Watch Sh! The Octopus For Free

People are voting emotionally.

Let's be realistic.

If you don't like this, we can't be friends.

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Critics who deign to notice this movie at all have nothing good to say about it, and what they do say runs to far fewer words than you're about to read if you bear with me. Reviewing a thing like this is for people who can see a glass as half full even when it's nearly bone dry. I am such a one.Consider that the stars are Hugh Herbert and Allen Jenkins. Jenkins was an iconic supporting player: the tough-sounding but easygoing, nasal-voiced, weary-eyed New York working man or minor crook. His spirit lives on in the type, even for those who have somehow missed his own performances. However, a movie in which he's a star is bound to be small beer.The other star, Hugh Herbert, is a study in the fleeting nature of fame. Once he must have had quite a strong presence in moviegoers' minds, for his unidentified caricature appears in a Disney cartoon, "Mother Goose Goes Hollywood" (1938), along with those of the Marx Brothers, Charles Laughton, W. C. Fields, and other enduring stars (but also others like himself who have not endured). Today, it's unlikely that anything about him would ring a bell with most non-buffs. He seems to exist not only in the past, but in a parallel past of secret fame. One would like to think that this fate was visited on him as punishment for his tedious trademark: saying "woo-woo" at crucial junctures.The opening scene of Sh! The Octopus finds Herbert and Jenkins in their star vehicle, a police car, driving along a lonely country road on a stormy night. So you see, the glass is going to appear half full if only you're in the mood. This is a burlesque of spooky-house mysteries. It goes beyond parody -- well, beneath it -- and revels in zany riffs.The ultimate setting, which we reach after a few more minutes on the country road, is a deserted lighthouse with as many sliding panels as one finds in the better sort of ancestral mansion. The riffs are played not only on the hackneyed situations of the genre, but also on the stock characters who turn up in it. These include the vulnerable but determined young woman with a missing inventor stepfather who screams just like Fay Wray (the young woman, not the stepfather) and the suave young man who may or may not be deceiving her.Then there's the not-so-young woman with something to hide, the straitlaced but comforting old nanny, the gentle old salt, and the jeering old salt for good measure. The usual bumbling, bickering police detectives are played by the stars.The metropolitan police are beleaguered by a crime network called the Octopus. The lighthouse is beleaguered by a real octopus. The missing stepfather is presumably of interest to the first of these. When asked who he is, the young woman promptly replies, "He's the inventor of a radium ray so powerful that anyone who controls it controls the world."Though it's a stormy night and the lighthouse is on an island three miles from shore, characters (including the nanny) keep arriving with no apparent difficulty. Such blithe staginess, along with the assembly of types, gives this little film the feeling of an extended revue skit. For most of its length, it's only a mind-clearing diversion. Then, when a certain performance shifts into high gear, it becomes a night to remember. To say more about that would be spoiling too much.As silly as this film is, it leaves us with something of value: a renewed understanding of what it means to be a journeyman actor. Even though we think we're watching plays or films intelligently, a well-executed type can tempt us to believe that the actor hasn't much else to offer. There's usually nothing to pull us back from that temptation. When characters in an Agatha Christie mystery reveal hidden identities, the revelations come as nothing more than new information about the same people. But here, where no semblance of reality is required, the actors can drop their types and take on utterly different personalities. Several do so before the story ends, and one of these is granted the chance for a bravura turn. You may never get it out of your head, but that's all right. It will make your head a better, more freakish place.The five-star rating I've given this movie does not mean I'm dissatisfied with it. I'd call that a high mark for a minor romp. As part of a double feature, it's worth half the price of a ticket.

... if you don't' watch to the last scene, in which he inanity of everything that preceded it is clearly explained. Walk away with five minutes or more of the film to spare, and you'll most likely agree with the current low rating this film has.It is true that almost from the first scene of what appears to be a comedy/thriller nothing makes sense, but please stick around and just go with it. I won't even begin to try to explain the plot, but be prepared for people that have first one identity and then are all revealed to be federal law enforcement agents of one type or another, a human criminal mastermind that is called "the octopus" whose actual identity is unknown that they all are seeking, and an actual octopus whose tentacles are repeatedly reaching out from the walls of the old abandoned lighthouse into which everyone is congregated in order to grab someone. Warner contract players Allen Jenkins and Hugh Herbert as two local cops are probably the best known actors here, and they provide the outright comedy to counterbalance the ham served up by the dramatic overacting of the rest of the cast. After you've seen the whole thing you'll have to marvel at how this film comes together. It's hard to overact in such a way that the audience gets that this is all tongue-in-cheek versus believing that you're simply giving a poor dramatic performance.The final scene has what could almost be considered a precode moment, but it is quickly explained that what is being implied is not at all the case. I'm being intentionally vague here because I don't want to spoil it for you. If you like older cult comedy films, I believe you'll really like this one. Since Jack Warner generally didn't like to take chances, I don't know how he ever let this one slip by.

This is just a god-awful mess of a film--terrible in just about every way. I thoroughly hated this movie and wonder why it didn't merit inclusion in Harry Medved's book, "The 50 Worst Movies of All Time"--it was that bad. Other than MANIAC (1934), it might just be the worst film of the 1930s. I honestly enjoyed SEX MADNESS (1938) and REEFER MADNESS (1936) more than SH! THE OCTOPUS as they seemed like Shakespeare compared to this painfully unfunny and confusing film! Hugh Herbert and Alan Jenkins star in this B-movie and prove conclusively why they were relegated to supporting roles in films--they were amazingly annoying and unfunny here. While Herbert and Jenkins are fine in small roles, the are just awful and grating--and actually make we miss the Ritz Brothers (who, up until now, I thought were the most unfunny comedy team in history). Nothing, I mean NOTHING, they do is funny in the least. Heck, Dick Nixon and Spiro Agnew were significantly more funny than these two idiots!!As far as the plot goes, it's sort of like an old dark house film--but with even more clichés and making even less sense. I could try to describe the plot, but it just isn't worth it--since it's THAT confusing and unimportant. Throughout all the mayhem, giant fake octopus legs appear rather randomly--and in some cases (such as when Captain Hook is struggling with it), the strings are so obvious that even Ed Wood, Jr. would laugh at the ineptitude of the special effects.Unfunny, grating, loud and stupid--I hated every minute of this film and would rather gargle with scorpions that see this wretched mess again. Unless you have a severe head injury or are a masochist, you can't possibly enjoy this film. Please, don't trust the other reviews--it really IS that bad a film! Don't say I didn't warn you!!

I was a child of perhaps 5 or 6 in 1940-1941. I went to the movies for the first time with my parents and my older brother. I think it was at the Sanford Theater in Irvington, NJ. The movie we saw was "Sh. The Octopus". I have been searching for this movie for many years, to no avail(I thought the name was "Shush Goes the Octopus"), until I found it listed at TCM for playing in June 2006. I plan to view this movie again and this time I plan to remember it all. I think the only scene that I remember is a scene where a couch in a living room is opened ( the cushions are removed)and access is obtained to a lower level in the building. The next time I see it, I will verify my pubescent memories!