1952's "Bela Lugosi Meets a Brooklyn Gorilla" was Realart's follow up to Lon Chaney's financially successful "Bride of the Gorilla," producers Jack Broder and Herman Cohen looking for a similar hit with another horror star, shot in six days on an even lower budget of $12,000 (working titles "Bela Lugosi Meets the Gorilla Man" and "White Woman of the Lost Jungle"). Hollywood had ignored the chronically unemployed actor during the four years since his last triumph as Dracula in "Abbott and Costello Meet Frankenstein," and here he was opposite another comedy team that only did this lone feature together, from a witless script cobbled together by Tim Ryan, husband of Irene Ryan from THE BEVERLY HILLBILLIES, better known as a tough guy actor in Poverty Row pictures (the reissue title was "The Boys from Brooklyn"). Nightclub performers known for aping Dean Martin and Jerry Lewis, Duke Mitchell delivers like Martin with laid back style on two songs, while teenager Sammy Petrillo looks and sounds so much like the genuine Lewis that one might easily be confused. The actual Martin and Lewis surely wouldn't have fared much better playing two entertainers trapped on a Pacific island (parachuting off screen of course) with nothing to do but venture into the castle of Lugosi's mad scientist Dr. Zabor, working on a theory of evolution using primates as guinea pigs. Ramona the chimp falls for Sammy, but the doctor's assistant (Charlita) is sweet on Duke, driving the jealous Zabor to a desperate plan to keep her from straying by transforming the luckless crooner into a gorilla. Both Ray Corrigan and Steve Calvert are available in ratty ape costumes, Duke unable to speak but still able to belt out his signature piece "Deed I Do," giving Sammy ideas for a singing simian living close to the local zoo (while studying the later career of Bela Lugosi for Tim Burton's 1994 "Ed Wood," Martin Landau considered this one so bad that the Wood titles looked like "Gone with the Wind" by comparison). Both Mitchell and Petrillo could have carved out a niche for themselves were they not at the mercy of shopworn material, and by the time the real Martin and Lewis broke up in 1956 they too decided to call it quits (Lewis was more litigious than his partner, but only a great deal of shouting resulted). A native of Farrell, Pennsylvania, Mitchell later worked for Dean Martin himself, a man who certainly appreciated real talent, doing impressions of other singers and making a name for himself as 'King of Palm Springs.' Sammy Petrillo's belief was that Jack Broder had no intention of making their starring feature, expecting a huge payout from Paramount not to do it but went ahead to save face. Sammy truly gives it his all, but a tendency to laugh uproariously at his own lame jokes deadens all attempts at humor well before Lugosi finally makes his entrance at the 21 minute mark. The Bronx-born Petrillo later opened a nightclub called The Nut House in his adopted hometown of Pittsburgh, lending a helping hand to up and comers like Richard Pryor and Dennis Miller. At the helm for this oddity was old pro William Beaudine, of "The Ape Man," "Ghosts on the Loose," and "Voodoo Man," whose only remaining genre titles formed the 1965 double bill "Billy the Kid versus Dracula" and "Jesse James Meets Frankenstein's Daughter." Veteran cameraman Charles Van Enger also photographed "Bride of the Gorilla," a longtime Universal veteran (including Bela's "Night Monster") with a dozen Abbott and Costello titles on his resume, his most recent being "Meet the Killer Boris Karloff." It's possible that having his name in the title appeased Lugosi in some small way, he's perfectly fine in the role but it's very old and tired, no stretch for an actor so used to playing crazed doctors. The references to Dracula are numerous and not funny, and while Bela is often smiling in the early stages (17 minutes screen time), even he becomes annoyed at Sammy's antics before long, sadly looking forward only to "The Black Sleep" and the Ed Wood trio. After working with Ole Olsen and Chic Johnson, Victor McLaglen and Edmund Lowe, Joe E. Brown, W. C. Fields, The Ritz Brothers, Kay Kyser, the East Side Kids (twice), Wally Brown and Alan Carney (also twice), and most recently drag act Arthur Lucan, could an ersatz Martin and Lewis really look that bad?