Congo Maisie (1940)

Simply A Masterpiece

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Maisie is Maisie. Always enjoyable, but never rising to the level of series like The Thin Man. I like them as much as Blondie and a little better than Torchy. If you liked the first one you can certainly bask in this mix of seriousness and silliness.Typically, some people are upset that the African characters are not all depicted as surgeons or poets. Oddly, these guardians of the film world end up minimizing the contributions of the black actors and the importance of the African characters (e.g., Everett Brown as Jallah). Third World riots aren't pretty (they share this quality with First World riots). Hollywood would film it different today, but they'd also ruin the movie with politics. To enjoy old movies we have to accept that things were different then. My rating (7/10) is measuring Congo Maisie against other movies in the series and against other series movies of the same type.

Congo Maisie (1940) This is one of ten in a series with mostly different casts based on the same character (Maisie), and so it's got its formula aspects. The plot is ostensibly about a showgirl (Maisie) hiding out on a small steamship in West Africa. It has nothing rough and tumble about it (it's not Warner Bros., but MGM), and the falseness (and obvious studio sets) are a problem from the getgo. The star here is Ann Southern, who is a "star" and who has spark, but she doesn't quite click into the part here. Exaggerated expressions and a slightly ludicrous situation don't mix well. The fact she is constantly made up to perfection and dressed in fancy city outfits just makes it more stupid. It's necessary to point out that some of the smaller parts are played by African (African-American) actors, and they are treated with miserable disdain, or they are made to be hysterical and "primitive" in a way that's just hard to watch. If all of this isn't enough, there is a comic absurd ending to the whole thing (during the uprising). And it reminds you that this is a lightweight movie, and you can't take it too seriously. Which also means there might be other movies to watch.

MGM's Tarzan sets got some extra use when in Ann Sothern's Maisie series she did an African film Congo Maisie. The plot which was recycled from Red Dust would get recycled again for Mogambo only that one was actually done on African location.Ann Sothern stows away on the wrong boat, she has a job in a coastal African town, but this boat commanded by J.M. Kerrigan is going upstream to a small settlement, a research facility where married couple Sheppard Strudwick and Rita Johnson. Even further into the wild is another former doctor now rubber plantation magnate John Carroll and all three go visiting there.Where both an outbreak of witch doctor fundamentalism and an attack of appendicitis on Strudwick puts the whole party in jeopardy. But not with the ever resourceful Maisie using some tricks she learned from when she was a magician's apprentice.Using her Maisie character as a bridge between what Jean Harlow and later Ava Gardner did with same part, Sothern is light, breezy, entertaining and very wise in a street smart way. The Maisie series went on for about a decade and Sothern's ingratiating and affable personality was the reason why. We could all use a wise Maisie in our lives.

This film is worth watching if only for one supremely silly moment when Ann Southern dressed in a Carmen Miranda head dress subdues a native rebellion in the African jungle by singing "St. Louis Woman" (pronounced here "Lewis") to the sole accompaniment of jungle drums and then doing magic tricks to the amazement and eventual pacification of the natives. Shot on MGM sound stages in 1940 with a large crowd of extras speaking mumbo-jumbo and wearing outlandish quasi-African costumes, it's a sad reminder that once upon a time this sort of nonsense was the only kind of employment available to African-American actors in Hollywood.