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Plot:

American Jim Warburton crashes his plane in the Amazon jungle and promptly falls in love with Christine Ridgegway , a mysterious huntress who rescues him and his passengers. Christine determinedly evades Jim’s courtship and advances, making Dr. Karen Lawrence suspect she has a tragic reason for fleeing to Rio to escape Jim. Karen and Jim follow her to Rio de Janeiro and, while dining in a restaurant, see a man named Sebastian Ortega greet Christine. She screams, faints and falls into a long illness. Later, Ortega tells Jim that he knew Mrs. Ridgeway, whom he assumes was Christine’s mother, when she was honeymooning in the jungle—a couple of decades ago—with her adventurer-husband, Anthony Ridgeway. Although terrified of animals, Mrs. Ridgeway had saved her husband’s life when a panther attacked him in the same jungle where Christine was hunting when Jim’s airplane crashed. She plunged into hysteria, following the incident, and returned to the United States. Jim thinks this a good story but fails to comprehend why a bad experience in the Brazilian jungle should make Christine fear falling in love. Christine goes to California and Jim follows her. There, he meets Anthony and is told an incredible tale; The Christine that Jim has fallen in love with is not the young girl Jim thinks she is. Christine is the honeymoon bride who saved Anthony’s more than twenty years ago. Now, nearly fifty-years-old, she has been in a state of shock since the panther-attack—a state that has made her ageless. Her changeless beauty had became a curse when her grown daughter’s fiancée made violent love to her against her will. The daughter, blaming her mother’s eternal youth, killed herself. Anthony’s critical evaluations of her cursed beauty led to her leaving him and returning to the jungle, where Jim met her. There’s still one major twist left before this one ends.

Also Known As: Il sortilegio delle amazzoni, O Anjo do Amazonas, Tam-tam sur l'Amazone, Rummut Amazonilla, Angel on the Amazon, Tentação Selvagem, The Jungle Wilderness, Drums Along the Amazon

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  • abhilaassaa-dddhaal
    abhilaassaa dddhaal

    Genre films of the late 40’s are particularly interesting to me. Many of them have strong elements of film noir (i.e. snappy dialogue, moody settings, diabolical villains, etc.) and they often had offbeat plot lines.”Angel on the Amazon” is quite entertaining with a competent cast, jungle thrills, love triangles, and a haunted femme fatale. One surprisingly intense flashback scene was that of a panther that was stalking sleeping members of a safari (complete with well staged high angle shots).I recommend that any fan of vintage genre films to seek out this B+ film title out.

  • dr-meszaros-tamasne
    dr meszaros tamasne

    Vera Ralston (Christine) is hunting in the Amazon jungle and comes across pilot George Brent’s crashed plane and crew. Brent falls in love with Ralston but she doesn’t want to get involved and disappears to Rio. A meeting with an old friend of Vera’s parents gives Brent an insight into her past but there is some serious craziness to follow.Woah! I wasn’t expecting that. The film starts with drama in the Amazon as we are amongst a group of individuals avoiding capture from local head-hunters. We get a plane crash and a drumming soundtrack that is very tense. And then the drumming stops. Uh-oh, they’re in trouble. It’s a good beginning. However, the film then turns into love story nonsense as Brent pursues Ralston. He is very corny and somewhat creepy in his persistence and you feel the film is really going downhill. Then …wham….the film goes somewhere completely different. So, book that visit to the Amazon jungle – things might get weird for you. It’s got me thinking about that TV programme “I’m a Celebrity Get Me Out of Here” where celebrities go into the jungle and bore everyone senseless. They are allowed to take a luxury item with them, so what would it be? If I ever get asked and agree to take part, I know my choice….it’s got to be a pair of comedy breasts.

  • univ-prof-frode-kristensen
    univ prof frode kristensen

    A man sees a beautiful young woman and is told not to pursue her. It seems on her honeymoon in the jungle, she was so frightened by a wild beast that SHE NEVER AGED!

