The popular pulp action hero The Shadow was made popular via classic radio series and pulp magazines but in 1940 the character had only one singular venture into the world of serials – following the likes of Flash Gordon and Captain Marvel – where he received very mixed reviews, which is probably why this serial was a one-time undertaking.
The 1940 Shadow serial was not the first time this pulp hero had made it to the big screen, having appeared in several short films and two feature films in the 1930s with The Shadow Strikes being the most notable but also fairly forgettable. As expected, the story is set against the backdrop of a gritty and mysterious urban landscape, one where we are quickly told that the economic life of the city is being threatened by a criminal organization headed by the mysterious figure known only as the Black Tiger (Robert Fiske) “Whose mad ambition is to acquire supreme financial power” and the city’s industrial leaders turn to Lamont Cranston (Victor Jory), noted scientist and criminologist, to combat this menace. Of course, Cranston also moonlights as a vigilante crime-fighter, a feared enemy of the underworld, unfortunately, the police have come to the conclusion that The Shadow and the Black Tiger are one and the same person.
“Do I look like a Black Tiger?”
It goes without saying that The Shadow does not work alone and Margo Lane (Veda Ann Borg) is along for the ride in this outing, working as both a possible love interest and a damsel in distress to provide fodder for the cliffhangers that these serials rely on to get kids back each and every week. In fact, this serial has more in common with the 1938 serial The Spider, where a masked hero ran around punching denizens of the underworld than it does the stories found in Walter B. Gibson’s pulp stories featuring the titular The Shadow. It should also be noted that while he may dress as The Shadow, and Victor Jory does pull off the classic “Shadow Laugh” with aplomb, the pulp hero was never intended to be some standard “gang-buster” hero, instead, he was to be a crime-fighter who solved mysteries using strange and uncanny powers. That is what makes The Shadow stand out from all other action heroes that populated serials throughout the 1930 and 1940s and where this outing drops the ball.
“Who knows what cliches lurk in the hearts of Hollywood?”
This 1940 serial undoubtedly holds a place in the history of early cinematic adaptations of popular pulp characters, but it’s difficult to overlook the shortcomings that prevent it from being a truly engaging and memorable experience. While it attempted to bring the enigmatic and mysterious crime-fighting figure to the silver screen it falls short in several crucial areas. One of the most glaring issues with this serial is its obvious low-rent production quality. The serial’s low budget is evident in its cheap sets, uninspired costumes, and limited special effects. Furthermore, the serial’s pacing also leaves much to be desired, rather than building tension and suspense, the episodes often devolve into repetitive chases and action sequences that feel more like filler than meaningful contributions to the plot. This constant cycle of action without substantial character or plot development diminishes the audience’s engagement and investment in a story that clearly relies on simplistic, often contrived scenarios that don’t do justice to the complexity of the original source material.
“Find me a decent scriptwriter or else.”
Central to The Shadow serial’s downfall is its portrayal of the titular character. While Lamont Cranston, the Shadow’s alter ego, is played by the charismatic Victor Jory, the writers and directors seem to have misunderstood the essence of the character. The Shadow is meant to be an imposing and mysterious figure, a force of nature that strikes fear into the hearts of criminals. However, the serial often portrays him as more of a straightforward crime fighter, lacking the subtlety and psychological depth that defined the character in the pulp stories. The visual representation of The Shadow’s supernatural ability to “cloud men’s minds” is not so much as missing in this serial it’s been given to the villain. What the hell? On the plus side, this version of The Shadow does retain the character’s iconic mix of suave sophistication and dark intensity and Jory’s performance captured the essence of the enigmatic crime-fighter, whose mastery of disguise and psychological manipulation makes him a unique and compelling protagonist.
We are still waiting for a proper adaptation of The Shadow.
Ultimately, 1940’s The Shadow not only failed to capture the essence of its source material but even missed the target of delivering a compelling cinematic experience. While it may hold nostalgic value for some fans of classic cinema and pulp fiction enthusiasts, it cannot escape its status as a product of its time with limited resources and creative constraints. For those seeking a more faithful and engaging depiction of the enigmatic crime fighter, turning to the original pulp stories or more modern adaptations would likely be a more satisfying choice.
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