oscar-35 *Spoiler/plot- Son of Ingagi, 1940. A young couple invites a town recluse to their wedding and the rich women recluse is greatly touched and gives the woman a locket from her deceased father as a wedding present. The plot reveals that rich women recluse is a scientist that has been to Africa and returned with secret golden treasure. Her dark past catches up with her and several crooks try to steal her gold. And she is aided by her basement dwelling 'man monster' who politely disposes of the doctor's trouble makers. The doctor dies and leaves her home to the young couple in her will with the monster in residence. More mysterious happenings occur. The attention of the police is called.*Special Stars- Laura Bowman, Alfred Grant, Daisy Bufford, Spencer Williams, The Four Toppers.*Theme- Good deeds often follow good people. *Trivia/location/goofs- B & W. All black cast. The title is a tribute to a previously made film 'Ingagai' made in 1930 with a all black cast. Look for the 'SACK' seal of excellence at the beginning and ending of the film.*Emotion- An interesting and usual horror film due to it's subject matter, date of production, and ensemble cast members. The story is very simple with simple production values of the war period and low budget. The monster is very elementary and some 'Amos and Andy talking to himself in times of fear' dialog of the police detective is surprisingly, but very dated. Not a bad film, just a represented film of the black segment of film production for exhibition in black theaters.

wes-connors "A newlywed couple is visited by a mysterious doctor that claims she has some important information to pass along to the bride. Shortly after the bride meets with the doctor, the doctor dies and ends up leaving the estate to the bride. When the couple arrives at the doctor's home to take up residence, the newlyweds discover the doctor has left more than an estate to them," according to the DVD sleeve's synopsis.An awful film, notable for a couple of reasons. The musical numbers performed by "The Four Toppers" are nicely done. And, you do a good look at Spencer Williams, who wrote the story and has a featured on-screen role (as Nelson). In the early 1950s, Mr. Williams became an "overnight sensation" when he was picked to play the latter half of the popular "Amos 'n Andy" radio comedy team, transferred to TV.** Son of Ingagi (1940) Richard C. Kahn ~ Alfred Grant, Daisy Bufford, Spencer Williams

Brandt Sponseller Although the primary attraction here is simply historical interest, Son of Ingagi isn't horrible if watched for entertainment purposes. But it's not that good, either. Besides preservation problems with extant versions, the film suffers from a lackadaisical script, fairly flat direction and various budget-related problems. Of course, the preservation problems are hardly the fault of co-producer/director Richard C. Kahn and co-producer Alfred N. Sack, but on the other hand, aren't exactly easy to overlook when you're watching.Given the title, an attempt was made to affiliate this film with 1931's Ingagi. Admittedly, I haven't seen Ingagi yet--it doesn't appear to be available on home video--but judging by the information available to me, it's difficult to see what the connection is between the two films besides a very loose thematic tie. There are no cast or crew members in common. The setting is different. There is nothing in this film known by the name of Ingagi. The only similarity appears to be that Ingagi was set in Africa, whereas a character in Son of Ingagi has spent some time in Africa, and Ingagi had a gorilla, whereas Son of Ingagi has a kind of ape-man.The story here, instead, begins with a marriage between Bob (Alfred Grant) and Eleanor (Daisy Bufford). They appear to live in Anytown, U.S.A. They head off for their honeymoon, which they oddly spend right next door to the foundry where Bob works--it seems as if he was planning on going to punch the clock the next morning. They hear a bang. The foundry has caught fire (we see none of this--we're just told it instead) and now Bob is out of a job.At the same time, there is a mysterious woman, Dr. Jackson (Laura Bowman), who was invited to Bob and Eleanor's wedding, but whom most folks are afraid of--she's thought of as a sort of voodoo woman. And perhaps for good reason. Dr. Jackson has spent a lot of time in Africa and the Far East, she keeps trinkets like skulls on her desk, and most importantly, she has an ape-man named Ingeena (Zack Williams) stored in her basement. He has a cell but doesn't appear to be kept inside. He enters and leaves the main part of the house through a secret passageway.There's an accident and Bob and Eleanor end up being named in Dr. Jackson's will as heirs to her estate--despite the fact that they did not know her very well. Suspicion falls on them, and soon, other bodies are turning up near them. Eventually, the police--especially Nelson (Spencer Williams, Jr.)--set up shop in Bob and Eleanor's new home while they're living in it, in an attempt to solve the "mystery".That plot description might not sound too bad, but the problem is that there just isn't that much more to the plot, and even those measly points end up unfolding flatly, with too much telling and not enough showing. It would be difficult to say, based on Son of Ingagi, that Kahn is a director who knows how to build suspense, but admittedly, the script is a bit lightweight, the cast occasionally seems amateurish, and the budget is low enough to make Ingeena's make-up more laughable than frightening. Even a climactic fire must resort to employing an obvious model of a building. So Kahn didn't necessarily have a lot to work with.It would have helped to beef up the script and make the film a bit longer. The Alpha Video print of Son of Ingagi clocks in at just under an hour. IMDb has the original running time listed as 70 minutes. That may be correct--the Alpha print has awkward edits and jumps that seem like some material is missing--but ten additional minutes would not have been sufficient to help the story. The print doesn't help, however. Besides the jumps, it hasn't been very well preserved. The image is often cloudy or scratchy. The dark scenes sometimes disappear into a sea of blackness--and occasionally these scenes should convey important information.Son of Ingagi is sometimes called the first "all black horror film". That's not quite right, but it's close. At least two all or mostly black horror films appeared before this one--Louisiana (aka Drums o' Voodoo, or just Voodoo Drums, 1934), and The Devil's Daughter (1939). However, Louisiana appears to have been lost. And the dates aren't always given consistently on this film and The Devil's Daughter, so it's difficult to say which one was filmed first without more research. That makes Son of Ingagi close enough to being the first all black horror film.Aside from the bland script, lack of suspense and less than thrilling monster (despite the attempts to give Ingeena archetypal relations to the Frankenstein monster), Son of Ingagi isn't helped by its lack of a score. Doo-wop group The Four Toppers provide a couple early musical numbers that are pleasant enough, but this also underscores the later lack of music. Music would have helped sustain an appropriate mood. In fact the Four Toppers songs do nothing to help create a thriller or horror mood, of course, and even later, Kahn just as strongly gives us comic moments. As another IMDb-er pointed out, Spencer Williams Jr. seems to be doing his best Mantan Moreland impersonation. But there's not enough of a commitment to humor, or horror, or any other genre for that matter, to quite make Son of Ingagi work.This is really only for people interested in the history of the genre, and particularly films with unusual ethnic orientations for their eras. Otherwise, make sure you have a couple strong cups of espresso ready to go if you decide to give this one a try. I watched it around seven in the evening and almost fell asleep.

Glenn Andreiev SON OF INGAGI (1940) is a rare horror film. One of the films by Zack Williams, a black film artist who made films with an all black cast, for the black audiences. (This was in the days before Denzel washington, Sidney Portier, James Earl Jones, the days you never saw a black man in the heroic lead in a film.) The real treat of the movie is the nasty old witch that lives in a little house. All she has to do is bang a low-toned gong and the big giant, who sleeps on hay, wakes up and beats the old woman's enemies to a frazzle. A rare piece of film history, and a lot of fun.