  • diego-silva-teruel
    diego silva teruel

    Angel Of The Amazon casts George Brent as an adventurer pilot traveling to Rio De Janiero by air and his plane has some passengers such as Dr. Constance Bennett. When the plane is forced down the people are rescued by white huntress Vera Hruba Ralston. After that the plot gets positively weird.Ralston plays two roles in this both the daughter and wife of explorer Brian Aherne. A traumatic incident has the wife stop aging and she looks like her daughter. Like the cousins in the Patty Duke Show. They walk alike and talk alike and have a hankering for the same men.Possibly someone like Hedy Lamarr or even Maria Montez might have pulled this one off, but Vera Hruba Ralston wasn’t up to the challenge. Of course that didn’t stop her husband and head of Republic Pictures Herbert J. Yates from trying to make her a star.This one is a stinkeroo from jump street.

  • travis-jennings
    travis jennings

    This odd, hard-to-see romantic fantasy (I finally tracked it down in a poor TV dupe from a trader) is a curio at best, without the atmosphere, charm or casting to pull off the very silly concept it plays with a very straight face. Vera Ralston plays the mysterious jungle-dwelling woman who bewitches Brian Aherne when his plane accidentally crash-lands in the area. Flashbacks eventually reveal the cause of her skittishness as a sort of supernatural curse that has already caused tragedy. Everyone seems to be punching the clock here, including the director. The big problem, of course, is Ralston: As usual, she’s asked to play a character whose charms fascinate everyone, and as usual those charms seem very elusive to the viewer. The Republic Studio executive who married and tirelessly promoted her as a star despite the public’s complete lack of enthusiasm must truly loved her to be so blind. She’s not the worst actress ever to grace the screen, but she is wooden and not as attractive as the film insists she is. Constance Bennett has a humiliating role that is perhaps a typical 1948 notion of a “sympathetic” part for an actress of a certain age who’s no longer a star: She’s a professional woman whom Aherne treats as a best friend, though of course she’s hopelessly in love with him. He’s completely oblivious to that, natch, because he’s so besotted with the younger, beautiful Ralston—something that seems particularly humiliating here because frankly the latter isn’t all that beautiful. (She’s more the kind of woman one might call “handsome,” in that she has good features but little humor or vivacity to light them up.) The bones of the story might have been ideal for more florid, “exotic” treatment, like a Maria Montez vehicle. But the execution is surprisingly talky and flat, too pedestrian even to have much camp value. Too bad, because its mix of romantic sentimentality and kitsch fantasy should have made for something more memorable than this fairly dull “B” (though by Republic standards it was probably close to an “A”).

  • donatas-kavaliauskas
    donatas kavaliauskas

    Like many, I have been seeking out the films of Vera Hruba Ralston for years. Other than the few films she did with John Wayne, they’ve been rather obscure, and you had to really search the schedules of the late, late show to find them. I managed to find a few here and there, but even the major classic movie channels have skipped over them. “Angel on the Amazon” is the one I’ve seeked out the most, first because of its Maria Montez like title, second because of veteran stars George Brent and Constance Bennett, matinée idols in the early 1930’s, but basically reduced to B films by the early 1940’s. They are still striking to look at, and when compared to the dull Ms. Ralston, they are Lunt and Fontanne.This starts off with pure adventure and great promise as explorer Brent and doctor Bennett head into the jungle and end up crashing, rescued from headhunters by Ralston who disappears as fast as she arrives. Brent and Bennett end up in Rio del Janeiro, ironically running into her, and coming across secrets so shocking that you won’t believe it…that is if you’re not the most gullible person on the planet. The fact that the leads play it so completely serious makes it almost funny, especially as the second half overloads itself with flashbacks.I wish this had been made in color; it seems to cry out for it with the exotic settings. There’s a lot of continuity issues as well, with time periods in the flashbacks seemingly set in the present day. By being in the past yet seemingly living in modern times, this makes you wonder if they didn’t even bother hiring a continuity director. I’ve mentioned in my reviews of Ralston’s films that she’s more just boring than awful, and with Brent, Bennett and fellow veteran Brian Aherne surrounding her, that is much more obvious. Still, this is a fascinating failure, and one that even with its many flaws, it’s totally irresistible.

