While showing off his African base camp to a pair of circus promoters, animal trainer Clyde Beatty is called to action: a lion has escaped its confinement and ended up in the same cage as a tiger. Immediately, Beatty steps in to prevent the big cats from tearing each other apart. Just as he did in his circus act, he calms and separates the two animals with only a metal chair, a whip to get their attention, and a pistol (loaded with blanks). Afterwards, Beatty decides he might work that up as part of his act, but he can’t explain why a tiger, native to India, was loose in the African jungle. Later, making his way to a nearby village, he discovers that someone–white men, based on the prints of boots in the soil–has been disturbing his animal traps.
Little does Beatty know that he is being watched, not by whomever emptied his trap, but by a young boy and his seemingly tame companion, a large gorilla. At the village, the boy, clad only in a fur loincloth, reveals himself in order to rescue a baby threatened by a lion. Using just a stick, the boy holds off the lion as well as Beatty could have! Impressed by the boy’s skill and shocked at his appearance, Beatty approaches him and hears a seemingly impossible tale: Baru, the son of missionaries, was raised alone in the jungle by animals after his parents’ death. Bonga, his ape companion, befriended him after Baru’s escape from the lion pit in the city of Joba. Joba is known only as a legend, a city that lies beyond a taboo region the natives consider haunted, and one which outsiders are never permitted to leave alive. Worse yet, Baru’s sister Valerie is still being held at Joba, where the high priest Dagna has installed her as a goddess (thereby keeping a strong grip on power); it was in trying to help Valerie escape that Baru was captured in the first place.
Beatty immediately takes this story at face value–perhaps convinced by the boy’s amazing rapport with animals–and agrees to help rescue Valerie. This conversation, held in full view of the village, gets the attention of Craddock and Durkins, the crooked traders and ivory smugglers who have been messing with Beatty’s traps, among other crimes. They notice the unusual clasp on Baru’s loincloth, inlaid with rare green diamonds: the jewels too are from Joba, and the pair take an immediate interest in shadowing Beatty as he accompanies Baru back to Joba on his mission of rescue, becoming the secondary villains of the film. It’s quite a bit of plot to set up so quickly, an almost literal “call to adventure,” but there’s never any question that Beatty will lend his support to rescue the “beautiful blonde goddess” held against her will. Before you know it, Beatty has had his manager and aide-de-camp Hambone prepare bearers for an expedition into Darkest Africa!
Republic came out of the gate strong with Darkest Africa, its first serial, but of course the Republic formula was built on the previous success of Mascot, the studio that preceded Republic prior to a merger and reorganization, and the skills of the old hands producing their serials. Co-director (with Joseph Kane) B. Reeves Eason had a career that went back to Vaudeville and the silent era and had helmed several serials for Mascot (and would continue to direct for Republic). Clyde Beatty had also previously starred in The Lost Jungle for Mascot. Beatty was the leading lion tamer of his day (he’s billed as the “world’s greatest wild animal tamer” in this), joining his first circus at age 16 as a “cage boy” and working his way up until he had formed his own show in partnership with the Cole Brothers in 1934; the 1930s and ’40s were the highest points of his fame, and in addition to making films he wrote several popular books about his exploits. Beatty was primarily an animal tamer and performer as opposed to a collector like Frank “Bring ‘Em Back Alive” Buck, but his public persona was that of a big game hunter (he preferred training wild animals to those raised in captivity, as he felt captivity dulled their wits): as Rhina Kirk describes in Circus Heroes and Heroines, “For his performances and public appearances Beatty dressed like an African hunter of Hollywood movies–shiny boots, flaring white breeches and pith helmet.”
Naturally, when he appeared in those Hollywood movies, the setting is the jungle rather than the circus. Beatty is playing “himself,” as he did in The Lost Jungle, and as in other cases the story is written around those talents he was known for: obviously, each chapter gives him an opportunity to face off against one or more big cats, either in a cage or in the wild. His act usually included mixed lions and tigers, their natural animosity to each other making for dramatic situations and heightened stakes, so a contrivance is introduced to justify the appearance of tigers in the African jungle. Part of Beatty’s act included him “staring down” a lion or tiger, subduing it with his dominating will, so Beatty the character also does it a couple of times to escape from being mauled.
