstacles. This subversion makes the film feel slightly more modern than its peers.
The Gorilla is a chaotic, frequently confusing, but ultimately charming relic of the silent era. It doesn't have the emotional depth of The Awakening or the technical precision of later horror classics, but it has a manic energy that is hard to dislike. It is a film that tries to be everything at once: a thriller, a comedy, a mystery, and a monster movie. It succeeds at none of them perfectly, but the attempt is worth the price of admission. It works. But it’s flawed. If you go in expecting a masterpiece, you’ll be disappointed. If you go in expecting a hairy, bumbling good time, you’ll find exactly what you’re looking for.
IMDb 4.2
1920
Community
Log in to comment.