  • debora-correia
    debora correia

    The enthusiastic reviews here led me to watch this movie. While I respect the feelings of those who found this movie “haunting” and waited for years to see it again, I’d have to say this is not for everyone. If your tastes run to those old comic books with titles like Strange Tales, or maybe even TV’s Twilight Zone, it may be for you. But for me, it was much too thin in plot and characterization. Never mind the premise, which of course flirts with the supernatural, there are other jarring notes in the story, such as the thirtyish protagonist’s falling “in love” with the lady. Although he’s well past that stage of his life, he behaves like a fifteen-year-old in puppy love, mooning around and telling her he wants to marry her. The ending was nice and romantic, I admit, when I could take my eyes away from the bad make-up job on the “old” man, but I didn’t find the rest of the movie worth it.

  • patrick-underwood
    patrick underwood

    Of all Republic’s directors, John H. Auer was the most consistently stylish and imaginative. This is a good but by no means outstanding example of his work, exemplified by arresting camera movements (the swift tracking shots through the jungle after the rescue), sharp cutting, long takes, deep focus compositions and fast-paced dialogue. Where Auer fails in this film is with his cast. Admittedly Vera Ralston gives one of her best portrayals in a dramatic film. In addition, she is lovingly photographed and stunningly costumed. Certainly, she looks the part! Less at home is George Brent. He looks far too old for a romantic lead. He is often seen from unflattering camera angles, the photographer taking few pains to disguise his double chin, receding hair-line and wrinkled neck. What is worse, Mr Brent’s awkwardness in the role increases as the film progresses. In the climactic scenes, his performance is totally unconvincing. He even handles the off-screen narration with a lack of assurance that detracts from the effectiveness of the fade-out. True, the script is at its weakest in the final scenes — some might even describe it as absurd — and Auer has a habit of intercutting two tracking shots of people coming together, an otherwise fine idea which he turns into a distraction by filming the shots in the studio in front of an obvious process screen!Brian Aherne is almost as uncomfortable in his role as Mr Brent. He too is reasonably convincing in his earlier scenes and an almost total failure later on. Despite his billing, his part is very small. This and the unsuitability of the role doubtless influenced his decision to leave Hollywood. He did not return for five years.This was one of Constance Bennett’s last films (her fourth last actually). She too is unflatteringly photographed and though she is in the film quite a bit her part is unglamorous. Aside from Miss Ralston, Fortunio Bonanova has the film’s most dramatic piece. He handles it with some skill, the episode with the wounded panther owing as much to his chillingly delivered commentary as it does to Auer’s sharp cutting and deft camera (and Miss Ralston’s hair- raising screams)!A long-time associate of Republic boss Herbert J. Yates (who financed Auer’s “The Crime of Dr Crespi” back in 1935), Auer was associate producer on all his latter-day Republic assignments and his influence might justly be said to pervade every aspect of his films. He contributed to the script, closely supervised the art direction (his films usually have considerable location footage, but this one is an exception — aside from a few small shots, chiefly at the climax, it was lensed entirely in the studio, making use of stock material for the establishing shots of the jungle in the pre- credits sequence, the brief flashes of Rio, the races, etc.). On his thirties’ films Auer usually had the services of Republic’s ace cinematographer Jack Marta, but here he has Reggie Lanning, never a first-class photographer, whose indifferent day-for-night shooting in the car chase sequence and failure to dim his lighting on players who are heavily made up, destroys much of the film’s illusion.Auer was more fortunate on other aspects of the film. The editing especially, where the thrilling sequence prior to the headhunters’ attack is built up by increasing the tempo of the cutting; and also the rapid montage of Rio stock footage turned over like the pages in a book. Another editing highlight is at the very end when the whole film is reprized in less than 30 seconds!Taking a cue from RKO producer Val Lewton, the headhunters are never actually shown. Rather we sense their presence through Auer’s expert handling of atmosphere and his brilliant use of sound effects — the drums rising to a crescendo, and then the stillness.In the Lydeckers, Republic had the best special effects men in the business. There are two superlative examples of their work in this film: the plane crash which is utterly convincing thanks to their meticulous attention to the smallest details (notice the light moving down the length of the model plane, a realistic touch which ties in with the cut to the full-scale studio mock-up as Brent opens the door); and Judy’s car hurtling over the cliff with its brilliant use of a subjective camera.Production values are always high in Vera Ralston’s vehicles (after all, she was the boss’ wife!). The sets are many and varied, large and lavishly appointed, and there is no stinting on dress extras.

