Son of Ingagi

SON OF INGAGI is about a man and his new bride trying to enjoy their wedding night. Instead, a series of disasters -an explosion at the groom's workplace, a mad scientist and her go-rilla henchman on a rampage- threatens to derail the honeymoon.

A fun movie featuring an all-African American cast...

The first half of this movie belongs to Laura Bowman. I was interested in her reclusive Dr Helen Jackson character who lives in a house of secrets. On the one hand she is a severe grim-faced Judith Furse type who begrudges the humanity she is hiding from. On discovering a formula to benefit humanity she mutters to herself "Why should I worry about humanity?" But then there is the glimmer of the maternal Jane Darwell type in her character at times. If you like indomitable old ladies and creepy old houses then this could be your type of film. Dr Jackson is able to summon an ape man from a hidden room by striking a gong behind her desk. I reckon this would make a good 1940s horror double bill with 'The Ape Man' from 1943 on a horror hosted show. 'The Ape Man' has Bela Lugosi and Minerva Urecal in it. The second half of 'Son of Ingagi' is more humorous as the ape man and a detective go into a lengthy comic routine involving disappearing sandwiches etc. The story also involves a stash of gold from Africa and a newly-wedded couple who Dr Jackson takes a shine to.

Wow! When they set out to make a bad movie in the golden days, they sure knew how to do it! This film is bad, no qualms, questions about it. The story essentially tells a story about a young couple just getting married who are visited by a wealthy doctor known to everyone else for her miserly ways, yet in secret a very giving woman. We learn that this woman is attached somehow to the wife, and then we discover that she has been in Africa and loved her father. The film is intriguing with its all black cast(save the doctor and her brother), but ultimately fails as the moment the monster(an ape-like man living in the doctor's office) is revealed destroys any credibility the movie might have had. This monster looks so silly with its black wire hairs(mop-like)hanging over its face which has sunken eyes. It moves around in a pitiful way, and in no way is scary. The film also does not know exactly what it is trying to be. Is it a horror film or a comedy? The ape kills on two occasions with no comedy implied, and then later we see it eat two sandwiches from a scared policeman desperately trying to imitate Mantan Moreland. I also forgot to mention the lovely music sung as the wedded couple spend their honeymoon in their house and are visited by all their "singing" friends and family. The film sports few great moments. It has poor, inferior direction, sets, script, and acting. The best part for me was the woman who played the doctor. She was quite atmospheric in her black dress and her portly figure. That, however, is not enough to recommend this exercise in will...making you sit through it.

Definitely recommended only for die-hard fans of dusty old movies, this is one you've almost definitely never seen. Long out of circulation in any form, this very tame 1940s 'haunted house' type thriller is unique because it features an all-black cast. Otherwise, it is badly dated and so mild that it's a real snore throughout most of the short runtime.

The plot concerns two newlyweds who find themselves visited on their wedding night by a mysterious woman, a certain Doctor Jackson. Doctor Jackson is a severe old woman, and we see her roughing up her attorney and revealing herself to be stubborn and willful. However, she is also touched that the newlyweds have found her important enough to invite to their wedding, and she reveals that she was once romantically linked with the bride's father. Unbeknownst to anybody, Dr. Jackson has drawn up a will that leaves all of her earthly possessions, including her spooky old house, to our protagonists.

Also a secret is the fact that she has a weird ape-man living in her basement, which can only be accessed through a hidden door. The ape-man is summoned with an ominous gong the old lady has, and it appears to be mostly docile. However, Dr. Jackson is experimenting with some kind of potion, which she foolishly leaves sitting out in the basement where the ape-man lives. It drinks the potion and goes homicidally crazy, choking her to death. By wild coincidence, our newlyweds happen to visit the woman at almost the same moment and find her dead, no sign of the ape man. When the police discover that they were the beneficiaries of the old woman's will, they suspect the husband of murder. Cleared of all charges, the husband returns with his bride to move into the house they've just inherited--unaware that the ape man is still lurking in the basement. A few more attacks happen until the inevitable bride-snatching occurs after our lonely ape-man ventures out of the cellar.

The movie was filmed on a few cheap sets, with most of the action wisely taking place in the old dark house, but it's not that memorable of a set. It's poorly established, and we don't get a look at the creepy exterior until the conclusion, when it goes up in flames. The acting is passable, at best, with some comic relief coming from a bumbling detective. The makeup on the ape man is ludicrous, and there is no real explanation for what the creature is or why the doctor has it in her basement. We are to gather she brought it back from one of her excursions to Africa, but that's about all we know. Oh, and it likes cold cut sandwiches, too.

Worth a look for the curious, just don't expect too much. Watch for a couple of lively musical numbers near the beginning of the film, performed by the Four Toppers (not to be confused with the similarly-named Four Tops).

Before the mid-1950s, movies geared towards African-American audiences, which for the most part were shown in segregated theaters, avoided horror-themed flicks. That was until Sack Amusement Enterprises produced the first, and some film historians say the only black horror film of that era in February 1940's "Son of Ingagi." The low-budget film, written and starring Spencer Williams, who went on to play Andy on television's 'The Amos 'n Andy Show,' has no relation to the classic 1931 exploitation film "Ingagi." The 1940 movie does contain a 'missing link' monster transported from Africa who is kept in the basement of a doctor's home.

Although "Son of Ingagi's" production values were a far cry from the slick films the major Hollywood studios created during the Golden era, the picture does reflect the comfort level of African-Americans' integration within the fabric of American society, unlike most roles blacks found themselves in the A-listed movies. Film critic Mark Welsh notes, "it's really nice to see black people on the screen at this time in history as normal, ordinary men and women, rather than as mugging, idiotic stereotypes used for comic effect." In "Son of Ingagi", newlyweds Eleanor (Daisy Bufford ) and Robert Lindsay (Alfred Grant) are approached by Dr. Jackson (Laura Bowman), who says she knew Eleanor's father intimately and plans to leave her personal inheritance with the couple when she dies. Dr. Jackson has transported a 'missing link' animal similar to a gorilla caged in her house to study. Unfortunately, the monster gets loose, murdering the doctor. The Lindsays inherit her house as promised and move in, not realizing the monster is still lurking around the premises.

"Son of Ingagi" was one of many "race films," a genre popular between 1915 and the early 1950s. These movies, produced outside the Hollywood system, consisted primarily of African-American actors and shown mostly in theaters for black audiences. More than 500 movies were produced during that span, yet only 100 have survived. Alfred Sack, producer for "Son of Ingagi," was a white owner of a small studio that was part of 150 minor film production studios focused on all-black cast pictures for African-American audiences. In the segregated South these films were shown in exclusive black filmgoers' theaters. In the more integrated North, the 'race films' rarely attracted white audiences, and were shown either at matinee times during the day or late at night in regular movie theaters.

Film historian Todd Stadtman points out, "As the products of a segregated America, the Race Films ironically present us with a vision of America that can't be seen anywhere in the commercial cinema of the time. This is an America where blacks are doctors. Lawyers, police detectives, scientists. There is not a white face in sight, and so the black actors are free from having to react to the oh-so-important doings of Caucasians and can instead relate to each other as equals."