Despite its title and focus on jungle cats, Darkest Africa is mostly a “lost world” story, with similarities to The Phantom Empire and Undersea Kingdom (the next Republic serial, also directed by Eason). For creators of H. Rider Haggard’s and Edgar Rice Burroughs’ generations, those blank, “unexplored” sections of the map were tempting invitations to free-associating invention. The mysterious city of Joba lies in a “haunted” region in the “mountains of despair,” taboo to the natives, beyond a volcanic region and adjacent to the territory of the “tiger men” (the tribe venerate the tiger and are the source of the tigers found in the jungle). As a writer, once you’ve set up all those barriers, you can put absolutely anything you like in there, from survivals of ancient civilizations (some of the title cards suggest that Joba was founded by Solomon) to secret high technology (the city is protected by winged “bat-men”–I assume their uniform is a winged flying harness rather than the natural wings of Flash Gordon‘s hawk-men, but the effect is the same). Joba is also described as the “city of the Golden Bat,” with the old god having slept in the temple for three thousand years (this last fact is something of a throwaway: it only comes up once, when the high priest Dagna commands Hambone to use his magic to reawaken the Golden Bat, apparently a plan B to cope with the loss of Dagna’s chosen goddess Valerie, but it’s the kind of detail I dearly love in stories like this). Joba would make a kick-ass setting for a fantasy role-playing game.
Once the action centers on the city itself, it might as well be on the planet Mongo as anywhere else, as it is pure fantasy. Valerie (the beautiful Elaine Shepard) is indeed being held against her will by Dagna (Lucien Prival, who had appeared in Bride of Frankenstein, among many other films), forced to play the role of “Goddess of the Golden Bat” with the elderly Gorn (Edward McWade), keeper of the sacred books, her only companion and advocate. Valerie’s situation is an interesting twist on the “white goddess” character (a type I have some fondness for, even as I’ve acknowledged ways in which it can be problematic): she has the love of the people, and privileges, such as a sanctuary closed even to Dagna, but no freedom, so despite her exalted position she is another example of that standby of the serials, the damsel in distress (until, at least, the end of the serial, when she threatens to sacrifice herself to force Dagna’s hand).
The supporting heroes are also quite diverse (in character type, at least)–there’s no worry of getting characters mixed up in this one! Baru is played by Manuel King, billed as the “world’s youngest wild animal trainer”; he was thirteen years old when Darkest Africa was made, and it was apparently the only film he was ever in, but he lived to be 92 years old, only passing away in 2016!
Bonga, the “ape with almost human understanding,” is credited as playing himself, as if he were an animal star like Rex the Wonder Horse or Rin-Tin-Tin, but in reality Bonga was played by stuntman (and star of Undersea Kingdom) Ray “Crash” Corrigan, the all-around athlete, stunt double, and (later) owner of the extensive studio ranch dubbed “Corriganville.” Corrigan was a “gorilla man,” one of a subset of stunt performers who specialized in playing simians and most of whom owned their own costumes, and while it is clear that Bonga is a man in a suit, he is still a strong, vivid character, with both impressive physicality (Bonga swings from tree to tree on vines, for example) and expression (see below for more on this specialized art).