  • konstantinos-kourakos
    konstantinos kourakos

    This is a haunting story about a woman who goes on a safari with her husband, had a traumatic occurrence and ceases to age and all the problems that occur as a result. Wish I could find this film to see again!!

  • eufemia-galli
    eufemia galli

    I had been looking for this film ever since I saw it as a kid because it always stayed with me. It was spooky as a child but now that I’ve seen it again, it’s also a beautiful love story. I like the 3 lead players, Vera Hruba Ralstron, Brian Aherne + Gearge Brent. Constance Bennett is also in the film. I think this was the movie that introduced me to Vera Hruba Ralston. I just recently acquired this film so can now watch it whenever I choose. Hope everyone gets a chance to see this film! This is about a beautiful lady who is frightened by a tiger while she’s still a young woman + from that time on, she does not age. It has been compared to Lost Horizons + She if they had been made by Republic Pictures.

  • tonu-raid
    tonu raid

    I have had the GREAT JOY of FINALLY locating this film after not seeing it in about 30 years! Like some of the earlier comments,this haunting film has stayed with me since and just in the last few weeks,after persistently looking on the web to see if ANYONE had it on video for purchase,I FOUND a company named learmedia in Canada..I’m still pinching myself to believe that I have it at last! Angel on the Amazon is a film that still evokes romantic fantasy,psychological tension and a very satisfying ending.A must for those film collectors who find the needle in the haystack…Vera Hruba Ralston is a minor actress who gives a stellar performance and is backed by noted Brian Aherne,George Brent and Constance Bennett

  • marta-amanovic
    marta amanovic

    American Jim Warburton (George Brent) crashes his plane in the Amazon jungle and promptly falls in love with Christine Ridgegway (Vera Ralston), a mysterious huntress who rescues him and his passengers. Christine determinedly evades Jim’s courtship and advances, making Dr. Karen Lawrence (Constance Bennett) suspect she has a tragic reason for fleeing to Rio to escape Jim.Karen and Jim follow her to Rio de Janeiro and, while dining in a restaurant, see a man named Sebastian Ortega (Fortunio Bonanova) greet Christine. She screams, faints and falls into a long illness. Later, Ortega tells Jim that he knew Mrs. Ridgeway, whom he assumes was Christine’s mother, when she was honeymooning in the jungle—a couple of decades ago—with her adventurer-husband, Anthony Ridgeway (Brian Aherne.) Although terrified of animals, Mrs. Ridgeway had saved her husband’s life when a panther attacked him in the same jungle where Christine was hunting when Jim’s airplane crashed. She plunged into hysteria, following the incident, and returned to the United States.Jim thinks this a good story but fails to comprehend why a bad experience in the Brazilian jungle should make Christine fear falling in love. (George Brent’s characters never understood women not falling head-over-heels in love with him.) Christine goes to California and Jim, always harder to shake than Pepe Le Pew, follows her. There, he meets Anthony and is told an incredible tale; The Christine that Jim has fallen in love with is not the young girl Jim thinks she is. Christine is the honeymoon bride who saved Anthony’s more than twenty years ago. Now, nearly fifty-years-old, she has been in a state of shock since the panther-attack—a state that has made her ageless.Her changeless beauty had became a curse when her grown daughter’s fiancée made violent love to her against her will. The daughter, blaming her mother’s eternal youth, killed herself. Anthony’s critical evaluations of her cursed beauty led to her leaving him and returning to the jungle, where Jim met her.There’s still one twist left before this one ends about ten minutes later. Circa 1946-49 Republic made several dark, moody and out-of-the-studio-mold films that never garnered much attention because of their source. A different logo and better theatre-bookings, other than the Sun-Mon-Tue grindhouse situations would have served to make a few of those deserveably better known, including this one and “Moonrise.”.

  • andre-pinto
    andre pinto

    I saw this movie as “Drums Along the Amazon” when I was a boy of about 15 to 17 in England. I am 66 now and I have never had the opportunity to see it since and neither have I ever forgotten it. Why? Because it is a haunting film that captured the imagination….maybe looking for that certain something in the jungle of life that always seems to just elude us.As I remember, Vera Ralston played an excellent part as Christine Ridgeway. She definitely commanded the film more so than George Brent.