Perfect cast and a good story

i know i wasted 90 mins of my life.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

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.

Entertaining comedy. While I was watching this, many of the lines were said in a way that reminded me of some other people. Martin and Lewis came to mind. Bing and Bob came to mind. But then it "HIT" me. They are really, Abbott and Costello. 3-4 years early. And the act works. I am thinking that by the time A&C came along, the formula had been perfected, or at least improved on, and that the time for this type of team comedy was ready to take off. Even down to the way lines are said, many that Hugh Herbert makes down in the basement of the lighthouse, when he is alone, is totally Lou Costello. I am wondering if A&C were just mimicking this style of comedy with their own spin. Great as they were. I enjoyed them very much, as well as the others I mentioned.The movie, as a movie, is very enjoyable and moves along at a good pace. I had a good time, and that was the point, then as now.

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!!

Astonishingly occasionally like THE WIZARD OF OZ , this is a haunted fun-house comedy, like a hair raising wander through a creaky old seaside fun pier with a lighthouse ghost/train ride. Hugh Herbert is his usual bumbling chatterbox self, and abrasive Allen Jenkins ( from Footlight Parade) is the wisecracking pal. There is a great haunted lighthouse, sea caves and all sort of fake but fun spookiness. There is a genuinely astonishing and very clever scary moment with 'The Octopus" but mostly bumbling and running about in and out of caves, fogs and boats. Hugh Herbert plays his style of comedy a lot like Ed Wynn who you might remember most famously in MARY POPPINS when they had tea on this floating table. SH! THE OCTOPUS has a wonderful atmosphere, and not unlike the Columbia serial of 1937 THE SECRET OF TREASURE ISLAND or the finale of the Republic serial SOS COASTGUARD. This is a good Warner Bros programmer and if you have seen 1929 version of THE CAT AND THE CANARY or THE BAT WHISPERS it fits into the 'old dark house' - in this case a lighthouse, theme of scary comedies popular in the early 30s. I love the title! Imagine putting that up in lights on the marquee.