Then there’s Hambone (Ray Turner), Beatty’s comic-relief factotum; on the surface, Hambone is a walking stereotype, a pop-eyed fraidy-cat bumbler, a black American (as opposed to the mostly anonymous African natives) in the Stepin Fetchit mold. As the story continues, however, Hambone reveals depths of shrewdness and resourcefulness. When Beatty’s bearers return to the village without their boss, scared off by Joba’s patrolling bat-men (or “wind sentries,” a nicely evocative name), Hambone heads into the jungle alone to track down Beatty and rescue him if needed. Overburdened with duffel bags and an enormous elephant gun, Hambone’s separate adventure, shown intermittently, plays like a spoof of Beatty’s journey: Beatty runs afoul of the tiger men and is thrown into a tiger pit, which he gets out of through a combination of his skills and Bonga’s help; later, Hambone is cornered by the same tiger men and manages to avoid being thrown in the pit by the good fortune of his grenade belt landing in the fire and scaring the tribe away; and so forth. Once Hambone arrives at Joba (and wanders in the front door unseen, as opposed to the arduous secret entrance Beatty and Baru made, spied on at every turn by Dagna’s sentries), he rejoins the main plot, doing his part to help Clyde Beatty save Valerie . . . and the day.
What I Watched: Darkest Africa (Republic, 1936)
Where I Watched It: A two-tape VHS set from Republic Home Video (continuing my summer of VHS, this included having to open the case and clean the heads on my VCR to get it playing correctly–thank goodness for YouTube tutorials!)
No. of Chapters: 15 (but most are only about 15 minutes long)
Best Chapter Title: “Trial by Thunder-Rods” (Chapter Ten) The two smugglers, Craddock (Edmund Cobb) and Durkin (old reliable Wheeler Oakman), have forged an uneasy alliance with Dagna, warning him of the approaching “outlanders” (Beatty and Baru) and offering the high priest a shipment of rifles in exchange for more of the green diamonds they covet. Once Hambone arrives with his elephant gun, Dagna has the idea of testing it against the smugglers’ “thunder-rods” to determine which is more powerful–by having Craddock and Hambone aim at each other and fire simultaneously! Amazingly, this is not the actual cliffhanger of this chapter.
Best Cliffhanger: Unsurprisingly, most of the cliffhangers involve lions or tigers, with Beatty’s skills put to the test to get him out of the jam in the following chapter. There are also a few actual cliffhangers, as in the first chapter (“Baru–Son of the Jungle”), when the ledge supporting Beatty and Baru collapses during an earthquake and they appear to be buried in an avalanche. There are also two cliffhangers in which Beatty hides behind something and is detected, leading to enemies attacking his hiding spot with spears or rifles. However, my favorite cliffhanger is in Chapter Nine (“When Birdmen Strike,” another great chapter title). Beatty has escaped through the mines beneath Joba into the jungle in order to find the ammunition cached by Craddock and Durkin. After finding the crate of ammo, he attempts to cross a clearing with it, drawing the Bat-men away from Baru. Shown zig-zagging across the clearing from overhead, Beatty is an easy target, and without actually showing the hit, the last shot reveals Beatty, prone, with a spear appearing to skewer him. (As the following chapter reveals, Beatty once again feigned death, the spear having passed under his arm and stuck into the ground. Repeat after me: “That was a close one!”)
Sample Dialogue: “You must not forget that Beatty enjoys the reputation of being the world’s greatest wild animal trainer.” –Durkin, warning Dagna not to underestimate Beatty (Chapter Seven, “Swing for Life”)
What Others Have Said: In light of “Crash” Corrigan’s performance as Bonga, let us check in with a “gorilla man” from a later generation, special effects artist and collector Bob Burns. Burns explains how he learned the ropes from ape performer Charles Gemora: “He shared with me some of his trade secrets for bringing life to a mask that was limited, mobility-wise, to simply opening and closing its mouth. For example, he explained that if you wanted to look ferocious you should rear back your head while opening the mouth, which shows the audience more teeth and creates an illusion of facial expression. He also stressed the importance of acting with your eyes, as they are the only exposed part of the wearer. Charlie was so skillful in projecting with his eyes that people who have watched his performances sometimes swear they saw the gorilla’s brow and other facial muscles move–even though everything is immobile.” –Bob Burns with John Michlig, It Came From Bob’s Basement!: Exploring the Science Fiction and Monster Movie Archive of Bob Burns
What’s Next: Join me next time as I tackle another Republic serial, 1944’s Haunted Harbor!