1943's "Cobra Woman" brought together two of Universal's biggest box office stars of the war years, Maria Montez and Lon Chaney, in a Technicolor extravaganza helmed by director Robert Siodmak, who proves better than his material by going at such a linear, fast paced clip that one simply goes along for the ride. So simple is its structure that it's no wonder that Montez fans consider it her masterpiece, for indeed no matter your disposition this one is tough to dislike. Chaney fans can only be disappointed however, for after starring in two of his greatest films, "Frankenstein Meets the Wolf Man" and Robert Siodmak's "Son of Dracula," he is sadly reduced here to a mute supporting role as Hava, powerful priest/bodyguard for Mary Nash's Queen, hoping that Tollea will save her people from the tyranny of evil twin sister Naja (both played by gorgeous Maria), whose immunity to the poisonous bite of the King Cobra makes her the all powerful ruler. Edgar Barrier's high priest supplies additional villainy, while the expected heroics of Jon Hall and Sabu include much leaping and jumping. It's pretty much Maria's show whenever she's on screen, and for my money her finest moment is the exotic dance performed for the cobra's benefit, exalted fodder for lovers of camp, but also a real showcase for her undiluted eroticism at its best. For Chaney, it was the only color film among his Universal credits of the decade, and an opportunity to pay tribute to his father in the opening scene, pretending to be a blind beggar while preventing Sabu from discovering his cleverly hidden instrument of death.
Review of Cobra Woman
