Jungle Siren (1942, directed by Sam Newfield)


Captain Gary Hart (Buster Crabbe) and his sidekick, Sgt. Mike Jenkins (Paul Bryar), are sent to the jungles of Africa, where Nazi infiltrators are encouraging Chief Selangi (Jess Lee Brooks) to side with the Third Reich and allow them to set up a base.  In their effort to stop the Nazis, Hart and Jenkins are aided by Kuhlaya (Ann Corio), a woman whose parents were killed by Selangi and who now lives in the jungle with a chimpanzee and a doctor (Milton Kibbee) who serves as her protector.  Kuhlaya carries a bow and arrow, which she used to battle the Nazis.  Hart and Jenkins have actual guns and probably could have ended the Nazi plot early just by using them as soon as they arrived but then the movie couldn’t be stretched to 68 minutes.

This is a pretty bad Poverty Row film, memorable just for Crabbe’s typically earnest and athletic performance and the presence of Ann Corio, who was a famous stripper in the 40s who tried to transition into films after Mayor La Guardia ordered the closure of New York’s burlesque houses.  Corio had legs for miles but she was a terrible actress.  At one point, Mike Jenkins says that if he keeps exercising, “I’ll have a physique like Buster Crabbe!”  That’s about as clever as this slow-moving film gets.

As is typical of jungle films that were made in the 40s, the “tribesmen” are pretty much treated as if they’re interchangeable and the only one who is given a personality is the evil Selangi.  Several of them are killed over the course of the movie, not because they were doing anything wrong but just because they were in the wrong place.  (The most egregious example is an innocent native who ends up with one of Kuhlaya’s arrows in his back because he was unfortunate enough to step in front of Selangi at the last moment.)  No one, our heroes included, really seems to care about them or their future.  Even by the standards of the era, Jungle Siren feels extremely condescending and prejudiced in its portrayal of the natives.  The idea that the Nazis, with their Aryan obsession, would ever team up with Chief Selangi is just one of the film’s problems.

Director Sam Newfield was responsible for some entertaining and cheap westerns.  I’ve reviewed a few of them.  He should have stayed out the jungle.

This Was Burlesque: THE SULTAN’S DAUGHTER (Monogram 1943)


gary loggins's avatarcracked rear viewer

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Monogram Pictures is mostly remembered today as the home of Bela Lugosi chillers that weren’t too chilling, Charlie Chan mysteries that weren’t so mysterious, and the Bowery Boys peculiar brand of buffoonery. The Poverty Row studio seemed to throw virtually anything at the wall hoping it would stick in order to compete with the major studios of the 1940’s (MGM, 20th Century-Fox, etc). They signed burlesque stripper Ann Corio to a contract, fresh off her appearance in 1941’s SWAMP WOMAN (released by PRC, a studio even more poverty-stricken than Monogram) and concocted a farce titled THE SULTAN’S DAUGHTER, which in spite of itself manages to entertain because of the talented comic actors in the cast.

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The opening says it all, as we gaze upon a book titled “Phony Phables”. The Sultan of Araban (Charles Butterworth ) has a daughter named Patra (Miss Corio), who owns all the country’s oil fields. Nazi agents…

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