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Kongo follows the bitter "Deadlegs" Flint (Walter Huston), a paraplegic living in the "slime" of the African Congo, surrounded by "filthy" natives that he keeps in line by tricking them with cheap magic tricks. The above is part of his drunken revenge rant against the man who made him a paraplegic 18 years ago; a plan that involves using Ann, the innocent daughter of the man, in a most despicable way.
Released in 1932, Kongo is part of the Pre-Code films that came after the adoption of the Hays Code in 1930, but before its strict enforcement in 1934. Films that would often capitalize in harsh depictions of sexuality, violence, drug use, alcoholism, and racism; and Kongo has plenty of all of that.
Flint is assisted by his scantily dressed girlfriend, Tula (Lupe Vélez) and two dumb thugs, while he also abuses of a drug-addicted doctor (Conrad Nagel) who may or may not help with his condition, and who happens to fall in love with Ann. And although these two characters are very likable and their relationship might be the closest the audience might get to a proxy, this is easily Huston's show from start to finish, and his scenery chewing is a treat to watch.
But besides all that, Flint is an interesting and somewhat complex character, and the film takes him through some interesting twists towards the last act, so some of the enjoyment might depend on whether you buy into the shifts in character in that stretch. I think the writing could've been more polished there, but Huston does a pretty good job selling both ends of the spectrum of his character.
Other than that, the film does present some interesting traits of the films of the era. Films that, in many ways were considered as "slime" or "filthy", and were more or less brushed under the rug. But amidst all the racist stereotypes, the drugs, and the objectification of some female characters, Kongo still offers a pretty neat snapshot of early 1930s Hollywood, and a wicked fun performance from Huston.
Grade:
KONGO
(1932, Cowen)
(1932, Cowen)
"That's why I've lived here. That's why I've lived in this slime, rubbing noses with these filthy natives, make their religion mine, become part of them! All so I can leave her on his very doorstep... without him being able to see me!"
Kongo follows the bitter "Deadlegs" Flint (Walter Huston), a paraplegic living in the "slime" of the African Congo, surrounded by "filthy" natives that he keeps in line by tricking them with cheap magic tricks. The above is part of his drunken revenge rant against the man who made him a paraplegic 18 years ago; a plan that involves using Ann, the innocent daughter of the man, in a most despicable way.
Released in 1932, Kongo is part of the Pre-Code films that came after the adoption of the Hays Code in 1930, but before its strict enforcement in 1934. Films that would often capitalize in harsh depictions of sexuality, violence, drug use, alcoholism, and racism; and Kongo has plenty of all of that.
Flint is assisted by his scantily dressed girlfriend, Tula (Lupe Vélez) and two dumb thugs, while he also abuses of a drug-addicted doctor (Conrad Nagel) who may or may not help with his condition, and who happens to fall in love with Ann. And although these two characters are very likable and their relationship might be the closest the audience might get to a proxy, this is easily Huston's show from start to finish, and his scenery chewing is a treat to watch.
But besides all that, Flint is an interesting and somewhat complex character, and the film takes him through some interesting twists towards the last act, so some of the enjoyment might depend on whether you buy into the shifts in character in that stretch. I think the writing could've been more polished there, but Huston does a pretty good job selling both ends of the spectrum of his character.
Other than that, the film does present some interesting traits of the films of the era. Films that, in many ways were considered as "slime" or "filthy", and were more or less brushed under the rug. But amidst all the racist stereotypes, the drugs, and the objectification of some female characters, Kongo still offers a pretty neat snapshot of early 1930s Hollywood, and a wicked fun performance from Huston.
Grade: