Powerful

hyped garbage

Absolutely Fantastic

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

It's just an adventure story. A young girl is raised by a gorilla after her father, a crook, dies. A really boring man played by Buster Crabbe finds her and needs her to give some money and jewels back. Of course, there is another guy who wants the loot. Most of the movie is the discovery of the White Witch who is really just a good looking young woman and the efforts to keep her alive by the duo of Crabbe and gorilla. Most of the scenes are silly and forgettable. There are a lot of animals (stock footage) and lots of vines and trees. It is entirely predictable and there are few surprises. The relationship between the girl and Crabbe goes nowhere. Can you imagine the reality of her being put back into Western society.

"Nabonga" marks the debut film of Julie London. It's also the first and only movie of Jackie Newfield, daughter of director Sam Newfield (and niece, of course, of Newfield's brother, Sigmund Neufeld).By the humble standards of the Neufeld Brothers, this entry is reasonably entertaining. The story is a familiar one (it was later re-used with great effect in "Mr Joseph Young of Africa"), but here it moves with sufficient pace and encompasses enough action to satisfy second-feature fans. True, Buster Crabbe breezes through his part with plenty of charm, but little conviction. As a good guy, his motives towards and treatment of the heroine often seem a little dubious, but such subtleties don't worry Buster at all. Julie London, however, makes quite an impression, while Ray "Crash" Corrigan has a grand time as the gorilla (though he is outclassed in the acting department by young Jackie Newfield). Fifi D'Orsay seems an unnecessary addition to the story, an opinion oddly shared by scriptwriter Myton who gives her little to do and then removes her from the plot with little ceremony. We would have liked to see more of Prince Modupe, however, whose dignified and knowledgeable native guide is far removed from the usual Hollywood stereotypes.Production values seem adequate enough for Poverty Row and are helped out enormously by Robert Cline's always attractively glossy and often noirishly lit photography.Available on DVD through Alpha. Quality rating: nine out of ten.

I was all ready to strap myself in for the ride, but you know what, once the story got going it didn't turn out to be too bad. It reminded me a little of 1949's "Mighty Joe Young" without the production values, and quite possibly a more notable cast.The story opens with the ill fated plane flight of a wanted embezzler who escapes the authorities with his ten year old daughter in tow. With a tropical storm raging, the plane goes down in an African jungle. Even though the pilot and his two passengers survive, embezzler Stockwell (Herbert Rawlinson) is taking no chances after his cash and jewels are noticed by the flier; and then there were two. Shortly after getting situated, young Doreen Stockwell goes on a jungle foray and discovers a wounded gorilla.It's left to the viewer's imagination to piece things together as the film fast forwards unannounced to a period some years later when Ray Gorman (Buster Crabbe) arrives, curious to discover the facts behind the legend of a 'great white witch'. His servant Tobo (Prince Modupe) lends testimony to the tale of a witch born of a big bird that fell from the sky. Gorman and Tobo go in search of the 'house with wings' and the missing treasure. Adding intrigue to the adventure is the presence of mercenary Carl Hurst (Barton MacLane), who sets out to follow Gorman and cash in on the treasure trove himself, along with an accomplice named Marie (Fifi D'Orsay).I got a kick out of the scene where Tobo saves Gorman by shooting a leopard about to attack; Gorman expresses his wonder at Tobo's ability to read the jungle. Tobo's response - "When you live in jungle all your life, you know these things". Yet in the very next scene, Tobo follows Gorman as both swim across a crocodile infested river! Actually, Tobo's character is handled in rather dignified fashion given the era, when blacks often were portrayed as foils or in subservient roles. Gorman in fact treated his guide with respect and was willing to trust his judgment, and their relationship pretty much got along as equals.The casting coup of the film definitely has to be that of Julie London as the adult white witch Doreen. It was London's first film role, and even though she doesn't sing, she really doesn't have to. It was almost comical to observe her repeated 'I really like you' conversations with Buster Crabbe's character, who managed to miss all the signals. In that regard, the intrepid explorer was a total klutz.I saw this movie under the title "Nabonga Gorilla", which is a bit curious since Doreen's playmate is called Samson, and the name only shows up in the credits with a different spelling - 'Nbongo'. There it states that the part of the gorilla was played by Nbongo, though film fans will easily recognize the name of Ray "Crash" Corrigan as the man in the monkey suit. In ape circles, Corrigan came to be known by many names, including Zamba, Konga, Bonga, and my personal favorite - White Pongo. I wonder if he got to keep the gorilla costume.

"Nabonga" is not merely a 1944 "B" movie of interest only to those far too interested in the history of "B" movies - though it is that. I was expecting a cardboard jungle "epic", but a superior one in that it has Buster Crabbe, Barton MacLane, Crash Corrigan and his gorilla suit and the luscious Julie London in her first motion picture. What a surprise to find Crabbe portraying not another version of Flash Gordon, Buck Rogers or other perfect hero but a man driven to vindicate his father's reputation even if it should mean lying, cheating, theft from the girl to whom he is obviously attracted as well as trapping her beloved gorilla. Our hero is at least part anti-hero; not unheard of in a motion picture certainly but odd in a wartime Buster Crabbe vehicle. The moral uncertainty of Crabbe's character makes "Nabonga" different from its ilk. Apart from that interesting plot quirk, "Nabonga" is enjoyable on its own terms as a "white goddess" potboiler. There is an interesting relationship between Crabbe's character and Tobu, a black man who is treated as an equal not a servant and for whom the hero is willing to risk his life. "Nabonga" is an odd slice of 1940s cinema, ending with an exhortation to buy "war stamps and bonds at this theatre".