This forms a sort of trilogy with star Michael Gough's previous films for producer Herman Cohen, HORRORS OF THE BLACK MUSEUM (1959; although I own the VCI SE DVD, I don't have time to revisit it at the moment) and KONGA (1961; a second viewing will follow shortly). Being the only one still unavailable on disc has made it the least-seen of the three; consequently, I have had to make do with a copy sourced from a worn 16mm print replete with 'jumps' and 'misframing' that make the human figures unnaturally elongated...and, no, this wasn't the result of my watching the thing fitted to a Widescreen TV monitor!
Similar to his previous Cohen efforts, Gough is a stark raving mad zookeeper who uses his animals to dispose of his foes; he also (literally) entertains his animals – tigers, lions, cheetahs, etc. – with his piano playing skills inside his living room! Unlike its predecessors, surprisingly enough, BLACK ZOO was shot in Hollywood with a mostly American cast and crew; this made for the endearingly odd sight of watching quintessentially British actor and horror film icon Gough share scenes with familiar character actors like Elisha Cook Jr., Jerome Cowan and Edward Platt. Director Gordon is likewise an American, of whose work I have now watched 2 efforts (1955's IT CAME FROM BENEATH THE SEA), own another (1947's BLIND SPOT), and have just rented one more (1973's THE GATLING GUN)!
There are 6 deaths in the film altogether: a snooping reporter is disposed of via a tiger mauling right in the very first sequence (shot remarkably similar to the famous unseen panther chase in Val Lewton's CAT PEOPLE – another link to that film is the subplot, albeit not subsequently resumed, involving a trio of girls who turn up at the zoo to sketch the animals); construction entrepreneur Cowan's invitations to sell out his property, share in the profits and visit a new striptease joint fall on Gough's deaf ears (while a lion proceeds to fell Cowan off-camera!); sadistic cage-cleaner Cook teases the zoo's star tiger one time too many, shoots it to death in self-defense and gets thrown into the lion's cage for his crime by an infuriated Gough!; the concerned agent of Gough's wife (who also performs a chimpanzee act during zoo visits) entices her to go back on the road with a circus troupe but finds a big hairy surprise waiting for her in the garage back home!; Gough himself expires when his long-suffering mute animal handler (revealed to be his own son and being incapacitated by witnessing his mother getting savaged by a lion at Gough's command!) snaps at the latter's beating of his wife for deserting him and chokes him to death in a rainy confrontation on the zoo grounds. Without the viewer realizing it, the film inventively opens with its very closing shot and, in fact, I had half-jokingly taken Gough's lifeless body (seen in a high-angle shot) for an overturned cow at the beginning!!
Other highlights of the films include: a quiet dinner that admirably turns into a histrionic battle of wits between Gough and his wife over his mistreatment of the son that peaks with the latter smashing the food casserole (so proudly prepared by the wife – incidentally, Jeanne Cooper is quite impressive throughout and, surprisingly for me, this is the 8th title I've seen her in with 11 more in my unwatched pile!) on the kitchen floor; the night-time funeral procession given to Baron (the star tiger) attended by Gough, his family and a handful of big cats (not just reminiscent of SUNSET BOULEVARD [1950] – as is the afore-mentioned circular nature of the narrative, after all – but also eerily shot by cinematographer Floyd Crosby as if he was lighting one of Roger Corman's Poe adaptations)!; another rite in which a tiger-skin-wearing Shaman (the head of an animal worshipping cult to which Gough belongs) transfers Baron's soul into a baby tiger he is presented with.
Similar to his previous Cohen efforts, Gough is a stark raving mad zookeeper who uses his animals to dispose of his foes; he also (literally) entertains his animals – tigers, lions, cheetahs, etc. – with his piano playing skills inside his living room! Unlike its predecessors, surprisingly enough, BLACK ZOO was shot in Hollywood with a mostly American cast and crew; this made for the endearingly odd sight of watching quintessentially British actor and horror film icon Gough share scenes with familiar character actors like Elisha Cook Jr., Jerome Cowan and Edward Platt. Director Gordon is likewise an American, of whose work I have now watched 2 efforts (1955's IT CAME FROM BENEATH THE SEA), own another (1947's BLIND SPOT), and have just rented one more (1973's THE GATLING GUN)!
There are 6 deaths in the film altogether: a snooping reporter is disposed of via a tiger mauling right in the very first sequence (shot remarkably similar to the famous unseen panther chase in Val Lewton's CAT PEOPLE – another link to that film is the subplot, albeit not subsequently resumed, involving a trio of girls who turn up at the zoo to sketch the animals); construction entrepreneur Cowan's invitations to sell out his property, share in the profits and visit a new striptease joint fall on Gough's deaf ears (while a lion proceeds to fell Cowan off-camera!); sadistic cage-cleaner Cook teases the zoo's star tiger one time too many, shoots it to death in self-defense and gets thrown into the lion's cage for his crime by an infuriated Gough!; the concerned agent of Gough's wife (who also performs a chimpanzee act during zoo visits) entices her to go back on the road with a circus troupe but finds a big hairy surprise waiting for her in the garage back home!; Gough himself expires when his long-suffering mute animal handler (revealed to be his own son and being incapacitated by witnessing his mother getting savaged by a lion at Gough's command!) snaps at the latter's beating of his wife for deserting him and chokes him to death in a rainy confrontation on the zoo grounds. Without the viewer realizing it, the film inventively opens with its very closing shot and, in fact, I had half-jokingly taken Gough's lifeless body (seen in a high-angle shot) for an overturned cow at the beginning!!
Other highlights of the films include: a quiet dinner that admirably turns into a histrionic battle of wits between Gough and his wife over his mistreatment of the son that peaks with the latter smashing the food casserole (so proudly prepared by the wife – incidentally, Jeanne Cooper is quite impressive throughout and, surprisingly for me, this is the 8th title I've seen her in with 11 more in my unwatched pile!) on the kitchen floor; the night-time funeral procession given to Baron (the star tiger) attended by Gough, his family and a handful of big cats (not just reminiscent of SUNSET BOULEVARD [1950] – as is the afore-mentioned circular nature of the narrative, after all – but also eerily shot by cinematographer Floyd Crosby as if he was lighting one of Roger Corman's Poe adaptations)!; another rite in which a tiger-skin-wearing Shaman (the head of an animal worshipping cult to which Gough belongs) transfers Baron's soul into a baby tiger he is presented with.